In this interview, Tarpley discusses researching the doll craze for her new book, Barbieland, the importance of finding the right editor, and more.

Name: Tarpley Hitt
Literary agent: Alice Whitwham at the Cheney Agency
Book title: Barbieland: The Unauthorized History
Publisher: One Signal/Atria, Simon & Schuster
Release date: December 2, 2025
Genre/category: Nonfiction
Elevator pitch: A history of America’s most recognizable toy since the Slinky, and the incredibly litigious corporate apparatus that made her unavoidable. It’s also meant to be a bit of a tour through the literature of dolls, as well as an exploration of the “knockoff” — the tension between Barbie’s cultural branding as the first “adult” doll and the fact that she was a near-exact copy of a campy piece of advertising merch for a conservative German tabloid.

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What prompted you to write this book?

I’ve always been a bit intrigued by dolls and this millennia-old impulse we have to make little replicas of ourselves—sometimes to worship, sometimes to give to children, and so often a bit of both. Several years ago, I wrote about the craftswomen who make “reborn” dolls: hyper-realistic (and very expensive) baby dolls which are so detailed that they not only look and feel like actual infants but demand certain human-like behavioral norms. (If you leave one in a hot car, for example, someone will likely call the cops.) What struck me about those dolls was the amount of emotion both the craftswomen and their customers invested in these inanimate objects; they cared for them like real children, to an extent that was both bizarre to an outsider and somewhat moving. It seemed like an exaggerated version of the kind of complex relationship children (and adults) form with any doll, and perhaps none more so than Barbie, arguably the most famous doll in the history of human civilization.

The event that precipitated this particular doll book was, of course, the movie. About a year before the movie came out, an editor I’d been in touch with for years about a different book on a different subject (horseracing; gambling) told me he wanted a history of Barbie. I’d never had a relationship with Barbies—they were banned from my house—so the craze the film was already generating took me a bit by surprise. Barbie came with so much baggage; she struck me as a bit dated, slightly embarrassing. And yet here she was, in her 70s, mobilizing several generations of doll-havers, and about to rebrand herself for the next. The thing that got me interested was this idea of a dispassionate history told by a Barbie-agnostic trying to understand the grip this one doll had on the American imagination. But what sold me was what I came to understand a few weeks later, after reading as much as I could about the toy industry—namely, the degree to which that grip had been engineered from the beginning, and the lengths, both nefarious and pretty goofy, that Barbie’s guardians had gone to maintain it.

How long did it take to go from idea to publication? And did the idea change during the process?

I sold the book in early December of 2022, and started my reporting in earnest in February 2023, after the website where I worked, Gawker 2.0, was shut down. I spent most of the first year reporting, most of the second writing, and much of this past year editing and fact-checking. I would have happily kept tweaking for another year or seven, but that is unfortunately not how deadlines work, which is probably for the best. The idea changed quite a bit—partly because of the abbreviated proposal process, and partly because the information you have going into a book necessarily changes after a year of reporting.

Were there any surprises or learning moments in the publishing process for this title?

Everything was a learning moment, more or less. I knew very little about book publishing before this project—from the logistical process (the makings of a proposal; the differences between various imprints), to the creative process (how to structure something so large and unwieldy), to little things, like the jargon of publishing (“first pass pages” or “FPP” means the first review of the manuscript in layout, apparently). I did not know, for example, that much of an “advance” is actually not paid in advance, but in scheduled “tranches,” the majority of which come after you’ve delivered the manuscript. The fallout of not knowing this was reporting so little income during my second year that the accountant I called about filing taxes laughed into the phone. Something to plan ahead for, should there be a second book.

Were there any surprises in the writing process for this book?

Many. I’m still reeling from a conversation I had about two years ago with one of Barbie’s veteran designers. She’d joined Mattel in the 1960s, stayed into the late-90s, and spent the decades since touring the broader doll collector circuit. She was both deeply knowledgeable about Mattel and very generous with that knowledge, so I was thrilled when she told me she was in the process of donating her papers to a well-known toy archive. But when I went to visit her, I learned that this process involved going through her files and burning anything marked “CONFIDENTIAL.” (On the audio recording of our chat, you can hear an unsettling yelp—my reaction in the moment). It’s not that I assumed she would hand over decades of work without some pruning. But the idea of all these internal documents literally going up in smoke reminded me just how curated the public record can be. My hope was to fill in a few of the blanks.

What do you hope readers will get out of your book?

A couple hours with some true 20th-century eccentrics. One of those bumper stickers that says, “Get corporations off welfare.” A reason to agree with Baudelaire, when he asked of the toy store: “Is not the whole of life to be found there in miniature, and in forms far more colourful, pristine, and polished than the real thing?”

If you could share one piece of advice with other writers, what would it be?

Find an editor you trust to be anal, vicious, and right.

The post Tarpley Hitt: On Filling In the Historical Blanks appeared first on Writer's Digest.

In this interview, Lauren discusses her real-life aviation experience helping inspire her new romance, Love in Plane Sight, the power imbalance for women in the field of aviation, and more.

Name: Lauren Connolly
Literary agent: Lesley Sabga, Seymour Literary Agency
Book title: Love in Plane Sight
Publisher: Berkley, Penguin Random House
Release date: Dec 16, 2025
Genre/category: Romance
Previous titles: PS: I Hate You, Rescue Me, Read Me, Claws & Crochet, Fire Magic & Ice Cream
Elevator pitch: When entering the male-dominated world of aviation, the last thing she wants is to be turned-on in the cockpit.

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What prompted you to write this book?

I had been throwing around the idea of writing a romance about a pilot for a few years. My dad flies as a hobby, and he got his license the same day he met my mom. I always thought that was a romantic anecdote. Ever since I was a little kid, he’s taken me up flying with him, and when I’m brainstorming books to write I’ll often pluck a small detail from my real-life experience then build that out into a story. Plus, my dad has always been super supportive of my writing career, and I knew he’d get a kick out of helping me fact check the book.

How long did it take to go from idea to publication? And did the idea change during the process?

Love in Plane Sight is the second book in a two-book contract I have with Berkley, and I pitched the idea for the book when we met to discuss a potential deal for my first book with them, PS: I Hate You. Berkley offered on both books in spring of 2023. We sold the books as proposals—a synopsis and roughly 3 chapters—and I wrote PS: I Hate You first, then wrote Love in Plane Sight spring of 2024 and had a finished draft to send in by August. Publication date is December 16, 2025, so it was a little over two and a half years between idea and publication, which actually seems a bit fast with how slow traditional publishing often moves.

The idea itself didn’t change much with this book. I tend to be a plotter, and I had to turn a synopsis in to Berkley before I started writing. I kept pretty close to that original outline, just adding in more scenes and character building when the story needed more depth. This isn’t how it goes with every book I write, but it worked out for me in this case!

Were there any surprises or learning moments in the publishing process for this title?

This is my second book releasing with a Big Five publisher, and I think the most jarring thing is having a lot of people read and love my first book with the publisher and now be expecting another book that makes them feel the same way the first did. I have over 20 self-published books, and for those I felt much less pressure. There’s a sort of freedom in self-publishing, especially when I set the expectation early on that I write wherever my mood takes me. But now on this bigger stage, it’s as though the readers’ voices are louder, and I’m trying not to let their expectations dictate how and what I write. Some of my books will be emotional roller coasters, and others will be lighthearted romps, and all of that’s OK. But I’m definitely feeling a touch more anxiety as we approach publication day!

Were there any surprises in the writing process for this book?

While writing Love in Plane Sight I interviewed multiple female pilots, and though I knew there was a power imbalance for women in the field of aviation, it was still jarring to hear about their firsthand experiences. Yet even with the pushback they faced, they still maintained a love for flying and great pride in their accomplishments. Speaking to them was inspiring, and I sometimes forget how much it can help my process to leave my comfy writing cave and interact with the world.

What do you hope readers will get out of your book?

I write romance novels because I love bringing two opposing characters together and forging a strong relationship between them. I hope readers who pick up my book enjoy that journey and turn the last page with a feeling of hope. I would also love if this book inspired more people to pursue their pilot’s license. My dad loves flying, and there are a lot more resources out there than people might think.

Oh, and banter! I live to make people laugh with my writing. Fingers crossed most readers find my books funny so I’m not just telling these jokes to myself.

If you could share one piece of advice with other writers, what would it be?

My advice for writers is to be open to publishing in a variety of ways. Love in Plane Sight is releasing with a Big Five publisher, and I truly enjoy working with the Berkley team, but I also have grown as an author because of the books I put out myself and with small presses. I may not have even gotten my publishing deal if I hadn’t spent so many years publishing other books and building a foundation for my career. For those writers who have endless ideas and want to write 10, 50, 100+ books in your life, don’t hold yourself back as you wait to hear from agents and editors. Write the next book and explore all the publishing methods available. Don’t be afraid to put your books out in the world!

The post Lauren Connolly: I Live To Make People Laugh With My Writing appeared first on Writer's Digest.

In this interview, Nancy discusses turning the vampire story inside out with her debut novel, The Uninvited, the joy of incorporating her love of Paris into the novel, and more.

Name: Nancy Banks
Literary agent: Dan Lazar, Writers House
Book title: The Uninvited
Publisher: Delacorte Press
Release date: December 16, 2025
Genre/category: YA/vampire
Elevator pitch: Dracula meets stabby teenage girls in Paris.

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What prompted you to write this book?

I was reading vampire novels, and I realized that often the only role in them for women was victim. I wondered what an inside-out vampire story would look like, if the vampire’s victims refused to accept victim status and instead wrested control back from the vampire. I was also missing Paris, where I used to live. And this image lodged in my head: a girl, covered in vampire blood, crouching in a crypt under an abandoned Paris church. I wanted to know how she got there and what she did next.

How long did it take to go from idea to publication? And did the idea change during the process?

I wrote the first 44 pages in April 2010. The idea never changed, but one of my minor characters—a street artist named Noor—kept stepping forward, brandishing her spray can and demanding to be seen. When I let her take her proper place in the foreground of the story, everything clicked together.

Were there any surprises or learning moments in the publishing process for this title?

I didn’t realize how helpful social media would be for giving potential readers a fuller sense of the book. I put everything I loved about living in Paris into The Uninvited, and being able to show images of my favorite city on my feeds gives potential readers a glimpse into the book that they wouldn’t otherwise get.

Were there any surprises in the writing process for this book?

It was a little surprising how reliable editing is. Writing is unreliable. Yet when I edit, I’m always able to burnish the beautiful passages brighter and bring order and comprehensibility to any chaos. It’s magical.

What do you hope readers will get out of your book?

• Strong girls solve problems and support each other.
• Predators are a fact of life, but we can refuse them power.
• Victim is not the only role available to girls.

If you could share one piece of advice with other writers, what would it be?

I spent two years in drafting hell, and the Pomodoro Technique saved me. I would not have finished The Uninvited if I hadn’t been able to set my timer and know that after just 25 minutes of writing, I’d get five minutes of freedom from writing. That five minutes of freedom refreshed my perspective and made it possible to sit back down and write for another 25 minutes. And another, and another, until the book was done.

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In this interview, Jon-Erik discusses how the uniqueness of each of his children helped inspire his new picture book, The Language of Birds, his advice for other writers, and more.

Name: Jon-Erik Lappano     
Literary agent: Emily Van Beek / Estelle Laure,  Folio Jr.
Book title: The Language of Birds
Publisher: Random House Studio
Release date: December 16, 2025
Genre/category: Picture Book
Previous titles: Tokyo Digs a Garden, Maggie’s Treasure, Song for the Snow, Martin and the River
Elevator pitch: The Language of Birds is a story about a quiet, socially anxious girl named Mira who has always had a special connection with birds, but who finds people to be a more confusing kind of animal. When a new boy named Jad comes to school, Mira notices that he connects with trees the way she does birds, and with a little help from her feathered friends, they begin to form a friendship.

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What prompted you to write this book?

The seed of the idea for this book came from observing the differences in our three children, in the unique and beautiful ways that each of them interact with the world around them, with other people, and with the natural world. There are so many ways of communication that we learn growing up—not all of them human—and there are forms of connection that transcend words. Some young hearts and minds develop as quieter, or more introspective, and perhaps more open to engaging in those hidden languages in nature that many of us haven’t attuned to, focused more on aligning to social norms as we grow. With this story, I wanted to speak to those people who might see and experience the world in a different sort of way. Mira is unabashedly herself, and by embracing her different nature, by watching and listening with care, creativity and attention, she finds a meaningful connection.

Birds have also always been fascinating to me, and watching the wild birds outside our window is a favorite family pastime. Birds are such beautiful indicators of a thriving and healthy ecosystem; they are guides and helpers and sources of inspiration. One of our daughters used to coo with surprising skill to the pigeons and doves in the city parks as a baby. Another was desperate to learn the language of birds, and spent hours sitting outside under our feeders, speaking in screeches and chirps to the starlings, hoping to befriend them. She once even caught a wild bluejay in her hands that had flown into our house, which inspired one of the scenes in the book.

How long did it take to go from idea to publication? And did the idea change during the process?

Going from the initial idea to the first draft happened in one exhilarating late-night writing session. However, from that first draft to pitching took about a month, going through a few rounds of early stage editing and revising. I have my wonderful literary agents, Emily Van Beek and Estelle Laure, to thank for taking that mess of a first draft and giving feedback that helped me find the heart of the story. Once we pitched it, we were thrilled to get an offer from Random House Studio, and from there it took about two and a half years to publish, which I have found to be the usual timeline for picture books. Illustrators need to take time, too, especially the talented ones. I was absolutely thrilled when we learned that Zach Manbeck would illustrate this story. His art is absolutely luminous and just perfect for the story. 

Were there any surprises or learning moments in the publishing process for this title?

The publishing process for this book was seamless and smooth—it was a joy to work with Random House Studio and to collaborate with Zach on this title. No real surprises, just a supportive, imaginative team who has been lovely to engage with, from the editorial process, to publicity, to opening friendly emails of excitement and encouragement along the way!

Were there any surprises in the writing process for this book?

I am learning more and more to trust in my voice as a writer, while embracing the feedback of early readers and editors I trust. This is my fifth published work, and by far it was the most collaborative. The initial draft wasn’t really working, but I couldn’t put my finger on why. Giving it over to my agents for feedback was a pivotal moment. Their insightful feedback helped me simplify the story while zeroing in on the relationship between Mira, Jad, and the birds, and everything just clicked into place.

What do you hope readers will get out of your book?

I hope readers—young and old—will see themselves reflected in this story, and that they gain a reminder to embrace their differences. I also hope they let their gaze linger a little while longer on the birds outside their window, wondering what lessons they might have to teach them. 

If you could share one piece of advice with other writers, what would it be?

Here is a lesson I’m trying to share with myself these days. Persist. Be irrational in your persistence. Rejection, in its various forms, is a guaranteed companion along the writer’s journey. (A somewhat harsh companion I don’t remember inviting, by the way.) Drafts will dwindle in desktop purgatory. Manuscripts will melt into mediocrity. Ideas will hit the page and then hit a wall. But persist. Be stubborn in your persistence. Keep writing. And rewriting. And rewriting. Oh, and I guess, at some point, try to get a good night’s sleep.

The post Jon-Erik Lappano: Be Irrational in Your Persistence appeared first on Writer's Digest.

In this interview, Bryn discusses the power of a high-concept story, surprises in the writing process, avoiding AI like poison, and much more.

Name: Bryn Donovan
Literary agent: Julie Gwinn, The Seymour Agency
Book title: Her Time Traveling Duke
Publisher: Berkley
Release date: December 9, 2025
Genre/category: Romantic Comedy; Paranormal & Fantasy Romance
Previous titles: Her Knight at the Museum, Berkley; Master Lists for Writers
Elevator pitch for the book: Magic meets science and sunshine meets grumpy when a love spell whisks a Regency-era duke to modern times.

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What prompted you to write this book?

Rose Novak, the heroine of this book, was the best friend of the heroine in my previous book, Her Knight at the Museum. I usually take a long time to develop characters, but Rose showed up on the page fully formed. She’s a self-taught, chaotic witch, and as I wrote the first scene with her in book one, I realized something about her that inspired the story in Her Time Traveling Duke.

How long did it take to go from idea to publication? And did the idea change during the process?

It took about a year and a half from the original idea to publication, but of course, the book was finished months in advance of the release date. I had to do a lot of research for this one: Regency-era England, art restoration, the history of astronomy, time travel theories, and another topic that would be too spoiler-y to mention. My editor and I agreed on a synopsis in advance, so the plot didn’t change much until the end.

Were there any surprises or learning moments in the publishing process for this title?

One thing I’ve learned over the past few years is the power of a high-concept story. In other words, you read the title and the logline, and you see the cover design, and you know what you’re getting. The publisher changed my original title to Her Time Traveling Duke, and I thought that was perfect. That title, paired with his cover illustration, conveys the “man out of time” idea so quickly.

Were there any surprises in the writing process for this book?

There is one thing in the story that could go either way, and until I got to the end of the first draft, I really didn’t know what would happen! Also at the end, something happens to a secondary character that I didn’t see coming, although in retrospect, I should have.

What do you hope readers will get out of your book?

There are two themes I come back to again and again. One of them is taking joy in the moment, even when things are tough. Rose grew up working class, and she has tragedy and heartbreak in her past, but she still finds the magic in life, figuratively as well as literally. The other theme is about nothing being ever truly lost.

I love writing about Chicago because so many people have false impressions of the city. It isn’t high in crime; it doesn’t even rank in the top 25 most dangerous U.S. cities. Chicago is filled with culture, it has unique traditions, and the lake and the skyscrapers are jaw-droppingly gorgeous. In Her Time Traveling Duke, you’ll visit Rose’s vibrant neighborhood of Pilsen, the Art Institute of Chicago, the Riverwalk, a Lincoln Park mansion, a basement apartment on the South Side, and a hot dog stand with famously rude employees. The city is definitely one of the main characters in the book.

If you could share one piece of advice with other writers, what would it be?

Avoid so-called AI like poison. Your brain needs regular practice at putting together sentences, and even writing a boring email counts. A recent MIT study showed that regular use of large language models like ChatGPT negatively affected memory, attention span, and executive function—all things you need to write. Besides, you never want to be tempted to lie about your process. That’s never going to feel great. The way you brainstorm and work through creative roadblocks is part of what makes your writing unique, and your authorial voice is worth nurturing.

The post Bryn Donovan: On the Power of a High-Concept Story appeared first on Writer's Digest.

In this interview, Carissa discusses upping the stakes in her series with her new romantasy novel, Children of Fallen Gods, her hope for readers, and more.

Name: Carissa Broadbent
Literary agent: Bibi Lewis 
Book title: Children of Fallen Gods
Publisher: Bramble
Release date: December 9, 2025
Genre/category: Romantasy 
Previous titles: War of Lost Hearts series and Crowns of Nyaxia series
Elevator pitch: Tisaanah bargained away her own freedom to save those she left behind in slavery. Now, bound by her blood pact, she must fight the Orders’ war—and Max is determined to protect her at all costs.But when a betrayal tears apart Ara, Max and Tisaanah are pushed into an even bloodier conflict. All the while, darker forces loom. As Tisaanah and Max are ensnared in a web of ancient magic and twisted secrets, one question remains: what are they willing to sacrifice for victory? For power? For love?

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What prompted you to write this book?

This is the second book in the War of Lost Hearts trilogy, and I jumped into it right after I finished book one, Daughter of No Worlds, which followed a young magic wielding woman as she escapes enslavement and joins a powerful organization of magic wielders with the help of a reclusive former soldier. This is an epic fantasy trilogy, and it’s really in this book that the scale of the story increases dramatically and the stakes get much higher. So, while Daughter of No Worlds was a very easy book to write comparatively, and very low pressure because I was writing it solely for myself, this one was a lot more complicated because there was a lot that I was trying to execute with this story.

How long did it take to go from idea to publication? And did the idea change during the process?

This book was originally independently published in March of 2021, and it was one of the most challenging writing processes I’ve ever gone through—even now, eight books later! Daughter of No Worlds, the first book in the series, came out in January 2020, which meant that I was working on this sequel through the beginning of the pandemic, when I was also going through some stressful changes in my day job at the time. I began working on the book in early 2020 and was working on it right up until its release day (a luxury available to indie published authors!), so the whole process took a bit over a year. It was by far the most epic and complicated book I’d ever written, with three intersecting POVs, and I didn’t do enough pre-writing, which meant that there was a big hole in the first half of the book that I ended up completely rewriting multiple times.

It was painful! But it was also the most effective learning experience out of any of the books I’ve written. I learned so much about my craft and how I work!

Were there any surprises or learning moments in the publishing process for this title?

Of all my independently published titles, this one was the greatest learning experience. In self-publishing, authors have simultaneously more and less flexibility than in traditional publishing—more in the sense that there are fewer people and scheduling considerations to take into account, and less in the sense that indie authors are limited by Amazon, etc. in rescheduling their books. Children of Fallen Gods was a perfect storm of internal and external factors that required me to shift the publishing schedule multiple times, in small increments because of the requirements for indie authors at the time to move a release without losing all preorders. It was a huge amount of pressure! Looking back, I wish I had given myself much more time to begin with to avoid getting into this situation from the start, but I feel almost every author has some sort of story like this—seems like a learning experience most of us need to go through!

Were there any surprises in the writing process for this book?

As I referenced above, this was an extremely challenging book to write. It’s the second book in an epic fantasy trilogy, and it’s a bit of a cliche among authors at this point that book twos are uniquely painful! Of all the book I’ve written, this one went through the most extensive rewrites and had the most non-linear drafting process, because I ended up totally reworking the first half of the book. However, I have no regrets about this, as painful as it was at the time, because it taught me so much about how I work now. I now know that I need to take the time to work through gaps in the story in the pre-writing/outlining phase, and if I don’t, I can definitely get myself into some deep trouble later. This book ultimately pushed me into a radically different pre-writing process that I adopted from the third book onwards, and though of course this process evolves a bit with every book, I have largely stuck with it since. I’m grateful to this book for that reason! I learned so much about how I work.

What do you hope readers will get out of your book?

It meant so much to me to write this trilogy partly because writing it was my way of working out my own frustration and confusion with the world—grappling with a lot of open questions I still don’t know how to answer through these characters. Children of Fallen Gods expands the world dramatically and also gets much darker than the first book. But the relationships at its heart—the romances and beyond—are also much deeper. Even though this is a fantastical world and story, I hope that readers see themselves in the characters and that it helps them make sense of the darkness in the world as it did for me.

If you could share one piece of advice with other writers, what would it be?

Don’t be afraid to learn as you execute instead of waiting to reach some intangible level of “ready” before you start. This is by far the biggest challenge I see new writers face—they never finish because they won’t let themselves really start because they feel they “aren’t ready.” Every book I’ve ever written—especially this one—has taught me that there is no level at which you “feel ready!” Every author out there, even the most successful and prolific, are constantly learning and redefining their own processes, and by far the most valuable teacher is actually being hands-on with your book.

The post Carissa Broadbent: On the Second-Book Challenges appeared first on Writer's Digest.

In this interview, Hien discusses the teen hijinks and supernatural mystery at the heart of her new speculative YA thriller, Twin Tides, her advice for other writers, and more.

Name: Hien Nguyen
Literary agent: Katelyn Detweiler at Jill Grinberg Literary Management
Book title: Twin Tides
Publisher: Delacorte Press, Random House Children’s Books
Release date: December 9, 2025
Genre/category: Speculative thriller/Young Adult
Elevator pitch: A haunted Vietnamese Parent Trap following two long-lost twins investigating their mother’s murder in a small town haunted by a vengeful ghost.

Bookshop | Amazon
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What prompted you to write this book?

Back in 2022, I remember reading articles about climate change-fueled drought causing rivers and lakes to dry to historic lows and sometimes revealing long-dead bodies of missing people. This was shortly after I lost my own mother in 2021, and I was struck by the immense grief those communities must have felt, especially grief suspended for years before the bodies of their loved ones were discovered.

After jotting down an idea of these discoveries leading to the survivors unraveling a decades-long mystery, a story about Vietnamese American twins and a vengeful water ghost started to form. I enjoy engaging with Vietnamese mythology when I write, and the ghost stories of Ma Da, or drowned ghosts stuck with me. Ma Da are drowned victims, often experiencing violent deaths that trap them as ghosts. Part of writing Twin Tides was exploring that idea of violence, and what type of violence might cause a soul to become vengeful in the first place.

How long did it take to go from idea to publication? And did the idea change during the process?

I drafted the first act of this project shortly after conceiving the idea in 2022, but it was on the back burner as I focused on revising my adult dystopian project for submission that year (this project unfortunately died on submission).

I listed this project on my author website with a short pitch and mood board and did not think much of it until my now-editor, Bria Ragin, reached out to my agent inquiring about the project in late 2023. Originally conceived of as an adult manuscript, I worked with my agent, Katelyn Detweiler, to create a YA proposal. My first act was revamped, and I wrote a detailed synopsis for the submission package. There was some back and forth with my editor before the project sold in early 2024.

I ended up submitting my first draft in May of 2024 with my final draft due that fall. In addition to the manuscript getting aged down to YA, the plot was simplified during my writing process. I’d originally conceived the twins getting separated at birth, which entailed a much more complex plot that was streamlined with them becoming separated as children.

Were there any surprises or learning moments in the publishing process for this title?

Twin Tides is my debut and was also sold on proposal. This meant the process of writing an entire book on deadline was a brand-new experience for me and it certainly was trial by fire. My editor has such a confident vision, and I really learned to trust both my instincts and her insight. I found myself much less precious about decisions, and I was much more willing during this process to cut or heavily revise versus when I was left to my own devices. There simply wasn’t time for me to obsess or hem and haw about my manuscript, and I do think I’m a better writer for it.

Were there any surprises in the writing process for this book?

In Twin Tides, Aria and Caliste discover they are identical twins because their long-missing mother’s dead body is discovered. Inevitably, their grief takes center stage, and I also found myself writing through grief during the writing process. I was initially a little apprehensive about it and thought a lot about the possibility of accidentally opening unhealed wounds.

While the writing process wasn’t easy, it also was less fraught than I anticipated. Writing Aria and Caliste’s story allowed me the space to engage with memories of my own mother in ways that were energizing and restorative. As I wove parts of her memory and quirks into the narrative, it was as if I was rediscovering parts of her the grief had buried.

What do you hope readers will get out of your book?

As a genre blend writer, speculative, horror, and thriller end up being amazing lenses to magnify what makes us afraid. I do hope readers enjoy the ride of teen hijinks, untangling the supernatural mystery at hand in Twin Tides, and feel as haunted in the small town of Les Eaux as the twins do.

I also hope that as the story progresses through the three POVs (including a ghost POV) and epistolary elements, readers interrogate what we consider to be monstrous in the first place and what legacies we inherit through our families and history.

If you could share one piece of advice with other writers, what would it be?

Write weirdly, write wildly, and write what excites you. Of course, the market and its expectations will always be a consideration, but the writing process is joyful because your creativity is boundless. In the same vein of “don’t self-reject,” please don’t “self-limit.” Everything else is already trying to do that to you.

The post Hien Nguyen: On Writing Through Grief appeared first on Writer's Digest.

In this interview, Amy discusses how her own loss helped inspire her new novel, How to Grieve Like a Victorian, what rewrites taught her about the evolution of grief, and more.

Name: Amy Carol Reeves
Literary agent: Jessica Sinsheimer with Context Literary Agency
Book title: How to Grieve Like a Victorian
Publisher: Canary Street Press
Release date: December 9, 2025
Genre/category: Women’s Fiction/Romance
Previous titles: Ripper, Renegade, Resurrection
Elevator pitch: After the sudden death of her husband, bestselling author and British Literature professor, Dr. Lizzie Wells, turns into a hot mess, coping with the grief through mourning Victorian style—widow weeds, black jet jewelry. Confused after almost-kissing her late husband’s best friend, Lizzie hares off to London, but she can’t forget that almost-kiss and the possibility of second chances.

Bookshop | Amazon
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What prompted you to write this book?

My husband passed away in the summer of 2020. We had a wonderful marriage, and I didn’t know what to do with my grief. I have a PhD in British Literature, and I kept thinking about how Queen Victoria, a young widow herself, modelled mourning for other widows. I thought about all the strict Victorian rules for mourning—how widows should act, what they should wear, their conspicuous display of mourning trinkets. At some levels, I adapted the rituals for myself. I had a keepsake urn for my husband’s ashes. I wore a necklace with his fingerprint on it. I wore a lot of black cardigans and dresses. The “rules” helped to give structure for my grief when it felt too big. I wrote about my experiences in a Zibby Mag essay, “How Victorian Rituals Helped Me Through Widowhood.” Although my book is fiction, my own experiences certainly gave birth to the idea.  

How long did it take to go from idea to publication? And did the idea change during the process?

I began writing How to Grieve Like a Victorian during my early months as a widow. I wrote it, and then rewrote it all again, revised a bit more, and my amazing editor from Canary Street Press, Cat Clyne, picked it up in the fall of 2023. It debuts this December, so it’s been about five years from idea to publication. During rewrites, the novel became funnier. I think as I progressed in my own widowhood, I learned that grief isn’t linear. The heartbreak never goes away, but I also feel joy, connection, and hope. Along my own way, I gave Lizzie the opportunity to evolve as well. I gave her more permission to let go and have fun. During rewrites, I inserted the hilarious scene where she ends up performing on a burlesque stage—breaking all her widow rules as she lets go having the time of her life even as she remembers her late husband.

Were there any surprises or learning moments in the publishing process for this title?

Marketing was tricky as we didn’t want readers to think it’s only a “sad” book. There is grief and tragedy, but there are so many funny and joyful moments too. I think the striking cover art depicts this juxtaposition well where Lizzie’s tear stands out against the bright London background.

Were there any surprises in the writing process for this book?

I realized during rewrites that Lizzie’s grief isn’t just about losing her husband Philip. She learns she’s still mourning her remarkable mother who passed away shortly before him. Lizzie helps her loving but awkward professor-father break out of his own shell. Additionally, she learns that her eccentric, manipulative mother-in-law, desperate to keep family secrets close to her chest, is acting out largely from her own grief. Amid the conflict, Lizzie tries to help her see this. Rewrites helped to deepen these character relationships and better depict the layered nature of grief.

What do you hope readers will get out of your book?

We’ve all experienced loss and grief at some point. My hope is that readers, widows and otherwise, can realize that finding joy again isn’t a betrayal of your loved one. If anything, you’re honoring them by fully living.

If you could share one piece of advice with other writers, what would it be?

Be gritty. Writing is about rejections, uncertain outcomes, and revision, revision, revision. Don’t give up during the process.

The post Amy Carol Reeves: Be Gritty appeared first on Writer's Digest.

In this interview, Brigette discusses writing her nighttime picture book, Whooo Is Still Awake?, the added effort of simplistic writing, and more.

Name: Brigette Barrager
Literary agent: Jennifer Laughran at Andrea Brown Literary
Book title: Whooo Is Still Awake?
Publisher: Random House Studio
Release date: December 9, 2025
Genre/category: Picture Book
Previous titles: Twelve Dancing Princesses, Vlad the Rad, Welcome Flower Child
Elevator pitch: Flip the script on bedtime and see who stays up all night! Two owls venture out into the moonlit sky to discover WHOOO else is still awake when the stars are out and we’re all in our beds. 

Bookshop | Amazon
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What prompted you to write this book?

I had twins in 2021, and since then I’ve read innumerable books to them at bedtime. I noticed that the ones we returned to over and over were those that had a harmonious, soothing rhyme scheme and visual simplicity that was charming to both tired kid and tired parent. Titles like Goodnight Moon and Each Peach Pear Plum became our favorites. The page turns are quick, so no one loses focus. Reading the words aloud becomes like a lullaby. I wanted to create a story with that tranquil quality, that also made a nod to my twins (thus the two owls). 

How long did it take to go from idea to publication? And did the idea change during the process?

I first had the idea to do a nighttime book in 2023, and luckily my editor at Random House Studio (the wonderful Maria Modugno) loved the idea as much as I did. 

Were there any surprises or learning moments in the publishing process for this title?

This one came together quickly, in terms of the text and sketches. I revised the text several times to make sure it was easy to read aloud. You’d think because there are so few words that it would be easy—but really, when there’s less text you have to make sure that what is there is as clear and strong as it can be. Paradoxically, simplicity requires great effort! We also went through many, many, MANY rounds of proofs though. The dark colors are difficult to reproduce on paper! The first rounds were far too dark—you could barely see the characters. After much trial and error, we ended up with a beautiful result. I’m so happy with how it turned out.

Were there any surprises in the writing process for this book?

I was surprised to learn that many people don’t know much about possums! I’m familiar with them as they’re common in Southern California, and we used to see them in our yard and even in our garage snacking on cat food. They sometimes hang from their tails (not as often as in cartoons) and they DO really carry their babies on their backs! I don’t know of any other animal that does that. I received notes about whether these things were accurate or not. 

What do you hope readers will get out of your book?

I hope that readers will be engaged by the simplicity and easy reading of Whooo, and that they’ll return to it over and over at bedtime. It’s meant to be a fun, quick, melodious read. I hope other parents of twins will appreciate my twin-coded owls, too. 

If you could share one piece of advice with other writers, what would it be?

Take inspiration from your experiences. Pay attention to what grabs you, and what engages your audience. Let your taste guide your creative process. 

The post Brigette Barrager: Take Inspiration From Your Experiences appeared first on Writer's Digest.

In this interview, Julie discusses how women’s history helped inspire her new historical mystery, Murder in Manhattan, which real-life person her heroine is based on, and more.

Name: Julie Mulhern
Literary agent: Gordon Warnock, Fuse Literary
Book title: Murder in Manhattan
Publisher: Forever
Release date: December 9, 2025
Genre/category: Historical Mystery
Previous titles: The Country Club Murders series and The Poppy Fields Adventures
Elevator pitch: An entertainment columnist with a wry wit and exceptional observational skills involves herself in the murder of a bootlegger in 1925 New York.

Bookshop | Amazon
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What prompted you to write this book?

Decades that see enormous changes for women fascinate me. I already had a series set in the 1970s. The 1920s seemed the obvious choice for a new series. Watching an independent woman navigate casual misogyny (of course she’ll quit working when she lands a husband) as she drinks her way through Manhattan’s speakeasies (and writes about them) appealed to me.

How long did it take to go from idea to publication? And did the idea change during the process?

The idea for Murder in Manhattan was one of several that I pitched to my agent. It sort of went meh, meh, meh. That one! It took me about a year to write the novel. And then came a year of being out on submission. After I signed the contract, things moved very quickly.

Were there any surprises or learning moments in the publishing process for this title?

My heroine, Freddie Archer, is based on a real-life writer. Lois Long was an early hire at The New Yorker. She wrote several columns–my favorite being Lipstick, in which she regaled her readers with stories of New York nightlife. What a blessing to be able to access The New Yorker’s archives and read her columns. They were invaluable when it came to honing Freddie’s voice and sensibilities.

Were there any surprises in the writing process for this book?

Freddie’s adventures take her from rooftop gardens to dilapidated buildings on the Lower East Side. Being separated by half a country and 100 years from 1920s New York meant lots of time spent on research. There were many rabbit holes (and I cannot resist a rabbit hole)—the Tenement Museums website claimed at least a day. I learned more about New York history than I ever dreamed I’d know. And, since I have a brain like a sieve, I am relearning it as I write the second book in the series.

What do you hope readers will get out of your book?

I desperately wish I could have met Lois Long. I like to think we might have been friends (although Lois, who never turned down a martini, probably would have found me dreadfully dull). I hope readers will want to be friends with Freddie as she gets herself in and out of hot water and solves a murder.

If you could share one piece of advice with other writers, what would it be?

It’s all about voice. I’ve read technically perfect mysteries that felt flat, and deeply flawed mysteries with voice for days. It’s the voice that keeps me reading long into the series.

The post Julie Mulhern: It’s All About Voice appeared first on Writer's Digest.