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 Ana Garriga and Carmen Urbita 

Convent Wisdom: How Sixteenth-Century Nuns Could Save Your Twenty-First-Century Life

(Nonfiction, November, Avid Reader Press)

“ An infectiously edifying, not-so-saintly self-help book that dives into the wild, wise, and unconventional lives of 16th- and 17th-century nuns, offering advice for our modern age and proving one thing: no matter the century, nuns know best.”

Writes from: Halfway between Madrid (Spain) and New York.

Pre-Convent: We like to think that the seed of Convent Wisdom was planted the night we first met in August 2016. We weren’t the only prospective graduate students visiting Brown University that summer, but we were the only two ones matching our very specific freak: a passion for the lives and texts of 16^th– and 17^th-century nuns. That night, we knew that we would spend years of sleepless nights trying to reduce our fascination for nuns to the rigid formulas of academic writing.

What we didn’t know was that, four years later, in 2020, we’d decide to take our nuns out of dusty archives and aseptic academic journals and bring them to more playful realms. “Las hijas de Felipe,” our podcast devoted to unearthing hidden stories from the 16^th– and 17^th-century stories, confirmed what we already suspected: 16^th– and 17^th-century nuns were refreshingly relatable today. By the time we embarked on Convent Wisdom, we were used to spending most of our days writing—whether our PhD dissertations, academic papers, or podcast scripts—but this book demanded something new. It required us to craft a new voice—the two of us merged in one—and a new genre—rigorous academic research turned into a playful self-help guide.

Time frame: Once we started writing, we finished Convent Wisdom in about a year. But we had been researching, first separately and then together, for more than a decade.

Enter the agent: Our agent found us! She had been listening to our podcast for a while, and she had the feeling that we might have an idea for a book. In fact, when she approached us, we were already conceiving the general idea for the book with our Spanish editor.

Biggest surprise: When we received all the offers at the Frankfurt Book Fair in 2023—nine countries plus an auction between seven U.S. publishing houses—we were shocked. It was both a huge surprise and a well-deserved confirmation that our intuition was right: in the crumbling 21^st century we live in, we all need a portable convent to find solace. It was comforting to see that, after all the years spent in libraries and archives, we had found a way to share the stories of those nuns who had captivated us and helped us survive throughout the most challenging moments of our lives.

What I did right: We were not in a hurry to publish, and that helped. Well before the 2023 Frankfurt Book Fair, we were approached by a couple of publishers, but we decided not to go ahead with them. We felt it was hasty at that point, and that their aim was to make a hurried and shallow translation of our podcast into a book. Instead, we decided to wait until we had reached a more elaborate and nuanced idea of the book.

What I would have done differently: We had no idea how to navigate those situations, but somehow our intuition was right. However, we would happily erase all the anxiety and the self-doubt that we went through.

Platform: Our podcast and our social media are great platforms, but only for Spanish-speaking audiences. We’ll have to work on English content to try and gain new international readership

Advice for writers: You don’t have to write on your own. Sometimes, it can be so much better with friends. It worked for us, and it worked for many of our nuns.

Next up: We’re working on a historical audio fiction. We’d also love to launch some episodes of our podcast in English.

Website: LasHijasDeFelipe.com

Mia Jay Boulton and Laurel Boulton 

Of Swamp & Sea 

(Romantasy graphic novel, November, 23^rd Street)

“A woman possessed by a monster must embark on a dangerous and magical journey, accompanied by a monster hunter who could be friend, foe, or lover.”

Writes from: Gulf Shores, Ala.

Pre-Swamp: We’ve really been building the bones of this story since 2014 (the year we got married), and back then, it was almost unrecognizable aside from the characters’ names. It really evolved and transmuted throughout the decade as we worked on the story back and forth alongside our other projects. Of Swamp & Sea began in prose form, as all our work does, before making the leap to an illustrated comic in 2019. We finally wrapped up the art for it earlier this year, meaning it took us around six years to write, illustrate, and color close to 5,000 individual panels. But it only took us less than a year to format them into a five-novel series, the first of which is coming out this November.

Time frame: When we first went searching for an agent, there were still very few Webtoon properties that had made the leap to print—we think the industry was still really figuring out how that could work. We searched high and low through online databases like Manuscript Wish List, looking for someone with a mind for art, romance, and the supernatural. We were so happy when our agent, Lane Clarke, decided to hear us out.

Enter the agent: We were surprised by just how difficult it could be to take a vertical-scrolling comic and reimagine it for print format. Every new page felt like a puzzle to solve and an exercise in problem-solving. The goal was always to have the art look as natural as possible, like it was born for the printed page. We really do think we accomplished that goal, and we’re looking forward to current and new readers discovering the story of Mercy and Jonah in a whole new format.

Biggest surprise: Measured persistence has really been one of the keys to getting this far. Every step of the way from creating to publishing has felt like a new obstacle course to learn to navigate and overcome, but we never let a failure steep for too long before trying again. However, we also didn’t let an output goal control our lives, and we still made time for the things we love, for our hobbies, and for each other. It’s important to never give up, while never letting it burn your candle down entirely.

What I did right: I joined a writers’ group. I’ve been in my writers’ group now for over seven years, and I’ve learned so much and grown so much from being in that group. When we started, none of us had books published, and most of us didn’t have agents yet. Now, everyone has at least one book published. Seeing my friends in the group go through that process taught me a lot about what publishing is like and what to expect. So actually, not a lot of things were a surprise to me about the publishing process because I’d already seen how everything plays out through my writers’ group.

What I would have done differently: We do plan on doing it all again, because we want to keep creating forever. Next time, we’ll put more of a focus on future-proofing our projects, mainly through the way we’ll keep our files organized and prepared for both digital and print outcomes.

Platform: Our platform of readers on WEBTOON has followed us through the whole Of Swamp & Sea saga, and we’re endlessly grateful for their loyalty. We hope that many of them will pick up its first print installment for their shelves when it hits storefronts, as a print edition has been much requested since the very earliest days. Of course, we also want to bring the story to the eyes of a new audience, which we’re working on building via social media with the help of our publisher, 23^rd Street.

Advice for writers: Never stop loving what you do: people change, and it’s okay for their stories to change with them. You can’t let the fear of losing what you already have in a project stop you from exploring what it could be. In the end, your finished work is always going to look different than how it started, and that’s a good thing. You just have to see it through to find out what your story becomes.

Next up: After book one, we’ve got four more Of Swamp & Sea volumes on the way. After that? We want to write more adventures about love and magic, and continue telling stories through art. 

Website: Linktr.ee/ofswampandsea

Marco Anderson

This Book Is About Nothing

(Children’s picture book, November, Moon + Bird)

“A hilarious and colourful picture book about a child’s unique journey to making new friends.”

Writes from: London.

Pre-Book: I wrote this book coming out of COVID lockdown. I had not written a book before, so when I had the idea, I definitely did not think that it would get published. But, as the idea kept growing, I became more and more confident in this idea and the reality of it actually being published. 

Time frame: I originally wrote this in a PowerPoint, and we developed the story into what it is now over the next couple of years. I had this idea back in spring of 2021, and we just got the ideas out into a basic PowerPoint presentation. About a month or two later, I first met with the publishing team and showed them my concept. We continued working together over the next four years and turned the idea into a real book.

Enter the agent: I do not have an agent. After coming up with the concept, I was introduced to Etan and the team at Moon + Bird. They helped me do this, and I worked with my dad on this book as well.

Biggest surprise: One of the things that surprised me most was simply how long it takes to get a book published. I originally had the idea in 2021, and now four years later, it’s about to get published.

What I did right: I was really lucky because I didn’t know what I was doing and the team at Moon + Bird was really amazing at guiding me through the process.

What I would have done differently: I really don’t think that there’s anything that I would have done differently with this book, but there are a lot of skills that I learned over the process of creating this book, which I would apply to future books.

Platform: No, I don’t currently have a platform because I’m too busy with my middle school studies.

Advice for writers: The best piece of advice that I can give you is to just keep on going and trying to make what you want a reality.

Next up: Honestly, I have too much homework right now to think that far into the future.

The post Breaking In: November/December 2025 appeared first on Writer's Digest.

Prompt: Write a short story of 650 words or fewer based on the photo prompt above. You can be poignant, funny, witty, etc.; it is, after all, your story.

Email your submission to yourstorycontest@aimmedia.com with the subject line “Your Story 140.”

No attachments, please. Include your name and mailing address. Entries without a name or mailing address with be disqualified.

Unfortunately, we cannot respond to every entry we receive, due to volume. No confirmation emails will be sent out to confirm receipt of submission. But be assured all submissions received before entry deadline are considered carefully. Official Rules

Entry Deadline: February 24, 2025.

The post Your Story #140 appeared first on Writer's Digest.

Nominations are now closed. Be on the lookout for the May/June 2026 issue of WD to see the complete list!

There is no limit to the number of websites you can nominate, though you’ll have to fill out the form again for each new entry. You can, of course, nominate a site that you manage or own (we hope you do!), and you can feel free to share the nomination form with your website readers/followers. However, websites selected to be featured in the final list will be chosen based on the quality and accessibility of the content, not the number of nominations they receive.

The last day to nominate websites was Monday, December 15, 2025.

Nominations submitted to our email address or in the comments below will not be considered. Please only nominate via the form listed above.

The post Call for 28th Annual 101 Best Websites for Writers Nominations appeared first on Writer's Digest.

Order a print copy (while supplies last) from the Writer’s Digest Shop.

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What’s Inside:

2025: The Year in Publishing: Publishing expert Jane Friedman explains the most important publishing topics of the year, and how they affect you. By Jane Friedman

Preparation & Progress

• Imaginary Mentorship: Unlock writing secrets from literary titans to inspire and boost your work. By Michael La Ronn
• What Is Your Story Question: When your story isn’t quite coming together right, identifying and clarifying your story question (i.e. what readers are trying to find out) could help solve the problem. By Tiffany Yates Martin
• Use Journalism Tools: Use the tools of journalism to sharpen your research skills when writing fiction. By Rob Hart

Freelancer’s Workshop

• How Much Should I Charge? The creator of Funds for Writers shares an entirely revised and updated chart of rates freelancers of all types should charge for their services. By C. Hope Clark
• ABCs of Freelance Success: There’s more to freelance success than just being a good writer. Freelancer of 50 years Don Vaughan explains. By Don Vaughan
• Details Matter: Understanding the importance of specificity when writing nonfiction. By Don Vaughan

Book Building

• From Ordinary to Extraordinary: Unveil the hidden beauty in the facts and transform your nonfiction with the power of wonder. By Ryan Van Cleave
• The Story Behind the Backstory: What is backstory and how to use it effectively in your novel. By E.L. Tenenbaum
• How to Write in Different Genres: Emiko Jean and Yulin Kuang share tips and strategies for how they successfully write in different genres and mediums. By Jennifer Chen
• Memoir Plus: Add a bonus to your personal narrative for a marketing boost. By Jenna Glatzer
• 9 Suggestions for Improving Your Memoir: Former acquiring editor at a Big 5 publisher and current independent editor Leslie Wells shares tips from more than three decades in the business. By Leslie Wells
• 10 Surefire Ways to Sell Your Children’s Book: Executive editor at Farrar, Straus & Giroux Books for Young Readers Joy Peskin offers key advice for giving your children’s book the best shot at publication. By Joy Peskin

For Your Reference

• The 27^th Annual 101 Best Websites for Writers by The Editors of WD
• Top 100 Markets for Writers: A list of print and online publications looking for freelancers to contribute their knowledge on everything from pet care to finance and beyond. By Moriah Richard and Hannah Spicer
• Small But Mighty: Why small presses might be the perfect home for your book. by Jordan Rosenfeld
• Comp Authors: Building a Platform That Actually Sells Books: What are authors like you doing to connect with their audiences and communities? Don’t agonize about “platform”—your literary role models already drew the map. By Allison K Williams
• Face the Music: Like a broken record, you’ve been told time and again never to use song lyrics in your writing. Scratch that. Here’s how to actually pull it off. By Zachary Petit

The post Cover Reveal: Writer’s Yearbook 2026 appeared first on Writer's Digest.

Author: J. Kevin Tumlinson

Books, Genre, Imprint:The Coelho Medallion, Shaken, Evergreen, Citadel: First Colony (Archaeological thriller, technological thriller, science fiction; Knovelton Books)

Writes from: I get around. My wife and I travel extensively, and we even did full-time van life for three years (and full-time RV life for three years prior to that). So, I’ve written from cafés, coffee shops, hotel lobbies, and the occasional lakeside picnic table in spots all over the world. These days, I mostly write from my home office, just north of Austin, Texas.

Why self-publish?

Initially, I came to self-publishing because I was too impatient to wait and wade through gatekeepers. I had some traditional experience, in the form of writing for and submitting to magazines. But it bothered me. Writing was something I loved doing and could do well and do fast. But submitting, waiting for agents and editors to get back to me, then rewrites and edits—I was too impatient for all of that. Probably not the best color on me, I admit.

But as someone who is fiercely independent, particularly when it comes to writing, the self-publishing process just fit me best at the time.

The irony, I think, is that all that independent publishing experience ended up preparing me for a more traditional approach. I got my “million words of practice,” but I also got a feet-first education into how publishing works and how to be successful in the publishing space. I understand the challenges better now than I did when I was submitting queries and manuscripts. And I have a lot more patience.

Self-publishing has helped round off the rough edges a bit. And so, in my “old age” as a writer, I’m ready for a new experience and a new approach.

Had you considered traditional publishing?

I really wanted a traditional deal in those early days. But I was thoroughly unrealistic and unreasonable about it. I think some part of me thought it was magic. “If they would just publish my brilliant book, they’d make millions and so would I. And then they’d know what a genius I am!”

Not a literal conversation I had with myself. But not far off, I think.

For years now, I’ve said that if the right traditional deal came along, I’d take it. I feel that I’ve grown and matured a lot since I started, and now I have the patience and skill to take on a contract and do it right. I’ve been drained of my former arrogance, we’ll say, and realize now that publishing in the traditional space is a team effort. Now that I’ve got a few hundred manuscripts under my belt and have spent decades building up a platform for promoting them, I have a much greater sense of who I am as an author. And I think a traditional deal would be a good move for me.

I recently co-authored a book with J.D. Barker—a New York Times–bestselling author who often co-writes with James Patterson. That experience was much more traditional in scope and method, and it showed me that I’ve matured enough to take that branch of the road. So, I’m leaning into that now and starting to produce books specifically for pitching. I’m looking forward to seeing where it takes me.

Order a copy of The Coelho Medallion today:

Bookshop.org | Amazon

Indie publishing appeal?

All the usual things—the liberty to write what I choose, even if it’s experimental or bends a genre a bit. The freedom to set my own deadlines and publishing schedule. The bigger royalty. Just the independence and empowerment of the whole thing.

But the unexpected benefit that I’ve only come to understand and appreciate within the last couple of years is the fact that indie publishing gave me a place to hone my craft and my discipline, and to prove myself. After writing hundreds of novels and nonfiction books—with 70+ novels in print worldwide—if there’s one thing I can be certain of, it’s that I can do it. I can write a book that readers love. That’s not just proof, it’s validation.

Biggest challenge?

If you owned a coffee shop, you’d take it as given that there’s stuff you have to do to build and grow the business. Inventory, location rental, customer service, taxes and bookkeeping. We get that this is part of the gig.

Most indie authors tend to overlook this aspect of their own business, though. Just like a coffee shop, we have overhead and responsibilities. Marketing is one. Production costs, including editing, layout, and cover design. Distribution—do we go direct to a retailer, or do we use a service like Draft2Digital to distribute on our behalf? We might even have to consider hiring employees, such as a virtual assistant, to help take this stuff on so we can focus on the writing.

That was the most challenging thing for me, for a long time. I forgot to think of this as a business. So, a lot of that stuff got away from me, and the business suffered.

Now that I see it and embrace it, the business is better, and things are a bit easier. Still, I got into this like everyone else … to write cool stories. I don’t want to think about taxes or marketing.

Wish I’d known …

The one thing about my writing career that I never saw coming was burnout. I made my bones in the business by using what we call the “rapid release model.” I have always been a fast writer and good at it. But early on, I did crazy stuff. I was writing a book a month at one point, which seems kind of quaint now, in the age of people using AI to write 100 books a day or whatever. But it was a solid, breakneck pace back then. And sometimes I’d do crazy experiments, such as when I wrote the first draft of my book Evergreen in a single 18-hour day.

Crazy. Fun. But what I didn’t realize was that all that speed and the constant press of production was coming at a cost. I didn’t take anything resembling an actual vacation for most of 20 years. I kept pressing and kept pushing. And when the burnout finally happened, I never saw it coming.

So, I wish I’d known that it’s OK to take a break, even from this thing I love. I still write every single day, but I give myself the slack to rest from it when I need to. It’s more important than you might think.

Order a copy of Shaken today:

Bookshop.org | Amazon

Writing Advice

I stole an idea from Dean Wesley Smith, rebranded it, tweaked it, and made it my own.

He does this thing he calls “cycling.” Effectively, he writes 500 words, cycles back, re-reads and edits what he’s done, and then continues on for the next 500 words. By the time he’s finished, he has a pretty clean manuscript.

I adapted this into what I call “looping.” In this, I write to my daily word target (it varies, but right now it’s 2,000 words per day until the draft is done). Each day, though, I loop back to where I started the day before. I read and edit everything I wrote the previous day, until I reach where I stopped. Then I continue on.

Any words I add while editing count toward my daily word target. But this process also allows me to rebuild momentum, so I can continue the story in the same voice and energy.

I get cleaner words, but I also fall back into the world of the story, while constantly pushing it closer to the finish line.

That’s the best technical advice I can offer on craft. If you want my best heartfelt advice, it’s this: Only write what you love. Everything else is garbage.

Publishing Advice

Whether you are an indie author or have a traditional deal, your success is going to be entirely dependent on your platform.

That can mean a variety of things, but this is what I mean by it: Your platform is all the ways that you can reach the readers who will buy, read, and review your books.

Social media can be a part of your platform but doesn’t have to be. Even in-person events, like book signings and talks, can be part of this. But the one thing that your platform must include—and I mean without exception—is an email mailing list.

These days, I recommend that most writers use Substack to build their list. I like Substack because the list you build belongs to you, so you can take it with you to another email service, if you need to. The platform has high “discoverability,” meaning that readers find you when you publish regularly. And there are other perks to it, such as the ability to monetize your content, host a podcast, and even engage in social-media-style posts.

Regardless of how you do it, though, building an email list is the only real “must” in this business. Do it, or perish.

Marketing Strategy

I used to rely heavily on ads to market the books, but in my experience, they’ve become a lot more expensive and a lot less effective over the past few years. So, I’ve been leaning in on other methods. Mostly that comes down to a content marketing strategy, where I write and publish articles, posts, and short stories with the aim of getting readers to sign up to my mailing list (via Substack, mostly, but also right from my website).

I also do a lot of podcasts and other interviews, and post videos to YouTube, in an effort to increase the chances that someone will stumble upon me and my work.

I’m starting to look at more ways to reach a wider audience, through things like contests and giveaways, and special events. But these require more time and overhead.

In short, anything that helps me put my name and my work in front of the right reader, at the time they’re most prepared to buy, is good marketing. And that gives me plenty of runway to experiment with new things.

Don’t Skimp on …

There are two sacred commands in self-publishing:

The first is, “Thou shalt not skip the editing.”

The second is like it: “Thou shalt invest in a professional cover.”

Both of these require a budget, which is why a lot of indie authors skimp on them. That’s a mistake. Because these two things are often the line between a book that does well and one that goes unread.

It all comes down to experiences and expectations.

If you managed to get someone to buy the book, and the editing is bad or absent, they’re going to have a bad experience. At best, they’ll put the book down and never read anything from you again. At worst, they’ll take to Amazon and leave a review that will singe your eyebrows and leave a stain for all the world to see. That may keep future readers from even giving you a shot.

But before anyone can see your lack of editing, they’ll have to actually want to buy the book. And if you have a terrible over, that’s not going to happen.

There’s a psychology to cover design. A good cover designer understands how to make your book look similar enough to other successful books in the same category that readers want to read it. They understand how to make it eye-catching and appealing when it’s the size of a postage stamp.

These are both important skills, and they’re worth paying for. And you should pay for them. You will pay for them, one way or another. Either up front, when they can benefit you, or later, when they cost you readers.

Don’t skimp.

Website: KevinTumlinson.com

• KevinTumlinson.substack.com
• X.com/kevintumlinson
• Facebook.com/kevin.tumlinson

Awards or Recognition:

• 2019 Shelf Unbound Best Indie Book
• 2018 Book Excellence Awards
• 2016 Shelf Unbound Best Indie Book
• 2013 Writers of Future
• 2005 Danny Lee Lawrence Award for Fiction
• 2003 Danny Lee Lawrence Award for Fiction

The post J. Kevin Tumlinson: On Effective Writing and Avoiding Burnout appeared first on Writer's Digest.

From the time we’re children, the whimsical and weird draws us in and makes us imagine worlds beyond our own, creatures that exist only in our imaginations, and endless possibilities. In this issue, we celebrate whimsical and weird writing by exploring fantasy writing, magic, talking animals, monsters, unusual writing formats, and much more.

Features Include:

+ Building Your Own Magic System: Award-winning author Whitney Hill shares considerations for developing a magic system for your stories and how to avoid boxing yourself in for future works. By Whitney Hill

+ Leveraging “What If?” in Speculative Fiction: Five techniques for convincing readers your fiction just might be real after all. By Jeff Somers

+ The Weirder, the Better: How to write nonfiction that sells by embracing the odd sides of life. By Zachary Petit

+ Creatures of the Night: Enriching your fiction with dreams, nightmares, and half-awake visions. By Elizabeth Sims

+ Writing in the Southern Gothic Style: Understand the origins and nuances of this gothic subgenre to write atmospheric tales. By Sonya Alexander

+ The Winner of the 94^th Annual Writer’s Digest Writing Competition: Announcing the grand-prize winner and the category winners of WD’s longest running writing competition. By Amy Jones

+ The WD Interview: Travis Baldree: Fantasy author and audiobook narrator Travis Baldree talks with WD about his newest cozy fantasy, Brigands and Breadknives. By Moriah Richard

Plus, embracing the power of play in your creative practice, quirky habits of writers, and the best tool in your marketing toolbox. And, as always, all your favorite columns like Publishing Insights, Breaking In, Meet the Agent, For All Ages, and more!

Subscribe to Writer’s Digest today for this to be your first issue!

The post Writer’s Digest November/December 2025 Cover Reveal appeared first on Writer's Digest.

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Samantha Browning Shea

Marrow

(Adult literary fiction, September, G.P. Putnam’s Sons)

“A searing take on femininity and power, Marrow transports readers to a small island off the coast of Maine, where a coven has done the seemingly impossible: given childless women the chance to become mothers.”

Writes from: Fairfield, CT.

Pre-Marrow: My husband and I had just made the difficult decision to begin fertility treatment after trying, unsuccessfully, to conceive for over a year.

Time frame: It took me a little less than two years to research and write the first draft (roughly a year of fertility testing, failed IUIs, and two rounds of IVF; and then another nine months while I was pregnant with my first daughter). I spent my maternity leave with my first daughter, diving into edits given to me by my agent! Then we sold the book when my oldest was about 18 months and I was pregnant with my second. During my second maternity leave, I completed edits given to me by my editor!

Enter the agent: My agent is Marya Spence at Janklow & Nesbit. I’m also a literary agent (I’ve been at Georges Borchardt, Inc. for 15 years now), so when it came time to find an agent for my own work, I was pretty nervous. I felt like I was risking not just rejection, but professional humiliation if it turned out no one liked my work! But happily, Marya and I clicked right away, and she’s been an incredible champion for my writing ever since!

Biggest surprise: Having worked in publishing for fifteen years, there hasn’t been too much that’s surprised me, necessarily, but I feel like I’ve gained a real appreciation for how it feels when things don’t go quite how you’re hoping they will as a writer. About a week after my book sold at auction to an editor I was SO excited to work with, that editor ended up taking a new job and leaving Putnam. As an agent, I completely understood. Editors often have to move houses in order to get promoted. And I was thrilled for the editor and their career. But as a writer, I was devastated. Not long after, the Publisher also left for a new job. Again, I was thrilled for her, but sad for me. I’d had similar scenarios happen with clients’ books throughout the years, but this was the first time I felt that particular brand of disappointment as a writer. I got really lucky, though, and ended up with an editorial team I love: Kate Dresser, Tarini Sipahimalani, and Lindsay Sagnette. It’s been such a pleasure and an honor working with them!

What I did right: When I first started working in publishing, I was afraid to tell anyone that I also wanted to be a writer, but it’s been really affirming, over the years, to see how others have navigated balancing careers as both writers and publishing professionals: writers like Megha Majmudar and Danny Loedel (who were both editors when their first novels were published), Jenny Jackson (editor at Knopf), Betsy Lerner (literary agent), and Danya Kukafka (literary agent).

What I would have done differently: Honestly, nothing. I’m just so grateful to be where I’m at right now: working my dream job, publishing my first novel, and mother to two brilliant (and mischievous) little girls.

Advice for writers: Just keep writing! As a young agent, Georges told me stories all the time about writers he’s represented whose careers didn’t “take off” until book number four, or five, or six. He’s always said it’s not talent that makes a writer, it’s tenacity. And I believe that. In fact, Marrow isn’t even my first novel. I actually wrote a novel before Marrow that didn’t sell.

Next up: I’m at work on what I hope will be my second book, inspired by a true crime story.

Website: SamanthaShea.com

Deena ElGenaidi

Dust Settles North

(Literary fiction, September, Bindery Books)

“Dust Settles North is the story of two siblings navigating their second-generation Egyptian American identity, family trauma, and grief in the wake of their mother’s sudden death—and father’s shocking betrayal.”

Writes from: Brooklyn, N.Y.

Pre-Dust: This book started out as a short story that I wrote for a fiction workshop in my MFA program. I had previously only written short stories, and then while I was in the MFA, I started to expand this into a novel. So, very early drafts of some of these chapters were actually workshopped by my classmates, and it ended up becoming my thesis project in grad school. I think I had almost 200 pages written by the time I graduated.

Time frame: I spent nine years working on this book—counting my time in grad school, all the way up to when the book was sold. I finished the first full draft almost a year after grad school, and then I spent a lot of time editing. Then I started querying agents, many of whom requested the full manuscript, which was great, but I only got rejections at that time. So I went back and started editing some more, maybe for another year before querying again.

Enter the agent: I did a lot of research. I had a spreadsheet with a list of agents that I just started cold querying, and then I finally got an offer. But while my book was out on its first round of submission, my agent actually quit agenting altogether, which put me into a state of panic. Luckily, though, she gave my manuscript to one of her colleagues, Monica Rodriguez, who loved my book and wanted to represent me. And I couldn’t be happier working with Monica. She’s been amazing through all of this. We then worked on some more edits together for a while before Monica sent my book out to a new list of editors.

Biggest surprise: Publishing moves so slowly. I had to really learn to be patient and accept that some things were out of my control. My book was out on submission for a long time, and sometimes editors would receive the manuscript and take months just to start reading. During that time, there was nothing I could do, which was really difficult for me. It was completely out of my hands, and all I could do was wait.

What I did right: I joined a writers’ group. I’ve been in my writers’ group now for over seven years, and I’ve learned so much and grown so much from being in that group. When we started, none of us had books published, and most of us didn’t have agents yet. Now, everyone has at least one book published. Seeing my friends in the group go through that process taught me a lot about what publishing is like and what to expect. So actually, not a lot of things were a surprise to me about the publishing process because I’d already seen how everything plays out through my writers’ group.

What I would have done differently: I want to say I would have stressed out less, or not given myself so much anxiety about the publishing process, but I think in some ways, that was out of my control. So I don’t know that I would do anything differently. I think I learned a lot through this journey.

Platform: I’ve been doing arts and culture journalism on and off for about seven years now, so I’ve built somewhat of a platform through that work. It’s a little bit harder now because so many publications have shuttered, and others are just not accepting freelance work like they used to, unfortunately. My publisher, Bindery, though, is really focused on building a platform for their writers. They work with book influencers who are constantly posting about Bindery books and are invested in our success. I’ve been really impressed and happy with how much marketing and publicity they’re putting into their books, and hopefully that will help me grow my platform.

Advice for writers: I would say just don’t give up. I worked on this book for a really long time, and I got plenty of rejections along the way. I could have just stopped trying, but instead I took the rejections, took the feedback, and kept improving my work, and I’m glad I did because my writing is better for it.

Next up: I’m working on a second book right now—another novel—but it’s still very early stages. 

Website: DeenaElGenaidi.com

Hannah Rosenberg

Same

(Poetry, October, St. Martin’s Press/Macmillan in the U.S./Canada; HarperCollins in the U.K.)

“A collection of poems about finding magic in the ordinary and celebrating the relationships that make our lives beautiful.”

Writes from: Philadelphia, Pa.

Pre-Same: I have been sharing poetry on what I was calling (whenever anyone asked!) my poetry blog since 2020. I always loved writing poetry and prose and used it as a way to help me process and make sense of life, so I started sharing poems weekly (and sometimes even more than weekly) that really were just about what was on my mind at the time. I thought of them all as drafts, so I wouldn’t be afraid to hit the “share” button (many times, I would go back and edit old poems). 

I had my first child in Spring 2023 and was sharing a lot of poetry on new motherhood. Both of the editors that I have now at St. Martin’s Press/Macmillan in U.S./Canada and HarperCollins in U.K. reached out to me when they, too, were experiencing first-time motherhood, so it was a kind of life meets art meets work meets life type thing.

Time frame: I was so excited to get the book deal, but then terrified about the prospect of writing a collection of poems instead of what I had been doing before (writing then sharing then writing then sharing). I had no idea how it would go, but it ended up being a really fun and fulfilling experience. I’ve always been someone who likes to set goals and meet them, so I kind of set it up like a project plan and found that as I wrote, the book started to come together all on its own. Not to say there weren’t hard days where I felt like I had no more interesting ideas—I definitely did have those—but I realized if I had a structure for working on it, then I didn’t have to have it all figured out before I began writing.

I wrote a small excerpt for the book for the proposal between February–April 2024, and then the majority of the book between June and October 2024.

Enter the agent: Sarah Cantin, my editor at St. Martin’s Press/Macmillan, was the first to reach out to me. We had a brief conversation about pursuing a book, and she connected me to a few agents that she thought might be a good fit. I instantly felt so comfortable with Sarah (and my instinct was right, she has been the most incredible editor!), so I trusted she would connect me to great people. I was able to talk on the phone with them and really felt a strong connection to Ariele Fredman, whom I signed on with. Ariele is amazing and helps me to dream big while also navigating the basic things about the publishing world, which is totally new to me.

Biggest surprise: I was surprised how scary finishing the book would feel- a book (unlike my poetry blog) feels so final. I’m in the last stages of editing, and I keep procrastinating on all of my final edits because it feels so scary to hit “done.”

I was also surprised by the importance of pre-orders. It didn’t occur to me that it would be important to “sell” your book before it was out, and how that would influence so much ahead of time.

What I did right: Definitely creating my own writing account and building my own audience was the best thing I did. Writing every week helped me practice the craft of writing and build a readership along the way, which, ultimately, led me to my publishers.

What I would have done differently: I think I would have tried to create a peer writing community earlier on—I had (and still have!) imposter syndrome and felt like other writers wouldn’t want to talk to me, so I held off on reaching out to chat. I’m working on that now, but I feel like I would have been more prepared and understood more going into the book-writing/publishing world if I had reached out to writers and tried to set up coffee chats earlier on.

Platform: I share my writing on Instagram (@hannahrowrites). I post poems weekly and engage with readers—I try to respond to messages and comments people leave, so it’s more like a community (which is what I hope people will feel it is!)

Advice for writers: For me, creating project plans and timelines helps with creativity instead of hindering it. I used to write “when I felt creative” and found (especially early on when I was just beginning the process of regularly writing) that if I didn’t set aside time specifically for writing and I didn’t have a goal I was working on, I would make up excuses for not doing it. Once I got serious about goals, it helped me prioritize my writing.

Next up: I love writing poetry and prose—it never feels like work to me. I hope others love reading it enough that I can publish future books.

Website: HannahRoWrites.com

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Prompt: Write the opening line to a story based on the photo prompt below. (One sentence only.) You can be poignant, funny, witty, etc.; it is, after all, your story.

Email your submission to yourstorycontest@aimmedia.com with the subject line “Your Story 139.”

No attachments, please. Include your name and mailing address. Entries without a name or mailing address will be disqualified.

Unfortunately, we cannot respond to every entry we receive due to volume. No confirmation emails will be sent out to confirm receipt of submission. But be assured all submissions received before the entry deadline are considered carefully.

Entry Deadline: December 23, 2025.

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For the 27^th year, Writer’s Digest is shining a light on 101 websites with a goal of helping writers in a variety of ways. From getting a boost of creativity when you need it to specific writing advice, from finding an agent to query to pinpointing the trusted resources that weed out scams, this list offers the best places for you to start, no matter your experience level or writing goals. This year, you’ll also find 15 listings new to this feature. 

As always, we try to ensure the resources are accessible, no matter your financial situation. So, while many of the listings here do have a paid version, you’ll also find that the majority of these sites have ample free resources as well. This way, you can give them a try to see if what they offer is right for you and your writing goals before committing.  

Editor’s Note: As with all of our recommendations, we do our best to make sure the details in the listings are accurate at the time the issue goes to the printer, but inevitably something will change. So, be sure to check the websites themselves for the most up-to-date information. 

A * means this is the website’s first appearance on the WD list. All listings within each category are alphabetically arranged. 

Writer’s Digest Best Creativity Websites

Writer’s Digest Best Live Streams, Podcasts, and YouTube Channels

Writer’s Digest Best Writing Advice Websites

Writer’s Digest Best Everything Agents Websites

Writer’s Digest Best General Resources Websites

Writer’s Digest Best Genre/Niche Websites

Writer’s Digest Best Publishing News and Resource Websites

Writer’s Digest Best Job and Market Websites

Writer’s Digest Best Writing Community Websites

Writer’s Digest Best Indie Publishing Websites

The post Writer’s Digest 101 Best Websites for Writers 2025 appeared first on Writer's Digest.

A * means this is the website’s first appearance on the WD list. All listings within each category are alphabetically arranged. 

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