For our Application Week series, Hannah Bae writes about applying to and attending writing residencies as a person of color—along with tips from about ten other writers who identify as BIPOC.
As part of our Application Week series, Jasmine Dreame Wagner writes about putting together your strongest proposal to get funding for your work-in-progress.
As a marketing professional, I mastered the art of writing for algorithms. As a novelist trying to sell my books, it’s more complicated.
While the systems and processes for how libraries acquire books differ from library to library, writers should know and should care about how public libraries purchase books.
Every nonfiction book should go through this vetting, and every author should have this experience.
How do we as readers benefit from having a team with different creative specialties—writing, designing, editing, photographing, illustrating—work together to bring the story to life?
Was I being selfish and foolish by spending seven years composing the book I wanted to read, without considering why someone other than me might care?
A roundtable discussion with the design department of Catapult books.
A librarian shares a step-by-step guide on how writers can grow their audience and promote their books by pitching a talk to their local library—and beyond.
“This article ended up being one of my favorite assignments ever—and all from a little bit of shameless public thirsting on Twitter.”
Promotion—especially self-promotion—doesn’t always feel easy. So how do we do it? For Social Media Week, literary agent Mina Hamedi helps us make room for celebration.
For our Social Media Week series, Cecilia Beard explains how BookTok makes it possible for people outside the traditional delineation of the publishing industry to propel any book to success.
A book’s pending publication, despite all the to-dos and excitement, can be a really hard time. Here are a few ways to navigate the prepublication blues.
A letter from Stella Cabot Wilson, ‘Don’t Write Alone’ editor.
A roundtable discussion with the editors of ‘Catapult’ and ‘Don’t Write Alone.’
Your worth as an artist is not equivalent to the numbers that end up on your tax return.
Over the last four years I have evaluated more than one thousand short stories.
Residency programs offer dedicated time and space to help you level up your writing. Here’s how to apply.
This is a benefit of finding your cohort outside of an MFA: It’s much more flexible.
In the face of dire job prospects, freelancing felt like it might be a solution; a way to be a writer on my own terms.
