Peter Leavell was the Operation First Novel winner the year before me. The prize was $20,000 and a publishing contract. For both of us, winning was life changing and launched our careers. It was fun getting to know Peter back then and it was great to reconnect with him now and see what he’s been up to.

Throughout the years we’ve encouraged one another and commiserated during the down times. The year I won the contest he came to Colorado Springs where I was living at the time and we went to an old manor house and did some videos. It’s funny to watch us from thirteen years ago. The world was perhaps a little less complicated and some of our conversation reflects that. We were also both pretty new to the “now I’m published” world.

But, here we are still writing and teaching. We’re both still telling stories and trying to encourage others where we can. He recently accepted a teaching position in Savanna, Georgia, which is fun.

In this interview, Peter opens up about those writing / life lessons he’s learned along the way. From winning major awards to navigating revision and the realities of the business side, he shares honest, practical wisdom that will both inspire and equip you.
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With warmth and vulnerability, he speaks about handling the pressure that came with early success, reconciling what you love with what the market wants, and protecting your creative energy. You’ll also discover the core truth that still guides how he writes every single day, and how it can shift the way you approach your own work. Enjoy!

Read the interview here:

https://www.writingdayworkshops.com/blog/the-deeper-magic-of-writing-every-day-award-winning-author-peter-leavell-shares-what-hed-tell-his-beginner-self

See our early videos together. These are from 2013, the year I won the contest:

Part 1:

https://www.youtube.com/watch?v=zOxrJbe-gak

Part 2:

https://www.youtube.com/watch?v=sKmr-K7X9dc

This is definitely worth the listen. I particular enjoyed the conversation about art vs. commercial fiction. I truly believe that books are for reasons and seasons. And it’s important to know what your definition of success is.

The section about the moral compass of writers was also interesting to me.

Lots to digest here.

For anyone who wants to know more about the inner workings of the publishing industry, this is helpful.

Enjoy!

https://www.youtube.com/watch?v=xP2C8Z21hKM

I’ve been following Rainer Wylde for a while and these quotes hit.

Starting out, I just wanted what we all want — a book contract. I suppose it was a bit of Indiana Jones’ conversation with Shorty in The Temple of Doom. The reason for the pursuit? “Fortune and glory, kid, fortune and glory.”

I came from a family of alcoholics. Many of you can unfortunately say the same thing. I don’t have to get into the traumas or the fears that I grew up with, because I think you all have a grasp on what kind of life that was. But early on, I determined that I was going to be different. And I just didn’t want to be different; I wanted to be the best. I wanted to rise up out of those ashes and make something of myself. Now as I look back, I wonder if I didn’t want to succeed on my loved one’s behalf as well . . . because I was so frustrated with the lack of progress.

My mother was always the butt of jokes at parties (and I was at a lot of drunken parties as a child) so I think deep down I wanted to be seen as smart. It took me 30 years to realize that particular motivation in myself. I came to it at a Captivating Conference led by Stasi Eldredge (she endorsed my first book, by the way — it’s on my cover, woohoo!).

When the different layers and masks were pulled way, a burden lifted. And a strange thing happened — I still loved writing and I could even write more freely. Even though one of my driving forces may have been because of trauma, my writing dreams only expanded as I became more free.

We all want to be seen and known. We all want to be special. We want to make a difference and we want to know our life is worth something. We want people to see us for who we really are. By looking at our pages, we want someone to recognize our soul and say, “I know you. I am the same. I have been waiting so long for someone to put this into words.”

Writing is amazing because it can accomplish all those things.

Writing is also amazing because it teaches us that we are already all those things right now.

Writing and life are a tapestry. Often all we can see is the tattered and tangled back. But we have to have faith that something beautiful is being woven together. And the more we work on our pages (and ourselves) the beautiful landscape will come into view.

Community helps. True writing friends will keep you alive. Actually getting a book out into the world is a bit like Frodo’s journey to destroy the ring. There is no way he could have done it without his tribe. And we all need that one person too — our Sam.

I am also reminded of some of Stasi Eldredge’s other words. She once said, “Each morning I wake up an unbeliever. I have to decide to be a believer again.”

This is also true for writers, and giving yourself grace in this area will set you free. We get tired. We go through disappointments.

You are not always going to feel like being a writer. That’s okay. And often we won’t feel like we have much to offer. That’s okay too . . . and normal.

Sometimes we just have to just get up and choose to be a believer once again.

With you in the trenches,

Brandy

Thinking back on my journey, I’ve been hit with imposter syndrome many times.

It’s painful. It’s lonely. It’s excruciating sometimes.

In some seasons, the punches just keep coming. Rejections after rejection in a thousand different ways.

As I sat here tonight writing this article, there’s no way I could put into words every season and all the ways imposter syndrome manifests. But, this article is a “dipping our toes into the water” kind of experience.

And if you’ve ever been hit with this particular kind of pain, this one’s for you.

https://www.writingdayworkshops.com/blog/youre-not-alone-in-this-famous-authors-on-imposter-syndrome-a-gentle-way-forward

Hey friends,

Yesterday brought some significant news in our industry: Employees at Hachette Book Group voted overwhelmingly (388 to 130) to unionize with the Washington-Baltimore News Guild. This creates the largest union in U.S. trade publishing history, covering around 600 workers across remote and office roles.

As someone who’s spent years in publishing—as an author, agent, publishing specialist, and mentor—I’ve seen how burnout, turnover, and unsustainable workloads ripple through every layer of the business. This vote feels like a moment worth paying attention to.

From the Workers’ Side

The Hachette Workers Coalition (HWC) has been clear about their goals: livable wages (regardless of location), better working conditions, caps on workload hours, a fair grievance process, and protections around AI. In their words, it’s about creating “an equitable and dignified workplace where workers can flourish.”

One organizer put it powerfully: They want readers to know “the creative works that they’re enjoying are being created by fairly-paid, well-treated, and cared-for human labor.” That resonates deeply with me.

From Hachette

HBG leadership has stated they recognize the election results and intend to approach “this new era with hope and in good faith,” with plans to begin bargaining soon.

What This Could Mean for Authors & Agents

Short-term, things will likely feel like business as usual while negotiations get underway. Longer-term, a more stable, supported publishing workforce could lead to stronger editorial partnerships, better project attention, and a healthier industry overall. Of course, there may be some growing pains—delays or shifts in processes—as they work toward their new goals.

I’ve always believed we’re in this together: authors, agents, editors, publicists, and everyone who loves stories. When the people bringing books into the world are cared for, it strengthens the entire ecosystem. It aligns with what I talk about often here—sustainable creativity, building community, grace in the long haul, and protecting the passion that keeps us going.

This isn’t about “us vs. them.” It’s a reminder that real change happens when people use their voices. For those of you querying, submitting, or navigating this wild industry, my advice remains: Keep writing the stories only you can tell. Build your craft. Protect your peace. Find your tribe. And know that movements like this are part of the slow, necessary evolution toward an industry that values the humans behind the books.

This subject goes back to Mark Gottlieb’s article that I shared a few months ago. If you haven’t read it yet, you can catch up here:

Why Publishing’s Labor Reckoning Could Change Books for the Better: Trident Media Group’s Mark Gottlieb Declares The Passion Tax Comes Due https://www.ibtimes.com/why-publishings-labor-reckoning-could-change-books-better-trident-media-groups-mark-gottlieb-3803158

Mark was at the Realm Makers Conference in St. Louis that I just got back from, and I thanked him for his article. We have a great conversation about the situation for those of us who work in publishing.

If you’re a writer feeling the weight of it all, remember: Your voice matters, your persistence matters, and all the good people who chose to stay are building something better together. That includes you. Never quit. 💛

With gratitude and hope,

Brandy

Umberto Eco (January 5, 1932 – February 19, 2016) was a towering Italian intellectual: a medievalist, philosopher, semiotician (expert in signs and symbols), novelist, cultural critic, and professor.

He blended deep scholarly knowledge with accessible, often playful storytelling, making complex ideas about language, interpretation, history, and culture engaging for broad audiences.

His books have been a huge commercial success — over 50 million copies have been sold. The Name of the Rose published in 1980 is probably his most well known work. It was turned into a movie with Sean Connery.

An interesting facts about Umberto Eco:

Eco owned over 50,000 books. He famously defended owning far more books than one could ever finish, comparing it to not needing to use every tool in a toolbox before buying more. His collection was later donated to the University of Bologna.

His quotes on writing:

• “All the stories I would like to write persecute me. When I am in my chamber, it seems as if they are all around me, like little devils, and while one tugs at my ear, another tweaks my nose, and each says to me, ‘Sir, write me, I am beautiful.’”

• “To survive, you must tell stories.”

• “I think a book should be judged 10 years later, after reading and re-reading it.”

• “I am mimetic. If I write a book set in the seventeenth century, I write in a Baroque style. If I’m writing a book set in a newspaper office, I write in Journalese.”

I’m currently reading Foucault’s Pendulum so I did some searching on YouTube to find out more (as one does). I stumbled upon this video.

And this video struck me in a deep place. Umberto says that he can not understand novelists who publish a book every year. They lose the pleasure of spending six, seven, or eight years to prepare.

https://www.youtube.com/watch?v=rMSOvDAyH5c

That started me on a thought journey about how writing is a gift to us personally. Often we’re looking for the results (I get it) and sometimes we can and want to rush the process.

Of course we want our books to be rich and deep. But sometimes our books are waiting on us to become rich and deep.

That can only happen by living.

So next time you want to get out the “cat of nine tales” and go in for a session of self flagellation, default to grace instead. There are often larger things at play than just a publishing contract.

We’re being transformed by our stories. Often we have to grow up into our stories in order to finish the job.

Time must pass. Seasons must change. We must improve and be stretched.

It’s not very glamorous and it’s not popular advice. But I’m talking about creating something that will resonate deep with readers — life changing literature, as one of my mentors used to say.

Yes, there is a need and a place for entertaining stories that can be written quickly, but don’t be afraid to work on the deeper ones too.

There’s such a temptation to think of yourself as less than when you see others getting all the contracts, and etc. But what if you have been tasked with a deeper work?

Stay the course.

Work on those stories that are calling your soul. Realize the importance of what only you can do.

And hey — I’m not judging you if you write a book every couple of months. Mostly I’m preaching to the choir here because my third novel has been sitting on my computer for ten years.

It’s the grace message. It’s the “you can do it” message.

Keep going.

I’m cheering you on.

Sourcebooks recently announced a special unagented submission opportunity for children’s book manuscripts to Executive Editor Melissa Manlove on “matching” dates throughout the rest of 2026 (7/7, 8/8, 9/9, 10/10, 11/11, and 12/12).

Key Details from the Official Announcement

•  Melissa Manlove (Executive Editor, Sourcebooks Jabberwocky, with oversight across Explore nonfiction for children and Young Readers middle-grade fiction) is opening her inbox to unagented children’s book submissions on these specific dates only. 

•  Tomorrow (July 7, 2026 ) is the next Match Day.

•  Submissions sent on any other dates will be deleted unread.

•  If an author sends multiple manuscripts, Melissa will choose only one at random to read.

•  High volume is expected.

 Submission Email:

MatchDaySubmissions@sourcebooks.com

MSWL Link:

https://lnkd.in/gNvQA7ju

Some interviews don’t just inform you—they reach into the messy, tender places of the writing life and remind you that you’re not alone. This feature with Evan Hulick, Ph.D. is one of those. So, get your favorite drink and savor this one.

Evan has been writing his epic fantasy novel since 2016. He’s a scholar who draws deeply from Tolkien’s mythic structures and Hemingway’s precise prose, but more importantly, he’s a writer who has fought the same battles so many of us face: the ruthless inner critic, imposter syndrome that feels deafening, the loneliness of carrying an entire world in your head, and the long, long road of a book that refuses to be rushed.

In this honest, heartfelt Q&A, Evan shares how he stared down the abyss of self-doubt, the childhood bullying and life-altering car accident that shaped him, and the hard-won truths about patience, surrender, resilience, and why love is ultimately stronger than death. He talks about what it means to keep writing when no one is reading yet, how to silence that chorus of invented critics, and how to find your worth beyond publication.

Whether you’re on year one or year ten of your manuscript, this conversation is full of the kind of encouragement that actually sticks. Be sure to comment and let him know what resonated with you!

Read the feature here:

https://www.writingdayworkshops.com/blog/staring-down-the-abyss-evan-hulick-on-inner-critics-resilience-and-the-long-journey-to-story

And here’s some bonus content. While this content didn’t make it into the feature (no fault of Evan’s) this is still rich and deep. Enjoy!

If you could go back to your early writing days, what one piece of advice would you give your beginner self?

EH: Be kinder to yourself and get out of your own head. You can do this. Don’t stop yourself. Keep writing. While I haven’t published my novel yet, I have published a bunch of poems in various places along with one short story.

What rituals or tools help you stay productive without burning out?

EH: My teaching schedule! Laughs! That stray office hour became quite useful for writing poetry!I’ll often have to make time, so long as it’s a sustainable effort.

How do you tackle writer’s block when you’re stuck mid-plot or with a flat character? 

EH: I’ll take a break- do something physical. I’ve often noticed that a long walk or swim or some form of exercise can spur lots of creativity. Also, going somewhere new.

Do you have a go-to technique that’s saved a manuscript? 

EH: Yes. Say “no” to your inner critic. Also, look for the gaps; look for what’s missing, what’s not communicated. My editor Jason was great at pointing-out these areas. Look for the balance between the “info dump” and basic reader comprehension.

What’s your secret to creating characters that feel alive and unforgettable? Do you start with backstory, flaws, or something else?

Often, the characters tell me!!! They show me who they are. Sometimes, I’ll even hold them to the wall and question them if they’re too flat. I’ll usually get a good answer.

Revision can often feel endless. How do you know when your book is done? 

EH: When a consensus builds, whether from beta-readers, an editor, an agent, etc. Generally though, I want to avoid repeating myself through a process. For example, I’ll be more averse to sharing my manuscript with multiple critique groups, etc., because I’ll end up with a bunch of competing visions about what “this book should be,” and the comments will never end. Sometimes, you have to prioritize some voices, and you have to try to keep things building in a certain direction. I learned this with my doctoral dissertation. For instance, I used my EGO group at CUA as “beta-readers” of some chapters; my editor Jason Letts has been of great help to me for a couple of years (*while I was finishing my Ph.D.) to show me ways to get the manuscript to be agent-review and publication-worthy. My next step is for my agent to consider approving my manuscript, and so forth.

That doesn’t mean, however, that I stop participating in critique groups (oh, I’m in a couple!). It means that it’s time for me to start working on multiple projects (*I am!!!) and getting some commentary cooking with those. Now if there’s some aspects of a manuscript that getting more beta-readers involved would help with, then that’s a viable route.

But generally, for me, it’s a balancing-act. There’s such a thing as the law of diminished returns; if you put too many revisions into something, those revisions can start not yielding any desired results, and so, it’s important to take a longer break from a project and then refresh the process.

From querying agents to hitting bestseller lists, what was your biggest publishing hurdle, and how did you overcome it?

EH: Well, so far, it was simply giving myself permission to engage in the process. As I told myself at the Atlanta Writers Conference (AWC) in May 2026: “Get thee downstairs!!!” If that in itself beat ten years of self-doubt and criticism, I’m ready for the rest of it.

How do you balance writing with the business side—marketing, social media, or day jobs—and still protect your creative energy?

EH: I can actually talk about this from the teaching perspective— and can probably apply it the same way. All that matters is good time management. You need slower, incremental steps. Sometimes, it might be task-driven, like, “by the end of this week, I wish to answer a third of my editor’s comments,” or it might be content-driven, “By next Friday, I must resolve X plot point.” The “quantitative” side is tricky; I’m always getting-in Wordsworth’s 500 words per day, though the genre always changes, whether that’s lesson plans or work emails or that next development of my research article or preparing that survey or writing that poem or page. Sometimes, it’s a whole bunch of them happening simultaneously in incremental steps. So, adding marketing, social media, etc., is just a matter of fitting things into the schedule a bit more. As a university professional, I am fortunate to have the Summers.

What’s one book (or author) that transformed your writing?

EH: It’s a tie between J.R.R. Tolkien and Ernest Hemingway: Tolkien for his vivacity of imagination and world-building, Hemingway for his economy of prose, and both for their remarkable, steadfast characters—exemplars of courage. I already know that I’m no Tolkien; I don’t have his philological precision. I also am aware that there’s only one Ernest Hemingway in human history. Ursula K. Le Guin and Margaret Atwood have since entered that tie, as well as Junot Diiaz.

After years in the industry, what keeps you excited about fiction writing?

EH: It better be “the thrill of the chase” ten years from now. We’ll rain-check that.

Every writer faces self-doubt. What’s a moment in your career when you questioned your work the most, and how did you overcome? 

EH: The whole writing process of the past ten years at various turns. I kept telling myself, “Tolkien was stuck in Balin’s Tomb for five years. Get out of Moria.”

How do you reconcile the tension between writing what you love and writing what the market demands? Have you ever regretted following (or ignoring) trends?

EH: I believe that every good story has “it’s time” where what you love and market trends align. Sometimes, you may need to start with something else and then reveal your other work at the right moment.

What’s the hardest storytelling lesson you’ve learned—perhaps a technique or perspective you initially resisted—and how did embracing it elevate your fiction?

EH: The hardest and best lesson came from Valerie Hemingway herself when she read a middling first chapter of a “modern novel” of mine and taught me: “A novel is entertainment, not instruction!”

I had to learn to separate my literary-consciousness-academic-side from my writing-for-pleasure side: a task far easier said than done.

When crafting a novel, how do you decide which themes or messages to weave in without making the story feel preachy or heavy-handed?

EH: Prune the lecturing! Every single time a character starts pontificating or lecturing or sermonizing others, or philosophizing, or otherwise getting lost in their own speech: Cut, cut, cut!!! (It’s a hold-over from Tolkien, with his endless “Many Meetings” and drawn-out “Council of Elrond”—and these are my “darlings”; Stephen King said I have to kill them).

Was there ever a time when you had a project fail—a book that flopped, or a rejected manuscript? Did that setback teach you something unexpected about yourself, your craft, or your career?

EH: Believe it or not, it was that chapter I sent to Valerie Hemingway that paused “my first novel.” It led me toward my epic fantasy writing. Yet what would happen if this manuscript is rejected? Well, a rejection is simply a stepping stone toward the right moment of a “yes.” Every “no” leads to an eventual “yes.” Sometimes, that might mean focusing on something else in the interim, letting the other one breathe and take its time.

Looking back on your career, what are you most proud of? 

EH: “Going downstairs” at the Atlanta Writer’s Conference. Surviving a doctoral dissertation defense may have helped with that.

Success can be as daunting as failure. After a major win (like a dream contract, a bestseller, or an award), how did you handle the pressure? 

EH: If I was so fortitudinous for that to happen, I’d imagine I’d handle it the same way I handled moving from teaching two classes to five classes on the university level- while balancing several projects. You learn to adapt. When you have to “sink or swim,” it pays “to swim.” So, swim. Don’t sink. Flee for a weekend in the Catskills, shout it out at the upper reaches of the ethers. Do what you have to do. Then get back to it!