A clear road map that may help hopeful authors find their ways from ideas to finished books.



A how-to guide for women who dream of writing a nonfiction book.

Freedman (Shaking the Tree, Vol. 2, 2019, etc.), a writing coach and licensed therapist, wants to help readers “unlock the book that is inside” them. Specifically, she aims to empower “big, bold thinkers,” and although many of her tips will help writers of any gender, her target audience is women, who, she argues, are more likely than men to have “trouble owning and touting their expertise.” In this practical volume, she aims to take readers step by step from brainstorming and creating a writing routine to crafting an engaging title and working with different types of editors. Using her “Three-Key Method,” Freedman shows how would-be authors can identify their book’s “Promise,” or the “clear value” that it will deliver to readers; its “Premise,” or its core idea; and the “Approach,” or how one will present the information. Analyses of successful books, such as Susan Cain’s Quiet (2012) and Sophia Amoruso’s #Girlboss (2014), illustrate various authorial strategies. By breaking down the writing process into understandable steps, Freedman effectively demystifies it. Refreshingly, she also resists shopworn advice, such as that one must write every single day, in favor of more realistic guidance, such as that one can create a writing calendar with specific goals and rewards to keep on track. She doesn’t hesitate to tackle the emotional aspects of writing, as well, such as how to “kick-start your self-esteem boost” if you find yourself questioning whether you’re qualified to craft a book. She also urges readers to respect their intuition and inspiration, reminding them that “rules and organization alone do not create the magic” that “will make your book fly off the shelves.”

A clear road map that may help hopeful authors find their ways from ideas to finished books.

Pub Date: Aug. 15, 2018

ISBN: 978-0-9974413-8-3

Page Count: 356

Publisher: MCM Publishing

Review Posted Online: Jan. 22, 2020

Kirkus Reviews Issue: March 1, 2020

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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