This episode is for the writer who is actually really good at sitting down to write. Procrastination probably isn’t your kryptonite (at least when you’ve made writing a habit). I can bet that you’re disciplined and committed to the projects that matter to you. You wouldn’t have even considered writing your memoir if you didn’t have some chutzpah behind it! But, for reasons you can’t quite figure out, you’re still not finished. And it’s starting to drive you crazy. Let’s talk about it. (And stick around until the end of the episode, because I’m announcing something new and fun and it comes with a little holiday sparkle!)

This episode is for the writer desperate to reconnect to her memoir. You’ve felt meh about your memoir for months, and you’ve realized that you hate feeling that way about your story. You hate feeling frustrated and discouraged about this manuscript that actually means so much to you. I walk my clients through very deep and vulnerable moments of doubt and discouragement, and without fail, when they reach a certain point, they skyrocket. Today I’m bringing you behind the curtain so that you can see when this happens and when it can happen for you too. Let’s get started.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir / true crime hybrid The Tragedy of True Crime, and today is part 2.

This episode is for the writer who keeps coming back to the same chapters to rewrite. I won’t ask you to tell me how many drafts you’ve worked through, but I’ll chance a guess that it’s more than three or four. I’ve seen this happen with brilliant writers, and it’s a spiral that will cannibalize your offer. You can get to a point where you’re OVER editing, OVER working your memoir, and you’ve lost the plot. Let’s talk about it.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir / true crime hybrid, The Tragedy of True Crime, and today is part 1. Let’s get started.

This episode is for the writer who thinks that if they just found the right editor then they could make sense of their memoir. When creativity gets hard, it sometimes stops being fun, and when that happens, you start wondering if there isn’t an easier way to make this memoir happen. Spoiler alert, there isn’t a shortcut. You do have to do the hard part. But the way you walk through the hard part? That’s where we get to play and that’s what we’re diving into today. Let’s get into it.

This episode is for the writer who has been burned by editors before. You’ve invested time, money, and trust into an editor, and you feel if not betrayed, at least disillusioned. Your memoir isn’t any closer to being finished and now your document is marked up with comments and changes that you don’t know what to do with. Today I want to dive into why that is and how to re-empower yourself as the author seeking support.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This episode is special for three reasons: First, we sit down to discuss this month's memoir, Renegade Agency with the author herself, Andrea Verbanic. Second reason, Andrea was my very first client and third this is my 100th episode! Let's get into it!

This episode is for the writer who is embarrassed to tell me how many times you’ve rewritten your draft. You’re committed and resilient, but yet that’s not resulting in a manuscript that you’re proud of and want others to read. The big reframe we get to explore today is that rewriting is not the same as revising. This is a big one, so let’s get into it.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir Renegade Agency by Andrea Verbanic, and today is part 2.

This episode is for the writer who makes time to write and is committed to her memoir, but still isn’t making any progress. If willpower could finish and publish your memoir, my job as a writing coach and editor would look a lot different. In today’s episode, I’ll show you why willpower actually isn’t your problem and how this reframe can refresh your entire writing process. Let’s get into it.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir Renegade Agency by Andrea Verbanic, and today is part 1.

This episode is for the writer who sits down at her computer and realizes that she’s not having fun anymore. You may have started off feeling lit up, inspired, and creative, but now everything feels flat. You’re opening your document because you feel like you have to, not because you actually want to or feel that you’re making progress. But here’s the thing: You won’t ever finish if you’re writing to check a box. So today I want to help you tap back into what it would feel like to come at your memoir draft with creativity again. Let’s get into it!

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. In September I dived deep into Ordinary Time by Annie B. Jones, and today we actually get to talk to Annie! Let’s welcome her to the show!

This episode is for the writer who has looked into an editor and is intimidated by the average investment required to partner with a publishing professional. I know that there can be some sticker shock, especially if you’re new to publishing. I want you to come into this episode ready to orient yourself with where you are in your writing and ready to think critically about how you want to use an editor’s expertise. We can’t talk about publishing (and especially independent publishing) without talking about money, so let’s get started.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir Ordinary Time by Annie B. Jones, and today is part 2.

This episode is part of a series where I take already published memoir and break down what works and why (and what doesn’t work and why). I’ve found that when I’m teaching my Memoir Method concepts to my writers, they benefit from seeing how these principles play out in memoir that you can find at the bookstore. This month I’m looking at the memoir Ordinary Time by Annie B. Jones. Let’s get started.

This episode is for the writer who is ready to take a serious look at their work. Part of becoming a published author is the ability to get honest and serious about your own writing and drafts. Memoir can make this especially difficult, but I’m here to show you how and when to go into editing your own work. I know it’s intimidating, and it’s also a skill that you can learn! Let’s get started.

This episode is for the writer who is writing, has a big chunk of a manuscript even, but isn’t sure about when to enlist the help of an editor. I’ve worked with a lot of writers who have had negative or lackluster experiences with editors before, and my intention in this episode is to empower you to choose the right editor at the right time with the right manuscript. Let’s get started.