Ladies and Gentlemen, an announcement: The next online “Revising Fiction” workshop has been scheduled to begin in January 2020 (date TBA) and is now open for registration. This workshop is for writers with a complete draft of a novel or a body of short stories, who want to work on bringing their fiction to the next level.

writing class

I’ll tell you more about the workshop in a minute, but first, a digression. At a party not long ago, I overheard two aspiring writers talking about difficulty of selling their work. “It’s all about who you know,” one said. “You can’t even get an agent unless you have got an in.”

“Totally,” replied the other. “They don’t even read the stuff that comes in over the transom. It’s a fixed game.”

I envisioned that scene in a Harry Potter movie in which Harry and Ron are whispering during Professor Snape’s class: not a smart move, when that character is portrayed by the inimitable Alan Rickman. He positions himself behind them, rolls up his sleeves, and in one swift motion bangs their heads together.

I myself refrained, with some difficulty. I’ve heard this claim so often, and it is so untrue and counterproductive. New writers get published all the time. Over the years, I’ve seen many of my writing students sell books that they labored over, sometimes for years; none of them had contacts in the industry. I’ve been in the writing/publishing business for over 40 years now, including 12 years as a literary agent. A lot has changed, but one thing hasn’t. While many factors are involved in an agent or publisher’s decision to take a chance on a writer, great writing trumps them all.

slam dunk

It’s hard; why wouldn’t it be? Getting published by one of the big five houses is to writers what playing professionally is to athletes. In addition to talent, you have to be at the top of your game to have a chance. Athletes train for years to reach that level. Some writers expect to achieve it with the first story they write. A very few actually do; they have that level of talent and ability. But most published writers have had to go back of the same book time and time again, or write another with the lessons learned from writing the first, before they break into publication.

Consider another comparison. Getting published commercially is to writers what a gallery show is to painters. Aspiring painters study their art. Writers? Not so much.

When I was an agent, the hardest submissions to deal with were the ones that came within a draft or two of being publishable: the almost-but-not-quite books. Editors don’t want to invest the time, or don’t have it to invest. Agents who give notes and ask for revisions have filled in the gap to some extent, but writers are still expected to learn the craft on their own dime. Editing is an essential part of the writing process, and the one most often neglected. First drafts are where writers capture the story, pin it to paper so it can’t escape. Subsequent drafts are where they turn that raw material into art.


I’d like to believe that all writers understand the importance of editing. As William Zinsser said, “Rewriting is where the game is won or lost; rewriting is the essence of writing.” But it’s easier said than done.  Part of the difficulty for writers lies in getting the necessary feedback in order to raise their level of play. Another part lies in the fact that writers are often too close to their work to see it objectively.

That’s why “Revising Fiction” was the first workshop I created, with the intention of addressing both those problems. To succeed in this market—no, more than that, to succeed in their art—writers need to edit their work. This does not take the place of having one’s work edited by a professional editor, whether supplied by a publisher who buys the book or hired by a writer prior to self-publishing. That’s essential, because we only see what we see; it takes an outsider to point out what we don’t see. But revision, or self-editing, comes before that; it’s the final step in the actual writing of the book.

You can read more about “Revising Fiction” here, along with some testimonials from writers who’ve taken the workshop. Participants emerge with a much improved draft, along with tools they can apply to everything they write in the future. This is the most advanced workshop I offer, and it’s open to published as well as aspiring writers. Please note that the workshop requires a significant investment of time, typically 12 to 18 hours a week over 14 weeks—but that includes time spent editing your own work. If this sounds useful, and you have a finished draft, I’d be happy to hear from you. Applicants should include the first 5 pages of their mss. The workshop is limited to a handful of writers, because I spend a ton of time working with each; and I try to put together groups that are compatible but varied. It’s not always possible for me to offer every applicant a spot; but one way or another, you’ll definitely hear back from me.

BREAKING INTO PRINT: The Art of Writing an Irresistible Query

I’m delighted to announce the inauguration of a new Next Level online workshop, entitled “BREAKING INTO PRINT: The Art of Writing an Irresistible Query.”

The Course

          You’ve written a novel or memoir, edited it, polished it till it shines, maybe shown it to a beta reader or two. Now you’re ready for the next step: finding a publisher. For writers who aspire to traditional publication by a major publishing house, that path typically begins with the search for a literary agent. Those who prefer small publishers may be able to submit to them directly. Either way, the first essential task is to persuade those gatekeepers to read your manuscript.

You do that by crafting an irresistible submission package, consisting of a query letter, synopsis, and the opening pages of your work. Agents receive hundreds of submissions each year and typically take on fewer than a dozen new clients. Time is the agent’s capital. They can’t read even a fraction of the manuscripts they’re pitched, so how do you persuade them to invest time on yours?

 “Breaking into Print” is designed to help you do just that. This intensive three-week workshop will help writers edit their existing drafts into compelling, professional submission packages that stand out from the crowd and avoid the mistakes that sink the vast majority of submissions. A strong submission package will entice agents and editors to read. After that, it’s up to the book to sell itself, which is as it should be.

I was a literary agent for 14 years. Before that, I was an editor at one of the largest NYC publishers. [bio] During these years, I read more queries than I can possibly count, and I can tell you that people who read submissions for a living become, of necessity, very quick at sorting the wheat from the chaff. The three components of the submission package are designed to reveal essential faults in the work, so agents can quickly weed out work that is unlikely to prove publishable. A poorly worded query letter, riddled with grammatical errors, guarantees a manuscript of the same quality, and no one has time for that. Synopses can reveal problems including an incoherent plot, lack of a central, vital challenge for the protagonist, low stakes, problematic pacing and structural issues. Opening pages reveal how well the writer writes and how skillfully he/she commands the reader’s attention, essential factors in an agent or publisher’s decision.

If any of the three components is weak, the submission is likely to be rejected out of hand, and the book will never get a chance to make its case. Sometimes the rejected work really isn’t salable; most of what agents see is not. Other times it might be, but the submission package has failed to do it justice. Either way, the result is the same.

Gatekeepers use the query letter, synopsis, and opening pages to weed out unlikely prospects, but for skilled, savvy writers, those same elements provide a great opportunity to show what they can do.

The Goal

The goal of “Breaking Into Print” is to help participants to present their work in the best possible light, by strengthening each element of the query and avoiding the mistakes that trip up most aspiring writers. Demanding as they are, agents and publishers want to find writing they love; it’s what they live for. If your novel or memoir is ready for its close-up, this course will help you put together a compelling, professional submission package to showcase its strengths. If the work is not yet where it needs to be, if it has significant weaknesses, the course may reveal that. While that can be an upsetting realization, it allows the writer to address problem areas before sending the manuscript out to fend for itself.

How It Works

Over the course of three weeklong sessions, participants will submit their query letters, synopses and opening pages for critique by me and their fellow writers. There will be time to submit and get feedback on revised query letters, if desired. Each session will be accompanied by a lecture and discussion on various aspects of the agent/publisher search. Topics will include:

– – Query letter: elements and tone

– – Query letter fails: amateurish mistakes and ways to avoid them.

– – Demystifying the submission process through an insider’s view

– – How to synopsize a full-length work in three or four pages .

– – How to format like a professional.

– – How to think like a literary agent

– – How to put together a smart submission list

– – How (and how long) to persevere when rejected

– – How to recognize and avoid publishing scams

– – How to stay sane while submitting


          1. A complete or nearly complete draft of a novel or memoir.

          2. A draft query letter.

          3. A draft synopsis.

          4. Enough time to read the lectures, participate in discussions, critique each other’s work, and edit your own: estimated 6 to 10 hours per week for three weeks.

Who Can Benefit

– – As-yet-unpublished novelists and memoirists

 – – Experienced writers in search of new representation

– – Previously self-published writers seeking traditional publication

Whether you are preparing to submit for the first time, or you’ve been submitting with disappointing results, this workshop will help you put your book’s best foot forward.

Dates and Tuition

          “Breaking Into Print” will begin on November 14, 2019. The duration is three weeks, but a few days will be added on to allow for a Thanksgiving break.  Tuition will be $175. For the 11/19 pilot course only, there will be a discounted tuition of $145.

          Class size is strictly limited, and admission will be first come first served, provided applicants meet the requirements listed above. For more information or to apply for the workshop, contact Barbara at