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Image by Joel Vodell

The Power of Your Story

& Decide How to Harness It

"I didn't mean to become an editor."

This is the one-liner I relied on for years—and honestly, it's a good one. In terms of intrigue and quippiness? I dug it. In terms of getting me off the hook for any kind of commitment to a craft? Even better.


That's why I had to stop using it.


I had to get honest with myself first, and then with you all, that I'm exactly where I'm meant to be. At least in this moment.

That I'm an editor because of a series of choices I made at a series of crossroads that I came to, and that every step of the way made me increasingly qualified to help an increasingly specific group of people in an increasingly powerful way.

I had to come to terms with my expertise in this moment so that I could better help you come to terms with yours.

That is to say:

Maybe I didn't set out to become an editor, but I certainly didn't run away from it.

Maybe you didn't set out to be an author.

...but here you are. Clicking around a book editor's website.

So here's the thing.

I don't think you accidentally have a book idea any more than you have an accidental beach day. At some point, there was some intention in that journey—and that intention is worth naming.

I think you made a lot of choices at a lot of crossroads that gave you a lot of wisdom that some specific someone needs.

And if you don't want to run from all of that?


We've got some discovery to do.​

Discover the Power of Your Story

I've done a lot of 1:1 work—ghostwriting, developmental edits, and intensive edits that flirt with both roles—and it's still my happy place with clients. But in recent years, I've felt the itch to do something with all the good things we come up with on those calls. 

One of those things is the discovery process that emerged when folks would book a 1:1 coaching session with requests or questions like:

  • "Do I have a book?"

  • "Can you look at this outline?"

  • "I think I'm ready for editing..."

  • "I don't know if I'll ever be ready for editing."

Eventually, it became clear that we had a certain set of things to name no matter what stage the manuscript was in—and that's what turned a general two-hour call into the discovery session I start almost everyone off with.

This workbook walks you through that same process—on your own, in a group, or with me.

You Don't Get to the Ocean by Accident Book Discovery Workbook

Honestly, this all started as a really ugly Word doc of a series of questions until inspiration struck and I decided to add context and writing space. But it really came together when the brilliant Cindy Curtis turned it into 90 mini-pages of absolute art. (Bias is about the book, not about the Cindy. Hire her. She's fab.)

...And Decide How to Harness It

Should I write a book?

What's Inside

Some folks read the introduction first...some read the end first...some want to know the structure, and I like to look at the middle. So here's a little bit of each, for each of you (oh, and the PDF is totally free below.)

Nonfiction Workbook Table of Contents.png

Intro Preview

Nonfiction Workbook Introduction
When is a book done

Middle Sneak Peek

What does your reader want?
Write to your ideal reader

The End.

Story is powerful
Should I write a book?

Was this just a DIY "Amazon Preview"? Yes. Am I in any way apologetic about that fact? No. (Mostly.)

Here's How to Get It

OK, yes, this is a reader magnet, of sorts. I can't get around the fact that we live in a world where exchanges have to happen and structures need to be followed. Blah, blah, blah. But I'm not one for game-playing, especially around something I created to give you all more access to storytelling tools, not less.

I'm also horrific at keeping up with newsletters, and am of the firm belief that you'll reach out when you need to, when you feel comfy doing so. 

Yeah, I've got a list. Yes, I've got plans to share cool things to it. But really? Collecting your email address to a dusty database does neither of us any good. And anyway, once Cindy made my PDF look gorgeous, I realized printing it wasn't the most effective form it could take—an actual, real, live book would be much more convenient. Especially at if-I-wear-dude-pants pocket size. So, go to Amazon for that. It's priced as low as it can go (I think I make around a buck per copy) and still be on their platform. 

But if you want the free copy, to print individual pages or to just get a taste before your copy hits the mail or because collecting writing tools is a thing we all do, what kind of exchange do I actually  find valuable? Easy: If you have to chat or email me to ask for the book, you're developing the reach-out-for-help muscles that will help you get your book done without hating every step of the way. And that's what I'm here for.

Maybe we keep chatting. Maybe you come back way later for something else. Or maybe you use those muscles to go work with someone else. It makes no difference to me—as long as you find what you need to get your story told, I'm glad to've been a part of it.

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