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09/03/2026

Tara Westover’s Educated grew from an extraordinary life: a childhood outside formal schooling, a late entrance into classrooms, and the painful distance that education created between her past and her future.

But writing that memoir was not only about remembering what happened. It also meant deciding how to tell the truth about real people while recognizing that memory is personal, relationships are complicated, and a page can affect a living family.

That is a difficult line for any memoirist.

Before drafting a scene about someone else, try making two notes:

1. What do I know happened: and what am I interpreting?
2. What is this person’s role in the meaning of my story, beyond being the source of a dramatic moment?

You may change names, combine minor figures where ethically and legally appropriate, or leave out a detail that exists only to punish someone. The goal is not to make the past painless. It is to make the narrative truthful, responsible, and centered on the book’s real promise.

Which memory would you want to tell carefully because more than one person is part of its truth?

09/03/2026

A whole book can feel impossible when you’re staring at the first blank page. Virginia Woolf found another way in.

Before Mrs. Dalloway became a novel, Woolf wrote a short story called “Mrs Dalloway in Bond Street,” published in 1923. It gave her a contained space to explore Clarissa Dalloway, her observations, and the movement of a single day. Two years later, that small experiment had grown into the novel Mrs. Dalloway.

The lesson isn’t to force a chapter when you have no momentum. Try writing one scene, one conversation, one memory, or one short piece that can stand on its own. You may discover the larger book hiding inside it.

What small, self-contained piece could you write today to open the door to your bigger story?

09/03/2026

Eowyn Ivey once received an editorial suggestion that felt anything but small.

While revising To the Bright Edge of the World, editors Reagan Arthur and Mary-Anne Harrington asked her to rethink a major plot element involving one of the main characters. The change meant cutting roughly 30,000 words and rebuilding parts of the story from scratch.

Ivey wasn’t sure they were right. She even called her mom for advice. Her mom reminded her that the original manuscript would still exist: and that the only thing she risked was hard work.

So Ivey tried the revision. After several months, she realized the editors were right: the change made the story much stronger.

That’s the balance of good editing. It challenges the choices on the page without taking away the person who made them. Your voice remains yours; revision helps readers hear it more clearly.

When you receive a difficult editorial note, what helps you decide whether to defend the draft: or explore the change?

Sherrie Price Clark

09/03/2026

When Phil Knight began shaping Shoe Dog, he was not simply listing the history of Nike. He was looking back at the improbable transformation of a young salesman with an idea into the founder of a global company: and at the people, risks, and doubts inside that journey.

That distinction matters when you write a synopsis.

A synopsis is not a chapter-by-chapter inventory. It is the clearest answer to three questions:

• Who is this story about?
• What do they pursue or face?
• How are they changed by the end?

Try this today: write your book’s entire movement in three sentences: before, pressure, after. If the sentences only describe events, look again for the transformation underneath them.

Readers do not need every stop on the road. They need to understand why this journey matters.

What is the one change your reader should be able to see in your protagonist: or in you: by the final page?

Sherrie Price Clark

Before Bram Stoker finished Dracula, he filled notebooks with details: train schedules, maps, folklore, names, medical n...
09/02/2026

Before Bram Stoker finished Dracula, he filled notebooks with details: train schedules, maps, folklore, names, medical notes, and fragments that helped him build a believable world around an impossible creature.

The research gave the novel texture: but it only became a book when Stoker stopped collecting details and began arranging them into scenes, voices, and consequences.

That’s the line many writers eventually have to cross. Research can make you feel productive while keeping you safely away from the vulnerable work of drafting. At some point, the notes have to become a character choosing, a door opening, a conversation turning, or a truth being revealed.

Try this today: choose one research note you love and give it a job in the manuscript. Let it create conflict. Let it reveal character. Let it change what happens next.

Your research is not the book yet. It is material waiting for you to make something happen with it.

What fact, story, or detail in your notes is ready to become a scene?
Sherrie Price Clark

When John Steinbeck was writing East of Eden, he kept a separate journal alongside the novel: not for readers, not for c...
09/02/2026

When John Steinbeck was writing East of Eden, he kept a separate journal alongside the novel: not for readers, not for critics, and not to prove anything. He used it to talk himself into the work: recording the day’s doubts, describing what he hoped the story could become, and then turning to the manuscript page by page.

That private record mattered because a long book can feel impossible when you judge it as one enormous thing. A work log gives you somewhere to put the fear, the questions, and the small victories: so the draft itself can stay focused on becoming.

Your journal doesn’t need to be literary. It can be three lines:

• What I’m trying to make today
• What isn’t working yet
• The next scene, idea, or paragraph I’ll return to

The goal isn’t to create another finished product. It’s to leave yourself a trail back to the book.

What would you write in a private note to your future self before today’s writing session?
Sherrie Price Clark

09/02/2026

We’ve Never Failed to Create a Bestseller

At Storehouse Media Group, we don’t simply help authors publish books—we help position them for success.

Every author who has come to us with the goal of becoming a bestseller has achieved it. That track record comes from having the right strategy, guidance, and team behind each launch.

Are you ready to turn your book into a bestseller?

Sherrie Price Clark

Isabel Allende reportedly began The House of the Spirits as a letter to her dying grandfather. That private beginning of...
09/01/2026

Isabel Allende reportedly began The House of the Spirits as a letter to her dying grandfather. That private beginning offers a powerful lesson for any author: you don’t have to write to an imaginary crowd.

Write to one real person.

Picture their face. Hear their questions. Explain the memory, idea, or hard-won lesson as if you were sitting across from them. A specific audience can make your voice more honest: and help the blank page feel less intimidating.

Your book may eventually reach thousands of readers, but its first draft only needs to reach one heart.

Who is the one person you would write to if you started your book today?
Sherrie Price Clark

09/01/2026

Sometimes making space for your book requires more than motivation: it requires accepting practical support.

Before drafting To Kill a Mockingbird, Harper Lee’s friends reportedly gave her a year of financial support so she could step away from work and focus on writing. Their help wasn’t indulgence. It was an investment in a story they believed needed to be told.

You may not need a full year away, but you might need childcare, a quieter schedule, an accountability partner, or someone willing to help carry the load while you write.

What kind of practical support would create more room for your book?
Sherrie Price Clark

08/31/2026

In 1965, Gabriel García Márquez was driving with his family toward Acapulco when, as the story is often told, the idea for One Hundred Years of Solitude suddenly came into focus. He turned the car around and went home to write.

What followed was not a glamorous writing retreat. He immersed himself in the manuscript while Mercedes Barcha kept the household moving. As money tightened, they reportedly sold or pawned possessions to cover expenses: including, in some accounts, items needed to mail the finished pages.

The novel eventually became a landmark. But before Macondo reached millions of readers, it was a fragile idea that needed time, focus, and belief.

Your book may need the same protection: not from every responsibility, but from the constant pressure to abandon it before it becomes real.

What would you need to protect this week to move your story forward?

Sherrie Price Clark

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