Hiya, welcome to The Forever Workshop.

First time? Read this first »

Back again? Here’s what we’ve got for you today:

A workshop for:

Writers applying to residencies, fellowships, grants, and workshops who want their artist statement to actually stand out.

Your instructor:

Kayla Kumari Upadhyaya — author, essayist, and editor who spent a year reading residency and workshop applications at Tin House.

Takeaways:

• How to tailor your statement to opportunities (and why the copy-paste approach is costing you)

• The four things to cut from your statement — and what to write instead

• A guide to mixing and matching past statements without starting from scratch

• How to define your work confidently (even if it means inventing your own genre)

• A set of prompts to help you write about your work like the artist you actually are

By the end of this workshop, you'll have a set of practical application prompts, a feel for what readers respond to, and the confidence to write about your work without cringing.

Why Your Artist Statement Matters

If you’ve been in the trenches of Submittable trying to apply for writing opportunities and support — from residencies to fellowships to workshops — then you might have a visceral reaction to the words artist statement. Sometimes referred to as a statement of purpose, the artist statement is an opportunity for the writer to advocate for themselves and their work.

I’ve heard all sorts of complaints about writing artist statements through the years: that it feels cringe or superfluous to write about one’s work and ambitions; or that it feels redundant or repetitive; or as if you’re just stabbing in the dark trying to figure out what it is the application review panel actually wants to hear.

But the artist statement is where you get to showcase who you really are and potentially stand out from other applicants.

I spent a year consistently reading application materials for residency and workshop programs at the literary institution formerly known as Tin House (now known as the McCormack Writing Center). Reading application materials is a much different experience than reading slush. You’re not just looking at the writing itself but at the potential of the project, the full breadth of the writer’s career and goals. Reading the artist statement portion was where I really felt I could get to know the writer as a real person. And after reading so many of them over the course of a year, I felt my practices for writing my own artist statements strengthen.

Does that strengthening mean I get 100% of the opportunities I apply to? Of course not! But beyond helping myself stand out with a strong artist statement, honing my craft (yes, it is a craft!) for these parts of applications has also just made the entire application process so much less daunting and tiresome. I don’t experience application fatigue like I used to, and I feel way less overwhelmed.

And so, with all that in mind, I’m going to be a little blunt and brutal here in my breakdown of what makes a compelling artist statement — and what to avoid including in your application:

Artist Statement Dos and Don’ts

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Hey friends,

Welcome to another edition of Tell Us Something We Don’t Know… where we source a panel of literary experts and ask them questions about whatever the heck. Today, the heck is sample pages and our instructors are a trio of publishing mavens:

The Experts:

• Jane Friedman — Decodes the publishing industry for writers who'd rather not learn the hard way. Featured in The New York Times, The Atlantic, and the BBC.

• Karin Gillespie — Simon & Schuster novelist, Substack bestseller, and a working writer who tracks the industry at Pitch Your Novel. 20+ years in the trenches.

• Erin C. Niumata — A literary agent at Folio who's been reading queries for decades and representing NYT bestsellers when she finds the good ones.

The Takeaways:

• Why dramatic openings sometimes don’t work

• The line-level test that separates strong writers from polished ones

• The synopsis tell that gives away an unfinished manuscript

• Why overpolished sample pages can backfire

• How to know if you’re querying agents too early

By the end of this workshop, you'll spot the same red flags agents do (before your manuscript hits their inbox).

What agents wish writers knew about sample pages

Sample pages are an important part of your submissions package when sending your novel to agents, along with a query letter and synopsis.

Your sample pages are there to showcase the opening of your story, your fascinating protagonist, your intriguing plot, and the quality of your writing, along with demonstrating you understand structure, pacing, tone, voice etc.

If you get them right, your first few chapters should entice agents to read on, request the full manuscript, and hopefully offer representation. A lot of pressure to put on just a few thousand words, huh?

“As agents, we read so many submissions that certain patterns jump out quickly.” — Erin C. Niumata

So, here’s what agents are actually looking for in sample pages — and the red flags that make them say, “no, thank you.”

Read more

Hello friends,

Welcome to your very first one-shot workshop! These workshops will come a variety of packages, including a new series called Tell Us Something We Don’t Know — where we source a panel of experts and ask them questions about whatever the heck. Today, the heck is querying.

The Experts:

• Jane Friedman — Publishing strategist with expertise regularly featured in The New York Times, The Atlantic, and BBC & more

• Karin Gillespie — 20+ years of multifaceted publishing experience as a Simon and Schuster published novelist, Substack bestseller, & more

• Erin C. Niumata — Senior Vice President & literary agent at Folio Literary Management representing NYT Bestselling authors & more

The Takeaways:

• What agents wish writers knew about querying

• Where to start when looking for a literary agent/sending out queries

• The best way to pitch your story in a query

• How to prove you understand your book’s market/audience

• How to stand out

• When (and how) you should break the “rules”

• Querying red flags to avoid

What agents wish writers knew about querying

Erin C. Niumata: I want to start by stating literary agents are not scary people sitting at their desks waiting to crush your dreams. We’re here looking for you just as much as you are looking for us.

While this is a business and we do pass on more projects that we take on, that is actually a good thing. You want to have an agent who is as excited about your project as you are. If an agent doesn’t represent your type of book or doesn’t think that they’d be a good fit for it for whatever reason, then they will pass on it. That’s just an indication you haven’t found the right person yet.

You have to have a thick skin if you want to be in this business because agents and editors will reject your work, readers will criticize your work, and you won’t make everybody happy. That’s the downside. The good side is when you do find the right representation, they can champion your work and get it in front of the right editors and imprints to reach your fans, your people.

I know it’s a process to find the right agent for most. You simply have to stick with it and not take every pass as a personal failure. Most of the time it’s not even a reflection on you, it’s just you approached the wrong agent. You do not, I repeat, DO NOT want the wrong agent.

As for agents, believe me — it’s not a good feeling to reject people’s work. This is especially true when they haven’t done their homework and sent me something that I have no business representing or even considering. It’s even harder when it’s close but not quite right. I know you’ve heard this before but I’m going to say it again: Do the work!

Where to start when looking for a literary agent/sending out queries

Do your research:

Erin: Research the agents. Know if you are targeting the right people by looking up each individual agent, read their wish lists, read their Substacks, follow on social media and listen to any podcasts, etc. KNOW their lists and wants/dislikes. The fastest way to a no is to send me something I don’t represent.

Most importantly, do not go around their submission process and try to contact them through social media or other avenues to say “You’re the dream agent for me, please read this.” You’re not doing yourself any favors, believe me. If an agent is closed for submissions, it’s because they don’t have the bandwidth to take on anyone new, or they haven’t finished going through the last round of submissions and are bogged down or overwhelmed. Or it could be another reason, but whatever the case may be, closed is closed and going around that closed sign is usually not a good idea.

Follow the guidelines:

Erin: Do your homework and follow their guidelines to the letter. If we ask for the first three chapters then send only the first three chapters, not the first five because you think they are very important. There is a method to our madness and a reason why we request a certain number of pages.

Personally, I request a full synopsis and the first three chapters. The synopsis lets me know what the story is about and if it is of interest to me. The three chapters let me know if you can write and if they are engaging enough to make me request more.

While I’m reading all of this I am thinking of imprints and editors that might like this, can I be of editorial use, as well am I a good fit to work with the material and get it out to market. There is a lot to consider in this package that leads to my decision.

Get right to the point:

Karin Gillespie: Authors are understandably swimming in unfamiliar waters with query letters but no need to reveal that in your letter. Avoid starting a letter with, “I’m seeking representation for my manuscript.” It marks you as a beginner; agents know why you’re writing them. Expediency is always the rule when it comes to queries. Agents read so many letters that unnecessary verbiage detracts from your message.

Personalize your query to each agent:

Karin: As for personalization, it’s best if it’s specific to only that agent and doesn’t seem too generic like, “I see you rep cozy mysteries.” Instead, say something like, “I enjoyed reading your client’s novel, Bad to the Bone, and my manuscript also features a morally grey character.”

Erin: A major turn-off is impersonal emails addressed to 100 agents all cc’d on the same email. That’s the fastest no for me:

1. The impersonal approach with zero research.

2. I accept submissions only via QM and they ignored it.

3. It’s a lazy, “throw-everything-at-the-wall” approach which I don’t care for at all.

The best way to pitch your story in a query

Spark interest and hook the reader:

Erin: One thing I wish more writers understood is a query letter isn’t meant to summarize the entire plot, it’s a sales pitch. The goal is to spark interest, not explain every twist. A great query highlights what makes the story unique, who the protagonist is, and what’s at stake. When agents read queries, we’re looking for clarity, confidence, and a strong hook, not a mini-synopsis. That’s why I request the full synopsis separately.

Start with a one-sentence pitch:

Karin: Something I see missing from most query letters is a one-sentence pitch, which should come right after personalization. It’s possibly the most important part of a query letter, and many agents who use Query Manager require it.

The one sentence pitch is the DNA of your story and should include as many of the following elements as possible: the protagonist’s flaw and desire, the inciting incident (the event that prompts the protagonists to act), the obstacles the character faces, and the stakes if they don’t get what they want.

Example for The Wizard of Oz:

A restless (flaw) young woman gets swept up in a tornado (inciting incident) that carries her to a fantastical world and, in order to return home (desire) she must battle a powerful witch (obstacle) who’s out to destroy her. (stakes)

Note that proper names like Dorothy or Oz aren’t used in the pitch. Sometimes the one sentence pitch can be a little unwieldy, but that’s okay because its purpose is to demonstrate that your novel contains vital story telling elements. If you want to see examples of how agents pitch to editors, you can subscribe to Publishers Marketplace and read the one-sentence pitches in the book deal section.

Make your story easy to visualize:

Karin: The queries that get the most requests are those with high-concept pitches: Here’s an example of a recent high-concept pitch from Publishers Marketplace:

MOST ARDENTLY YOURS following a woman who, after accidentally summoning the real Mr. Darcy from a stolen copy of PRIDE AND PREJUDICE, must find a way to send him back to the pages of her favorite book with the help of a romance-skeptic bookseller.

Did you find yourself nodding along and imagining the story in your head? The time difference and culture conflicts? Darcy getting on her nerves? That’s what makes a premise high concept. The scenario unfolds in our minds, and the premise is easy to communicate

Also, note the clever title. Authors tend to get lazy with titles and that’s a mistake. A strong title can add to the saleability of a novel. It pays to put thought and creativity into it.

Be as specific as possible:

Karin: A mistake I see often in queries is the use of generalities like characters fighting inner demons, emotional journeys, or long buried generational secrets. Always be as specific as possible. Sometimes you also have to reveal the twist to the agent. Many times, I’ve read about “a deep dark secret” that needed to be revealed for the query to be compelling.

How to prove you understand your book’s market/audience

Know your genre:

Karin: When you’re querying, if possible, use a subgenre instead of a genre. For example, don’t just say “horror”, say “folk horror” or “slasher”.

It’s also essential that you know the tropes and slang of your subgenre. For instance, billionaire romance often has shadow daddies or an age-gap MMC (male main character). You want to get as specific about tropes as possible.

Example: My manuscript is a golden retriever and black cat story with forced proximity.

Use the right kind of comps:

Karin: Writers tend to be confused about comps (titles similar to your own) because there are two different kinds.

First, there are comps that indicate the vibe of a manuscript, and for these you can use mash-ups, poems, songs, movies or TV shows.

Examples:

• Taylor Swift meets The Haunting of Hill House

• If Stephen King wrote a rom-com

• Succession in the tech world

Second, sales comps are more limited and should only include titles similar to yours that have been published within the last five years and aren’t outliers like The Wedding People or Where the Crawdads Sing.

(Outliers are fine for vibe comps, however. Example: The Wedding People but at a Bat Mitzvah.)

The right sales comps can indicate that your title is marketable, but they also show that you’re familiar with competitive titles in your genre.

Be aware of current industry trends:

Karin: I study trends extensively, and while you shouldn’t write to them, I can tell you what many agents are looking for right now:

• horror of any kind

• western and dark romances

• cozy fantasies

• anything with a speculative element

• genre blends like romance plus horror

• literary plus mystery

• gothic plus historical

• and anything trending on BookTok, like dark academia

When a TV show becomes popular, it can also kick off trends in fiction. For instance, Fleabag, in part, inspired a new genre called weird girl fiction that’s about troubled young women negotiating adulthood. Similarly, I’ve noticed many “White Lotus” inspired novels selling.

Pitches in the zeitgeist also tend to get requests. For instance, when tradwife influencers became part of our culture, editors scooped up novels that addressed the trend.

I’m also seeing more deals with successful, self-published authors and writers who have some sort of platform, particularly in the areas of new adult and romance. I suspect that will increase.

Some genres that are hard sells right now are contemporary and historical romances, WWII fiction, cozy mysteries and family-oriented women’s fiction.

How to make your query stand out

Karin: As an author, it’s important for you to demonstrate to an agent that your book is saleable. Solid comps, a compelling and ironic pitch, pitch decks and taglines all help you in that goal.

A snappy tagline:

Karin: Taglines go just before the description to lure the reader in.

Some examples:

• The Hunger Games: “Winning will make you famous. Losing means certain death.”

• Percy Jackson and the Olympians: “Half boy. Half god. All hero.”

• Are You There God? It’s Me, Margaret: “Growing up is tough. Period.”

A sense of irony:

Karin: Another element that elevates a pitch is irony. Note this recent pitch from Publishers Marketplace:

When a feminist writer starts living life according to a 1960s anti-feminist guidebook, she’s shocked to find her life improves…until she discovers that her experiment in submission is anything but under her control.

Obviously, irony begins at the idea stage. To add irony while you’re brainstorming premises, you could start either with the situation or main character. For instance, suppose you create a situation where it’s impossible for your main character to lie. What character would be most ironic in that situation? Someone who has to lie for his job like the attorney character in Liar, Liar.

Or suppose you have a grumpy character. To be ironic, you want to put that character in a situation which requires him to be perpetually cheerful. Maybe he’s forced to take a job as a Walmart greeter.

A pitch deck:

Karin: I’m also seeing more authors creating pitch decks for their novels to share with agents. Pitch decks are visual representations of your novel’s vibes, tropes, and possible cover concepts. You can create one fairly easily with a tool like Canva.

A succinct (and relevant) bio:

Karin: Authors tend to get chatty in their bios, including something like, “When I’m not writing, I’m chasing two toddlers and breeding toy poodles.”

I understand the inclination to fill out a skimpy bio, but agents see through that. Also avoid identifying yourself as a debut novelist. That will be obvious from your bio.

Appropriate bio items include anything to do with writing (prizes, publications and professional memberships), your platform (10,000 followers on Instagram or president of an online book club with 5,000 members), and any background that’s relevant to your manuscript. For example, you’re a lawyer who has written a legal thriller.

When (and how) to break the “rules”

Show your confidence:

Jane Friedman: The dating analogy is used a lot with querying, for good reason: you want to leave the other person eager for more, not overwhelmed and eager to escape. So many queries become overwrought because writers contort themselves when trying to adhere to all the conflicting rules they hear from a bunch of advice givers like myself. But every agent knows you can break the rules of query writing and still have a successful query. Having confidence means achieving self-awareness of your own work and hopefully where it fits in the market. It also means you can probably mention any flaws or weaknesses in a way that’s helpful or humorous rather than depressing or overly self-critical.

I’m not saying you should be that annoying person who thinks they’re the exception to the rule. I do suggest writers follow submission guidelines and understand best practices. But assuming you’re fulfilling the key functions of a query, many writers would do better to loosen up. Agents and publishers can forgive a multitude of sins if they perceive a writer on the other end who they’d like to know better. It means that even if your queried project isn’t right for them, they might still open up a conversation with you or refer you to a colleague who’s a better fit.

Show your voice:

Erin: As I mentioned before, the unbreakable rule is simple: Follow the submission guidelines. They exist for a reason, and ignoring them sends the wrong signal right away. That said, not all rules are sacred. If your book is humorous, it’s fine for your query to show that voice. If you have an unconventional structure, a small rule-bend might help demonstrate why. The key is intention; break a rule because it serves the pitch, not because you didn’t know better. Those rule-bends need to be ‘special’ and purposeful, however!

Avoid these querying red flags

Starting on the defensive:

Jane: I meet some writers who’ve been beaten down so hard by rejection over the years that their queries are full of defiance and barely veiled trauma. They sometimes go down a list of things their book is not, or try to emphasize how this story is in fact unique, and that this isn’t yet another one of those stories. Agents and publishers can sense when you’re trying to get out from under snap judgments and unfair assumptions. But trying to convince an agent or publisher I swear this doesn’t apply to me unfortunately only makes them more convinced that it does apply to you.

These six querying sins:

Erin: Instant turn offs: Arrogance (“This will be the next Harry Potter”) and desperation (“I’ll do anything to be published”) or claims that the book will “appeal to everyone”.

A lack of polish, overlong summaries, and poor grammar are also on the red flag list.

Impatience and unprofessionalism:

Erin: Following up a day or two after sending a submission is never a good idea. It will raise a red flag (literally in Query Manager you can tag with flags of many colors). Patience is key and good communication is appreciated and noted.

Another major turn off is to contact me on social media to let me know you’ve submitted to me in Query Manager. I will get to it, I promise, I don’t need a heads up. That screams high maintenance and impatience. It happens more often than I care to admit.

Many writers underestimate how much the query process reflects their approach to collaboration. A concise, polite, well-researched query tells us this author is serious about their career. Publishing is a long relationship; agents are drawn to writers who seem easy to work with and who understand that this is a business as much as it is an art.

Final words of querying wisdom

Show agents who you are!

Jane: I’ve been reading and offering advice on queries for about 20 years now, and the longer I’m in the business the more I think the differentiating factor is confidence. And that is exceedingly difficult or impossible to teach. Ideally, your query will showcase your charming, ineffable self, and a voice and a personality and a person who publishing professionals will enjoy working with. Unfortunately, writers’ fears and anxieties about querying can undermine that. It drives queries to be too long, too detailed, too weird, or even too self-serious.

Start early!

Karin: One final suggestion: To save time and disappointment, consider writing your query letter at the idea stage. Query letters quickly expose a weak premise or one that’s difficult to pitch.

Tick all the boxes!

Erin: What makes a query an instant yes? A strong hook delivered in one line. When the premise is clear and compelling, when the voice shines, and when the writer clearly understands their market. This is swoon worthy. That’s the kind of query that makes me click request immediately. I love these queries!

Ask an Expert

More querying, publishing & novel writing resources:

Jane Friedman discusses fiction queries here and nonfiction queries here.

Erin C. Niumata has written an entire series on querying on her Substack here.

Karin Gillespie tracks and analyses publishing trends at Pitch Your Novel

Plus these gems from our Publishing & Career workshop catalogue:

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A borderline unhinged workshop by Chill Subs co-creator Benjamin Davis about the ins and outs of submitting to lit mags. Everything you need to know and maybe even a few things you didn't. This course has everything you need to decide whether lit mags are for you.

Lessons

About The Instructor

Benjamin Davis

I have been submitting to magazines for over a decade with 40+ stories, poems, and essays in a variety of lit mags. I have founded and managed magazines, judged writing contests, and co-founded Chill Subs, one of the largest databases of lit mags on the web. And I write The Sub Club Newsletter. For the past two years, I have spent every day researching lit mags, talking with editors, and consulting writers on how to find the best place to publish their work. I have no MFA. Nothing against them; I’m just broke. I did not have a professor, mentor, or submitter friends. I learned by making all of the mistakes possible over and over until I learned. I am a big fan of data-driven decisions, front-loading prep work, and spreadsheets. There will be a lot of these three things in this course. I don’t like loads of SEO keyword fluff, obvious explanations, or moralizing. You won’t find much of that in this course. At any time, all questions are welcome.

So you wrote something. I’m sorry, and welcome.

What did you write? A poem? A story? A screenplay space opera? Doesn’t matter now. Is it good? I don’t know. You don’t know. Nobody knows. Fifty Shades of Graysold 15 million copies, and Virginia Woolf once called Ulysses the work of a queasy undergraduate scratching his pimples. Do you like it? Does your mom like it? Sweet, moving on.

This course is not about writing advice. I am here because you have three choices ahead of you, blog it, bury it, or submit it. Since you’re here, I’m going to assume you’ve chosen option three, so let’s talk about how you do that. Let’s talk about Literary Magazines.

Literary magazines are publications of (primarily) creative works curated by one or more editors. Publishing in them can help writers gain readers and reputation and alleviate imposter syndrome¹. Also, they’re cool. For everything I go over in this course, I will use examples from active literary magazines. Whatever magazines I mention in a lesson, I will include a spreadsheet link at the bottom where you can find all of their submission information.

I’d like to get one thing out of the way first. There is a lot of talk about genremagazines versus literary magazines. For this course, I won’t differentiate. Here is why.

The term “literary” became widely adopted in the ‘80s as a way to differentiate works focused on craft and technique from those written for mass consumption (i.e., genre fiction)². The New Yorker writes,

“...they created a different kind of literature: one centered on inwardness, privacy, and incommunicability.”

Ah, incommunicability — what every reader wants. The irony is that readers did want this, so it became its own mass-consumed genre. So, if you see “literary” as a genre, they want craft-focused writing³. This is why you’ll often see a magazine ask for literary works within a call for subgenre, science fiction, for example. They mean craft-focused science fiction (I will talk more about craft in lesson 1).

Since submitting is the same across genres (and to avoid bickering over a reactionary term coined by pretentious white folks in the ‘60s), I’ll refer to Literary Magazines as Lit Mags from here on out. Lit Mags publish stories, poems, essays, videos, games, comics, and so much more. Call it curated creativity.⁴

Anybody can submit to Lit Mags. Anybody can start a Lit Mag. Universities or foundations back some. Others are independent. For example, here is a random sample of prize-winning poetry magazines:

• The American Poetry Review (founded by two dudes in Philly in the 70s.)

• Kenyon Review (backed by Kenyon College)

• Threepenny Review (founded by a 27-year-old with no editorial experience).

• Smartish Pace (founded by a law student in Maryland)

• Rattle (founded by a guy in LA)

So what makes a Lit Mag worth publishing in? Well, that depends on you. You are a writer. (If you are not a writer, you are lost. The rest of the internet is that way.)⁵ So, since you’re a writer, welcome. This course will have everything you need to decide whether lit mags are for you. It will run for one month and encompass all aspects of submitting to lit mags. I have developed several templates and tools that will be yours to play with. Copy them, adapt them, and email me mean things about how they’re not good enough. The usual. I will also share links to all my research with further readings and industry resources you can take advantage of.

I have been submitting to magazines for over a decade with 40+ stories, poems, and essays in a variety of lit mags. I have founded and managed magazines, judged writing contests, and co-founded Chill Subs, one of the largest databases of lit mags on the web. And I write The Sub Club Newsletter. For the past two years, I have spent every day researching lit mags, talking with editors, and consulting writers on how to find the best place to publish their work. I have no MFA. Nothing against them; I’m just broke. I did not have a professor, mentor, or submitter friends. I learned by making all of the mistakes possible over and over until I learned. I am a big fan of data-driven decisions, front-loading prep work, and spreadsheets. There will be a lot of these three things in this course. I don’t like loads of SEO keyword fluff, obvious explanations, or moralizing. You won’t find much of that in this course. At any time, all questions are welcome.

For additional readings, I’ll default to writer’s blogs or small magazines when I can find them rather than fluffy articles by big publishers. I find them to be more concise and will always lean toward supporting indie creators over content farms.

Here is an example, using today’s intro, of how I will share the details for any lit mags I mention throughout this course - Example Sheet (If you click the second tab on that spreadsheet, you’ll also find links to any articles or resources I found helpful.)

If you’re reading this, you’ve probably wondered, like so many other writers, “OK I’ve published some stuff here and there…now what?” What other steps could I be taking to further my career? In this course, we’ll learn different ways to be a writer: to approach and advance our craft and careers, to engage our readership and peers.

Through a series of light and informative interviews packed with resources, tips, and submission opportunities, accomplished writers will discuss the Roadmaps for their own unique career paths. They’ll share the choices that actually moved the needle and why. Actionable steps for aspirational goals. And lots of surprising advice (and hot gossip).

Lessons

About The Instructor

Steve Chang is a Taiwanese writer and educator from the San Gabriel Valley, California. His work appears in Epiphany, Guernica, North American Review, and The Southampton Review, and has been commended by The Iron Horse Prize, the Halifax Ranch Fiction Prize, the Ploughshares Emerging Writers Contest, and even by (some of) his friends. He edits fiction at Okay Donkey, holds an MFA from Cornell, and is the ideal advisor for anyone looking to navigate the writing industry at a professional level. 

Okay, look, so no one really likes writing an author bio. Partly because it feels agonisingly weird to write about yourself, and partly because most bios are generally pretty meh.

Either you have very little to put in terms of fancy and illustrious places you’ve been published — or if you do, your bio ends up looking like a nonsensical list of random words: “so-and-so’s stories have appeared in Nutwanger Monthly, The Grapefruit Review, and Binoncular Friday.”

And yeah, sure, there’s some basic info that’s useful to put in a bio (more on that in a minute), but after a while they all start to look like LinkedIn posts…

That is, until you come across a bio that says something genuinely interesting about the writer, or makes you laugh, or adds an extra layer to the whole reading experience. Those bios are the ones you remember — and might even prompt you to go find out more about the author. (Which is what a bio is really for.)

So, I thought we could try making our author bios a bit more entertaining.

Follow the steps below to build your brand new bio, then share yours in the comments for feedback from your fellow friendly neighbourhood Forever Workshop writers!

Let’s go:

The Main Ingredients of an Author Bio:

Before we mess about with our bios, let’s first pin down what info we definitely need to include:

STEP 1:

• Your name (or pen name)

• Where people can find more of your work, or get in touch with you online (website, socials)

Easy so far. Just a few points to remember here:

1. Author bios are always in third person 🙄 eg: Your Name is a poet from the Sargasso Sea.

2. Keep the contact info simple (keep everything simple if you can — word count is a commodity here)

And that’s kinda it — arguably the bare minimum you need to put in any bio.

The rest is fair game to play with…

But since we usually only have between 50-100 words, we might as well make it memorable!

So let’s think about what else we can add to it.

A Little About YOU:

The purpose of an author bio is to show the person behind the piece, so it’s nice to include a few little tidbits of info to help your readers get to know you.

And here’s where we can incorporate something fascinating, funny, engaging, or unexpected to elevate your bio into a self-contained work of art.

If you want to start subtle, some ‘traditional’ bio ingredients might include:

• Where you live / where you’re from / who you live with
  (potentially interesting, depending on the location and how cute your pets are)

• Your day job / area of expertise / hobbies
  (also strong potential for something unusual or intriguing here, so long as it doesn’t sound like a resume)

• What kinda stuff you write / what you like to read / or where you are in your creative journey
  (specifics are always better than broad strokes here — but I cannot tell you how many bios I’ve read that start with “Author Name has been writing since they could hold a pen…” sorry)

• Where you’ve been published / contests you’ve placed in / any books or collections you’re promoting
  (very cool, obviously, and bios can offer a valuable opportunity for marketing your work, but keep it minimal and up-to-date, eg: “Author Name has most recently been published in X and Y” instead of a comprehensive list of 20+ lit mags)

So far, so generic, but you can totally tweak any of these to make them feel more personal, eg:

• Some crazy fact about your hometown.

• What kind of music your cat likes listening to.

• The celebrity you served when you worked as barista.

• Your collection of 18th century spoons.

• The fact you can scuba dive.

• Or a fun submissions stat, like how many times a particular poem was rejected before winning “The Big Awesome Prize”!

Here are a couple of examples that reinvent these basic ingredients really well:

Elevate the ‘where you live’ element with specific (or random) things you do there:

nat raum is the poet laureate of the void; their corporeal form lives in Baltimore. They’re the author of the abyss is staring back, random access memory, camera indomita, and many others. Find them reading, sleeping, smoking dank kush, or astral projecting in their local Target.

— Two Poems in Bullshit Lit

Note: Yes, you can absolutely make this shit up. You’re a writer, after all.

Layer up the ‘facts about you’ in unexpected, specific and extended ways:

Sam Milligan writes short fiction when he isn't brooding about Philly sports, playing pickup basketball, baking cookies, or teaching people one of those midwest card games that everyone's Great Uncle seems to know. He lives in Washington, DC. He has two cats. He's getting worse at parallel parking. He is @sawmilligan on Twitter.

— Donate Today! in HAD

Note: If in doubt, that little rhetorical trick of listing three things in a row (Washington, cats, parallel parking) always adds a nice sense of rhythm, too.

Now, your turn.

STEP 2:

Try adding one or two (or all) of the ‘about you’ elements above — but with a personalised twist.

Brainstorm as many things as you can for each one and don’t be afraid to get silly. The point here is to represent your genuine self, not some lofty literary version of yourself. And most of us are pretty silly, deep down.

Bio-ing Outside the Box

If you’re already bored with the basics, we can go one step further and break the fourth wall entirely.

One of my favourite ways to write a bio these days is to tailor it to the piece I’m submitting — either by referencing an element of the narrative, or adding in something that connects me to the subject matter.

For example, this was my bio to accompany a story about going on a date with an astronaut:

Jo writes flash disguised as poetry, poetry disguised as flash, and sometimes things that are even longer than a page. She has most recently been published by The Oxford Prize, Stylist, The Forge, and won the Molotov Cocktail Flash City competition. She feels very strongly about Shakespeare and puns. She has never been to the moon.

Or this one by Gavin Miller, on a similar self-referential vibe:

Gavin Miller is a writer currently residing in Boston, MA. His work appears or is forthcoming in JAKE, Sand Hills Literary Magazine, and sneaker wave magazine. Gavin doesn't have a mistress or wife. he doesn't even have an iPad. Pathetic.

— Advice for When the Mistress Tells the Wife in Maudlin House

I think this is one of the easiest ways to make a bio feel unique and related to the piece you’re publishing, and it means you get to change things up every time you submit!

And once you break away from the traditional format, there are a whole load of other ways you can muck about with your bio.

Check out the unorthodox examples below (and have a go at emulating them):

Keep it short and tongue-in-cheek:

Award-winning writer, non-award-winning comedian.

— Rachel Marsh on Medium

(What are you NOT? And what’s funny about that?)

Show the realness of being a messy lil’ writer:

Hilary is originally from Brooklyn, NY, and currently lives in Minneapolis, MN. They enjoy writing in intermittent and slightly panicked bouts and making weird recipes sourced from Instagram reels.

— EVERYONE I HAVE EVER KISSED THINKS ABOUT ME ALL OF THE TIME AND IS IN LOVE WITH ME in Taco Bell Quarterly

(Add in a detail about your writing process/routine/angst)

Subvert the status game:

Wendi Aarons has contributed to McSweeney’s since 2006, so she probably should get a plaque for god’s sake. She’s a writer who writes a lot of things, but mostly she writes notes left on cars parked by assholes. Her middle-grade novel “Ginger Mancino, Kid Comedian” and her middle-age essay collection “I’m Wearing Tunics Now” are both out in 2022.

—Wendi Aarons in McSweeney’s

(We’re all just people going around making up words — let’s not take the whole thing so seriously.)

Play ‘two truths and a lie’ (or incorporate some other icebreaker game):

Tim Livingston (they/them) is a poet and proud Pennsylvanian, living in Philadelphia with their cat, Mamma Mia!, and seven tattoos. Two truths and a lie: they can blow bubbles with their tongue, they haven't had a haircut since the pandemic, they have been nominated for a Pushcart prize.

— Three Poems in Bullshit Lit

(A good reminder that your bio doesn’t actually have to refer to anything remotely connected to your writing — it’s about the glorious weirdness uniqueness of you.)

Or just go meta on the whole ridiculous exercise:

Jo is an award-winning writer, novelist, poet and scriptwriter who feels deeply uncomfortable writing about herself in the third person.

(True facts.)

There are SO many ways to make our bios more interesting.

Browse your favourite lit mags and find more examples.

Look at your submission with an objective eye and ask: “What does this piece say about me?”

Write a list of ten weird things about your life and see what sounds funniest.

Make it subtle. Make it ridiculous. Experiment!

STEP 3:

Throw in a curveball and try something different. There are no rules. Just make it sound like YOU.

Whatever approach you go with, crafting an interesting bio is vastly more entertaining than struggling over a boilerplate version, so have fun with it!

WORKSHOP YOUR *NEW* AUTHOR BIO:

Share your bio experiments in the comments for feedback — or ask for help if you need more ideas.

Then spread the Community Corner love by giving your thoughts on other people’s bios.

Leave a comment

And maybe we’ll see some of these bios in print soon… :)

P.S. One final ‘handle with care’ caveat:

Of course, one of the major risks of trying to be funny on the internet is that it comes off the wrong way. Or, worst case scenario, it comes across really badly.

So, a few areas to be cautious of:

• Self-deprecation — I mean, generally, I’d advise not to do this when you’re trying to represent creative work you’ve been toiling over for years, but as you can see from some of the examples above, sometimes it can be personable, charming and funny to show the flawed humanity behind your words. Just don’t go too far. There’s a fine line between #relatable and #yikes.

• Topical references — it’s tempting to add in a reference to The Latest Big News or some hilarious meme or make a political statement in your bio — just be aware that this will become dated very quickly.

• ‘Edgy’ jokes — look, sometimes it’s hard to gauge tone in text, so it’s worth checking any particularly risky funnies with a second (or third) pair of eyes to make sure you’re not going too far over the line into actually offensive.

• Cognitive dissonance — remember: your bio should represent you and your writing, so if you’re publishing something serious, tragic, or sensitive, it might not be appropriate to pair it with a hilarious, madcap bio… Read the room, y’know?

That’s all for now. Good luck with your bios. And if you need more advice on the whole shebang, let me direct you to Benjamin Davis’ insanely comprehensive guide to submissions:

Hey, I’m Shelby!

I co-founded the Forever Workshop’s mom, Chill Subs, and I handle our business and marketing stuff.

There are some significant shifts happening in the social media machine that are affecting writers, and I think we should talk about it.

First, I’ll cover what those shifts are.

Then, we’ll create a high-conversion social media bio that funnels folks off of the apps and to your website/newsletter/magazine/tinder — wherever you want em’.

WTF Is Going On with Social Media?

I recently attended a CLMP webinar giving social media guidance to writers and an overwhelming majority of folks were interested in getting their followers off of their social media accounts and onto their mailing lists. This “own vs rent” your audience thing isn’t new, but with the state of social media being what it is I get the urgency. 

A quick breakdown of the socialshitscape in 2026:

Read more

Through deep dives with different editors of popular lit mags, we’ll try to figure out what actually moves the needle with submissions other than bribery and blackmail.

Are you doing some dumbass thing you didn’t realize that’s getting you rejected? Maybe. Is there something you can do to stand out from the slush pile? Possibly. Could it all be a crapshoot of human shaped dice bumbling around a game board where everyone forgot the rules? We’ll find out.

Lessons

About The Instructor

Benjamin Davis spends most of his time co-running Chill Subs and writing The Sub Club Newsletter. He has poems in several journals including Moon City Review, Maudlin House,and Softblow, with other works in Booth, wigleaf, Matter Press, and Cease, Cows. His debut poetry collection, The King of FU (Nada Blank 2018), was such a smashing success it shocked the indie press who published it into an early grave. He is now working on his first six novels.