Jane Friedman's Blog: Jane Friedman, page 14

Audible opens the door wide to AI audiobooks

Audible will offer AI production technology to select publishers, first for narration and later for translated narration.

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New publisher: Putman Publishing

Doug Putman, owner of music retailer HMV UK, is launching a publishing company. The first imprint will publish music and pop culture books.

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New agent: Howland Literary

Ashlee MacCallum has joined as a junior agent at Howland Literary. Previously she was an intern at Triada US.

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Not dead yet! HarperVia launches small-format paperback imprint

Despite the decline of mass-market paperbacks, HarperVia is launching a line of pocket-sized paperbacks under the Nomad Editions imprint.

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Links of Interest: May 14, 2025

The latest in traditional publishing, audiobooks, AI, and newsletters.

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It’s a Book, Not a Slide Deck: Avoiding Fast-Content Habits in Nonfiction

Today’s post is by book coach and editor Dinah Laprairie.

I opened the manuscript and sighed—not at the message, which was well-stated and useful, but at the wall of bold, italic, underlined, ALL CAPS text that shouted for attention on every page. It read more like a web article or social post than a book.

Nonfiction writers—especially those working on prescriptive nonfiction—often turn to familiar writing formats from business, blogging, or social media when they prepare their book-length projects. I see writers using lists, headings, single-line paragraphs, and multiple type styles all at once. These features can be incredibly effective in business writing or online—and in books. In fact, I will recommend authors use these for specific purposes to create engaging nonfiction books. Each of these features can improve readability and assist the readers in digesting the author’s message. Yet a good reading experience is not always meant to be an easy, fast-scrolling reading experience, especially if a writer is delivering their message in book form.

The urge to make reading easy and quick for readers is strong among nonfiction writers, and I frequently come across nonfiction writing that relies too heavily on features of fast media, like blogs, newsletters, and social posts. In the last year, I’ve opened manuscripts that are nearly entirely built on lists like you find in internet how-to articles. In others, there is such a heavy use of boldface and italics that it becomes difficult to complete a paragraph. And don’t we all love the single-line paragraph in socials these days? (I do.) These are showing up in book-length manuscripts now. But the hardest on my eyes is all caps, especially when it is used ALL THE TIME.

None of these features are wrong, and you might want to use them in your book, but first you need to ask yourself if you are adding unnecessary complexity to the reading experience. In my feedback to writers, I ask them to choose between these features with restraint and care. The reason is this: Books aren’t fast media.

When we apply the visual tools of fast media to the slower pace of a book, we risk overwhelming or distracting our readers instead of guiding them. A book isn’t just a container for content—it’s a container for transformation. And formatting should support that, not replace it.

Books for deep exploration

Many nonfiction writers fall back on the writing styles they know best—slide decks, blog posts, business reports, and social media posts. Over the last decades, we’ve been trained to scroll through scads of text every day, and to absorb material quickly. Skim, scroll, move on. It’s tempting to assume readers want to engage with a book in the same way. But that’s not the case.

A book is slow, immersive media. A reader will typically spend hours with a book, not minutes. Unlike short-form content, a book provides room for broader or deeper exploration. Even in digital or audio formats, books invite readers to slow down and engage deeply with nuanced ideas. When we apply fast-media formatting to a book—lists on every page, bold text everywhere, constant headings—we risk flattening our message rather than strengthening it. Readers pick up books because they want more, not less.

I recently reviewed a manuscript that used boldface styling every time the author wanted to make a point. The writer also added ALL CAPS to every new term. Headings were in italics and phrases were underlined. Visually, the page was crowded, and it was difficult for me to focus on the message the writer wanted to convey.

Be confident in your readers

Readers of books understand the assignment: They are expected to actively read. If they choose your book, their interest in the subject or premise is great enough to have chosen a book over other forms of media. They want to get into the subject and dive deep. They want to be immersed in your subject. Formatting tools such as boldface, italics, and underlining can easily shift from helpful to distracting when overused.

If everything is emphasized, nothing stands out.

Your first job, before turning to formatting, is to consider how sentence structure and storytelling techniques can naturally draw attention to your key points. Traditional paragraphs and sentences are powerful tools. Paragraphs are well suited for developing ideas, building arguments, and engaging readers on a deeper level. They allow for narrative flow and storytelling, more detailed explanations, and a smoother, immersive reading experience.

Use paragraphs to build trust

Within paragraphs, you can share stories, and stories help your readers remember your lessons. You can explore scenarios that demonstrate your concepts, or dive into your own personal experience with the topic. You can use paragraphs to explore metaphors to help the reader understand a complex idea in a deeper, relatable way. You have the space: if it will engage the reader, use it to delight them with wordplay or humor. Or showcase your authoritative voice. Vary your sentence lengths to add cadence and rhythm. With practice, you’ll learn how to slow your sentences so your readers have time to absorb the information you’re delivering, how to add speed to build excitement or curiosity, and how to withhold a revelation until the exact moment a reader needs it. In short, you can use paragraphs and well-crafted language to show you care about your reader’s experience.

Craft your sentences before you add styling. Then, look for ways you can help the reader navigate through the material more easily. To speed their reading, you can add signposts like headings and call-out text, captions, or lists. Maybe it does make sense to add boldface or italics to certain features. Try it. See how it looks. Read it. See how it sounds. Did the formatting improve your reading or did it add a barrier? Too many features may create the opposite effect and slow down the absorption of your message rather than speed it up. Restraint is key.

Punctuation assigns meaning, too

It might feel old-fashioned to rely on unadorned sentences, but I want to remind you of the signposts already in place: the commas, dashes, colons, and periods you already used when you were crafting your message. Punctuation shapes meaning. It can deliver subtle nudges, or guide readers through complex ideas. Readers are already well-trained in it, and they barely notice it, so don’t discount its power.

By being intentional with your writing, through sentence structure, use of punctuation, and formatting, you show yourself to be a confident leader who can navigate deep waters. How do you know if you struck the right balance? If you spent time getting to know your readers and what they need, it’s much easier.

When style and formatting features make sense

There are all sorts of ways we can use formatting in a manuscript to bring attention to particular text. You can choose from various styles, like indented text, boldface text, italics, capital letters. In fact, the style guides we use as editors give us guidance on how to address styles in a manuscript. The overriding message of any style guide? Be consistent.

When your book is presented with consistent styles and formatting, the reader knows how to interpret your text and isn’t being distracted from your message. Style choices have a function. When used consistently, a reader will intuitively understand the rules you are using. Our brains look for patterns all the time. You likely saw the subheadings in this article and knew from their formatting that they were introducing a new section. You didn’t have to stop and think about it. That’s why we rely on styles and formatting: To make it easier for our readers. But when it starts to interrupt their reading or pull them out of our message, we need to have restraint.

When we introduce readers to new ideas, we want them to understand why they should pay attention. Sentences and paragraphs will help you convey this. Complex ideas and detailed information can benefit from paragraphing and well-crafted sentences.

When formatting disrupts your nonfiction narrative

I once opened a manuscript that was built almost entirely from lists—page after page of bullet and numbered steps. It looked organized, and it was easy to skim, but something was missing.

Curious, I stepped back and asked: Who is this book for? What’s the deeper purpose? The author was writing for a business audience seeking to understand why they should implement this author’s prescribed method, not just how. But the manuscript did not make that case. It grouped ideas clearly, yes, but it lacked the context and reasoning needed to persuade. The lists were efficient, but they weren’t enough. The lists delivered information, but they didn’t build trust, spark curiosity, or move the reader toward a deeper understanding. In short, the book wasn’t making an argument; it was just presenting facts.

When formatting stands in for storytelling, you risk losing the very engagement you’re trying to secure.

“But my readers are busy people,” authors tell me. “I want to make sure they read the whole book. That’s why I’m making it simple.”

It’s a valid argument, and yes, lists can be helpful. They’re perfect for organizing steps, grouping concepts, or highlighting takeaways. I love a good summary list at the end of a dense chapter. (Katy Milkman’s book How to Change does this beautifully.) And in some instances, lists are expected. Imagine if you opened a cookbook to find the recipes were written in paragraph form!

In the manuscript I was reviewing, the lists felt like shortcuts. They grouped information but offered no context or little connection to the argument. The author’s ideas were strong, but the formatting made them feel isolated, almost like slide bullets waiting for a speaker. As a reader, I found myself skimming ahead, searching for meaning the lists couldn’t provide. The argument wasn’t unfolding. It was being itemized. And it was losing my engagement.

As I worked with this author, I learned he was an avid reader of internet business blogs. He had encountered much of his industry’s expert material online and in slides, technical manuals, and reports. So, in writing, he turned to the writing styles he knew best, and he wrote his book without adjusting for the different form of media. Simplicity was a good aim, but I asked him to slow it down and rely on good writing to make his case first. As the writer, you have control over how your readers experience your message—whether they feel guided through a smooth, immersive experience or disrupted by formatting choices that pull them out of the narrative. 

But how do you know what to do?

If you have committed to a book-length project, there’s no doubt you believe strongly in your message. Your book is an argument in support of your Important Point. Your job is to make sure your readers understand why it is worth their time. Your job, too, is to know exactly your readers’ level of interest and knowledge when they enter your book, and to decide where you want them to be when they turn the final page. What you discover about your readers will give you insight into how to present your book’s content.

When I work with writers during book-planning, we examine their readers’ readiness. I ask questions like this:

How experienced are your readers already in your topic area?How open to your argument will your readers be at the beginning of your book?How willing is your reader to be changed by your message? Are they closed to your ideas, are they ready to consider them, or are they ready to take action?

We explore what the readers need to choose their book. It may be validation, inspiration, instruction, entertainment, tough talk, or another approach. Once my writer has a strong grasp on their readers’ needs and expectations, we can look at how to present their argument, and that gives clues into book structure. Is the book instructional, laying out procedures or steps? Does it rely, instead, on analysis, interviews, or storytelling? Will visuals like maps, charts, and tables be needed? I encourage the reader to lay out their plans for their chapters so that we can see the logical connections between each.

And yes, we might discuss formatting decisions. Thoughtful choices around layout and design can ensure your book is both engaging and delivering the transformation you want for your reader. Together, we look at titles and headings: Does the book need multiple levels of subheadings, or would that overwhelm the reader? We consider how the reader can best absorb and retain what they are learning: Do they need visual pauses like white space, lists, or breakout boxes to absorb the material? And we talk about emotional readiness, especially in self-help books: Do key concepts need to be introduced in a specific order, or is it okay if readers can browse between sections?

5 tips to check for balance in your nonfiction book

If you’ve made it this far, chances are you care deeply about how your message reaches your readers. You want to write with purpose, not just publish “content.” That’s the real difference between a book and a blog post: a blog can inform, but a book can transform.

So how do you ensure your formatting serves that transformation—and doesn’t get in its way? Here are five ways to check your manuscript for balance and clarity.

Be the compass, not the map. Spend time understanding your readers and what they need from your book, right now in their lives. How can you guide them through the material as the expert without overwhelming them?Read it aloud, with fresh eyes. Read through your manuscript out loud (or use the read-aloud tools on your computer or phone) and listen for flow. Are there points when a reader might say, “Whoa. Back up. Tell me that again.” Or “I don’t really get it. Can you give me more background?” Which will support their understanding best: better writing or better formatting?Use formatting for function, not flair. Look at every bold or italicized line. Each line should do real work. Ask yourself: Why am I emphasizing this? Do the sentences around this line already emphasize the importance?Print out a hard copy. Begin to think about your book as a book. Print it out. As you scan the manuscript, let your eyes roam over the page. Look for distractions. Your eyes will tell you if the paragraphs are too long, if you have too many lists, if there are too many ALL CAPS or if the italics and underlining are creating tension. Is there a good balance of white space and text? Are there explanations introducing each list? Are there headings pointing the way? Are there too many headings interrupting the flow? Does your book feel breathable or cluttered?Revisit your readers’ needs. Are you giving them what they came to this book for? Do you deliver a book experience or a blog experience? Should this book have been a slide show? Where is your compass pointing?

Books are not fast media—but that’s precisely their strength. Your book is a bridge between your knowledge and your reader’s understanding, and your message can have a lasting impact. Shape your message with intention and remember—your readers showed up for your book, not your blog. While lists, bold text, and other formatting choices have their place, they should never replace strong writing. Give them a reading experience that is both transformative and enjoyable.

Immersive Interiority: How to Collapse Narrative Distance to Get Emotion on the Page

Photo by Aidan Roof

Today’s post is by author and book coach Alex Van Tol.

Want to create a journey that resonates on a deep emotional level with your audience? That’s something only your characters can accomplish. Emotion doesn’t arise from plot alone; it stems from the people who inhabit your story.

To bring the reader right into your characters’ experience, you need to collapse narrative distance. A few simple language shifts can take your reader from watching people on the page to feeling like they’re right inside the scene.

This suspension of reality—this total immersion in a character’s experience—is what makes videogames so compelling and addictive. But capturing immersion-level interiority is trickier to do on paper. You don’t have sound and lights and colors and haptic feedback. You don’t have feedback mechanisms like damage indicators and health bars.

You have…words.

But as Margaret Atwood says, “A word after a word after a word is power.”

Here, I’m going to use concrete before-and-after examples for three different emotional states to teach you how to collapse narrative distance so your reader forgets they’re just reading, and instead feels like they’re inside the story.

Example 1: Grief

Before: Maria walked through the empty house, aware of how silent it was. She remembered when it had been full of life, the sound of laughter echoing in the halls. Now, it felt like a shell of what it once was. She knew she should feel something, but all she could muster was a vague sense of loss.

After: Maria’s footsteps echoed in the empty house. Too quiet. Too still. Laughter had once tumbled down these halls, warm and full. Now, only dust remained. She paused, her hand on the balustrade that looked out over the grand entranceway. Shouldn’t she feel more? But all that sat in her chest was a hollow ache, like a memory she couldn’t quite touch.

What changed?

We moved from telling to showing. Instead of stating that Maria was “aware of how silent it was,” we’ve made the silence tangible with echoing footsteps, paired with Maria’s interiority: “Too quiet. Too still.”We’ve eliminated filter words. Phrases like “she knew” or “she remembered” create distance. These pop the reader out of the immersive experience, reminding them that they’re just reading a story. Instead, in the “after” example, Maria’s emotions are right on the page: She pauses, looking around a home that once bristled with activity…and we can feel the bereftness of it all.Sensory details make the story feel more real. The reader sees the dust—and I don’t know about you, but when I read that, I can smell the dustiness of the place, too. “Laughter had once tumbled down these halls, warm and full” is more vivid and tangible than “She remembered when it had been full of life.”Maria’s thoughts feel more true to life. The question “Shouldn’t she feel more?” and the description of the ache bring the reader directly into Maria’s emotional state. This makes her relatable—a core requirement of creating three-dimensional characters.

These subtle shifts immerse the reader in the protagonist’s experience, rather than making them feel like an outside observer. We can feel the loneliness of the house; we can hear the way it once bustled with life; we can feel the ache inside Maria’s heart.

Example 2: Regret

Before: James sat on the bench and watched the sun set behind the hills. He thought about how quickly things had changed over the past few months. He felt uncertain about what came next and wondered whether he had made the right decisions.

After: The bench was cold beneath James, but he didn’t move. The sun dipped low behind the hills—too fast, just like everything else lately. Four months ago, he’d been sure. Now? Every choice felt like stepping off a cliff in the dark. Had he screwed it all up? Maybe. Probably.

What changed?

James’s internal thoughts are rendered directly. We’ve done away with distancing verbs like thought, felt and wondered. Again, these filter words take the reader out of the story and remind them that they’re just reading. We also get a nice sense of his inner experience with the words “too fast, just like everything else lately.” This signifies to the reader that James’s life feels out of control without being told as much.We’ve used sensory detail. “The bench was cold beneath James” brings the reader into the character’s body. This fires up the reader’s neural loop of what a cold bench feels like to sit on. Brr! Nobody likes that feeling. The fact that James doesn’t try to make himself more comfortable helps the reader understand the depth of his upset.James’s thoughts sound more natural. Humans don’t tend to think in complete sentences, so your characters shouldn’t either. The fragmented sentence structure and rhetorical questions of the “after” passage more closely mimic natural thought and emotion.We’ve made the verbs work harder, and sharpened the emotional tone. Stronger verbs like “stepping off a cliff” and a more realistic emotional tone (“Had he screwed it all up?”) evoke regret, uncertainty and doubt without stating it outright. I particularly love the Maybe. Probably. That’s much closer to how our brains think, especially when we’re beginning to catastrophize.

The tweaks we’ve made here let the reader experience the moment as if they’re in James’s body, actually having his experience, not just reading about him from afar. His regret and uncertainty feel palpable here. With these few shifts, James becomes more authentic and multi-dimensional, and we can see more layers of his personality. We’re struggling with his internal conflict right alongside him.

Example 3: Anxiety

Before: Elena walked into the conference room and noticed that everyone was already seated. She felt nervous as she realized all eyes were on her. She reminded herself to stay calm and tried to act confident, even though her hands were trembling slightly.

After: Everyone was already seated when Elena pushed open the door. Eyes turned. Her pulse kicked. Too late to back out now. She straightened her spine, nodded like she belonged here. Her hand trembled on the doorknob and she stilled it, closing the door behind her.

What changed?

Those filter words again! We’ve ditched she noticed, she felt and she reminded herself. These create separation between the reader and Elena, forcing us to simply watch her as she goes through the motions. Way better to just have Elena see that everybody’s seated and feel her pulse kick. The reader gets to experience those sensations in live action.We’ve used physical sensation to show her stress. “Her pulse kicked” does a better job of showing Elena’s fear than “She felt nervous”. Just like all of us know how a cold bench feels under our bum, we also know exactly what it feels like when our heart gives off one of those super-hard beats that signify panic. And her trembling hand underlines her nervousness.We can hear Elena’s internal voice. “Too late to back out now” expresses her emotion from the inside, without even using a single emotion word. The reader understands that Elena is going to COMMIT, dammit, even though she hates this moment. This fires up our preexisting neural circuit about what it feels like to make a presentation to an unreceptive audience. With that, the pulse kick and the trembling hand, we know exactly how she’s feeling.Shorter, more immediate sentences signify stress. “Eyes turned. Her pulse kicked. Too late to back out now.” These are what we call staccato sentences, and they’re super powerful when you stack them up like this. Short sentences like these create a sense of urgency, like a train clackety-clacketing straight toward you, which intensifies the anxiety the character is feeling.

Each sentence in the “after” passage pulls the reader closer. We’re not just watching Elena as she enters the room; we are Elena, feeling the weight of those stares and noticing how shaky her body feels. We also get to have the experience of rallying in the face of fear. We sense her determination with the straightening of her spine, and her commitment and courage in the moment she closes the door.

Bonus: Somatic experiencing at the level of your characters

To get my characters to feel alive, I step right inside their bodies. I picture this sort of like how a ghost might slip inside someone’s skin. The idea is to get into your body and actually BE that character.

Let’s break down how this is done.

Close your eyes and put yourself in the scene you’re building. Feel the ground beneath your feet. Drop your breath into your belly and get centered in a sense of being present in this scene. Use your breath in real life to keep you grounded in this place.Once you’re inside your character’s body, you can experience the world on the same plane—at the same visual level. This is important. Too often, writers stay up at the bird’s-eye view.Take a breath. Notice any smells in that place.Keep your eyes closed, both in real life and in the scene. What can you hear? Is there a bird? A baby crying? Noise from passing cars that’s muffled by the closed window? Which direction is that running water coming from?Keep your eyes closed. Can you feel anything? What are your feet touching? Woolly sheepskin slippers? Cool tiles? What’s your heart doing? Is the sun hot on the back of your neck? Is the scotch tape dispenser in your hand biting into your palm because you’re gripping it so hard? Does your hip ache?Now open your eyes in the scene (keep them closed IRL). What do you see? There are probably 100 different things in your field of vision, and you could focus on any one of them if you wanted to. Which of them is salient to what’s going on in this character’s experience right now? Just notice.Turn your head to the right. What’s over that way? Turn your head to the left. What about that direction? What movement are you picking up on in your environment? What can you just make out in the periphery of your vision?If you’re in the middle of a heated conversation, notice the expression on your conversation partner’s face. Take in their body language: their posture, their degree of ease or unease, the pitch of their voice. What can you tell they’re feeling that they aren’t actually saying out loud? How do you know?As your character, feel around inside your own psyche for a second. You know what your issues are. What part of yourself are you projecting onto your conversation partner in this exchange? Because you know for sure your own bullshit can’t be very far away, right? This is a character-driven story, after all. What are you making it mean about you? And what are you going to do about it?

This last part is the gold. To get to the richness in any scene, you need to discern what the situation means to your protagonist. This is all “story” is: the meaning we assign to things. It’s true for you in the real world, and it’s equally true for your characters.

Now bring that gold back with you, out of your somatic experience and back into your writing world, where your hands are poised over the keyboard. As you practice and become more skilled in this embodying exercise, you’ll write better, deeper, more heartfelt and emotionally compelling characters.

New agent at SteelWorks Literary

Julie Romeis Sanders was previously an editor at Bloomsbury Children’s.

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New agent at Spencerhill

Renee Runge has joined Spencerhill and seeks middle-grade and YA.

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New Simon & Schuster UK award for unpublished authors of color

Entrants must be a resident of Great Britain and be able to qualify themselves as coming from a minority ethnic background.

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