This past Thursday, September 11, 2026, family members gathered at the National September 11 Memorial and Museum in lower Manhattan. As they have every year since 2002, they read the names of the 2,977 people killed in the attacks. The reading takes several hours. Every name is spoken aloud.
The ceremony is the same every year. The names are the same. The readers change — grown children now where small children once stood, grandchildren where children once stood. The memorial pools fill the footprints of the towers. The water falls continuously.
In the days after September 11, 2001, people reached for poems. Not for the poems written about September 11 — there were almost none yet, the event was too new — but for poems already written, poems written about other days, poems written about other catastrophes. One poem circulated more than any other.
The poem had been written sixty-two years earlier, about a different September morning.
On September 1, 1939, a British poet named W.H. Auden sat in a bar on 52nd Street in New York City. He had arrived in New York six months earlier with his partner Christopher Isherwood. He was thirty-two years old. That morning, Germany invaded Poland. The Second World War had begun.
He wrote a poem. He called it “September 1, 1939.”
He wrote from inside the bar, from inside the specific fear of the morning itself. He wrote about sitting “uncertain and afraid” as the events of Europe moved toward catastrophe. He wrote about what human beings do when the structures they had trusted begin to collapse. He wrote about the need to hold something true against the dark.
The poem’s most famous lines: “We must love one another or die.”
He published the poem in 1940. It was widely read and praised. Then Auden turned against it. He said the central line was dishonest — we die anyway, whatever we do. He tried to suppress the poem. He wanted it removed from his collected works. For a time, editors honored his wishes.
Then September 11, 2001 arrived. People reached for the poem and passed it to each other by email, by phone, by hand. It circulated in a way nothing else written in those days did. The poem Auden had tried to suppress was exactly what 2001 needed. The fear he had named in 1939 was the same fear. The need he had described was the same need.
The poem outlasted his objections. It outlasted him. It found the readers who needed it next, sixty-two years after he wrote it at a bar on 52nd Street.
Auden was not writing for 2001. He was writing for September 1, 1939 — for the specific bar, the specific morning, the specific fear in the room. He wrote what was real in front of him with as much precision as he had.
The precision is what traveled.
Writing aimed at the future usually misses. It is abstract; it generalizes; it tries to be universal by leaving out the specific. The specific is what lasts. The bar on 52nd Street. The particular quality of the morning’s fear. The exact word for what a person feels when the world they trusted is revealed as fragile.
The Power of Authors teaches: write about this moment, this place, this fear, this need — with enough precision, the truth inside it can travel. The reader who needs it in ten years or sixty years will find it the same way the readers of 2001 found Auden’s 1939 poem: with recognition. With the feeling of being met.
This past Thursday, people read 2,977 names at the edge of two pools. They have done it every year for twenty-five years. They will keep doing it.
Someone will need to read what you write today the way people in 2001 needed to read what Auden wrote in 1939. They may not exist yet. They may not know they need it yet.
Write it precisely. Write it now. Let the truth carry it.
Discover why purpose is the foundation of every sentence worth writing in The Power of Authors by Evan and Lois Swensen.
The Power of Authors is available from Amazon or your favorite bookseller: https://www.amazon.com/dp/1594338698. If you’d like an autographed copy, you can order it here: http://bit.ly/4pgmzjM.
Robin Barefield lives in the wilderness on Kodiak Island, where she and her husband own a remote lodge. She wrote her first novel, Murder Over Kodiak, powered by a generator, miles from the nearest road. No MFA. No publishing connections. No high-speed internet.
Open a browser you do not normally use. Type your name. Hit search.
He had grown up in Bujumbura, the capital — the son of a French father and a Rwandan Tutsi mother. In 1994, the genocide in neighboring Rwanda killed between 500,000 and 800,000 people in one hundred days. Civil war followed in Burundi. His family left. He grew up in France.
The morning after. The folding tables are back in the garage. The leftover food is in the refrigerator. The unsold books are stacked on the dining room table. The banner is rolled up in the corner.
Lee came to the United States from Seoul at age three, with his mother and sister, to join his father, a psychiatrist who had immigrated earlier. He grew up in Westchester County, outside New York City. As a child, he often translated for his Korean-speaking mother. He stood between two languages for her, carrying her words into English and the world’s words back to her.
Monday morning. A bookstore manager sits down with forty-seven unread messages. She has an hour before the store opens. She is deciding which emails deserve her attention and which ones can wait.
The novelist Ella Camposanto has arrived in Sicily with her twelve-year-old daughter, Manuela. They are staying near the ruins where the narrator’s grandmother once worked on an archaeological dig. The summer is full of volcanic rumbles and sudden storms. The narrator’s mother is beginning to forget.
When I was publishing Alaska Outdoors magazine, the head of the journalism department at the University of Alaska sent me a submission. It was so poorly written, I took it for a joke. I answered it as a joke, only to learn the author was serious. He simply had such an inflated self-image; his writing read like a spoof. It was no spoof.
At 8:15 on the morning of August 6, 1945, Kiyoshi Tanimoto was on the outskirts of Hiroshima, unloading a handcart at a house in the suburb of Koi. He was two miles from the city center. He had slept poorly — the overnight air-raid warnings had kept him up — and he had risen early and set out with the cart.
Two books publish on the same Tuesday.
Among the nineteen longlisted novelists this year are writers who have been writing for a long time before this first novel existed.
You check your Amazon page for the first time after your launch team has done its work. The reviews are there. Three in the first week. Your heart lifts. Then you notice the label beneath one of them.
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. Author Campaign Method (ACM) of sales and marketing is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authorpreneurs who are serious about bringing their books to market. ACM is a boon for them.
Release Party
Web Presence
Book Signings
Facebook Profile and Facebook Page
Active Social Media Participation
Ebook Cards
The Great Alaska Book Fair: October 8, 2016


Costco Book Signings
eBook Cards

Benjamin Franklin Award
Jim Misko Book Signing at Barnes and Noble
Cortex is for serious authors and will probably not be of interest to hobbyists. We recorded our Cortex training and information meeting. If you’re a serious author, and did not attend the meeting, and would like to review the training information, kindly let us know. Authors are required to have a Facebook author page to use Cortex.
Correction:
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. ACM is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authors who are serious about bringing their books to market. ACM is a boon for serious authors, but a burden for hobbyist. We don’t recommend ACM for hobbyists.

We’re the only publisher we know of that provides authors with book signing opportunities. Book signing are appropriate for hobbyist and essential for serious authors. To schedule a book signing kindly go to our website, <
We hear authors complain about all the personal stuff on Facebook. Most of these complaints are because the author doesn’t understand the difference difference between a Facebook profile and a Facebook page. Simply put, a profile is for personal things for friends and family; a page is for business. If your book is just a hobby, then it’s fine to have only a Facebook profile and make your posts for friends and family; however, if you’re serious about your writing, and it’s a business with you, or you want it to be business, then you need a Facebook page as an author. It’s simple to tell if it’s a page or a profile. A profile shows how many friends and a page shows how many likes. Here’s a link <> to a straight forward description on how to set up your author Facebook page.



Mosquito Books has a new location in the Anchorage international airport and is available for signings with 21 days notice. Jim Misko had a signing there yesterday. His signing report included these words, “Had the best day ever at the airport . . ..”



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