Your voice is your voice, whether you are writing a book or a blog post. The platform changes. The standard does not.
John Updike wrote in many forms — novels, short stories, essays, criticism, poetry, and children’s books. He did not reserve his writing life for novels. He reviewed books for The New Yorker. He wrote light verse. He composed essays on subjects as varied as golf and Vermeer. The forms were different. The attention to the sentence was not.
Updike’s example matters here not because every author should write as widely, but because it illustrates something easy to forget: a writer does not stop being a writer between books.
Now What?
The book is finished. The launch is over. The campaigns have run. The author sits down and wonders: now what?
The answer is the same as it has always been: write.
Maybe the next book. Maybe something shorter. An article. A reflection. A piece of the story behind the story. A letter to the readers who wrote to say the book meant something. The form matters less than the decision to keep writing.
Writing between books keeps an author’s name visible. But there is a better reason to do it: it keeps the author in the work. You keep noticing. You keep thinking. You keep turning experience into words. The writing muscle does not distinguish between a chapter and a newsletter. It only knows whether you are using it.
The Same Standard, Shorter
A blog post is not a book chapter. A newsletter is not a manuscript. Neither one is practice for the real work. Both are the real work, done in a smaller frame.
The temptation is to treat shorter writing as lesser writing — to dash off a post, send a newsletter without reading it aloud, publish something not meeting the standard you brought to the book. Resist it.
A blog post may disappear down a feed tomorrow, but it still carries your name today. A newsletter may be shorter than a chapter, but the words still came from you. The form may deserve fewer words. It does not deserve less care.
This is the discipline Updike demonstrated across decades. A book review in The New Yorker did not need to be a novel. But it needed to be written by someone who took sentences seriously. The reader could hear the same writer in both.
Where to Write
Where you write matters less than why you write there. It might be Medium, a newsletter, LinkedIn, your own website, or somewhere else entirely. Choose one place you can sustain and where the people you hope to reach have a reasonable chance of finding you. Then write.
Campaign 139 asked: What is this for? The same question applies here. Do not start a newsletter because someone said authors need newsletters. Start one because you have something to say on a regular basis and you know who you are saying it to.
One place you can sustain may serve your purpose better than several you cannot.
There Is Only Writing
We call it writing between books, but perhaps there is no such thing. There is only writing — the book, the article, the letter, the reflection, each asking for the care appropriate to what it is meant to do.
The Power of Authors argues an author’s power lies in the deliberate use of words to serve readers. The power does not arrive with publication and leave when the launch is over. It lives in the writer who keeps writing — not to stay visible, but because there is always more to say.
The platform changes. The standard does not.
If this idea resonates with you, you will find the same philosophy throughout The Power of Authors by Evan and Lois Swensen — a book about why authors write and why what they write matters.
The Power of Authors is available from Amazon or your favorite bookseller: evanswensen.com. If you’d like an autographed copy, visit the same website and order directly.
A few years ago, I met an author at a conference in Anchorage. She had a fine book — a memoir about commercial fishing on Kodiak Island. The writing was strong. The cover was right. The book was selling.
Every conference panel, every marketing article, every social media expert adds another item to the author’s list of things they should be doing. The list grows. The author’s time does not.
She follows the music.
Bill Cox never shouts. He does not chase trends or controversy. His voice — steady, thoughtful, and honest — cuts through noise with clarity and conviction. My Pursuit of the Axis of Evil is about people — a lifetime of encounters across Siberia, Southeast Asia, India, and Alaska. He writes from the road, the sky, and the heart.
Last Thursday, the Swedish Academy announced the Nobel Prize in Literature for 2026.
When Josh Verhagen created Eddie the Ermine, he understood something most authors miss. The illustrations in his book do not decorate the story. They teach. Every page invites interaction. Hidden animals draw young readers deeper into the images. The visual experience is inseparable from the message.
Three years after his wife’s death, Wolo receives a letter.
You will hear this advice: create a Facebook Page for your book.
She was a conservatory student — the kind of student who doesn’t just play but feels music as something larger than technique. Then a relationship ended badly. A choice was made young. She became Livia Cable instead, living quietly in farm country, having traded the conservatory for stability and the passion for something more manageable.
For every post asking readers to buy the book, share three giving them a reason to stay.
When I first met Weston Fields, he looked every bit the Kodiak fisherman — rubber boots, suspenders, wool shirt. He was there to support his mother, who had written a book about ranching history on the island. She spoke first. He said almost nothing. When he finally did, it was to tell me — gently — he had already edited her manuscript.
It is the summer of 1951. London is still pockmarked with bomb sites. Food is still rationed. Men who survived the Burma Railway, the North Atlantic convoys, the firebombing of cities have come home to a country worn to nothing by six years of war and five more of austerity. The war ended in 1945. The damage did not.
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.
A reader once walked into a bookstore and said, “I’m looking for a mystery set in Alaska.” The bookseller reached for a shelf and handed her a book.
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.
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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Time and Tide


ReadAlaska 2014
Readerlink and Book Signings
2014 Independent Publisher Book Awards Results

Bonnye Matthews Radio Interview
Rick Mystrom Radio Interview
When he published those overseas blogs as the book The Innocents Abroad, it would become a hit. But you couldn’t find it in bookstores.
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