I’m glad I no longer have to attend work-related gatherings, especially those where I wouldn’t know many people. At such events I attended in the past, someone would always ask me where I worked. It never failed. When I answered that I was (and still am) a writer of non-fiction who worked from home, more questions were fired at me, and I had to provide more information about my work than I felt comfortable sharing.
Although I understand that these individuals seemed genuinely interested in some of the projects I managed to publish, I never really understood their fascination with my job. After all, I’m not a famous author, and writing is not exactly a high-paying occupation, unless, of course, you make it to the big leagues.
Still, I love what I do. I’m pleased with the projects that work out as planned from start to finish and, before AI completely takes over the profession, I hope to keep on writing for as long as I can.
There’s an art to it
First and foremost, it helps if you’re passionate about the topic you want to write about. If you have a personal connection to it, even better.
While I was training for my first job at an Ottawa newspaper back in the late ‘60s, my boss told me to put a smile on my face every time I was to take a call from a customer. She said, “If you’re smiling, the person at the other end will feel happy doing business with you”. I like to think that the same strategy applies when you’re writing a story or an article; if you’re happy doing what you do, it will come across on paper or on a screen.
Secondly, practice makes perfect. I started to journal at a young age, and it was a good outlet to sort out feelings I couldn’t express with anyone at school or at home. By the time I reached high school, I knew I wanted to be a writer, even though I didn’t share that with anyone, and it would take years before I could actually consider doing it as work that might be of interest to others.
I kept writing my stories, read everything I could on how to improve my style, and took university courses where I learned techniques that still serve me well. Training on the job in the areas of communications and translation also proved useful, and I continue to rely on the skills gained from onsite work experiences.
When my life became more hectic, I stopped journaling as regularly, but I never stopped writing about significant turning points and amusing events. As they say, laughter is the best medicine, and when I write a funny story, I find that it’s a wonderful opportunity to relax and strengthen social bonds. Friends will tell me about their own funny experiences, some more outrageously funny than mine, and it makes me happy knowing that the laughter continued even after one of my amusing stories made it into print.
The plan
Before I can start writing about any subject, I need a plan. I might have an outline bouncing around in my head for weeks before I sit down at my computer to start working on it as a new project, but when I do, I’m off and running with a working title, helpful resources, and almost everything else I’ll need to make it to my concluding paragraphs.
The Five Ws are my foundation for any outline. I need to sort out who my target audience is, who I could approach for a contribution or a comment, what information will make my piece current, and why I think it’s worth sharing. Then there’s the self-explanatory “when” and “where” to further highlight recent details about the subject. Once I’ve stated all my facts, the conclusion comes easily. Well, maybe not always easily, but usually.
Not only are the Five Ws the perfect preliminary homework for any writing project, they can be as crucial to hiring an agent, landing a publishing contract, or securing support from libraries once a book has been published.
I have often relied on contributions from unpaid experts to either confirm the accuracy of my information or provide a review. Approaching others for their feedback can be tiring given its repetitive nature, and it can take a large amount of time. But contributions and reviews can ensure the verifiability and reliability of projects, and from my perspective, this type of work is an important step in the process of getting to publication.
For instance, in 1998, when I started to work on my second book project, Misinformed Consent: Women’s Stories about Unnecessary Hysterectomy, I put together an outline I could pitch to Canadian and American medical specialists. It took over two years to execute my plan to solicit contributions and reviews, and the effort yielded 26 expert reviews for the manuscript prior to its publication. Additionally, one expert agreed to write the foreword, and others made significant contributions featured throughout the book.
I believe the reviews and contributions by medical and other experts gave the book the credibility it needed. They were instrumental in the publication of the Canadian edition of the book by Stoddart Publishing of Toronto in 2002, the publication of its revised American edition in 2003, and the 2004 promotional opportunity I had to appear on the CBC’s The Nature of Things with David Suzuki.
Unfortunately, book giant Stoddart Publishing and General Distribution Services (GDS) filed for bankruptcy later in 2002 and left their authors without revenue and royalties. The same thing happened with the Toronto publisher of my first book, Living and Learning with a Child Who Stutters. That publisher went belly-up months after the publication of my book; the remainder stock was purchased by another Toronto publisher, who was under no legal obligation to honour the bankrupt publisher’s contracts with its authors.
Both situations were disappointing setbacks, of course, but after Stoddart’s bankruptcy, I focused on crossing over to the US with the revised edition of Misinformed Consent and that resulted in a new and exciting opportunity to learn more about getting into print.
The US publisher had many print media contacts, and what she taught me about promoting a published product was my biggest reward. Although I did earn some annual royalties through her publishing company, it didn’t amount to much. Nonetheless, I enjoyed working with her, and I remain grateful for the many leads she had me pursue, the majority of which resulted in the publication of my articles in Canadian and American newspapers, newsletters, and websites on women’s health.
I started to get better at pitching ideas for articles to promote a book, and faster at the delivery of my submissions, proving to myself once again that practice makes perfect. Unnecessary hysterectomy was a hot topic at the time, and each article generated inquiries for me to manage and book sales for the publisher.
My plan was working.
Finding a book publisher
In Canada and the US, there are book publishers for every literary genre, and the trick is to find one that suits the style of a manuscript perfectly. For a debut book, finding a publisher who accepts submissions from unrepresented or new authors is recommended.
Each publishing company has its own set of guidelines, and writers must follow these to the letter when applying for a print opportunity. New authors can improve their chances if their application meets the criteria specified by a publishing company. For help with publishing choices and a wide range of other useful tips about publishing, writers can go to FriesenPress.com for a free copy of the Author’s Publishing Guide. It served me well over the years.
It’s never a good idea to send a copy of a complete manuscript if it hasn’t been requested by a publisher. Instead, writers can send a sample chapter with their application (one that highlights the author’s ability) as well as pertinent details about the book. These details should include its title and subtitle (if any); the author’s biography and credentials; a brief overview and table of contents; and any reviews from experts confirming the accuracy of the information. Finally, highlight recent media coverage, promotions, and—last but not least—public interest and projected demand. If a writer’s application shows that a book has good marketing appeal, it can pique a publisher’s interest. After all, selling books is their sole reason for existing.
So, if a writer is successful at selling a title through an application for publication, it will be good practice for promoting it if it is added to a publisher’s catalogue. Publishers are usually more interested in signing authors willing to help their companies secure steady revenue, and to that end, a writer can amplify those numbers through a personal website.
Writers should make sure that their applications are pristine and free of any typographical, grammatical, and spelling errors. I tend to proofread my work using a ruler under each line, and by reading it out loud. It’s worth investing the extra time it might take, and when I’m still unsure about a project, I will ask a friend to proofread and edit my final draft.
The best tip I can pass on to a new author is to never give up. It can take months of sending out applications to publishers before a writer gets a positive response, but when that happens, it’s an amazing feeling.
Submissions to magazine, newspaper and newsletter editors
If you are looking to get an article or a report published, the approach is similar, except shorter. But keep in mind that these publication venues have submission guidelines of their own, especially newspapers.
A few months ago, I helped a friend apply for full-time work. It had been years since I’d done that, and the process was an eye-opener. In several job descriptions I reviewed, I noticed recruiters stating that all applications would be screened by AI, and only applicants who made it to the interview stage would be contacted by a “real” person.
It made me feel sorry for anyone looking for a job these days, thinking they would probably need to hire a writer to help them with cover letters using key wording in keeping with the information posted in job descriptions. One wrong move, and applications can be quickly discarded.
Whether or not editors are using AI to screen requests for publication, a writer only has one shot at making an impression. If you don’t want to be ghosted, your covering email has to stand out, and it starts with the proper salutation.
I often receive cold pitches from website designers and technicians specializing in search engine efficiency or security. Most start with “hi”; they don’t even address me by my name, and their email consists of one or two sentences informing me that the design and functionality of my website could be improved. “Warm regards” seems to be the preferred sign-off, and sometimes, I get “Hugs.” I don’t usually reply to those.
Before I approach editors, I will look for the name of the person who publishes on the topic of the article I’m submitting. My cover email will be addressed to the appropriate contact, and its content will be in keeping with that editor’s newspaper or magazine guidelines for submission.
For most of my requests for publication, I provide a short list of my recently published pieces, information on why the article submitted would be of interest to the magazine or newspaper’s readership, and the link to my website. I always close with “sincerely.” Call me old-fashioned, but I think “sincerely” is better than “hugs” or “warm regards” when writing to someone I don’t know personally.
I don’t often get ghosted, and I believe it’s because my approach for submissions is working as it should.
Rejections
No one likes to be rejected, and at first, I hated receiving formal rejection letters from publishers, too. But once I’d received a few, I realized that they sometimes include important information. Some editors had taken the time to write to me to explain why my submission had been rejected, and they also provided advice on how I could polish my manuscript and my application.
The rejection letters were actually alerting me to missed opportunities. It meant more work to fine-tune my application, but it was well worth the effort to act on the advice from people in the publishing sector who knew a lot more than I did.
Don’t let rejections deter you from trying your luck elsewhere. Remember that in this line of work especially, it’s determination that brings about the best results.
The self-publishing option
For my fourth book project in 2010, I decided to self-publish. My plan with There’s No Place Like Home: A Guide to Help Caregivers Manage the Long-Term Care Experience, was to donate all proceeds from my book sales to buy quilts for residents in care who no longer have any family or friends to look in on them. If I’d gone with a publisher, the royalties would not have been enough to purchase quilts.
It was the right decision, and these days the stigma around self-publishing is no longer as prevalent. Lingering biases still remain, of course, but if you have a good book with an important message, put your energy into the positives you can achieve with it.
As there never seems to be any meaningful action from politicians about long overdue changes to long-term care in Ontario and throughout Canada, I published revised editions of the book in 2023 and 2025 to provide an updated overview of the realities of long-term care, with references to published reports supporting the book’s message. Each edition includes new contributions from experts and caregivers, as well as current reviews. Thanks to a few more tips from my US publisher, I made it to print with revised editions that look as professional as any book you will find in bookstores.
Selling a self-published book is as important as writing it. Part of my marketing plan for There’s No Place Like Home was to approach libraries where seniors looking for information on long-term care could access it for free. There are over 250 public libraries across Ontario, and as is the case with publishers, each one has its own set of guidelines for authors asking to have their books added to their catalogue.
After more than a year of tailoring my 10-page application to meet each library’s guidelines, 86 public libraries across Ontario have added copies of the book to their shelves since the launch of the 2023 edition. This library support, combined with new opportunities to publish my articles on long-term care, generated enough book sales to purchase over 50 quilts for residents in care facilities. To make the entire effort even more rewarding, social workers later shared that the matching pillow shams were just as big a hit as the quilts themselves!
Instrumental to the success of this ongoing project are book content and multimedia designer Alexei Quintero of Ottawa (alexeiquintero.com) and website designer Marie Mushing of Hamilton (peopleinconnection.com). Writing may be the most important part of book projects, but these days, design and presentation are key. Thanks to their expertise, I am always assured of a product with good marketing potential.
Measuring success
Being successful at writing can’t always be measured in the amount paid in royalties by a book publisher or a payment received by a newspaper or magazine. For me, it’s the satisfaction of getting to the finish line on my own merit.
I am exactly where I want to be, doing what I love, and positive responses to my work are the best measure of all.
Lise Cloutier-Steele is an Ottawa writer, and the author of the 2025 Edition of There’s No Place Like Home: A guide to help caregivers manage the long-term care experience, available from www.ottawacaregiver.com.
