The First Draft Club

If your draft comes in under the standard word count for your genre, you've probably heard some version of the same advice: don't think about length, just find where the story's thin and fix that. I get why people say it, but I don't love it. So in this episode, instead of the vague "just improve the story" advice, I wanted to hand you something more concrete: an actual process for figuring out wh...

In her bestselling 2025 memoir The Tell, written with ghostwriter Sam Lansky, Amy Griffin describes having no memory of her childhood sexual abuse until an MDMA therapy session. But in a recent interview with New York Magazine, Griffin reveals she'd not, in fact, fully repressed it. Mary is joined by her Third Rail Press co-founder Alle Mudrick, author of the award-winning memoir Blue Hour Homecom...

This is part two of my conversation with memoirist Greg Marshall. In our conversation, we cover how to write a better paragraph, a technique Greg calls "literary Mad Libs," and how nonfiction writers should use all the same tools that fiction writers do.  About Greg: Greg Marshall is the author of Leg: The Story of a Limb and the Boy Who Grew from It (2023) and The Book Incubator's current memoiri...

This week I'm talking with my dear friend Greg Marshall, our memoir instructor inside the Book Incubator. Greg talks about how he wrote his own memoir, Leg, and how he didn't abandon the material in early drafts when it wasn't working. He just kept circling the same stories and recombining them until they found their shape. We also get into one of my favorite ideas from this conversation: "narrati...

Register for my free workshop, How Much Money Can You Make On Your Book?, at workshop.thebookincubator.com . Live on Sep 10th or register to get the replay! Publishing is a black box for aspiring authors. You don't know what you don't know about the industry. But Publishers Marketplace is an aspiring author's best untapped resource — the most useful resource you don't know you're missing until you...

In this episode, I'm sharing six ways I've found to make my own writing more pleasurable—the actual habits that get me into the story faster and with less friction. Some are practical (like why I don't write sitting at a desk). One of them has been the single biggest game-changer for my writing life recently. Interested in dictation for your writing process? Here's the podcast episode I mention, H...

For years I've said the reason I'm not an outliner is that once I've outlined a story, I feel like I've already written it—and it stops being fun.  But a writer in the Book Incubator recently brought me a more specific version of this problem: what happens when you love your outline, don't want to change a single thing about it, and you've still lost all your excitement to actually sit down and wr...

I was talking recently with a writer in The Book Incubator who'd hit a very specific kind of revision fear, and that conversation (along with being mid-remodel and thinking about load-bearing walls) led to today's podcast episode. I walk through a quick exercise for how to revise character arc in your own manuscript without unraveling the whole plot — and how to tell when it's actually a sign you...

There's a scam going around publishing right now, and I couldn't stop thinking about it until I made an episode about it. A few months ago I got targeted. Then three different writers emailed me asking if an email they'd received was real. Then I got targeted again—and that time I actually clicked the link. Here's the shape of it: an email lands from someone who sounds exactly like a real editor,...

This is Part 2 of Mary's conversation with Rufi Thorpe, where they finally try to take on the question everyone in this world pretends is already settled: can writing actually be taught?  Mary and Rufi get into what they think genuinely is teachable — permission to chase your obsessions, the "rules" of story that work more like physics than commandments, the tools of craft — and what isn't: taste,...

If you've ever wondered whether creative writing can actually be taught—or felt discouraged by a workshop, MFA program, or critique group—this conversation is for you. In Part 1 of this two-part conversation, Mary Adkins sits down with bestselling novelist and Book Incubator instructor Rufi Thorpe to unpack the writing education they wish they'd had. They discuss why traditional workshop models of...

Mary Pauline Lowry is a crime writer and fellow Texan who just published her debut novel LAST NIGHT WAS KILLER. In this interview, we talk about what success actually looks like when you're a working writer. In this episode, Mary Pauline shares: • The messy reality of publication week • How she found a funny voice in crime writing • What "literary citizenship" actually means  • Why having a writer...

I used to hold two competing ideas in my head. I believed "people don't change"—I sort of prided myself on this vaguely cynical outlook. But then I'd teach the definition of story, which is that a story is about someone changing.  So I harbored this two-clause belief: people mostly don't change, but stories are about when they do. But in practice, it meany that making a character change on the pag...

Let’s talk about what all of us face as writers, all the time: disappointing reactions to our work. I'm talking about more than just rejections from agents or publishers. I mean ALL of it—the negative feedback from people who read our work as we’re writing it. The negative reviews that come in after it’s published. And yes, the rejections that come as we’re pitching it. All over the internet, you'...

This is the season finale of The First Draft Club—and we have huge news. The Book Incubator has a new in-house literary agent! Her name is Hannah Brattesani. She's worked at the Friedrich Agency and Folio Literary Management and is now at Simon & Schuster. She's represented some of the best writers writing today. And now she's on our team to help you turn your manuscript into a sellable pitch....

Stephanie Webb, our marketing director at The Book Incubator, just got a dream book deal with Simon & Schuster. But it didn't come easily—or quickly. In this episode, we talk about: • Why rejection is completely baked into publishing • The psychology of almost quitting (and why it happens right before the breakthrough) • The one editor's insight that changed everything • How book auctions actu...

Of all the writing adages I tend to whine about, "show, don't tell" is probably at the top of the list—because it just isn't true. Good writing involves plenty of telling. The actual craft question is: When is it best to tell, and when is it best to show? My colleague Rufi Thorpe—author of Margo's Got Money Troubles and the best writing teacher I've ever had—came up with an amazing answer. And tha...

Book ideas have their own timeline. They can be persistent, demanding, and impatient—like a kid begging to go to Dave & Buster's. If you sit on an idea too long, it might just leave and find another writer to collaborate with (as Elizabeth Gilbert says).  So what if you decided to grab your idea by the tail this summer and actually write the draft? In this episode, I'm sharing five features of...

A new outlining tool for writers who hate outlining. Outlining a novel feels to me like writing a novel by spreadsheet. I'm not an outliner. But I also learned early on that pure pantsing doesn't work for me, either. I need some structure—some scaffolding for my story. So recently, while revising my novel, I invented something I'm calling The Real-Time Outline. It's simple. It's blowing my mind ho...

If you've Googled "how to market my book," you've probably come across the same advice: show up on Instagram, film yourself, build a following, cultivate your author brand. Here's the thing: most of that advice is not going to work. I've sensed this for a long time, but I didn't have a better alternative—until I realized something based on my experience as a reader, an author, and someone who watc...

There's a kind of feedback that fills you with relief and gratitude, and there's a kind that leaves you with low-grade anxiety—even when the feedback is good and you want to use it. The difference is just one simple thing most readers don't do by default. I've had dozens of readers and editors over the years. And I've realized that even among professionals—agents, editors, trusted writer friends—t...

Coming in with a hot take today: You're allowed to write what's fun. You're allowed to have a good time, to be silly, to write oddball, funny, quirky stuff that brings you pleasure—even if it isn't what would have earned you an A in your creative writing class or warrants an author photo with an "I'm a suffering artist" expression on your face. Love the show? Share it with a fellow writer or leave...

You're allowed to bribe yourself to finish your book. In fact, you should. In this episode, I'm sharing the story of the Goal Reward—a surprisingly powerful tool I've used to finish three published novels and now teach inside The Book Incubator, my MFA-alternative program for novelists and memoirists. The Goal Reward is simple: Pick something you want (as small as an ice cream cone or as big as a...

You're in the middle of writing a scene. Everything's flowing. Then suddenly—you stop. You don't know how your character is going to react to what someone just said. Or you're about to write what you planned to write next, but suddenly it doesn't feel right. So you stare at the blank page. Then you spot your dirty cereal bowl. Might as well rinse that. Next thing you know, you're doing yard work a...

You know those scenes you're dreading? The ones that feel like a slog, where you're just "filling in the blanks" between the parts you're actually excited about? Here's what you need to know: just because something has to happen in your story doesn't mean it has to be a scene. In this episode, I'm answering a question from Cynthia, a fantasy writer in The Book Incubator:  "Should I write scenes in...