We wanted to get to know Jennia D’Lima (NAIWE’s Creative Nonfiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How do you determine which life moments deserve to be written about and which should be skipped over to maintain momentum?

The answer to this mostly boils down to what is the focus and/or theme of your piece. If a moment doesn’t support either, that is usually a sign that it doesn’t belong and that it’s being shared from a place that benefits the author more than the reader. However, much like when writing fiction, you can also ask yourself, “What happens to my story if I remove this?” If cutting the moment doesn’t result in a loss of clarity or weaken a character arc, it likely isn’t bolstering the piece as a whole.

 

How do you balance “showing” (scenes) and “telling” (reflection) to keep a memoir engaging?

There isn’t a magical formula for this balance, but do be on the lookout for a passage that reads as though it is describing a chain of events rather than inviting the reader into the experience. There will be times when exposition serves the purpose better than showing can, but the trick here is to be aware of your pacing. If it drags when you’re revisiting that section or feels like it’s jumping from one statement to the next, consider revising at least some of the passage so it’s “showing” rather than “telling.” This is where early readers and trusted writing friends can be especially helpful.

 

What is your advice for authors struggling to articulate why their personal story matters to the world?

First, ask yourself why it mattered to you. How did you change, or how did you change your perspective, beliefs, understanding? What personal transformation occurred as a result? Identify who you were both before and after, and then think of all the other people out there who may have been in a similar “before” position who are perhaps in the “after” spot but feel alone and as if no one else could possibly grasp what they went through. When you question whether your story matters, think about those people and how you could help them feel seen by reading your story. These are no longer anonymous members in your book’s audience; they are now a personalized “why” behind why you’re writing.

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The shortest stories are sometimes the ones that stick with us the most. But while many of us are familiar with the many ways fiction can be written in a condensed format, we may not be aware of a trending market in creative nonfiction—the micro memoir.

The webinar will begin by defining what this form of creative nonfiction is and what it isn’t and what separates it from similar subgenres. Participants will then be shown how tips and tricks for writing short stories and flash fiction can be applied to creating micro memoirs. Examples, resources, and suggested reading will be supplied so that attendees will leave with the necessary tools and understanding to craft their own pieces.

You can join in this conversation on February 19 at 7:00 pm eastern, when NAIWE will host a discussion on working with agents. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Jennia D’Lima is a full-blown logophile. She joined her high school’s newspaper in ninth grade, winning statewide awards for her writing, and expanded her journalism skills by continuing to write and edit throughout her high school years and as a college freshman. While earning her bachelor’s degree in psychology (and minoring in cultural anthropology with a focus on precolonial Mesoamerica) and her master’s degree in applied developmental psychology, her writing and editing naturally skewed toward all things academic. Writing for and publishing in peer-reviewed journals, editing papers for classmates, and writing parenting resource guides honed her research skills. Jennia joined multiple professor-led research groups and completed four internships throughout her academic career. After graduating with a master’s, she worked at a national nonprofit in Washington, DC, and as an assistant researcher at the University of Washington in Seattle. Jennia gradually transitioned to full-time editing. As the host of the Writing & Editing podcast, she loves connecting with others in the community. Jennia enjoys traveling, volunteering, and taking creative photos of books and book-related items in those rare moments when she is not reading or editing.

We wanted to get to know Laura Pennington Briggs (NAIWE’s Business of Writing Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

You’ve mentioned that in nonfiction, the first chapter is often written last. Why is this “reverse” process more effective for business authors?

For business authors, the first chapter is not just an introduction, it is a positioning document. It does several jobs at once: define the problem, establish credibility, clarify who the book is for (and who it is not), and create the momentum to keep reading.

That is extremely difficult to do before you fully understand what the book will become.

Most business books evolve during the writing process. As you draft later chapters, patterns emerge. You discover which ideas are foundational versus supporting, where readers are likely to get stuck, and what language you naturally return to when explaining your core framework. Writing the first chapter last allows you to reflect on the book’s true thesis rather than an early, conceptual version of it.

In practice, this “reverse” process leads to a first chapter that is sharper, more confident, and more aligned with the outcomes the reader will get. Instead of promising everything, it promises the right things. For business authors especially, that clarity is what builds trust and keeps readers engaged beyond the opening pages.

 

You’ve admitted to taking on too much during your first book launch. What are the “few key things” that move the needle for nonfiction sales in 2026?

In hindsight, the biggest mistake most first-time nonfiction authors make is confusing activity with impact. Launches can easily turn into a long list of tasks that feel productive but do not meaningfully affect sales.

In 2026, the needle is moved by a surprisingly small set of actions.

First, clarity of audience and problem. Books sell when readers instantly recognize themselves and their pain on the back cover, the Amazon description, and the opening pages. No amount of promotion can compensate for a vague promise.

Second, sustained visibility rather than launch-week intensity. One strong channel where you show up consistently, whether that is email, LinkedIn, podcasts, or speaking, outperforms a scattered presence everywhere. Readers buy when they hear the same message multiple times, not when they see a one-week blitz.

Third, authority transfer. Nonfiction sales accelerate when someone else’s credibility points to yours. That might be a well-placed endorsement, a strategic podcast interview, or a single respected partner sharing your book with their audience.

Everything else, the graphics, the countdowns, the elaborate launch sequences, is secondary. The authors who sell steadily are the ones who focus on message, repetition, and trust rather than trying to do everything at once.

 

In your discussions on strategic generalists vs. experts, where does “author” fit into that hierarchy for a service provider?

Author is not a job title, it is a positioning layer.

For service providers, being an author often functions as the bridge between expert and strategic generalist. The book does not replace the service, it reframes it. It elevates the provider from “someone who does the work” to “someone who defines how the work should be done.”

Experts are hired for execution. Strategic generalists are hired for perspective and judgment. An author sits closer to the latter because a book signals synthesis, pattern recognition, and long-range thinking. It tells the market that you are not just solving individual problems, you understand the system those problems live in.

That is why authors often move up-market without changing their core skill set. The book becomes intellectual leverage. It allows a service provider to step out of reactive delivery and into a role that includes advising, shaping strategy, and setting the agenda for conversations in their field.

In that sense, authorship is less about writing and more about authority architecture. It changes how people approach you before you ever get on a call.

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Feeling overwhelmed by everything you’re “supposed” to do to launch a book? This webinar breaks down the nonfiction book launch process into clear, manageable phases. You’ll learn how to map out a 4–6 month marketing plan, what actually moves the needle, and how to tailor your approach based on whether you’re traditionally published or self-published. Perfect for authors who want clarity, structure, and realistic expectations

You can join in this conversation on January 29 at 2:00 pm eastern, when NAIWE will host a discussion on working with agents. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Laura Pennington Briggs is the founder and CEO of the Freelance Coach. A three-time TEDx speaker on how freelancing is changing the economy, Laura has helped over 15,000 freelancers start and scale their businesses. She’s an expert on systems, project and client management, marketing a solopreneur business, delegating to team members, retainers, and developing multiple income streams for writers of all stripes. Laura is the author of five books, including the Six-Figure Freelancer, How to Start Your Own Freelance Writing Business, and award-winning Remote Work for Military Spouses. She’s currently preparing to defend her dissertation for her doctorate in business administration.