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We tackle a publishing debate, draw writing wisdom from Taylor Swift, and dig into one of the most common craft problems in fiction — weak stakes and missing tension. Plus a community book shout-out.

THE HARDBACK DEBATE

Beth shares a Guardian article arguing hardbacks are outdated — too expensive, they kill buzz before the paperback drops, and lead with the least accessible format. Beth and Lisa push back: libraries and schools depend on durable formats, sprayed-edge editions have made hardcovers a Gen Z collector's item, and paperbacks consistently outsell. Lisa made hardcover a deal-breaker when negotiating Heart and Souls to protect library access.

Read the article here.

TAYLOR SWIFT AS A WRITING TEACHER

Swift is a master of show-don't-tell — capturing massive emotion in a single precise phrase without ever stating it outright. Beth recommends the New York Times in-depth interview on her songwriting process as required reading for any fiction writer.

CRAFT DEEP DIVE: STAKES, TENSION & CONSEQUENCES

Every story lives or dies on what is at risk. There are always two levels and you need both — external stakes (plot consequences) and internal stakes (identity, belief, sense of self). They must be connected or the story falls flat.

Beth's "So What?" Stress Test — apply to any scene or chapter:

1. State what is happening in one plain sentence.
2. Ask: So what? Readers ask this unconsciously on every page.
3. Answer with a specific consequence — not "things get harder" but something like "she'll spend the rest of her life wondering if he ever really knew her."
4. Ask "so what?" once more. What does this cost the character in terms of who they ARE? That second layer is where the real stakes live.

The Index Card Method: Write one sentence per chapter, lay the cards out, and ask what the stakes are in each. Any blank card is a dead zone — and dead zones lose readers.

COMMUNITY BOOK SHOUT-OUT

Double Crossed by Rebecca Barone — out April 28th. Middle grade narrative nonfiction about Operation Bodyguard, the Allied WWII mission to fool the Nazis about the true location of D-Day. Reads like a spy thriller. Every word is true.

Buy it here.

Join The Waiting Room, our private Facebook community for writers, to connect with authors like Rebecca and get your upcoming release featured in a future shout-out.

NEXT EPISODE: Agent Nikki Carrero from The Rights Factory joins us May 25th!

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First Page Feedback: Charlotte's Hunt for Glory

Beth and Lisa critique the opening page of a middle grade fantasy submission and pull out craft lessons for any writer working on those critical first pages.

The Submission

Charlotte's Hunt for Glory follows 12-year-old Charlotte through a morning routine steeped in grief for her late grandmother and sibling envy — anchored by a rich exploration of hair as identity.

What's Working

• A strong, warm first-person voice with real overall potential
• Efficient emotional layering: grief, envy, and identity all on page one
• Small character moments (sticking her tongue out at the mirror) that do big work

What to Work On

• No fantasy signal. MG fantasy readers expect an early hint of the fantastical — even one small touch. It needs to appear quickly.
• The "why now" test. Nothing distinguishes this morning from any other. Signal that this day changes everything (or something).
• Too much telling. The sister and family dynamics can be revealed through action and dialogue rather than description.
• Watch the clichés. Cascading down her back and stab of envy undercut an otherwise fresh voice.

Craft Takeaways

• Every sentence in your opening must earn its place — if it's not doing work, cut it.
• Most writers warm up in their first chapter. In revision, the real story usually starts later than you think.
• Don't delete cut material — save it. It may fit somewhere else (and if it doesn't, that's okay too).

Next episode: Ask Beth and Lisa — send in your questions!

Writers with Wrinkles is hosted by Beth McMullen and Lisa Schmid.

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The One Where Nobody Ordered the Books | Beth McMullen & Lisa Schmid

Lisa Schmid shares a cautionary tale from the Sacramento Book Festival, where a series of logistical failures turned what should have been an exciting milestone — her first book festival — into a comedy of errors. A week before the event she discovered the bookseller had never ordered any books, resulting in last-minute scrambling, one copy secured, and Lisa packing 20 of her own into her son’s little blue racing-sticker suitcase. She then had to park seven blocks away and roll it through the crowds just to get in the door.

The takeaway from both hosts: never assume logistics are handled — confirm book orders, ask who’s responsible for what, and follow up all the way through. Beth admitted she’s largely stopped accepting event invitations after too many similar experiences. On a positive note, Lisa previews an upcoming signing at Old Haunts Bookshop in Granite Bay — a model of how it should be done. Next week: guest Kolby Sharp, booked as a “palate cleanse” and described as a breath of fresh air for book lovers.

Key Takeaways

• Confirm your books have been ordered — don’t assume
• Ask who’s handling logistics and follow up close to the event
• Bring your own copies as backup if you can
• Check the organizer’s track record before you commit
• One person’s decision can have a major ripple effect on authors, organizers, and readers

YouTube video version

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