About this episode
Back in the 1990s,
, then a young reporter, interviewed her grandmother extensively about her experiences as an Auschwitz survivor. In this episode, Leah discusses her book-development journey working with coach & TBIHTW host Paul Zakrzewski. If you’ve been overwhelmed by a book you want to write – but aren’t sure where to start – this is the episode for you.Discussed On This Episode:
The Lost: A Search for Six of Six Million, by Daniel Mendelsohn
My uncle often went missing. I worried about the day he wouldn’t come back, The Globe and Mail, Oct 8, 2021
Highlights
How Leah's interview with her grandmother in the 1990s resulted in the "bubbe tapes"
How the book coaching process helped Leah evolve her idea
Influence of Daniel Mendelsohn's The Lost: A Search for Six of Six Million
Highlights of Leah's June "roots" trip to Hungary to research her grandmother's story
Leah's recent publication successes with an essay about tattoos & intergenerational trauma; and another essay about being in a interracial marriage and competing historical traumas
Leah's background as a journalist and its impact on writing her memoir
Leah's work as creator and editor of Esoterica Magazine
Credits
This episode was edited and produced by Chérie Newman at Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions.
Interview Transcript
[music]
PRE-INTERVIEW QUOTE (Leah Eichler): Yeah, it's an overwhelming task. And the research alone seemed to be above my abilities at the time. You know, I didn't think I was capable of doing anything about this. And so, it's pretty remarkable even though we're not done yet, what we've accomplished so far.
HOST INTRO (Paul Zakrzewski): Welcome to "The Book I Had to Write." This is the podcast where I talk to authors about their most compelling stories, and why these journeys matter to anyone who wants to publish.
Hey, this is Paul Zakrzewski. Here's a quick story for you. Last year, I got an email from a potential coaching client named Leah Eichler. Now, back in the mid-1990s, Leah was a young Canadian journalist working for places like "Reuters" and "The Jerusalem Report."
And Leah decided to use her newfound skills for a personal project, for six hours she interviewed her grandmother all about her life before and after World War II. They talked about what it was like to be a Hungarian refugee, an Orthodox Jewish woman, but most especially about being an Auschwitz survivor. Leah called the tapes from this interview the Bubbe Tapes. Bubbe is the Yiddish word for grandmother.
As you'll hear in our interview, Leah carted around these tapes for years. She calls them her most valuable possession, you can hear her banging on them during the interview. And she wanted to use them as the basis for a memoir about her grandmother's life, except she had a problem even listening to them. So, as we started working together, Leah's relationship to those tapes began to evolve. And at the same time, Leah's relationship to her own story changed as well.
So, one of the main questions hanging over this interview, if there is one, might go something like this, how does your book change as you began to dive into writing it? Now, I've never before interviewed a client of mine, and I wasn't really sure how things would pan out. But to my surprise, the conversation became this really great opportunity to reflect on the surprising ways that the coaching relationship can help to shift the writing process, call it a state of the union between coach and client. I think if you've been overwhelmed by a book you wanna write, and you aren't sure where to start, you're gonna get a lot out of Leah's experiences.
Paul Zakrzewski: Welcome Leah, it's great to have you on the show.
Leah Eichler: Thank you. It's such a pleasure to be here.
Paul Zakrzewski: So, I want to start things off by taking us back to the beginning, when we started working together. Back then I asked you, "Why is this project important to you?" And you wrote me back, you said, "I've been putting this off for 25 years, and I'm not sure I can do it any longer."
Leah Eichler: Wow, I remember feeling that.
Paul Zakrzewski: Yeah, you do?
Leah Eichler: Yeah. Well, you know, it's interesting. So, you know, what inspired me to reach out to you... I mean, I've been a journalist my entire life, my entire adult life, and then I turn into a fiction writer. Stories are really important to me. But at the back of my head, was something that gnawed at me and, you know, I had an internal monologue with myself that never quite stopped. And it revolved around what you now know I call the Bubbe Tapes.
So, when I was very early in my journalism career, I sat down and interviewed my grandmother, who was one of my primary caregivers growing up. And over the course of six hours, I asked her questions about her life before the Holocaust and her experience during...a little bit about that as much as I could.
And I kept these six tapes with me forever. I mean, they were literally the most important items in my life. I kept them in my safe sometimes when there was nothing else in my safe. I kept them on my desk, I kept them beside my bedside table. I moved with them. I touch them to make sure they were still there. And there was something about them... I couldn't listen to them, but I felt like they were calling me to do something with them. And that urge became just too much and that's when I reached out to you.
Paul Zakrzewski: Do you remember what your first idea for the book actually was, like, what your first concept was when you approached me?
Leah Eichler: I hate to say I don't. I wanna guess that it was just a straight telling of my grandmother's story but.... That was probably it. I was thinking about taking what I now know is a very traditional route, which is explore her story as I would a researcher and follow her path and have it all be about her experience as a very traditional, you know, for lack of a better word, Holocaust memoir, as told by a second or third generation writer.
Paul Zakrzewski: Can you tell me more about your grandmother, she seems to have had this really big presence in your life.
Leah Eichler: You know, she was really...and it still...it hurts until this day. She was really like nobody else. And we have this very intimate almost, you know, mystical relationship. I mean, our common language was a mixture of English, Yiddish, Hungarian words, and hand gestures, but she understood me on a level that I don't think anyone else in my family did. And if you were to look at her, you wouldn't expect what lay underneath.
I mean, she came across as a very orthodox, you know, elderly Jewish woman. I mean, she looked...you know, she always wore very long clothing, you know, her hair was always covered, her skin always glisten because of, you know, excessive moisturizing. But underneath, there was something else, it was like a code, it was a missed opportunity. And I got these glimpses of the life that could have been, had the universe not intervened.
So, you know, for the longest time, I could only listen to the first few moments of the tapes. And even the first few moments reminded me of how different she was. I mean, so, there's a woman who, I guess, was considered educated for where she came from. Maybe she just had a grade, maybe 6 or 8 education.
But, you know, she opened up her tape by saying something so poetic, like, "You are like the dew on the grass, the first thing in the morning, a miraculous act of God." I mean, it's just how she spoke, I mean, who speaks like that? No one I know, no one anymore, at least.
Paul Zakrzewski: When you heard a phrase like that, what was transmitted to you, what did you feel?
Leah Eichler: She saw... There was... I was her miracle, and I know that sounds so grandiose to say today, but I felt it, and it made me feel very special growing up. We didn't grow up in...my grandmother would have lived in what would be considered almost just above the poverty line, really, in a very small, rundown one-bedroom apartment.
But, you know, when she spoke to me, the whole world was an opportunity and everything was open to me, and I really believed it. There was really nothing that could limit me. And I think it hurts, you know, because you go back and you listen to and you think, you know, "You gotta take advantage." So, there's one person in your world that thinks the world of you, and then they're gone, you know, you gotta really recapture that.
Paul Zakrzewski: It's like a lost world. I really love that. So, when we started working together, and you were thinking about doing a memoir about your grandmother, it was clear to me that you were really feeling a bit overwhelmed. Do you remember that?
Leah Eichler: I think I still feel pretty overwhelmed by it. The whole process is very daunting, especially something that...it seems so raw, even years later, it is... Yeah, it's an overwhelming task. And the research alone seemed to be above my abilities, at the time. You know, I didn't think I was capable of doing anything about this. And so, it's pretty remarkable, even though we're not done yet what we've accomplished so far.
Paul Zakrzewski: When we started talking, I asked you to think about some comparable titles or comps. And one of the first books you mentioned to me was Daniel Mendelsohn's magnificent book The Lost. Can you tell me about your relationship to that book, and what it kind of opened up for you?
Leah Eichler: Right. So, up until that point, as much as I wanted to write this book, I can't say I read a lot of Holocaust memoirs. I think it was something I researched and read a lot about when I was much younger. As we've discussed, not every family is really that interested in revisiting the past. So, it was really highly discouraged in me to scratch the surface any more than I already had. And then I was introduced to The Lost.
And I think I picked it up because I had mentioned to someone that I would like to write this book, and they're like, "Oh, you should read The Lost," which, you know, I hadn't even heard of, even though it's a, you know, huge bestseller. That just shows you how little I was paying attention to this area. And, I mean, it's not a short book, and I think I inhaled it in, like, three days, which was really unusual for me for a nonfiction book. But it resonated with me so much, because the underlying core is... I mean, A, it's beautifully written, and it's told like a mystery. I mean, a mystery... And you know the ending, like, you know they die in the end, their friends die, it dies in the end, there's no real, you know, a surprise.
But the mystery of the search really, really resonated with me, because I think, despite all we know, and I keep learning more and more, it just feels like it's never enough. I mean, I always have more questions, I always want to dig deeper. It's like you wanna...
It's like squeezing someone and you can't hug them tight enough because you can't, you know, transpose all the information that they have in their head, because A, they're gone and B, it's not even humanly possible. But yeah, it also touched on his own family history as well, his own family dynamic, which I think is very important. And the search, the actual search was really important to him. And it's really important to me. So yeah, the book has stayed with me for a very long time. It still stays with me.
Paul Zakrzewski: In fact, you just undertook your own Holocaust search, your own roots search. You went to Hungary just a week or two ago. Can you tell me a bit about the highlights of that trip? What did you discover?
Leah Eichler: Wow. So, it wasn't my first trip to Hungary. I did visit when I was maybe 12, and maybe again when I was around 18 or 19. Back then, you know, it was a quick visit of Budapest and nothing else. I remember when I was a child, I asked my parents if we could go to the villages where my grandparents came from, and it was a resounding no. And they said, "It's too far. It's too inconvenient." But I also think there was really not the urge to go back, they wanted to focus on the beauty of the architecture and the city and, you know, the over-the-top European luxury versus the roots of it.
And so, this was...it was a very emotional trip. You know, it's... Obviously, we landed in Budapest and, you know, did the tours. And then when we adapted, you know, we hired a guide, genealogist, and a translator to take us to the villages. Now, these villages, they penetrated my imagination for years, you know. I joke that they could have been Anatevka for all I know, I mean, they may be were real, in some way real, I'm not 100% sure.
So, when we started driving there, it was fairly emotional. There was just so much to say about it. You know, we first went to my grandfather's village, and it's called Nabco [SP], and these are all in the eastern part of Hungary in what's called the Szatmár or Szabolcs Province. It's both villages, and especially my grandmother's villages where I'll get to, are really on the Ukrainian border. That part of Ukraine was actually Hungary way back when.
But we first went to Nabco, and what struck me is, not surprisingly, but ethnic cleansing worked really well. I mean, it's cleansed of any...these are Hungarian villages, or they seem very Hungarian, you see the odd Roma which, you know, they refer to as gypsy, and the guide insists that it's not an ethnic slur there. I doubt that's accurate.
But, you know, ethnic cleansing has worked really well. So, we went to Nabco to start with and we went to the administrative building and asked for information about my...it's not just my grandfather, I mean, we're talking generations of people lived here, I mean, for...like, maybe a couple 100 generations.
The funny story from Nabco is they offered to take us to the Jewish cemetery, where according to the administrative papers, parts of my family were buried. So, I was very excited to go until the guides at the administrative building asked us to follow in our car. And, I mean, we went kilometers outside, or miles outside, the center of this village, like, in deep in the forest. You know, it was actually a little surreal.
We heard a gunshot go off, they told us that's just to scare off birds from the forest or from the orchards nearby. It was a little bit terrifying only because, you know, joking part of my head, which is not actually really joking, is thinking, last time, you know, some of these people escorted us down into the middle of a forest didn't work out so well for us so... But here we are. And we entered an area that was the Jewish cemetery and it's completely empty of tombstones. So it's essentially just a burial ground of unknown people. It looks like no one has been there for decades, likely.
Paul Zakrzewski: Now that you've had a little bit of time maybe to let things settle a bit, how do you feel like this trip might help to inform your book?
Leah Eichler: It's interesting. So, to segue a little bit, because after that Nabco I did go to Beregdoroc, which is where my grandmother came from. And the difference there is the Jewish cemetery, which is in disrepair, but is next to the normal cemetery, did have tombstones and I found... The 12 visible ones, like, three of them were family members, direct family members, my great-grandfather, and my great-uncle. I mean, they were right there. So, I walked towards the cemetery and, you know, the tombstones were kind of dirty with moss. I don't know, I feel like this is a weird calling because I walked right behind them, and in plain English, their names are, like, clear as day.
Paul Zakrzewski: Wow.
Leah Eichler: And it did feel, you know, to be a little bit superstitious, it did feel like a calling, like, I feel like they were calling me to tell the story. And I do feel like it's my responsibility to tell the story. You know, the visit was very emotional. And I think I'm not 100% sure how it's gonna fit into the story as a whole, but I would like to somehow reconcile the mythology in my head.
And I think the mythology a lot of us have of these Holocaust stories, it seems like they're almost too sacred to even examine too carefully. And what this means today, this is the last generation of Holocaust survivors, I mean, perceptions change in every decade and every generation. And I think it's an important conversation to have, to see how this is going to be remembered 25, 50, 100 years from now.
[00:17:09]
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[00:17:25]
Paul Zakrzewski: So, Leah, this feels like a good moment to shift gears. And I want to ask you a bit about the impact of our work together. I'm wondering how you see the idea of your book as having changed. How is your book concept different today than it was, say, eight or nine months ago when we started working together?
Leah Eichler: Right. I mean, it's dramatically changed. And yeah, I really credit you with actually giving me the confidence. I mean, I've been a writer for a very long time, but I didn't feel at all confident to tackle the story. I think the story was too sacred for me, it seemed too daunting. I think I would read The Lost and think, "I can't do that so maybe I should just call it a day and give up."
First and foremost, you've actually given me the confidence to actually do this. I don't think I would have gone to Hungary, I don't think I would have gotten this far, I don't think I would have done the research, I don't think I would have done any of this. I think I would have sat and looked at these tapes for the rest of my life and beat myself up in my head for not doing anything. So, I think that has had a huge impact on my heart, my soul. And on the other hand, you've also allowed me to think out loud and try different ideas. I think it's more fascinating to position it...
There is a bit of not just memoir, but understanding how to position it with additional analysis and bringing, perhaps part of my own story, which I would not have been comfortable doing, and bringing in some social commentary. I don't think I would have ever thought to do that. And I don't think I would have ever had the confidence to do that without your help.
Paul Zakrzewski: You know, one of the big shifts that's happened, that I feel like I can see, is even in your relationships to the tapes, you know, the tapes that you actually just picked up as we were talking because they're right next to you. You told us already what's in those tapes, but what's changed in terms of how you work with them?
Leah Eichler: So, I haven't listened to all of them yet, and I really need to be in a strong emotional space to listen to them. You know, and I think part of it is I realize now it's that self-flagellation, you know. I feel like I should have done more, recorded more, interviewed better. You know, I was a newbie journalist, and I was trying to protect her as well as uncover information. So I was being gentle and I was asking the same question again and again and again because I wanted answers, but I wanted to ease her into it.
And, I mean... I sound like a child in the tapes, like, I sound like my daughter. I mean, it's actually uncanny how young I am there, and how young my grandmother is. You know, it's also...working with you and having this kind of looming deadline of the research, I've had to listen to the tapes, because I feel now that there's... I've disassociated myself a little bit or enough at least to...I need to glean information so I know what I'm looking for.
Paul Zakrzewski: So, being able to listen to the tapes more has given you access to actually being able to verify what's on them.
Leah Eichler: Right. Yeah, I'm trying to approach it as more research versus the last, you know, words my grandmother or...like, my grandmother's voice, or the last words I'll ever hear her say. And I'm trying to approach it as a journalist or as a memoirist or biographer versus a granddaughter who's still kind of hurt.
Paul Zakrzewski: So, one of the goals that you had in our work together was to create new material, new standalone material, new essays that you could publish, both as pieces in magazines, as well as future chapters for the book. And now you've done a couple of them. I just wanted to walk us through a couple of those. The first one is a piece called "Tattoo Jew," which was kind of about your changing relationship to tattoos, both yours and your grandmother's and others in your family. Tell me about that piece and how it's changed as we work together.
Leah Eichler: Yeah, the "Tattoo Jew" piece comes from, you know, my relationship...you know, when I was younger, I was rebellious, I was angry for, you know, my teenage years and I was a bit rebellious when I came back... Rebellious, it means something completely different now. I mean, in an Orthodox Jewish environment, that's very conservative, I was rebellious in that I decided not to maintain that orthodoxy and I got a tattoo, which was...
It seems like nothing now but at the time, it was really scandalous for Jews to have tattoos. I mean, it was...tattoos referenced the Holocaust, you know, tattoos referenced damaging skin to the point where you can't be buried in a Jewish cemetery. These were all the fears. And, you know, I had this really weird relationship with it, because I got it in a way to commemorate my grandmother, although I never told her. And she obviously never wanted to talk about her tattoo, and in fact, really never wanted to show it to me. So, she had a tattoo, she didn't wanna show to me, I had a tattoo I didn't wanna show to her.
Paul Zakrzewski: And this was her Auschwitz tattoo, is that right?
Leah Eichler: Sorry, I should have clarified, it was her Auschwitz tattoo, which I grew up... And, you know, that tattoo, as I write in the piece, and as we discuss it, it struck a lot of fear in me as I was younger. So, where it changed, you know, is...
I don't think I was even so much aware about how...you know, I was aware about how I was trying to channel her through my tattoo, I don't think I was as conscious, even as I was writing it, until you pointed out how my son tried to channel me to channel her through the tattoo.
I mean... And that was a bit of epiphany. I think you said it once when we were going through the ends process, that his tattoo is actually a reference to mine. And it never even occurred to me. And I thought... It was a bit of a shock that that pain... As you talk, the pain and the ink get transferred from generation to generation. So, even as my grandmother tried to protect me, I, of course, would like to protect my children, but there's just some things...you know, I can't protect them from the pain that I felt just like she couldn't protect me from the pain that she felt. And I don't think I made that connection to my son's generation without your help.
Paul Zakrzewski: You just wrote a fabulous piece about being in a biracial relationship, and the ways in which each of your kind of inherited or historical traumas seem to be tripping each of you up, correct?
Leah Eichler: Correct. Yeah.
Paul Zakrzewski: And tell me the news that's just happened with that piece.
Leah Eichler: Yeah. So, I'm working now with "Toronto Life" to have a version of it published, fingers crossed, in September. That's the really exciting news. You know, again, this also relates to how the book has evolved, because this is in no way about my grandmother, but in many ways, it's all about my grandmother, because how did I grow up with this paralyzing fear of another holocaust, and how is that translated into my relationships with people who are also descendant of historical tragedies and traumas.
I mean, my partner is a black man whose family comes from Jamaica and is descendant from the African slave trade, and is a black man in black skin, in our environment, in our world. And it's been very eye-opening for me. I mean, I've received, you know, a real education in the many years we've been together. And I try to get that into the piece, which I call, well, for now, "Let us Compare Tragedies," because I think there is something in human nature about wanting, you know...and it's very...there's something that hurts.
I mean, everyone wants their hurts to be on top and your hurt can't always be on top. And I think that's hard for me. But I think it's also hard for a lot of members of the Jewish community. I mean, you know, you can't put down the Holocaust card and then walk away from the table and say, "My work here is done" because it's not. And that's what I'm hoping to get across in that piece, and hopefully, in the book.
Paul Zakrzewski: Congratulations. Really nice. I love that. I wanna ask you a bit about the work that you started doing back in your 20s, which you've alluded to in this interview. I believe you got your start with Reuters and The Jerusalem Report. Is that correct?
Leah Eichler: Correct. Yeah.
Paul Zakrzewski: And you interviewed lots of famous people. Who were some of them?
Leah Eichler: Yeah. So, you know, I started out in Jerusalem, I worked for the Jerusalem Report, and then I moved on and worked for Reuters and I was a Globe and Mail columnist, freelance columnist, for seven years. And, I mean, I did some independent, you know, research and interviews. Some were for those publications, some were for others.
I actually interviewed Simon Wiesenthal, for my own purposes, in my travel to his offices in Vienna, while he was still alive, and essentially forced myself into a meeting and back then you had to fax him. I mean, it sounds insane.
Paul Zakrzewski: Sorry, Simon Wiesenthal is the Nazi hunter, right?
Leah Eichler: Yeah, yeah. He's the famous Nazi hunter. I mean, obviously, I've interviewed and researched and written about a lot of people. I always talk about Wiesenthal and Morgentaler for very specific reasons. So Wiesenthal is a famed Nazi hunter. And that kind of strikes an image in our imagination about...
I mean, now there have been so many Hollywood films about these kind of hunting down Nazis and the retribution and, you know, the kind of vicarious joy, you know, in doing that. I mean, it's very binary as well. But I needed to see him... Again, this comes down to, is he real, is he not? Is this a figment of my imagination? And I needed to see his office, I needed to know that there was someone out there because back then I think I was still very afraid.
I mentioned Morgentaler, which, you know, your audience may not be familiar with, but he was the very famous abortion doctor in Canada who went to jail... He was a Holocaust survivor, and he fought terribly, like, desperately for abortion rights in Canada, went to jail, because he saw that these back alley abortions were essentially another holocaust. I mean, this was his calling. And, you know, he was someone that I considered a hero and I was fascinated with him. And I was fascinated again, with he took his Holocaust experience...he was a Holocaust survivor, I believe he went to the camps, I can't...I believe so, and decided that he's gonna focus all his attention on saving women. So, those are some of my favorites.
Paul Zakrzewski: How do you feel like your background, as a journalist, has helped you as you go about writing this book?
Leah Eichler: I don't know how much it's helped me, I'll be honest. I kind of wonder if it's hindered me in some way. I think my expectations of myself are so much higher. And when it comes to tackling this topic that's so near and dear to my heart, I'm struggling. And I think I'm angry with myself, because if it were someone else's story, I mean, I think it would be easy. I'm trying to divorce myself from being the journalist so much. I [inaudible 00:29:30] listen to your last podcast and, you know, some of your subjects really rely on their expertise when they approach...
But I'm trying to maybe clean the slate and see if I can look at this in a completely different way. Maybe not as a journalist, maybe not as a daughter and granddaughter but, you know, someone who feels a lot of emotion about what happened, is still saddened by it but also wants to put it into some sort of current perspective.
I'm sure there's a journalism reflex in there that I am exercising, but I don't know if it's helped me as much. And I think anyone who was in my position who was not a journalist could also do this. I think that's what I'm trying to say. It may take them longer, although it's really taken me a long time, but I think anyone else could do it too.
Paul Zakrzewski: In addition to being a journalist and a fiction writer, you also, I believe, in the middle of 2021, launched an online magazine, "Esoterica."
Leah Eichler: Correct, yeah.
Paul Zakrzewski: Tell me a bit more about that effort.
Leah Eichler: I think the pandemic like, you know, any war or any major historical event, it hit me, just like the tapes hit me, like it's now or never. You know, they're these kind of world-altering events where you think to yourself, "I have to do this because, you know, if not now, when?"
And the magazine, you know, really comes out of... Like, I've run major newsrooms for, you know, major media companies, of course, that wouldn't entail fiction, but I missed being around writers. Writers are some of my favorite people. Some of them are terrible, and some of them are wonderful.
But I enjoy the thought-provoking process of reading people's work and mulling over how to script it into something that's beautiful and tangible. And it's a labor of love. I mean, I bankrolled it myself, and I have a friend who helps me with it, Susan. But it's really... I missed being around writers and I thought, "I don't want to be without that community. And if I can't gain entry, I'm just gonna create my own community of writers myself."
Paul Zakrzewski: So, if folks want to find "Esoterica" online, where should they go?
Leah Eichler: Oh, sure. So, esotericamag.com is our homepage. Most of our efforts are directed to Substack. I mean, I'm really loving Substack as a distribution model. And I think, in some ways, it's just recreating the wheel. I mean, it's so similar to the early internet days of, like, blogs and stuff, but I find that discourse is so intellectually stimulating on Substack. So, if you look for "Esoterica" mag on Substack, you will definitely find us.
Paul Zakrzewski: And then if folks wanna find you online and read more of your work, what's that website?
Leah Eichler: Yeah, yeah, leaheichler.com. I have my fiction and my nonfiction there. I have a teasers to a novel. So yes, I would love to hear from anybody. I love to talk writing. It's, again, my favorite topic of conversation. People contact me all the time about their writing and if I can't help them with publication or in my magazine, I love to talk to them about it.
Paul Zakrzewski: Well, Leah, I just wanna thank you so much for this conversation, it's really been a pleasure getting to talk with you.
Leah Eichler: Well, Paul, it's been such a pleasure to work with you. And again, I have to reiterate that I don't think I could have gone this far without your help. It's really altered a lot of my psyche about this book. So, I'm eternally grateful.
HOST OUTRO (Paul Zakrzewski): You've been listening to my interview with writer and founder of "Esoterica," Leah Eichler. I'm Paul Zakrzewski. If you enjoyed the show, then I hope you'll subscribe to it. I'm always grateful for reviews and for sharing the show with friends.
To read a full transcript of this and every episode, sign up at thebookIhadtowrite.com/subscribe. And if you're working on your own book you have to write, or you wanna get started, maybe I can help. I love supporting experienced authors with expert advice and focus coaching.
I help writers craft book drafts, agent pitches, book proposals, and more. Find out more about me and my coaching at thebookIhadtowrite.com/coaching. That's thebookIhadtowrite.com/coaching. And thanks again for listening.
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