How To Write A Great Author Bio That Will Connect With Readers

writer smoking a pipe writing an author bio

You need to create a brief and compelling author bio for use on your website, book jacket, and press releases. But do you know how to write an author bio? We take a look at the key elements of an interesting bio (and which details should be omitted).

Estimated reading time: 5 minutes

Updated April 2022.

Your book is riveting, but your author bio is a snooze.

If you’re afraid the above sentence describes you, well, don’t be too hard on yourself; plenty of brilliant authors freeze up when it comes to writing about themselves in sound bites. They’re more comfortable creating lush fictions, not highlighting their own career achievements and personal anecdotes in (as Morpheus from The Matrix says) “the desert of the real.”

Comfortable or not, you need to create a brief and compelling author bio for use on your website, book jacket, press releases, etc., so let’s take a closer look at the key elements of an interesting bio — while determining which details should be omitted.

1. Keep your bio short

Your author bio isn’t the place to tell your whole life story. 250 words is a good starting place. Once you’ve got that version firmed up, you can create a slightly longer version for PR purposes, or cut it down to 50 or 100 words for other uses such as contributor pages in a print publications, social media profiles, etc. Many poetry journals have asked me to send them a bio as short as 25 words, which is the same length as this very sentence.

2. Write in the third person

Telling your story in the third person may seem a little pretentious at first, but it does make it easier to talk confidently about your achievements. Give it a try.

3. A little history goes a long way

Ask yourself, “does anyone care where I’m from?”

If you’re writing a series of detective stories set in San Francisco and you were born and raised in the Bay Area, sure — that detail could be crucial to your bio. But if your book is a paranormal romance set in Russia, do we really need to know you were born in Iowa and now live in Maryland? (I’m guilty of this myself; just look at my author bio below!)

Mentioning your birthplace, your year of birth, your parents’ occupation, they’re just some of the default things we put in bios: Mary was born in Dayton, Ohio in 1953.

We begin at the beginning by habit. Boring! Cut to the good stuff that really matters to your audience. Maybe your parents’ occupations are crucial to your own story. Maybe a recent accident or current event sparked your latest creative effort. If so, try starting with that. Just be sure of its importance before taking up any extra words in what should be a succinct bio.

4. Your older books may not matter

Again, this isn’t a dictum, merely a consideration, but mentioning the books you’ve already published MIGHT be a waste of words.

Think about it: if you’re Stephen King, everyone already knows what you’ve written; if you’re a relatively unknown author, no one cares what you’ve written.

If you’re in the latter camp, the only thing that matters (other than your author name) is that the details of your life which you choose to include in your bio make the reader want to crack open your book.

5. List SOME of your literary achievements

It’s usually wise to mention any big literary prizes or awards you’ve won, plus the most impressive moments from your publication history. This sort of stuff establishes credibility.

If you’re a highly celebrated writer, no need to be exhaustive (and probably no need to read this article further, since I’m assuming your author bio is already killer).

One thing that is common in the poetry world is to mention where you currently teach, since many poets are also academics. While this does establish credibility, that detail is so ubiquitous in bios that it’s rendered somewhat meaningless. Plus, the way things are going in higher education, you might be adjunct-ing at a new school in a new city every 12 months anyway.

6. Mention the most relevant professional, educational, travel, or personal experiences

Once again, it’s about pulling in the details that will resonate with your readers and fit snugly with the topics you’re writing about. If you’re a crime novelist, your background as a NYC arson detective is going to interest people. If you’re a cancer survivor writing about healthy attitudes towards aging, mentioning your personal medical history is crucial. Writing a Mediterranean cookbook? Talk about how you spent a year going back and forth between Spain, France, Italy, and Greece.

7. Get some outside perspective

It’s tough to see your own life and career objectively. So ask your friends, family, potential readers, and fans what they consider to be the most important or interesting aspects of your life story. Get the advice of your editor, agent, or writing group. And be sure to take good notes on what they suggest!

8. Write multiple bio versions

I always recommend writing a few different versions of your bio. Pass them around and ask for feedback. Then combine the most compelling sections from each version to create an unbeatable Voltron of an author bio!

9. Don’t forget the human touch

Whether you write fiction, essays, self-help, or instruction manuals, you’re hoping to make a connection with your readers. Your bio is also a chance to make a connection, so be sure the thing doesn’t read like a Wikipedia entry. Give it some quirk and character. Make the vibe match your aesthetic. Light and chatty. Dark and brooding. Urbane, but with a weak spot for Wendy’s hamburgers. Remind us that you’re human.

What does your author bio look like? What difficulties did you have writing it? How has your author bio changed as you grow in your writing career? Let me know in the comments section below.

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Chris Robley is an award-winning poet, songwriter, performer, and music producer who now lives in Portland, Maine after more than a decade in Portland, Oregon. His music has been praised by NPR, the LA Times, the Boston Globe, and others. Skyscraper Magazine said he is “one of the best short-story musicians to come along in quite some time.” Robley’s poetry has been published or is forthcoming in POETRY, Prairie Schooner, Poetry Northwest, Beloit Poetry Journal, RHINO, Magma Poetry, and more. He is the 2013 winner of Boulevard's Poetry Prize for Emerging Writers and the 2014 recipient of a Maine Literary Award in the category of "Short Works Poetry."


  1. A resume in a collection could (50/50 here, IMHO) be delivered in a third-person voice, as it then represents one in a list of others who are involved with [whatever]. It would be there at the behest of whomever is running the show and not the individual whose bio material we’re reading. gygulhjljk

  2. Hi sir
    your blog is very important
    Their par very good & important for me

    If you’re writing a series of detective stories set in San Francisco and you were born and raised in the Bay Area, sure — that detail could be crucial to your bio. But if your book is a paranormal romance set in Russia, do we really need to know you were born in Iowa and now live in Maryland? (I’m guilty of this myself)

  3. Good advice Chris…
    However, the important question to ask yourself, before you commence writing a bio: “Why do you do, what you do?”… it is more important than – “Who you are?”. The Bio is also assisting potential readers to choose your work. To connect readers to your work, one needs to tell them why have I written that book?

  4. Good advice Chris…
    However, the important question to ask yourself, before you commence writing a bio: “Why do you do, what you do?”… it is more important than – “Who you are?”. The Bio is also assisting potential readers to choose your work. To connect readers to your work, one needs to tell them as to why have I written that book?

  5. Good advice Chris…
    However, the important question to ask yourself, before you commence writing a bio: “Why do you do, what you do?”… it is more important than – “Who you are?”. The Bio is also assisting potential readers to choose your work. To connect readers to your work, one needs to tell them as to why have I written that book?

  6. Great content, but did you intend to have the story’s photo show someone smoking a pipe? Around the world people are working to stop young people from smoking and these outdated archetypes interfere with that process.

  7. […] Popular BookBaby Posts How to legally quote song lyrics in your book 10 Tips For Creating Your First Children’s Picture Book My 20-Step Plan to Writing a Book: Part 1 (Steps 1-10) Nine Manuscript Editing Software Programs You Should Consider Things I Wish I Had Known Before Self-Publishing My Book How to write a great author bio that will connect with readers […]

  8. I’m currently preparing my very first poetry submission. They are asking for a 50 word bio. I have absolutely no idea what to write so I went searching for suggestions. This article is great for people who are already published, but what does a person who is not put in their author bio? Because honestly, if I’d got that far I wouldn’t be needing to find out how to write an author bio.

  9. I found this article to be most enlightening. Thanks for taking the time to write share your advice.

    This is what I wrote as a result:

    Edmund Alyn Jones is a of course a novelist. He is also an award-winning playwright, and classically trained Shakespearean actor. He claims Detroit, Michigan as his hometown, and the lessons he learned therein as his “PhD in Perseverance.” Edmund is the proud ‘bonus dad’ of two strapping young men, and helped to create a third with his uber-talented (albeit messy) wife, Kennikki Jones-Jones.
    Edmund has performed in venues from Singapore to Denmark, and has even produced a stage play Off-Broadway in New York City. He has been a game show host, professional clown, retail assistant manager, and television spokesperson. As of the reading of this bio, who knows where he may be living. Edmund really likes video games.


  10. And we were not showing author bio till now, Did not know it needs that much.

    By d way, This line is awesome – If you’re Stephen King, everyone already knows what you’ve written; if you’re a relatively unknown author, no one cares what you’ve written.

  11. Chris, every author should read your “How to write a great author bio that will connect with readers” and understand what makes them unique, so that reader’s get a glimpse of a life’s accomplishments earned and what makes their works worth a reader’s time. Today, author’s need to be chief cook and bottle washers, becoming more than they should be. Writer’s should be writhing and leave all the marketing to the so called experts. Marketing is far from a perfect science, but when done right it sets that writer above the crowd. A short bio done right can connect reader and author together that would otherwise not exist.

    1. per your request, below is my author bio.

    Mark Glamack’s professional history includes director, animator, producer, and writer for family entertainment in the motion picture and television industries from Disney to Hanna Barbara, and most other animation studios: Nominated for an EMMY for the series “Life with Louie”; elected six terms as Governor for the Academy of Television Arts & Sciences; and as a patented inventor.

    Then one day out of the blue, God appeared to Mark asking him to write “Littluns: And the Book of Darkness,” the most powerful experience of pure love he ever experienced, changing his life forever.

    The awards won for “Littluns” include: two GOLD “Mom’s Choice Awards;” one for Fiction, and also for “Young Adult Books” in the category of Fantasy, Myths & Legends; the “Dove Award”, “The Indi Award”, and Honorable Mention at the New York Book Expo. You can read about the awards won, and reviews for “Littluns” at

    Mark’s full bio can be found at

    2. You also asked, “What difficulties did I have writing my bio?”

    It wasn’t so much about being difficult, as it was trying to be thorough in 250 words, or less. That’s why I included the link to my full bio.

    3. How has my author bio changed as I’ve grown in my writing career?

    When I was on jury duty the Judge asked everyone to say a little about themselves. I asked him if he wanted the long or short version. After I gave the short version, and finished with his request, he called me a Renascence Man. I never thought of that before, but I guess he was right given all the diverse things I’ve done.

    Although I’ve written scripts and other works, not in a million years would I have even considered becoming an author. Not that I wouldn’t be interested in becoming an author, but with seven projects developed over the last decade, I already had more on my plate than I could handle. Just goes to prove that when with God, all things become possible.

    Now with sales to justify a sequel to “Littluns”, it looks like there will be more to my bio as an author than I had ever thought possible.

  12. Give me the chance to tell a story any day. The requirement to write about me, not so much. I like to include an “Author’s Note” in the back of my historical fiction. But writing “About the Author” for a book or my websites always leaves me stressed. Thanks for the great suggestions – now to figure out how to put them to work, and hopefully reduce the stress at the same time.

  13. Third person is good. It gets us past our self-consciousness. But first person brings us closer to our reader. So, start with third. And then edit to first when you think your book (or career) might benefit or when first might seem less artificial and liven this precious bio up a bit! Stick to third person when you contact seems like the type who prefers formality.
    Best, Carolyn Howard-Johnson

  14. Good article.

    The point that is kind of insinuated but not said directly is this: your bio should help sell the book. Start there and some of the resulting sections become easier. 3rd person has more credibility than first person statements (the exception might be a memoir). Facts about you as an author that either lend credibility in writing on the topic or just plain make you an interesting person win over boring lists of other traits. For example, where you live only matters somewhat if that is that is a predominant element in the book or your market wants to read stories by local writers.

    Sure, you can include statements in your bio just because they are important to you but put that inside the book. Use the published bio for the facts about yourself that qualify you as an expert, or tip people’s interest in you which tips them into reading the book.

  15. Such great advice here. Last one is so important–don’t forget the human touch. I infuse what I hope is some humor into mine. I’m going to check the rest of my bio and compare it to this list. Thanks!

  16. Third person or first i think depends on the person writing it; but both can be done well. Always get someone to check it for you also, so it sounds natural and to the point – i believe this is most important.

    • Actually, it usually depends on an editor or publisher’s editorial policy. I hate writing third person bios but I have seldom been given the option. The one time I submitted without following the guidelines,
      I got it back with a “no, no” note.

  17. Good advice Chris…
    However, the important question to ask yourself, before you commence writing a bio: “Why do you do, what you do?”… it is more important than – “Who you are?”. The Bio are also assisting potential readers to choose your work. To connect readers to your work, one needs to tell them as to why have I written that book?

  18. As well the useful info, I really enjoyed the humor in your piece, Chris. There is such a deluge of advice about the right way to do things (such as write an author bio), that it’s very refreshing to have humor woven in! Thanks!

    Also want to add that as I was tackling writing an “about the author” page for the back of my novel, I found myself really favoring first person as a way to connect more directly with those who had just read my 500+ page historical novel. (I wanted to say thank you–but didn’t.)

  19. My current e-book is a character drama about three troubled women in an international modelling contest. With no promotion whatsoever, it went viral for a few months, downloaded 2000 times.

    I cannot see any relationship between my life and my story.
    I am a man to begin with.
    My first success was as a headline hero racing bike in Mexico.
    My book about engineering won first prize in an international literary contest, got included in reading at high schools and universities, and got fan clubs at OxBridge, Harvard, and UBC, that I know of, as well as other awards.
    I got six years of school. Expelled five times for writing what the schools did not want to read. The second expulsion became a series in MACLEANS that sparked the interest in alternative schooling.
    Why would any woman wanting to read a story about competing women be interested in this CV?

    • Um, off the top of my head –
      If your female characters come across to your female readers as believable, you being a male author sets you apart. Many male authors create female characters who display behaviour more typical of men than of women. (For example: stress response – fight or flight, or tend and befriend?) Obviously, typical “male” and “female” behaviours show up only when we look at large groups of people; any given individual is most unlikely to be average or typical in everything in all situations. But if all your female characters display male-type behaviour on all fronts all the time, I’d be wondering if there was a new type of exogenous androgen leaching into the drinking water.
      Your racing bike background suggests that whether you were making bikes or racing bikes or both, you should have a good understanding of the nature of competition, of how to balance risk vs. reward, of when you get better results from cooperating than opposing, etc. – all principles that could apply to other competitive situations such as modelling contests.
      Getting expelled from school for writing that which your schools thought should not be written might say things about you that would make you interesting to a thoughtful reader – for example, was your being expelled related to characteristics such as being observant, analytic, accurate, not bound by political correctness, thinking outside the box, refusing to comply with directives you saw as stupid/dangerous, a tendency to relay unpopular messages impolitely (now that could make for fun reading), and/or . . . . ?
      As for engineering background/knowledge, it’s totally relevant if your target audience is female or male nerds and things like wardrobe engineering, social engineering, gaming theory, AI, neuroperceptual engineering, or any other kind of engineering is involved in your story. (As Wikipedia says, “Engineering is the application of mathematics and scientific, economic, social, and practical knowledge in order to invent, innovate, design, build, maintain, research, and improve structures, machines, tools, systems, components, materials, processes, solutions, and organizations.” Any of that going on in your story?)
      In the spirit of full disclosure – I’m a female, motorcycle-riding, risk-averse science fiction reading mother of an engineer –

      • Dear Ms. Arsenault,

        I am grateful for your thoughtful and well-considered response to my pique about authors’ bios. Although this is not the place for a conversation, I want to answer your points. My reply extends to 1000 words. I think this longer than the monitor will pass, so I am Sending merely one paragraph on the chance that a live monitor will think it will interest other story tellers who peruse these responses.

        I have sensed that the average woman has better communication between the two sides of her brain than the average man; her senses are keener by resonance. All-together women are more likely to consider all sides of a conflict; manly men bulldoze through. Men see only what they look at; peripheral vision enables women to spot signals of intent like a martial artist. Women are implicit, men are explicit, like East and West; the East does by magic what the West does by engineering — any unknown technique looks like magic or woman’s intuition. Women lack muscle mass; they must avoid collisions like a bicycle. Women have one centre of gravity whereas men have two. The lagging upper centre causes the adolescent male swagger; actresses can’t imitate it in gender benders — they should weight their shoulder pads with 10 pounds. Women have an inner stability affording quick reflexes that surprise men. Women are oppressed; they get their way by learning to pretend submission, as do children and menials. Their act is mistaken for their nature. Girls manipulate male weakness; men hate them. Women use male power; men love them. Women are more supportive and intimate than men; isolated women suffer anxiety. Women have children and hormones that want children; responsibility handicaps women. Nothing would change the world so drastically as making men sick for a week of every month; no general would start a war he could not win in three weeks.

        Men see women as children with boobs; women write their male characters paper thin. Romantic women do not realize that their hero’s dashing urbanity is supported on a sense of superiority like a Southern gentleman’s genuinely generous and kindly noblesse oblige is built on slavery; the highest virtue rises on the basest vice. That is what subtext is all about. Women should write male characters only when they feel that men hurt, too.

        • Many words to say women should write male characters unafraid to admit vulnerability. Sparks can fly when strong women connect with vulnerable men and only when both parties are aware of which head (big head or little head) is driving the action.

      • Dear Ms. Arsenault,

        It looks like 1/4 of my reply to you got on. This is the rest.

        A few trials proved my bio counterproductive. I was seated on stage as guest of honour behind Buckminster Fuller when he spoke here to a packed house of 3000. Bucky graduated from Harvard, I did not graduate from high school; culture clash makes me poison ivy in academe. Neither does my track record sell a character drama.

        My first expulsion ended my public schooling. My photographic memory wrote exams without error. I was working a 40-hour week doing a man’s job and I lived on my earnings. I refused to be treated as a child. I was there to learn, not to be taught; pedagogues do not know the difference.

        5 years later, I was designer-salesman and paid public speaker. My employer started training me to supervise the largest construction projects in the country; with little schooling, my employer led the local industry. That is how I learned the practical engineering that made my best-seller, reviewed in the NY TIMES.

        I was expelled a second time for an assigned term essay telling Why Kids Quit School. I told it like it is. Submitted to the national magazine, that rejected essay inspired a series fomenting the popular interest in alternative schooling that swept the country in the ‘60s.

        I was rejected again for writing a term narrative that was “too mature for a student.” The next year, it was performed as an audio opera starring Canada’s #2 actress of stage and big screen. My opera was mature; my school teachers were not.

        My e-trilogy is an action crime mystery with song and dance scenes, an almost paranormal character drama in a tragicomedic road show about naive fish out of water. It is soap opera for the thinking woman.

        The market returned its verdict on my essay, my opera, my best-seller, and my first novel went viral briefly. My stories can’t be sold, only discovered.

        You question that a man can create female characters. I agree. And women write men skin thin. What do you think of STEEL MAGNOLIAS?

        My main protag is a singleton raised as a son by her General Dad in an overprivileged home; I do not expect many readers to know such an unusual character better than me, so I have a wide margin for error. Most readers know a humble family like my second protag’s, a girl who wants it all; I am not a girl, not a sib, not popular, and I don’t want it all, so what do I know? I speak through the third character whom no reader will believe.

        Fledgling story tellers are told to know everything about their characters. Detail is not character; motive creates character. Complex motives create complex characters. Circumstance creates motive; complex circumstance creates complex motives. Motive drives character. Character drives plot. A story is about somebody who wants something; ET wants to go home. Writing is blocked when motive is lacking.

        Culture dichotomizes reality into subjective and objective, inner and outer, female and male, yin and yang. Women are supposed to live inside; a man with an inner life is disparaged as effeminate. My observer is blind; she can function only by bringing her outside inside. My characters are searching for their other halves —- which is basically what romantic fantasy is all about. Everybody believes the authorized fantasies; whole people are not believed in the demimonde of illusion. Whole people are paranormal.

        In stories, people seek to find or escape from what is missing in their lives. My protags are are not proper women because their parents did not provide all their spirits need to be whole. They search for their whole selves throughout their stories. The whole self is the treasure in the cave guarded by the fearsome dragon, the pearl beyond price, the Kingdom.

        Every morning, I read a couple dozen bios of my competition. I downloaded books by a couple dozen of the most interesting. Not a half-dozen held my interest; one is delightful. An awesome flair for words and expert knowledge do not construct a story. I should not read the bio before I read the book; likewise, no one should read mine.

        For the curious and for readers who know, I wrote strategies and engineering into my story.

        A veteran winner whose parents won’t let her lose, my main protag tells how to win. “Never lead. You will be exhausted. Stay behind the leader. All the trouble will be behind you, and you have only one to beat in the dash to the line. And never forget the one behind you.”

        Leslie spun on the ball of her foot as she dropped her left knee, hands on the floor, to sweep her extended left foot behind Nikki’s advancing heel. The girl went down with a painful yelp as her legs split. Still turning, Leslie straightened both legs against oncoming Erin’s rearward thigh to roll the tall girl over her rising hips.
        “What are you?” Nell gasped.
        Ann sneered, “Aw, she’s just a cranky old gymnast showing off her floor routine.” Ann was Argo champ before entering the modelling contest.

        Whether my protags are feminine depends on defining nature from culture. My main protag is a dancer; she tumbled her attackers with a dance routine. Is dance unfeminine? A woman who can’t defend herself is a child.

        A motorcycle mama might appreciate the car chase when my character shows how they drive in a Bemidji blizzard, describing tach and traction, heel and toe, clutch and gear, and weight distribution for controlled skids; her big brother races stock. Don’t try it at home, girls.

        I am driven to write only when nobody will listen to me about some pernicious, popular persuasion. The publishing industry is striving for popularity. I am not. I have a message. One Flew Over The Cuckoo’s Nest told a message. The Spy Who Came In From The Cold carried a message. 1984 and Fahrenheit 451 are warnings. 007 is popular. Harry Potter is popular. The Hunger Games isn’t even trivial.

        Mea culpa for responding impulsively to Mr. Robley’s blog. There is no fault in his telling what readers expect of authors’ bios. My petty plaint at feeling left out served nobody’s interest.
        You made my day.

  20. Great advice!

    The only element I should except would be the speak-in-the-third-person one. Having read tons of resumes, knowing that a third-person voice is likely being written by the person whose name is on the resume makes him seem as if he’s trying to artificially elevate his stature by subtly suggesting someone else feels this way about him, too.

    I think it’s not an ego trip to present one’s accomplishments with a personal thrust. It does, however, require a delicate touch to not appear overly self-effacing.

    A resume in a collection could (50/50 here, IMHO) be delivered in a third-person voice, as it then represents one in a list of others who are involved with [whatever]. It would be there at the behest of whomever is running the show and not the individual whose bio material we’re reading.

    As always, just IMHO, of course.

    • I very purposefully wrote my website in the first-person, because I wanted to brand myself as relatable and I thought that writing in the first-person was a very practical way to do that. My author bio seemed like it belonged somewhere else when it was the only page written in third-person; so I changed it. I do, however, keep an updated third-person copy of my bio in case it ever comes in handy some place else.

  21. Something else to consider for the short-short version of one’s author bio, the version which will accompany your author photo on the back of your next book: If the themes of your books differ significantly from each other, you may find it better to custom-design a separate bio for each book. For my novel “Bead of Sand,” in which Civil War reenactors figure largely, I mentioned my lengthy experience as a living history reenactor in my bio blurb, and my author photo showed me in uniform playing the fife. Neither this photo nor this bio blurb will be appropriate for the story I’m currently writing, which is completely unrelated.

    I think we might call this kind of maintenance of author bios, adjusting the blurbs to suit their purpose, sort of “keeping it green” – live and lively.

  22. During the Korean War, I was an assassin for the United States Government. 65 years later I cover three live missions in a full length account during that time. No one, from the top down, would ever admit to what my story covers.

      • Typically, yes, your most recent work/awards should go first, unless there are others in your history that make you more recognizable. If you have a bestseller in your catalog, or a prestigious award – you might want to lead with that info.

    • Well, if space is limited, I think it’d be better to say those things while also pointing out something you’ve written. Like, “… is the author of …” That way you’re getting at the accomplishment AND the skill in the same sentence.


  23. If you guys are like me, and agree with Chris about ‘freezing up’, I highly recommend Odesk or Elance. Post the job and what you’re willing to pay. You’ll receive tons of replies, which you then need to sort through. I usually pay $25.00 for a 250 word write up.

    Hire two or three writers to sum it up for you, then edit, or combine the best parts if need be.

    Cheating? Sort of.

    Guilty as charged.

      • Thanks BookBaby, all I want is a Book Review from someone who I know has already read my book. Having difficulty getting them to write one is not easy, especially the most successful in Business people I know. I will never buy a Review.
        You are welcome to read my book, it is Non-Fiction. After working with “Pearls in the Oyster” for 3 years, drilling and mounting the lovely Akoya pearls for the Customers, my passion for pearls had given me the incentive to write my first Edition of “Pearls of Creation A-Z of Pearls”. Marketing it was a pleasure as I did talks even to the ‘Pearl Society of Chicago’ at Eve Alfille’ Studio and Gallery. As my book was well received I gathered as much info on pearls as I could, even visiting 3 of the 7 Pearl Farms. One Freshwater pearl farm in Camden, Tennessee. Paspaley Pearling Co, with their perfect pearls in Australia and New Zealand with the Abalone mabe’, all came in to the 2nd Edition, with their contact details and lovely color pics. A comprehensive cross-referenced Dictionary and all came together like a puzzle.

  24. […] 9. Use your Author Bio to intrigue your readers. Time to tell the world about YOU. What is it about your own life experiences that will make your book worth reading? For some tips on what to include, check out our article “How to write a great author bio that will connect with readers.” […]


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