You can do this with a business mentor

The first time I met Tracey Timpanaro was in 2011.

She was a freelance writer and editor with a successful career in corporate communications. I was a single mother with a tentative dream.

“You can do this,” she said with a smile. I must have looked skeptical because she said it again. “You can do this.”

She saw hope in me before I saw it myself. And she was the first person who told me I could do it. Everyone else I had spoken to said that starting a business on my own was entirely too risky.

Photo by Kathleen McCall

Timpanaro offered an internship, and over the next year, she peppered me with assignments and feedback. Sometimes I nailed it; sometimes I got it wrong. She was always brutally honest.

I watched the easy way she interacted with clients and the meticulous way she tracked hours. I watched how she made possible what others said was impossible.

One year later, I established my own company. I had learned from her the grit and determination it would take to succeed, so I got to work.

Early mornings were spent at networking events. Late nights were spent creating my website. Weekends were spent at business courses. Every day was spent writing and editing.

Timpanaro was there for my first big break. An international pharmaceutical company wanted a database of formulas proofread by an aggressive deadline. She provided the names of freelancers so that I could cobble together a team.

“And remember,” she said, “you’re worth your rate. Don’t sell yourself short.”

Working around the clock for months, the project was a success. It gave me the confidence to keep going — to aim for bigger and better projects.

Photo by Kathleen McCall

Throughout it all, Timpanaro has remained only an email away. I am thankful for the mentor who started it all.

Today, I speak to single parents who feel tentative about their futures. I see hope in them before they see it themselves.

I smile and say, “You can do this.”

*As published by Johnson Press of America, Volume 13, Issue 5, September 2019

EllaElla Ritchie is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders, and government agencies. For more information, connect with her on LinkedIn or visit the website. She and her husband, Jason, help single parents find hope and healing through a ministry called DivorceCare.


My book has been pirated! Now what?

Last month, one of our authors spotted something unusual.

She came across her book on sale for $16.99 on a couple of websites she didn’t recognize. It was obvious something was wrong. The regular retail price of her medical training book was far higher than what seemed to be a fake price tag.

She immediately contacted us. “Is this legal?” she wanted to know.

No, it was not legal. These two online retailers didn’t have the authority to sell her book, and their sales were not legitimate. This meant that our client wouldn’t be compensated for any sales of her book through these sites.

Unfortunately, piracy is becoming increasingly common. Here are a few things you can do to prevent it from happening to you — and steps you can take if it does.

Register your work with the U.S. Copyright Office.

According to copyright laws, your work is already considered copyrighted as yours as the author. However, you cannot actually sue someone for copyright infringement until you register your work. This simple step provides enhanced protection.

Use a reputable publisher and/or distributor. 

A reputable distributor only partners with retailers that apply digital rights management (DRM) to book files when selling to customers. DRM serves as a means of copyright protection of digital media and prevents illegal copying or re-distribution.

Stay attentive.

Regularly search for your book title, keeping tabs on where it is being sold online. Your publisher or distributor can provide a list of approved online retail partners to help you identify illegitimate sales.

Know the difference between piracy and scams.

In this case, our author did everything right. Her work was registered with the U.S. Copyright Office. We distributed her book through the oldest, most reputable distributor in the industry. And she was checking online regularly.

So what’s the deal?

What appears to be piracy is sometimes simply a scam. There are hundreds of websites that seem to be selling work or giving work away for free, when in fact they are not.

Here’s how they do it: Scammers scrape Amazon and other retailers for inventory then create bogus websites that appear to be hosting your work. To make the sites more believable, they even list a fake number of downloads. When you attempt to download your book, you will be asked to either add your credit card or perform a series of tasks, such as signing up for a trial for software or buying a magazine subscription.

We were fairly certain our author was dealing with a scam, particularly when our emails suddenly landed in our Spam folders. The website links that we were discussing in our emails were flagged as harmful by our email account filters.

So what’s the next step in the case of a scam?

It’s certainly your right to contact the website and ask for your book not to be listed. Many authors don’t bother going beyond that to take legal action because it’s difficult to pin down scams.

As for our author, she is engaging with an attorney to decide whether she’ll take further action. And as for you, be sure to keep these steps in mind for the best protection of your work.

EllaElla Ritchie is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders and federal government agencies. For more information, connect with her on LinkedIn or check out the website.

How to lure your audience – and keep them to the end

Remember the old fairy tale Hansel and Gretel? A boy leaves a trail of pebbles in the woods, promising his sister it’ll lead them back home.

Good communication works like that. An audience is lured by the promise of a destination. They want indicators that help them know where they are along the way. And they’re satisfied when they end up at the big ending.

Good communication is really about earning the trust of your audience – and then fulfilling that trust.

This principal applies to books. Readers want to be certain there is a clear path to a worthy destination. They want to know they can trust an author to take them where they want to go.

The key to building the trust of readers – and to keeping your promise – is the structure of your book. The structure conveys a trusted pathway that helps readers reach a worthy conclusion. Readers appreciate when you build in indicators that let them know where they are on the map.

Let’s take a look at a few ways our authors have developed strong structures. While the methods are different, they each follow through on the author’s promise.


Perhaps the most literal example is Reverend John Miller’s forthcoming book, Journey to Paradise. The cover of the book promises a bold destination: Readers will discover the deepest desires of their heart. Everything about his words and design implies that he and the reader will embark on a trek together.


As soon as the reader peeks inside the book jacket, Reverend Miller gives a glimpse of the journey ahead.

Inner jacket flap

And then in the first few pages, a two-page spread shows the complete map. Again and again, Reverend Miller is reassuring his readers that he knows where he’s taking them.


Along the way, each chapter represents one stop on the trek. As readers are reminded where they are on the map, Reverend Miller is keeping his promise.

Pieces of a Whole

Another example of strong structure is Medicine at the Crossroads, a collection of newspaper articles by cardiologist Dr. Michael Attas. The purpose and promise of the book is to unify the three different parts of a broken healthcare system.

To illustrate unification, his cover design shows three shards of stained glass welded together into one picture.


Inside the book, there are three sections that correspond to the three shards of glass. These are the different parts of the healthcare system that Dr. Attas promised to address in his book.

Although the book looks at many topics and viewpoints related to medicine, readers are provided a solid structure in which they can explore concepts without getting lost.


A third example of structure is Contraflow, by Bill Herrington. Its promise is to tell a gripping eyewitness account of loss and leadership in the wake of Hurricane Katrina in New Orleans in 2005.

The Table of Contents is organized according to the timeline of the events.

To create a sense of impending doom, some chapters serve as a countdown to the storm. And to emphasize the urgency of the situation, the digital time is updated throughout the chapters.

The Take-Away

Effective communication is about fulfilling a promise to your audience.

When it comes to your book, ask yourself, “Where do I want to take my readers?” Then consider, “What is the best pathway to lead readers there?”

Maps, pieces of a whole and timelines are only a few examples. There are many mechanisms you can use as “pebbles” to lead readers and bring clarity to your ideas.

Ultimately, when you and reader arrive at the conclusion, you’ll both be thankful for the journey.

EllaElla Ritchie is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders and federal government agencies. For more information, connect with her on LinkedIn or check out the website.

Three Things You Should Know Before You Publish Your Family Book

Let me tell you: It can be humbling to experience your own business process. That’s what I discovered when I decided to publish a book for my family.

It’s a bit surprising, considering I have the joy of publishing several books every year for other families. Many are kept private, but some are made public, like these:

So I already knew that a book is a beautiful way to honor a family’s legacy. It captures all of the people, stories and pictures that matter. It’s a perfect gift for future generations.

I also already knew the deep emotions that come with a family project. I walk with clients every day through the highs and lows of the process.

But switching from “publisher” to “author” provided a whole new perspective. Here are a few things you should know – from both perspectives – before you embark on a book for your family.

  1. It takes more time than you think.

A book involves many steps. There’s writing, editing, proofreading, formatting, cover design, and printing. Most authors take a year or two to see their ideas in print.

Now add a family to that process. There are questions to write, interviews to schedule, photographs to collect and people to coordinate. There’s a lot to do.

So begin with the end in mind. What kind of book do you want? Do you need it by a certain date? A publisher can help you set a realistic schedule and expectations based on your goals.

In my case, I was aiming for a big event. In 10 months, my grandparents would be celebrating their 75th wedding anniversary. The entire family – a very large Cajun family – would be gathering for the special occasion. I couldn’t think of a better way to honor my family than to publish a book in honor of my grandparents.

My deadline determined the type of book I could produce. I knew I wouldn’t have time for a comprehensive family history in 10 months. So I settled on a coffee table book. Short stories with photographs were more manageable in the time available.

With my goals in place, I got to work.

Title page png borderPreface border


  1. It takes more energy than you think.

You’d be surprised at how difficult it is to gather everyone and everything you need. Especially in a large family. Family members intend to help, but they’re busy.

And when you do gather what you need, it’s a challenge to know what to do with it all. The stories need to be cobbled together, and the photographs need to meet printing standards.

It’s helpful to define the “must-haves” and the “nice-to-haves.” For my book, the must-haves were my grandparents and their 11 children. I pursued them by email and phone until I had an opportunity to connect with each. The “nice-to-haves” were the 30+ grandchildren. I sent a blanket invitation and deadline to contribute to the book.



So be prepared to set deadlines – and then be prepared to blow past them. Be prepared to drive to hometowns, dig through boxes of old photos, and have long conversations. With persistence, the pieces will eventually come together. And with a little patience, a publisher can help you organize content and images in a way that makes sense.



  1. It’s more rewarding than you think.

I thought I knew the satisfaction that authors felt when their books arrive. That is, until mine arrived . . . just six days before the big event.


I carefully pulled open the boxes and looked at my book, reflecting on everything that had gone into the last 10 months. The late nights and the endless scanning of photos. The initial excitement and the growing concern about time. Every big and small decision that went into the design.


I cried tears of relief and joy. It was worth every minute.

The family at the 75th wedding anniversary celebration


SelfieElla Ritchie (pictured during an interview with her grandmother) is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders and federal government agencies. For more information, connect with her on LinkedIn or check out the website.



How Do I Start to Write a Book?

Tired businessman.jpgThis email came in last week from a Houston-area CEO. He wants to publish a book about his business. 


I hope all is well. So my question(s) are, how does one even start to write a book on something there’re passion about? Every time I even begin to think about writing a small book about what I enjoy doing and how others can apply it, I get stressed just thinking about it. How does a person get started? What materials are needed? How long does it normally take for a book to be written?

Thank you.

Here’s my response. It’s shared for all of you business leaders who aspire to write a book but don’t know where to start!

Good morning:

Thank you for reaching out. I understand it may feel overwhelming at first when you’re considering writing a book. Finding the time and a starting point are both challenges. I have a few suggestions.

Outline: You may find it helpful to start by brainstorming a simple list of ideas that you know about. It can be a list of services you provide, or frequently asked questions, or myths about your industry, or your reasons for entering your industry in the first place. It can be anything related to your field. Keep adding to the list as ideas come to you. Then you can use this list as prompts to write when you have the time. Pick an item off the list, and write without worrying about perfection. You can keep it short and sweet. Simply get your ideas down. Pretty soon, you’ll find that you have a collection of writings, which can be the basis of a rough draft.

Accountability and encouragement: Finding the time to write is the biggest challenge for business leaders. We simply don’t have the time. One way to combat this is to join a local writer’s group or to schedule occasional workshops. You may feel inspired to write if you are part of a community. Two Houston-area groups to keep in mind are the Nonfiction Authors Association (there is a Houston chapter that schedules monthly speakers) and Writespace Houston (which offers writing workshops for all levels).

Professional assistance: If it is within your budget, many business leaders turn to professional writers and editors to make it happen. You can hand them a rough draft to edit, or you can hire them to interview you and to write your ideas for you. Either way, their job is to shape your ideas into a book with your goals in mind. We provide writing and editing services, and when we are booked, we refer clients to The Writers for Hire, which is a Houston-based team of writers.

As for materials, most writers simply use Microsoft Word. Many writers take one to two years to write their manuscript, but it can take shorter or longer depending on your time and goals. Everything beyond the manuscript (such as design and images) can be provided by your publisher, so getting your ideas on paper is really all you have to do at this point.

We wish all the best to this business leader and to the rest of you in 2019. Happy new year . . . and happy writing!

EllaElla Ritchie is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders, and federal government agencies. For more information, connect with her on LinkedIn or check out the website.


Author interview: A doctor’s stories forge a vision in American health care

Just when I thought I had heard the best stories that Dr. Michael Attas had to offer, he surprised me.

We had just wrapped months of revising and expanding a collection of his stories, and it was time to write “About the Author.” My task was to sum up Dr. Attas – a renowned cardiologist, retired Episcopalian priest, and founder of the Medical Humanities Program at Baylor – into one succinct biography.

But something was missing. I gave him a call.

“You know, it just occurred to me. I don’t know how you got started. What made you get into medicine in the first place?” I asked. It’s a question posed in his book.

“Ah,” he chuckled lightly. “Well, that’s an interesting story. . . .”

A few minutes later, I hung up the phone, shaking my head incredulously. How could that have happened to him? And how is it that I’m just now hearing about it?

I looked again at the “About the Author” page and smiled, rolling up my sleeves. I suppose it’s only natural that the life of a storyteller should be told through a story.

Because that’s what Dr. Attas is. He is a storyteller—a masterful one at that. And he is unveiling the best of his stories in his new release, Medicine at a Crossroads.



Medicine at a Crossroads is a 200-page collection of stories and conversations to forge a vision for health care. It is for physicians, patients, and anyone in the American healthcare system. In other words, it’s for all of us.

In it, Dr. Attas addresses the most pressing questions in medicine today through the lens of the medical humanities. Individually, each story of illness, medicine, and healing provides a tiny, fragmented glimpse into the heart of a problem. Collectively, the stories forge together to help us find our way to compassionate, humane health care—and, ultimately, healing for all.

We asked Dr. Attas a few more questions to learn how his stories came together.

Author portrait_MAttas2
Dr. Attas at his alma mater, Baylor University. Photo courtesy of the Marketing and Communications Department.

You mention in the Introduction that the collection took shape in the classrooms of Baylor University, where you founded the Medical Humanities Program. What was it like to establish the first program of its kind in the country?

The biggest challenge in the early years was getting other well-established and successful departments to think outside of their own boxes about premedical education. They had to “buy into” the notion that physicians might benefit from an exposure to the humanities.

At that time in Baylor’s history, funding for a particular department was directly proportional to the number of majors. So in a very real way, when a student decided to major in Medical Humanities instead of Biology, it resulted in less administrative funding for Biology. That system, thankfully, has now been changed, and is seen as less “threating” for the classic sciences. Academic “turf wars” are very real, as anyone in higher education can tell you.

We’re grateful for your persistence because the Medical Humanities Program has redefined how students prepare for a career in health care. Of all of the classes offered, what was your favorite class to teach?

I called it Philosophy of Medicine: the Nature of the Patient/Physician Relationship. We explored various models, history, literature, and current political/economic debates. It was so very timely. Students still contact me with ideas and questions in real life that they are struggling with.

One of your former students, Dr. Allison Sellner, confesses in the book to feeling uncertain about what others would think of her untraditional path. “As an early medical student,” she writes, “I felt that my Medical Humanities major needed an explanation, sometimes even an apology. ‘Oh, but I minored in Biology and Chemistry,’ I would say.” She adds, “I realize now that this perceived ‘weakness’ is, in fact, a tremendous asset.” Do you think this stigma still exists? 

There is a nationwide shift in realizing that medical students who are exposed to the humanities actually perform better. Despite this, there is still powerful cultural bias that they might somehow not be able to learn the sciences at the level they need to. Luckily, students like Allison are breaking down those stereotypes.

We’re excited that you’ve collected your best stories into a book for everyone. Do you have a favorite story?

Yes, it’s in a chapter in the Physician section called, “A Moral Claim.” It’s a story about a rancher who had been my patient for nearly twenty years. I had come to know him and his family quite well. After repeated hospitalizations for congestive heart failure, he was running out of options. All he wanted to do was go home with his family to look at his cows in fields of bluebonnets. His land, his cattle, and his family had defined his life, and he wanted to die in their presence.

It still tugs at my heart strings. At some level, it captures the notion of the type of physician I always wanted to become. It took me a while to “get there” I suppose, but hopefully that type of lesson is one that young students will take seriously.

It’s certainly not the only story that stirs emotion. You’re very candid in all of your stories. Have you ever been concerned about sharing any of your opinions or experiences?

I suppose any author wants to be affirmed, yet I’ve never worried too much about any pushback from the sharing of stories. I have had one or two negative emails about the ambiguity of medical ethics and the stories I tell to make a point. I suppose there are some people who like things in nice, tidy little boxes of black and white. Unfortunately, real world medicine isn’t like that.

You emphasize the importance of mentors in the real world. Who have you looked to for guidance over the years?

I had many mentors in my training years. After I went into private and academic medicine, I didn’t often run into many of them, but what they taught me bubbled to the surface at odd times. They became my lodestar when I would struggle.

In particular, a seminary professor named Will Spong – now deceased – was someone I could call on. He always provided a fresh perspective on my struggle to integrate medicine into the other components of my life. He was grounded in reality, not a pie-in-the-sky kind of religion or medicine.

You were already grounded in your work as a cardiologist, but you managed to earn a Master of Divinity alongside your career. What prompted this? And how did it impact your outlook and work?

It’s a long story, but briefly: I was always intrigued by religion and the notion of service. Early pastors who were ahead of their time in the 50s and 60s convinced me that a life of faith and a life of the mind were not mutually exclusive. I also became existentially convinced that both were calling me to a life of service. So, eventually, I knew that to study religion wasn’t a “shift” as much as a natural progression.

So, you’ve recently retired from a 40-year career. You discuss in one of your chapters the relationship between retirement and vocation. This chapter must resonate with you deeply now. How have you adjusted?

I miss my patients. Daily. At night. In my dreams.

I have not missed the chaos, the fatigue, the night call, the computers, and the stresses. 

I have loved the freedom to wander down rabbit trails intellectually, to travel, and to continue to learn and explore this fantastically beautiful world.

It’s one thing to have the freedom to tell stories. It’s another to write them. Tell about the process of writing the book.

The collection is an evolution of articles that I had previously written for The Waco-Herald Tribune. Revisiting them, organizing them, and focusing them was an emotional time for me. It brought back memories that were raw and often hard, yet it also brought back much of the joy that medicine provided me for 40 years.  

One thing that truly surprised me is how important it was to have an editor who “gets me,” both as a writer and as a human. I couldn’t have done this without her.

Ultimately, I have come to think of the book as my gift to my patients, my students, and to others who might read it. Whether it will “change” anything is out of my control.

Of course, your book involves more than the writing. Tell us about the “stained glass” cover design.

In the Introduction, I talk about my fascination with stained glass—the way fragments are hammered together into panes to forge larger scenes. It’s the same way I see medicine. Medicine at the Crossroads is about piecing together the stories of brokenness, grace, loss, and healing into a larger narrative truth. Three panes represent the three perspectives in the book: the physician, the patient, and the healthcare system.

If you could inspire your readers to do something, what do you hope it will be? 

I hope readers will simply ask themselves one basic question: “How will any healthcare system allow stories like this to flourish?”

Because any proposed model must, in my mind, allow for the gifting of stories and the listening of stories. Without this, all of the science in the world will fall on rocky ground.

As readers ask themselves this question and grapple with solutions, they may want to talk with you. How can they do that?

Now that I am retired, I would hope that I’ll always be available to walk with others through their own journeys.

I would prefer not to get into the “telemed” form of medicine that is taking off. I would rather help systems, patients, and physicians fine tune their own lives around creative changes and healthy responses. I also don’t think I have the heart or emotional energy to delve too deeply into the political side of things. I find the dialogue and heated rhetoric too simplistic and toxic. Surely we can do better than this.  

I will always be available for email advice. Except when I am on the river fishing. That is a cardinal rule. 

An avid fly-fisherman, Dr. Attas is also the co-author of Fly-Fishing—The Sacred Art (SkyLight Paths Publishing, 2012).

It’s clear that you’re enjoying your retirement on the river! Before we leave your readers with the book, is there anything else you’d like to mention?

Yes. I told students that in order to survive and grow in this field, you need two things.

One is the willingness and be hurt and wounded and still love and give back. 

The second is community: spouses, friends, and colleagues. No one can do this alone. But if we surround ourselves with others who will honor our journey, then we can do this for the long haul.

Thank you, Dr. Attas. For more information:

Check out the book announcement

Purchase the book

Read the news story


Author portrait_MAttasMichael Attas, MDiv, MD, is a renowned cardiologist, retired Episcopal priest, and founder of the Medical Humanities Program at Baylor University, the first program of its kind in the United States. His revised and expanded essays on contemporary healthcare issues in Medicine at a Crossroads first appeared in The Waco Tribune-Herald. His first book, Fly-Fishing—The Sacred Art (SkyLight Paths Publishing, 2012), was co-authored with Rabbi Eric Eisenkramer to share lessons from fly-fishing on reflection, solitude, community, and the search for the Divine.

EllaElla Ritchie is the founder of Stellar Communications Houston, a book publishing team that provides a peaceful process and pride in every product for nonfiction authors, business leaders, nonprofit organizations, and federal government agencies. For more information, connect with her on LinkedIn or at the website.



What is a Library of Congress Control Number — and how do authors get one?

I didn’t expect to geek out at the Library of Congress in Washington, D.C., but that’s what happened. From the marble floors to the stained glass ceilings, the national library is a glorious place.

I had traveled there to get the scoop on control numbers for self-published authors. But before we get to that, let me share a few fascinating facts about the library itself.


What is the Library of Congress?

It’s the largest library in the world, with about 838 miles of bookshelves and 167 million items. The Library of Congress serves as the research arm of the U.S. Congress.

After the congressional library was destroyed by British troops in 1814, this new library was established thanks to Thomas Jefferson. Jefferson had sold his personal collection of 6,400 books as a replacement. He believed that democracy was dependent on free access to knowledge.

The purpose of our universal library is to preserve and provide access to sources of knowledge in all subjects.

Jefferson library
The original Thomas Jefferson collection

What is a Library of Congress Control Number?

A Library of Congress Control Number (LCCN) is a unique identification number containing a year and serial number.

It’s assigned by the Library of Congress to book titles that are likely to be added to its collection. I say likely because the number is assigned before a book is published. The decision on whether a book is added to the Library of Congress happens after publication. A copy of the book is mailed to the Library for review, and a final decision is made.   

Ultimately, LCCNs help librarians find correct cataloging data for books that have been published in the U.S.

What is it not?

An LCCN isn’t the same as a copyright, although the Library of Congress houses the U.S. Copyright Office.

An LCCN is also not the same as an ISBN. Whereas each format of a book requires its own ISBN, only one LCCN is assigned to a book. You can find out more about ISBNs here.

Do I need an LCCN?

You are only required to have an ISBN for your book, which allows your book to be made available to retailers. You are not required to have an LCCN. You only need an LCCN if you want your book to be made available to libraries.  


What does an LCCN look like?

An LCCN is located on the copyright page of a book. There are two types of LCCNs, so the way your LCCN looks depends on which type you are assigned.

One type of LCCN is called a Cataloging in Publication, or CIP. It’s a set of data that includes information like the author’s name and Dewey decimal system subject headings. It looks like this:



Another type of LCCN is called a Pre-Assigned Control Number, or PCN. A PCN looks short, like this:


Am I eligible for an LCCN?

It depends on a few factors.

Let’s start with the two basics. Is your book longer than 50 pages? Are you working with a U.S. publisher? (Self-publisher, this means you.) If your answers are yes, you’re eligible for an LCCN.

Now let’s figure out which type of LCCN is right for your book. You can be assigned a CIP or a PCN, but not both.

Are you working with a big publisher? A book that will be widely circulated by a big publisher is assigned a CIP.

Are you a self-published author or small publishing company? Most books by smaller entities fall under the PCN category.

If you’re still not sure which type of LCCN is right for you, here’s a simple rule of thumb: Will your books be printed on demand? If so, you are eligible for a PCN.


How likely is it that my book will be accepted into the Library of Congress?

Almost all books with a CIP are accepted into the Library of Congress.

The acceptance rate of books with a PCN is surprisingly good, around 60 percent.[1] This is because one purpose of the Library of Congress is to preserve an account of the nation. Local history and genealogical information are more likely to be produced by self-published authors and small publishers. These materials are valued as part of a holistic view of the United States and its people.


How do I apply for an LCCN?

Your publisher will register for an LCCN for you.

If you’re a self-published author, you can apply on the Library of Congress website at It costs nothing except your time, and it only takes about two weeks to receive an LCCN before your book is published. After publication, send a physical copy of your book to this address:

Library of Congress
U.S. Programs, Law, and Literature Divisions
Cataloging in Publication Program
101 Independence Avenue, S.E.
Washington, D.C.20540-4283


What happens after my book is reviewed by the Library of Congress?

Your book will either be accepted into the collection or rejected. If your book is accepted, your LCCN will appear in the official Library of Congress catalog for librarians. You’ll be able to search it anywhere. If your book is rejected, your LCCN may remain on your copyright page, but it serves no purpose.

Perhaps the most difficult part of the process is finding out whether your book has been accepted or rejected. It can take six months to a year (or longer!) for your book to be processed, and you will not be notified when a decision is made. So be prepared to occasionally perform a Keyword Search of your book at to find out your results.

All the best!



Ella Ritchie is the founder of Stellar Communications Houston, a business communications and book publishing team that brings clarity, quality, and integrity to nonfiction authors, business leaders, nonprofit organizations, and federal government agencies. Connect with her on LinkedIn, Facebook, or the website for more information.

[1] RJ Crayton. “Self-Publishers May Want to Try for Library of Congress Cataloging,” Indies Unlimited,, accessed July 20, 2018.