When Chantelle Aimée Osman moved from Amazon’s Lake Union to become Senior Editor at Simon & Schuster’s newest imprint, Simon Maverick, she brought with her years of insider knowledge about what writers need to understand about today’s publishing landscape.
In our latest interview, she shared publishing secrets that could transform how you approach your thriller writing career.
And some of her insights completely upended conventional wisdom about submissions and rejections.
As someone who’s spent years helping thriller writers navigate the traditional publishing maze, I was fascinated by Chantelle’s perspective on the industry’s evolution.
Her role at Simon Maverick, which focuses primarily on indie and hybrid authors while focusing on audio-first publishing, represents a seismic shift in how major publishers are thinking about acquiring new voices.
If you missed that episode, you can check HERE
The Audio Revolution is Creating New Opportunities
The most exciting revelation from our conversation was how audio publishing is opening doors that didn’t exist just a few years ago.
Chantelle explained that Simon Maverick specifically targets indie and hybrid authors because, as she says…
…these indie authors and these hybrid authors are doing so much by themselves. They do as much as, you know, almost an entire publisher does.
For thriller writers, this represents a massive opportunity.
Audio production has historically been cost-prohibitive for individual authors, but now major publishers are stepping in to fill that gap.
Audio production is often very cost prohibitive…it’s hard for an author who’s just going solo to get into some of these retailers.
Writing tip for thriller authors: If you’re currently indie published or considering hybrid publishing, your success in those markets could actually make you more attractive to traditional publishers.
Document your
- sales numbers
- marketing efforts
- reader engagement.
These become powerful submission tools when approaching imprints like Simon Maverick.
Voice Trumps Everything (Even Plot Holes)
Perhaps the most important insight for how to write a thriller came when Chantelle discussed her editing philosophy.
She revealed something that should fundamentally change how thriller writers approach their craft:
There’s one thing that I cannot edit into a manuscript, and it’s the author’s passion and the author’s voice in telling that story… I can always fix pacing or, you know, if there’s a plot hole, like I’m not gonna say who cares. But that’s, these are all things that are fixable. But there’s one thing that I cannot edit into a manuscript, and it’s the author’s passion and the author’s voice in telling that story.
This revelation should be liberating for thriller writers who get stuck endlessly polishing their manuscripts.
Yes, your plot needs to work and your pacing should be tight, but editors can help fix those elements.
What they can’t fix is a manuscript that sounds like every other thriller on the market.
I want them to do it their way and not mine. That’s not my job.
This means your unique perspective on the thriller genre.
So whether it’s
- your background
- your voice
- your particular take on suspense
it is actually your greatest asset.
Writing tip: Before you submit your thriller, read your opening chapter aloud and ask yourself: “Does this sound like me telling this story, or does it sound like I’m trying to be the next Gillian Flynn or Tana French?” Authentic voice beats imitation every time!
Rejection is Navigation, Not Judgment
One of the most damaging misconceptions in the thriller writing community is treating every rejection as a personal failure.
Chantelle offered a perspective that could save writers years of unnecessary self-doubt:
A no in this industry is not a rejection. It’s just a, no, this is not right for me… what you’re getting with that no, is not really a, this is bad. I don’t like it. It’s just this isn’t that cheerleader for you, and that’s helping you weed it out until you find the person that is.
She compared the submission process to browsing in a bookstore, which I thought was so smart.
You know, it’s not like if you go to a shelf and you’re like, I’m gonna buy a book today. And you pick up one and you read the back and it’s not right for you… you’re certainly not like throwing it on the floor and going, this is trash and walking away.
This reframe is crucial for thriller writers who often face multiple rejections before finding their publishing home.
Each “no” isn’t a judgment on your thriller’s quality. It’s actually helping you find the right publishing partner who will champion your work.
What This Means for Your Thriller Writing Practice
The most actionable takeaway from this author interview is understanding that your job as a thriller writer is to write the most authentic, passionate version of your story possible.
Stop trying to write what you think editors want and start writing the thriller that only you can tell.
Chantelle’s insights reveal that the publishing industry is evolving rapidly, with new opportunities emerging for writers who understand how to position themselves strategically.
The key is maintaining your authentic voice while staying informed about industry trends.
Your next step: Identify what makes your thriller different from every other book in your subgenre.
Is it your background, your setting, your particular take on psychological suspense?
That unique element, combined with solid craft, is what will catch an editor’s attention in today’s competitive market.
The publishing landscape may be changing, but one thing remains constant: editors are looking for passionate writers with distinctive voices who can tell compelling stories.
Focus on developing those elements, and the rest can be handled by your future publishing team.
