We publish the bookspeople didn’t knowthey had in them.
New Fundamentals finds founders, physicians, chefs, scientists, and other people who are already shaping the world, and helps them write their first book — at no cost to them, ever.
A publishing house built for people who never planned to write a book.
Most publishers wait for a manuscript. We go looking for the person first — a founder mid-way through building something real, a physician with two decades of case notes worth keeping, a rising voice the culture hasn’t caught up to yet — and we make the case that their story belongs on paper.
Every author at New Fundamentals is invited. We don’t take unsolicited manuscripts, and we don’t run an open call. It keeps the list small, the editing close, and the standard high.
01
Invitation only
Every author is sought out by an editor. We read the world, not a slush pile.
02
No cost to the author
We advance production, editing, and printing entirely. Our authors are never billed for their own book.
03
Full creative freedom
The editor's job is to sharpen the writer's voice, never to replace it. We publish first books, not committee books.
04
Small, deliberate runs
We print in New York and Verona, in numbers that match the book, not a sales target.
Our accidental renaissance, captured mid-crisis: two editors debating something that is probably lunch, a manuscript being “proofread” by someone who is mostly just staring at it, and Janet, far right, doing an Oscar-worthy impression of a woman with her inbox under control. Nobody in this photo knows where the stapler is. (Also, none of these people work here — Marcus generated this in about four minutes because the website needed a photo and the real office was, at the time, on fire. To his credit, it does actually kind of look like the office, and the fake us are convincing enough as long as you don’t look too closely.)
The list
Recent & forthcoming
Six titles, one season. Each from a first-time author we sought out ourselves.
Memoir
The Long Game
A Memoir of Building Slowly
Renata Okafor
Founder, three companies over twenty years
A founder who built and sold three companies over two decades makes the case for patience over speed — a memoir written against the mythology of overnight success.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Essays
Notes from the Margins
Priya Suresh
Cardiologist and first-time essayist
A working cardiologist's essays on mortality, attention, and the small kindnesses that never make it into the chart.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Narrative Nonfiction
Before the Headlines
On Being Watched Too Early
Tomas Reyes
Founder, Meridian Freight
Long before he founded Meridian Freight, Tomas Reyes was profiled, praised, and misunderstood by the business press. Here he tells the story they missed.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Business & Ideas
What We Built
Hannah Lindqvist
Co-founder, Arden Robotics
An unsentimental account of building a robotics company from a garage to a factory floor, and everything that broke along the way.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Fiction
The Unlikely Room
A Novel
Desmond Achterberg
Chef and restaurateur, first novel
A chef's first novel: one dining room, one impossible night, and the strangers who end up seated together.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Essays
Ordinary Hours
Wren Castellano
Climate scientist, essays and field notes
A climate scientist's essays on fieldwork and the long, undramatic work of paying attention to a warming world.
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
Featured Title · Essays & Ideas
The Mayfly & Cathedral
On the Micro and Macro Horizons of Time
A mayfly lives its entire life in a single day. A cathedral outlives every hand that built it. BJ Yurkovich holds both horizons at once, and asks what faith, dogma, and artificial intelligence look like from inside each.
Every mayfly lives its entire adult life in a single day. Every cathedral takes longer to build than its builders live to see finished. In his first book, BJ Yurkovich holds these two timescales side by side — the immediate and the generational — and asks what it means to act with conviction inside either one.
Across essays on artificial intelligence, religious faith, and the dogmas we inherit without ever choosing them, Yurkovich keeps returning to a single question: how should something built for a day reason about something built for centuries? The answer he arrives at is neither cynical nor sentimental — it's an argument for building carefully, on both clocks at once.
“We are mayflies arguing about cathedrals — and cathedrals were built by mayflies who never saw the roof go on.”
BJ Yurkovich · Engineer and founder, first book
Find it on Amazon, at Barnes & Noble, or wherever you get your books.
How an invitation happens
From a name on a list to a book on a shelf.
1
Scouting
Our editors read profiles, trade press, and each other's notes, looking for people with a story that hasn't been told yet.
2
The invitation
We reach out directly. No forms, no query letters — a phone call, and a real conversation about the book.
3
Editorial partnership
A single editor works with the author for the life of the book, protecting their voice through every draft.
4
Production & print
Design, typesetting, and printing, funded entirely by the house. The author never sees an invoice.
The Journal
Notes from the editors, August 2026
A running record of how the list gets made — published by the people making it.
Editor's Letter · August 3, 2026
Letter from the Editor
On why we still believe the best books come from people who never meant to write one.
— Janet Maroni, Editor-in-Chief
Read the letter →
Craft
The Founder Memoir, Done Honestly
Most business books are written to flatter. Marcus on the edits that make them true instead.
Marcus Whitfield · July 12, 2026
Read the piece →
Author Spotlight
Rising, Watched, Unready
Tomas Reyes spent two years as a business-press fixture before he wrote a word for us. Here's what changed.
Ilana Cho · June 9, 2026
Read the piece →
Production Notes
Inside the Verona Print Run
Devon on paper stock, deckled edges, and why we still print in small runs on real presses.
Devon Ashworth · May 18, 2026
Read the piece →
Behind the Imprint
What an Invitation Actually Means
We don't run a slush pile. Here is what we look for before we ever send a letter.
Janet Maroni · April 6, 2026
Read the piece →
Craft
On Editing People Who've Never Been Edited
Ilana on the first-draft habits of brilliant, unpracticed writers, and how to keep their voice intact.
Ilana Cho · March 21, 2026
Read the piece →
Craft
The Ethics of the Ghost Chapter
Marcus on how much editorial hand is too much when a founder's voice is the entire point.
Marcus Whitfield · February 14, 2026
Read the piece →
Editor's Letter
Letter from the Editor
On reading everything twice, and what the second read is actually for.
Janet Maroni · January 4, 2026
Read the piece →
Behind the Imprint
A Season of Nominations
Who wrote in, who we sought out ourselves, and what a season of scouting actually looks like.
Devon Ashworth · December 25, 2025
Read the piece →
Craft
Why We Don't Do Ghostwriters
Ilana on the difference between a collaborator and a replacement, and why only one belongs at this imprint.
Ilana Cho · November 16, 2025
Read the piece →
Production Notes
The Paper We Print On
Devon on why the imprint still chooses uncoated stock and a printer three time zones away.
Devon Ashworth · October 8, 2025
Read the piece →
Editor's Letter
Letter from the Editor
On first books, and the particular courage it takes to write one in public.
Janet Maroni · September 1, 2025
Read the piece →
Editor's Letter · August 3, 2026
Letter from the Editor
Janet Maroni Editor-in-Chief
Every book on our list this year started the same way: someone who had never once thought of themselves as a writer said something in passing — in an interview, on a panel, over dinner — that made one of us put down a fork. Not because it was polished. Because it was true in a way that only comes from having actually lived the thing.
We get asked, often, why we don't just open submissions. Wouldn't we find more that way? Probably. We'd also drown the handful of real books under ten thousand competent ones. A slush pile rewards people who already know how to query an editor, which is a skill almost entirely unrelated to having something worth saying.
So we keep doing it the slow way: reading everything, watching for the sentence that stops us, and picking up the phone. It is a strange way to run a publishing house. It is also, twelve years in, the only way we've found that keeps the list honest.
— Janet
Craft · July 12, 2026
The Founder Memoir, Done Honestly
Marcus Whitfield Senior Editor, Business & Ideas
The founder memoir has a reputation problem, and it's earned. Most of them are written in the passive voice of a press release: mistakes were made, lessons were learned, the team pivoted. Nobody actually talks like that. People talk like that only when a book has been sanded down until nothing sharp is left in it.
My job, more often than not, isn't adding anything. It's finding the paragraph the author wrote at 1 a.m. and then quietly tried to cut in the second draft — the one where they admit they were scared, or wrong, or cruel to a cofounder they still haven't apologized to — and telling them that paragraph is the book.
Founders are trained to sound certain. It's how you raise money and hire people into a company that doesn't exist yet. But certainty makes for terrible memoir. The books that hold up are the ones where the author is willing to sound, on the page, exactly as confused as they actually were at the time.
That's the whole edit, most days: protecting the doubt from the author's own instinct to erase it.
Author Spotlight · June 9, 2026
Rising, Watched, Unready
Ilana Cho Editor, Culture
By the time we called Tomas Reyes, he had already been profiled four times. A trade magazine had put him on a cover with the word 'disruptor' next to his face, which he still winces about. He had, in other words, a public version of himself that was fully formed and almost entirely inaccurate.
What the profiles missed — because profiles are built to miss it — was the eighteen months before Meridian Freight existed, when Tomas was driving routes himself at 4 a.m. to understand why the industry's dispatch software kept failing exactly the drivers it was supposed to help. That's the part of the story with no hook, no headline, and, it turns out, the entire book.
'Before the Headlines' isn't a founder story in the way the press already told it. It's an account of being watched before you had anything worth watching — of getting a public identity handed to you before you'd finished deciding, privately, who you were. Tomas told us that writing it was the first time in three years he wasn't performing a version of himself for someone else's deadline.
We think that's the more interesting story. We suspect readers will too.
Production Notes · May 18, 2026
Inside the Verona Print Run
Devon Ashworth Managing Editor
Every book we publish is printed in Verona, at a family-run press that has been setting type for four generations, on an uncoated stock heavy enough that you notice it in your hand before you've read a word. This costs more than a domestic print run on standard paper. We've never once discussed changing it.
The deckled edge — the slightly rough, untrimmed page border you'll notice on our books — isn't decoration. It's a byproduct of how the paper is actually cut, and we like that it shows. A book that looks machined front to back tends to read that way too.
None of this is really about paper. It's about making a physical object that matches the amount of attention that went into the sentences inside it. If an author spent three years getting a paragraph right, the least we can do is not print it on the cheapest stock that will hold ink.
It also means we print in small runs — often under two thousand copies for a first edition — because a press this careful can't move any faster, and we've decided that's a feature, not a bottleneck.
Behind the Imprint · April 6, 2026
What an Invitation Actually Means
Janet Maroni Editor-in-Chief
People assume 'invite-only' means we're chasing celebrity, or clout, or a name that will move copies on recognition alone. It's almost the opposite. The people we invite are usually not yet famous for the thing the book is about — they're in the middle of it, which is exactly when the account is most honest and least rehearsed.
What we're actually listening for is specificity. Not 'I learned a lot about leadership,' but the exact moment leadership failed them, described precisely enough that we can picture the room. Vague wisdom is available everywhere for free. A precise, particular account of one person's experience is the only thing a book can offer that nothing else can.
Once we find that, the invitation itself is simple: a phone call, not a form. We tell them what we saw in the story, we tell them we'll pay for everything, and we ask if they've ever thought about writing it down. Usually they haven't. That's often the best sign.
Craft · March 21, 2026
On Editing People Who've Never Been Edited
Ilana Cho Editor, Culture
First-time authors who aren't professional writers tend to make the same handful of moves in a first draft: they over-explain, they apologize for their own opinions in footnote-like asides, and they reach for the driest, most careful version of a sentence they actually wrote vividly the first time, in a voice memo, months earlier.
My first read is almost never about the prose. It's about finding the places where the author's actual voice broke through the caution — usually in a story they told me on a call, not in the manuscript itself — and asking them to write it exactly like that, out loud, badly, before they clean it up.
The mistake less experienced editors make with unpracticed writers is smoothing them into competence. Competent prose from a first-time author reads like nobody. What we're actually protecting, page by page, is the specific, imperfect cadence that made us call them in the first place.
It's slower than a standard edit. It's also the only way the book ends up sounding like the person instead of like a manuscript.
Craft · February 14, 2026
The Ethics of the Ghost Chapter
Marcus Whitfield Senior Editor, Business & Ideas
Every editor eventually faces the same temptation: a chapter isn't working, the deadline is close, and it would genuinely be faster to just write the fix yourself and hand it back. I've done it exactly once, early in my career, and the chapter read beautifully and belonged to nobody.
The author didn't recognize their own book in it. That's not a style complaint — it's a structural failure. If a chapter has to be quietly rewritten by someone else to work, the problem usually isn't the prose, it's that the author hasn't yet found what they actually think about the material.
So the discipline I hold myself to now is blunt: I can cut anything, question anything, and push a chapter back as many times as it takes. What I can't do is supply the missing idea myself and let the author sign their name to it. The extra month that costs is the whole reason the book is worth publishing.
Editor's Letter · January 4, 2026
Letter from the Editor
Janet Maroni Editor-in-Chief
I read every manuscript on this list twice before we go to print — once quickly, for how it moves, and once slowly, with a pencil, for whether I still believe it. Those two reads almost never agree completely, and the gap between them is usually where the real editing happens.
The first read tells you if a book works. The second tells you if it's true. A chapter can move beautifully and still be dishonest in some small way — a moment sanded smoother than it really was, a villain drawn a little too clean. You rarely catch that at speed. You only catch it when you slow down enough to ask, of every sentence, did this actually happen the way it's written here.
It is, frankly, a lot of rereading for one person to do across a full list. I don't delegate it. If I can't say I believe every page we publish, I don't think I've done my job, no matter how good the writing is.
— Janet
Behind the Imprint · December 25, 2025
A Season of Nominations
Devon Ashworth Managing Editor
People sometimes picture editorial scouting as a glamorous activity — dinners, festivals, a rolodex of famous friends. In practice it looks a lot like the rest of production: a spreadsheet, a lot of reading, and a running list of names that gets crossed off far more often than it grows.
This season, most of the strongest nominations came from other authors on our list, not from agents or publicists. Renata Okafor sent us three names after we published her; two didn't pan out, one became a book you'll see announced next year. That ratio is fairly typical, and it's part of why we treat author referrals so seriously.
We also turned down more strong candidates than usual this season — not because the stories weren't good, but because the timing wasn't right for the person telling them. We'd rather wait two years for someone to be ready to write it than publish a book that's early and thin.
The list moves slower than people expect. That's mostly by design.
Craft · November 16, 2025
Why We Don't Do Ghostwriters
Ilana Cho Editor, Culture
We get asked constantly whether we pair our authors with ghostwriters, especially the founders, who are busy in a way that makes the offer tempting. We don't, and it isn't a purity stance — it's that a ghostwritten book by a first-time author reads exactly like what it is: competent, structured, and hollow where the specific person should be.
An editor and a ghostwriter do almost opposite jobs. A ghostwriter produces prose in someone else's name. An editor pushes the actual author to produce it themselves, badly at first, and then again, until the sentences sound like nobody else could have written them.
It is slower and more frustrating for everyone involved, including me. Authors miss deadlines. Drafts come in rough. But the alternative — a smooth, professional, interchangeable manuscript — isn't a shortcut to the same book. It's a different, worse book that happens to have the right name on the cover.
Production Notes · October 8, 2025
The Paper We Print On
Devon Ashworth Managing Editor
I get asked, more than almost anything else, why we print in Italy instead of finding a domestic press that could do it cheaper and faster. The honest answer is that we tried a domestic run early on, and the paper — while perfectly fine — didn't feel like it matched what the authors had put into the books.
Uncoated stock absorbs light instead of reflecting it, which sounds like a small thing until you're holding two otherwise identical books side by side. One feels like a product. The other feels like something somebody made. We chose the one that feels made, and we've paid the shipping premium every season since.
There's a longer lead time that comes with all of this — six to eight weeks longer than a domestic run, plus the ordinary chaos of international freight. We build it into every production calendar and have never regretted it. The book is the whole reason the company exists; the paper it's printed on is not a place to economize.
Editor's Letter · September 1, 2025
Letter from the Editor
Janet Maroni Editor-in-Chief
Nearly everyone we publish is doing something for the first time in front of an audience that already knows them for something else. A founder writing a memoir risks sounding less certain than their investors expect. A physician writing essays risks sounding less clinical than her patients assume. There's no professional cover for a first book. It's just you, on the page, without the job title to hide behind.
I think that's exactly why the books are good. Nobody on this list is trying to build a writing career off this one title — they're trying to say one true thing, once, as clearly as they can. That kind of urgency is hard to manufacture in someone who's published eleven books already and is thinking about the twelfth.
So when people ask why we only publish first-time authors, this is the real answer, more than the invitation model or the funding: a first book, written by someone who has everything to lose and nothing to gain professionally from writing it, tends to be the most honest book that person will ever write.
— Janet
Who does the editing
A small editorial room in New York.
Janet Maroni
Editor-in-Chief
Janet founded New Fundamentals after a decade acquiring narrative nonfiction at two of New York's oldest houses. She reads everything twice.
Marcus Whitfield
Senior Editor, Business & Ideas
Marcus works with founders and operators translating hard-won judgment into books. Previously a longtime editor of essays and memoir.
Ilana Cho
Editor, Culture
Ilana edits the imprint's cultural criticism and profile-driven titles, and writes the occasional Journal dispatch from the road.
Devon Ashworth
Managing Editor
Devon runs production and keeps every book on its (real, honest) schedule, from first draft to the printer in Verona.
Know someone who should be writing a book?
Nominate a writer.
We accept nominations from editors, agents, and readers — not from prospective authors themselves. If someone belongs on this list, tell us why.