Writing can be a lonely experience. For most of us who choose to hole up, with or without our muse, in a “room of our own”, solitude is a prerequisite for getting our creative juices, and our words, flowing. It’s a choice we make, but don’t always enjoy. It is simply in the nature of the beast we call our profession.

There are several ways to alleviate the loneliness of writing. One way to escape the solitude comes with the tasks associated with selling and promoting one’s work. This is particularly challenging for those of us who work without an agent or publicist or who self-publish; we must hawk our masterpieces ourselves. Journalists have the opportunity to interact with others in the course of researching articles. And those of us who have conceived and edited anthologies can talk to our contributors in the course of editing and other necessities.

But the best way to find respite from the isolation of writing, I’ve discovered, is through collaborating with another writer. I discovered the pleasure of collaboration in producing the book Birth Ambassadors: Doulas and the Re-emergence of Woman-supported Childbirth in America, with lead author Christine Morton (Praeclarus Press, 2014).

Christine lives in California and I live in Vermont. We’ve only met face-to-face once in the nearly two years we’ve worked together to produce our book, but our friendship will continue long after our book appears on bookshelves and Amazon.com, and our joint promotional activities simmer down. It’s been a happy collaboration.

Christine and I are both doulas whose professional lives have revolved around women’s health, with birth as a focal point. She is a medical sociologist; I am a health communications and gender specialist. We found each other when I was collecting stories for a possible anthology about doula-supported birth. When Christine contacted me to ask if a chapter from her thesis might work for the book, I told her I didn’t think the book was going to happen because I hadn’t received enough first-person stories from doulas, docs and dads; only moms had sent me the stories of their doula supported births. It was then that we got the idea to collaborate: We would work together to edit and refine her budding book, adding in the stories I selected and edited from my potential anthology contributors. It turned out to be an ideal partnership, as I think our book proves.

So, what made our collaboration successful and special? Here are five tips:

1. A Common Goal. First, from the get-go, we had the same goal; i.e., to publish an inviting, intelligent, comprehensive book about doula supported birth in the United States that would be informative, accessible, and user-friendly in its approach. We were philosophically and practically on the same page. For example, as doulas we both embraced the midwifery model of childbirth and we had a shared knowledge of birthing issues. Also, we agreed on the purpose and parameters of the book. And while we liked the idea of being accepted by an academic publisher, we were both comfortable with having a respected lay press bring out our book. The important thing to both of us was to birth our collaborative baby in a classy, credible and enticing way.

2. A Commitment to Good Communication. Second, we communicated well together. We spoke honestly, easily and regularly, either by email or phone. When we didn’t agree on something, we listened actively to each other and then reached a mutual decision about how to proceed. We had some good laughs and when spirits flagged or individual tasks seemed overwhelming in the face of other personal or professional demands in our lives, we supported each other with good cheer and practical help. We remained flexible regarding tasks and timelines and we focused on the important issues at hand. We remained committed to the project, and to each others role in it.

3. Complementary Skills. Each of us had specific skills, experience and knowledge to bring to the collaborative effort. Christine’s awesome research and writing skills, along with her deep experience in maternal health and birthing issues, provided the meat of the work. Elayne’s long years as a women’s health educator and advocate, along with her track record as a writer, journalist and author experienced in book production and promotion added another necessary dimension to the project. And we were both experienced doulas!

4. Camaraderie. From the start, we liked each other. Neither of us was ego-driven and it was clear at the outset that decisions would be made mutually. In addition, we shared a deep respect for each others work and our individual commitment to this project and its purpose. We knew we could work well together.

5. A Contract. Even then – warm fuzzies notwithstanding - we negotiated a contract that formally laid out our agreement in all its dimensions, from respective responsibilities to royalties. We have never had to revisit it but it is good to have it.

Sometimes what I call “the solitude of the studio” is necessary to produce great works, the next War and Peace, for example. There’s no getting around it. But when it comes to writing non-fiction, often two heads really are better than one. At the very least, you won’t find yourself talking to the face in the mirror at the end of a day’s work. You might even realize that your best efforts are even better when they are the product of a happy collaboration.

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Elayne Clift is an award-winning writer, adjunct professor, and writing workshop leader. Her most recent edited collection is Women, Philanthropy and Social Change (UPNE/Tufts U. Press, 2004). Hester’s Daughters, a novel, appeared in 2012.