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Archive for the ‘General’ Category

Tim Waggoner will be enlightening us at the second annual Retreat to the Springs! Tim has published close to forty novels and three collections of short stories. He writestim pic 2 original dark fantasy and horror, as well as media tie-ins, and his articles on writing have appeared in numerous publications. In 2017 he received the Bram Stoker Award for Superior Achievement in Long Fiction. He’s been a finalist for the Shirley Jackson Award and the Scribe Award. His fiction has also received numerous Honorable Mentions in volumes of Best Horror of the Year. He’s also a full-time tenured professor who teaches creative writing and composition at Sinclair College in Dayton, Ohio. He took time to talk about his life as a writer.

 

Q:       What made you choose your genre(s)?

Tim:    I’m not sure I did choose them. I’ve been interested in horror, fantasy, and science fiction since I was a small child. I was fascinated by the idea that dinosaurs were real creatures who lived and walked on Earth at one time — maybe even right where I lived. And my mom and dad let me watch horror and SF movies on TV (as long as they weren’t too scary). My dad liked to read SF/F/H too, and as I got older, he’d let me read his books when he was finished. I got into reading comics when I was in seventh grade. This was back in the late seventies, and the big wave of 80’s sci-fi and horror movies was just around the corner. By the time it hit, I could drive, and I saw as many of these now-classic films in the theater as I could. Growing up with all these influences, it’s no wonder I write the kind of stuff I do.

 

Q:     What do you consider to be the first meaningful things you wrote? (For example, I had a poem published in a national magazine when I was 10. I then wrote my autobiography when I was 12, but my mother said no one would buy it until I had done something meaningful. I then wrote a “Nancy Drew” book the next year. Even though I’ve published nine books, those three things are what stick in my mind.)

Tim:    When I was sixteen, I took a creative writing class in high school. There, I wrote a story called “The Last Christmas Present” about the last surviving Christmas elf who is trying to continue delivering presents on his own and having great difficulty managing it. One Christmas eve, the elf sees a young boy about to be hit by a car, and he pushes the boy out of the way, saving his life. Unfortunately, the elf is hit and dies from his injuries, his sacrifice being the last present he’ll ever give. This was the first story where I consciously tried to focus on an emotional core, and I realized the difference it made in my writing. The teacher — Mrs. Vagedes — read the story aloud to the class. She nominated me for writer of the month (an honor I didn’t even know my high school offered), and I was interviewed by a local paper, which printed the story alongside my interview. So “The Last Christmas Present” was my first official publication, too.

 

Q:     Is there anything you wish you had not written?

Tim:    My first published novel was a work-for-hire piece of erotica called Dying for It. It was about husband and wife private detectives who had trouble keeping their hands off each other when they’re working. I enjoyed writing the book, and it appeared under my own name. I still list it in my bibliography. But once it came out, I was no longer eligible for a Bram Stoker Award for Best First Novel (an award in the horror genre). My next published novel was a horror story, The Harmony Society, and I think I might have had a shot at the award if I hadn’t written Dying for It. Dying for It came out in 2001, and it would be sixteen more years before I finally won a Bram Stoker Award (this one for a novella called The Winter Box). But this is such a mild regret. As I said earlier, I was happy with Dying for It — and I still am.

 

Q:     Do you read your books after they’re published?

Tim:    Nope. I don’t read the anthologies or magazines my stories are printed in, either. In the movie The Gumball Rally, which is about a cross-country road race — Raul Julia plays a character who, just before the race begins, breaks off his car’s rearview mirror and tosses it in the back seat. He says, “The first rule of Italian driving: What’s behind me is not important.” I feel it’s better to focus on what I’m working on now, and what I’m going to be working on next, rather than stuff I’ve already had published. Every once in a great while, I pick up a book and read a few lines. I never remember writing them, and they always strike me as much better written than what I’m capable of producing now. This reminds me why I shouldn’t re-read my own books!

 

Q:     How do you feel about self-publishing? It has lost a lot of the stigma of “vanity” publishing.

Tim:    I believe you’re right about self-publishing no longer being viewed as a lesser form of publication — for the most part. What concerns me about it is that if writers can publish their work so easily, what incentive do they have to improve their craft? How do they even know their craft needs improvement? In many ways, self-publishing is like making YouTube videos. People can make a video where they sing, perform on a musical instrument, perform a comedy skit, etc. It’s a wonderful form of self-expression, but how many of these performances would we consider to be of professional quality? How many would be pay to see? I’ve no doubt there are self-published novels as good as anything that’s traditionally published. But traditional publishers vouch for the books they produce, giving readers confidence that these books are at least up to a certain standard. There’s no such assurance with self-published work. On the other hand, self-publishing is a great avenue for works that don’t easily fit into a marketing category whether because of content, length, etc. But it’s the instant gratification aspect for writers that worries me about self-publishing. Over the last few years, I’ve heard student writers say variations on, “I don’t care if my book isn’t good enough to be traditionally published. I’ll just self-publish it.” As a teacher, I wish I knew what to do to change that attitude.

 

Q:     From when you first started seriously pitching your first book, how long did it take to be picked up?

Tim:    As I said earlier, my first published book was Dying for It. I’d once collaborated with the editor on a short story, and he contacted me and asked me to pitch some ideas for the erotica publisher he was working for. I pitched a few, he liked one, gave me a contract, and I started writing it. It didn’t take long for me to get the contract. I was in the process of developing a second novel for the editor — this time an erotic horror story — when the company folded. I’ve since written and published over forty novels, and most of those have been sold on a pitch or an outline, and only then do I actually write the book. It’s been close to twenty years since I’ve written a book without having a contract in place first.

 

Q:     What is your writing routine? Do you have one?

Tim:    I teach college composition and creative writing in my day job, so I write when I’m not teaching. I tend to start slow on a book. I work from an outline, and I produce maybe twenty pages a week, sometimes more, sometimes less depending on if I have papers to grade that week. Then when I get past the halfway point on a book, it’s like coming down a hill on a roller coaster. I pick up speed, writing every available moment I can find until the book is finally finished. Once I have an outline in place, it usually takes me about three to four months to write a book this way.

 

Q:     If you didn’t write in your genre, what would you be writing?

Tim:    Mysteries, maybe. I enjoy series detective fiction, and I think it would be a lot of fun to develop a sleuth I could tell many stories about. I might write thrillers. The thriller is a close cousin to both mystery and horror, so it might scratch both of those itches for me.

 

Q:     What was your harshest rejection? What was your best rejection?

Tim:    I don’t recall ever receiving a rejection that I considered too harsh. I did once receive an email from someone I didn’t know, written in all lowercase letters, no punctuation, that said you write badly. My best rejection came from an editor at a German publisher which prints translations of many English-speaking writers’ horror novels. When I inquired about the possibility of their publishing translations of my novels, the editor wrote back apologizing, saying my work for too good for them to publish.

 

Q:     What did you do when your very first book arrived? (I opened my first book and smelled it.)

Tim:     I can’t remember. I’m sure I ran my fingers across the cover, held it in my hand to feel the weight, opened it to the title page to see my name printed there, opened it to the middle to see what the text looked like, and of course smelled it. Aren’t these things all writers do?

 

Q:      Where do you think your genre is going? What are the changes you’ve seen?

Tim:    Horror is poised for a new renaissance, thanks to the recent spate of arthouse horror films, literary horror novels, and popular original films and series that debut on streaming media. Major publishers stopped producing horror for the most part after the horror boom of the 1980’s fizzled out in the early 90’s. The small press stepped in to fill the gap, and now horror has a strong, thriving small-press scene. But major publishers are once again establishing horror lines, and we should start seeing a much stronger presence of horror fiction in the mass market. It’s a great time to be a horror writer!

 

Q:     Do you ever think back on your first book and wish you’d done something differently?

Tim:    Never.

 

Q:     Do you recommend getting an agent? How many agents have you had?

Tim:    I’m currently on my third agent. I got my first one when I was twenty-six. I’m fifty-five now. If someone writes novels and wants to be traditionally published in mass market, an agent is a must. Most larger publishing houses won’t look at a book unless it’s represented by an agent. But if you want to publish with the small press or self-publish, an agent isn’t necessary. I have novelist friends who don’t use agents, who prefer to find their own deals and negotiate their own contracts. But unless you know what you’re doing when it comes to the business of publishing, and you’re confident you can negotiate aggressively, I think you’re better off with a good agent. I’d rather write than deal with business stuff, so I prefer working with an agent.

 

Q:     Anything else you’d like to add?

Tim:    Not that I can think of.

 

Retreat to the Springs! takes place Aug. 2 to 4, 2019, in Yellow Springs, Ohio. Besides Tim Waggoner, we will also have Maddie James, and Jeffrey Marks on faculty. For more information, go here.  

 

To keep our intimate setting and personal attention, the workshop is limited to 25 people. 


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Denver, Colorado, 2019

Another shooting —
Something’s wrong.
Another town is
“[Somewhere] Strong.”

As students become
First Responders,
Parents rush in and
Each one wonders
“Was it mine?”

Some parents will grieve a lost daughter or son.
Others will grieve
Because theirs was the one.

Loud voices will now enter the fray,
Yelling “Gun control!” and “RKBA!”:
Another debate without a solution.

As the country grieves even more lives taken,
Another school mascot
Becomes “[Something] Nation.”

Wendy Hart Beckman
Virginia Tech, class of 1980
A sad member of Hokie Nation
Written May 8, 2019

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Retreat to the Springs! will be offered Aug. 2 to 4, 2019, in Yellow Springs, Ohio. Maddie James, romance writer and indie publisher, is one of the faculty members for the retreat. Here we get to know her a little better.

Romance writer Maddie James

Maddie James

 

 

Q: What made you choose your genre(s)?

 

Honestly, the genre chose me! It took hold of an 11-year-old girl who cried inconsolably after Rhett told Scarlett, “Frankly, my dear, I don’t give a damn.” That day, this girl vowed that every story here and evermore deserved a happily-ever-after ending. Besides, I grew up kissing my pillow. Writing romance was a given.

 

Q: What do you consider to be the first meaningful things you wrote? (For example, I had a poem published in a national magazine when I was 10. I then wrote my autobiography when I was 12, but my mother said no one would buy it until I had done something meaningful. I then wrote a “Nancy Drew” book the next year. Even though I’ve published nine books, those three things are what stick in my mind.)

 

Probably the note I wrote to my kids’ teacher explaining why I didn’t agree with her philosophy about how my kid should choose a book from the library. It was poetic and oh-so-convincing but I’m pretty sure said kid lost the note on the way to school. Sigh.

 

Q:  Is there anything you wish you had not written?

 

Yes. A couple of Op-Ed pieces. I did learn a couple of valuable lessons though by writing them — the pen is powerful and be ready to back up what you wrote to your family.

 

Q: Do you read your books after they’re published?

 

I read my emails after I push send. What do you think?

 

Q: How do you feel about self-publishing? It has lost a lot of the stigma of “vanity” publishing.

 

I could write for a day on this topic. I’m totally independently published these days, so I am pro — but only if you know what you are doing, and not saying one should self-publishing exclusively. There are a lot of considerations. Self-publishing and vanity publishing, by the way, and as you likely know, are two very different things. I could go into the differences here but will spare you. 🙂  (maybe in the workshop?)

 

Q: From when you first started seriously pitching your first book, how long did it take to be picked up?

 

Ten years. Ten very long years. From 1986 to 1996. It was a different era in publishing. I wrote my first complete manuscript on an electric typewriter. Think about that.

 

Q: What is your writing routine? Do you have one?

 

I still work a day job but I work from home so there is that. My fiction writing happens between 5 and 8 a.m. every day of the week. On Saturday and Sunday mornings, I could go longer. In the evenings, after the day job ends (where I also write) I work on other “writer stuff.”

 

Q: If you didn’t write in your genre, what would you be writing?

 

I write in several romance subgenres — from suspense to paranormal to contemporary to westerns. I like the variety. But I also have a cozy mystery and a women’s fiction novel in the works. And, I write non-fiction, mostly in academia but I have written essays, articles, curricula, etc. I’m currently writing the 30-year history of a non-profit organization. So, it’s pretty safe to say, if I want to write it, I’ll likely take a stab at writing it.

 

Q: What was your harshest rejection? What was your best rejection?

 

It has been over 10 years since I submitted a work traditionally and I can’t recall a harsh rejection (not saying it didn’t happen, I just don’t recall!). I do remember a good rejection where my former editor stated that my suspense voice was similar to Iris Johansen’s. I floated around on that one for a while.

 

Q: What did you do when your very first book arrived? (I opened the book and smelled it.)

 

Probably opened the box and said, “Thank God. Finally!” But I honestly can’t remember.

 

Q: Where do you think your genre is going? What are the changes you’ve seen?

 

The romance genre is not going away. It will continue to be a popular genre. That said, the genre will evolve as it has over the past 15 years or so. Ebooks and erotica changed the landscape of the romance genre a while back. Indie publishing was the next wave. As writers in the genre become more diverse, so do the romance stories, and that changes not only the genre but the industry as a whole. There is a lot we could talk about here.

 

Q: Do you ever think back on your first book and wish you’d done something differently?

 

The rights to that first book reverted to me several years ago. Since then, I have revised and rewritten the story, added scenes and chapters that were left out, and re-released it back into the world. I like the final product better.

 

But — would I do anything differently about that first published book? Yes. I would have learned more about marketing. I would have written the sequel sooner. I would have paid attention to the popularity of the western genre (it was a cowboy story) and written more of those back then. But yeah, hindsight. We learn from it.

 

Q: Do you recommend getting an agent? How many agents have you had?

 

I have never had an agent. I didn’t need one for my first six books but my editor at the time kept bugging me to get one. Things happened in my life at that point that prevented me from moving forward and seeking an agent, and I actually stopped writing for a few years. After that, I sort of had to start over again, and with small press and indie publishing becoming a “thing” I decided not to go the agent route. However, never say never. I have a book in the hopper that might be a candidate for submitting via an agent.

 

Do I recommend getting an agent? I think the answer to that question is tied up in what your goals are as an author, what you write, how you want to publish, and more. It’s a good question.

 

Q: Anything else you’d like to add?

Just that I’m looking forward to the event! Is it summer yet?

 

Retreat to the Springs! takes place Aug. 2 to 4, 2019, in Yellow Springs, Ohio. Besides Maddie James, we will also have Tim Waggoner and Jeffrey Marks on faculty. For more information, go here.  

 

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The next Retreat to the Springs will be held Aug. 2 to 4, 2019, in Yellow Springs, Ohio, at the John Bryan Community Center.

This year we will focus on fiction and have the good fortune to be instructed by three fabulous writers.

Faculty

tim pic 2

Tim Waggoner, horror

jeffrey marks

Jeffrey Marks, mystery

mj-sj-2018

Maddie James, romance

Check back for details — but first, put the date on your calendar!

To keep our intimate setting and personal attention, the workshop is limited to 30 people.


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Q: What’s the difference between traditional and self-publishing?

Valerie J Lewis Coleman

Valerie J. Lewis Coleman, self-publishing

A: With the advent of technology, writers have numerous options when it comes to publishing. If you’re blessed to get a book deal with a traditional publisher (e.g., Random House, Simon & Schuster, HarperCollins), you’ll get an advance, royalties and marketing allowance. Given the volatility of the book industry, explosion of self-publishing and emergence of eBooks, landing a deal with a traditional publisher is a rare feat.

An independent or small publisher usually focuses on a specific genre. These publishers may or may not pay advances and often have fewer than twenty authors on the roster.

Enter book producers. Authors pay these companies to produce their books; often at a premium. Most book producers are piranhas that eat away at your money, confidence and publishing rights one bite at a time. Although reputable book producers are available (e.g., QueenVPublishing.com), most fall into one of three categories of awfulness. I’ll discuss this publishing option at the retreat.

I am a proponent for self-publishing for many reasons:

  1. You control the process. You decide when the book releases, the cover image, the retail price, the marketing strategy and more. If executed correctly, you can save thousands of dollars, mountains of frustration and hours of research by implementing the do-it-yourself method.
  2. You keep 100% of monies earned. As opposed to waiting for royalty checks from your publisher, or fighting with your publisher for compensation, you keep every dime you make. Caution: Just because you earn it, does not mean you should spend it.
  3. If the content is relevant and you are actively marketing, your title has an indefinite shelf life.
  4. Short lead time to market. After writing the manuscript, you can have your book published and on the market in a few weeks. The longest component in this process is professional editing which can take several weeks depending on how well the manuscript is written and the editor’s proficiency.
  5. Affordable. Emerging technologies have made self-publishing more cost effective. With the advent of eBooks, the most expensive aspect of publishing—printing—is eliminated. In addition, since only a front-cover image is required, the cost for cover design is cheaper than that for print books. Note: Editing is required regardless of your book’s format.
  6. Quick changeover. Updates and revisions can be made quickly. And as new technology hits the market, a self-published author is in the perfect position to leverage the opportunity without delays from fighting chain-of-command bureaucracy.

 

Q: How much does self-publishing cost?

A: The answer depends on several factors including book format, word count and printer specs. The least expensive route will cost a few hundred, but I have worked with authors who were tricked out of $15,000, couldn’t earn a profit and then hired me to fix the mess. As I serve clients, we work through the intricacies of publishing, find reputable service providers and assess expected expenses. I’ll explain how I can save you thousands of dollars at the retreat.

 

Q: Do I have to get the bar code and numbers myself?

A: As a true self-pub, yes! Other options are available, but I caution you to avoid them.

 

Q: Do I have to design my own cover?

A: Unless you’re a gifted graphics designer proficient in designing book covers, you better not! As amazing as I am at publishing books, I do not design covers. I hire a professional designer with years of experience and a thorough understanding of colors, fonts, placement and more. Your book cover is a marketing tool. Don’t leave the success of your book to a novice designer. It’s not worth the few dollars saved.

 

Q: Doesn’t self-publishing have a bad reputation?

A: In a nutshell, yes and no. Barriers to entry have been eliminated so anyone with internet access can publish a book. However, with over 10,000,000 books on Amazon, almost 90% of them will sell less than 75 copies. Why? Many self-published authors don’t invest adequate resources to produce a quality book causing readers, libraries and bookstores to shy away from their crap…I mean books.

On the flip side, self-published authors like James Redfield (The Celestine Project), Amanda Hocking (My Blood Series) and E. L James (50 Shades of Grey) produced books that hit the New York Times bestsellers list, the big screen and millions of readers. In addition to having outstanding marketing strategies, these authors created amazing content—well-written and well-edited—which competed with standards held by traditional houses.

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Friday, Oct. 26
4 – 5              Wendy/Sandy, Registration
5 – 6              Wendy Faculty, Introductions
6 ­– 6:30         Sandy, Ice-breaker (writing games)
6:45 – 8:15    Jason, General fiction, especially short
8:15 – ?          Private time for writing, enjoying YS, or meeting for MS critiques
Saturday, Oct. 27
8 – 8:30           Wendy, Welcome back
9:00 – 10:30   Valerie, Self-publishing
10:15 – 10:30 Break
10:30 – noon  Donna, Long fiction, especially romance
Noon – 2         Lunch at Peach’s
2:00 – 3:30      Ann, Narrative nonfiction
3:30 – 3:45      Break
3:45 – 4:15      Wendy, Writing prompt (writing and sharing)
4:30­ – 6:30      Dinner
6:30­ – 8:00      Sandy, Author panel
8:00 – ?           Private time for writing, enjoying YS, or meeting for MS critiques
Sunday, Oct. 28
8 – 8:30          Wendy, Welcome back
8:30 – 10:00   Faculty reading
10 – 11:30      Faculty Q&A
11:30 – noon Wendy, Wrap-up, evaluations
Retreat to the Springs is a roaming writers’ workshop that takes place in such places as Capon Springs WV, Yellow Springs OH and Steamboat Springs CO.
Here’s our next one!
Yellow Springs, Ohio
John Bryan Community Center
October 26 to 28, 2018
Join us for a retreat in a fantastic village setting, where you’ll receive expert instruction from Ohio writers: Ann Hagedorn, creative nonfiction; Donna MacMeans, romance; Jason Sanford, scifi/fantasy; and Valerie Coleman, self-publishing. Learn the strategies and tactics of being a successful, published author. Sign up for an optional one-on-one manuscript critique! The retreat fee of $195 includes Friday evening, all day Saturday, and Sunday morning. (A separate $25 fee will be added for manuscript consultations.)

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wendybeckman3

Oct. 26 to 28, 2018 Yellow Springs OH

At Retreat to the Springs! in October 2018, our faculty will be reviewing participants’ writing and providing a one-on-one feedback session. Each review costs an additional $25 for the critique and 15-minute discussion.

Here are the guidelines for what each faculty member will review:

 

Ann Hagedorn (4 manuscripts)

  • What: Nonfiction
  • How much: Three-paragraph synopsis and up to 10 pages of manuscript
  • How: Send an email to Wendy at whbeckman@gmail.com for the address.  Put “MS for Ann” in subject line.
  • When: No later than Sept. 17

Donna MacMeans (10 manuscripts)

  • What: Fiction, particularly romance
  • How much: First chapter and a synopsis
  • How: Email to whbeckman@gmail.com with “MS for Donna” in subject line
  • When: No later than Oct. 12

Jason Sanford

  • What: Short story manuscripts, any genre
  • How much: Up to 6,000 words
  • How: Email to whbeckman@gmail.com with “MS for Jason” in subject line
  • When: Send by Oct. 12

Retreat to the Springs! is a roving writers’ workshop held in various “Springs” cities around the country. The next one is Oct. 26 to 28, 2018, in Yellow Springs, Ohio.

Join us for a retreat in a fantastic village setting, where you’ll receive expert instruction from fantastic writers: Ann Hagedorn, creative nonfiction; Donna MacMeans, romance; Jason Sanford, scifi/fantasy; and Valerie J. Lewis Coleman, self-publishing. Learn the strategies and tactics of being a successful, published author. Sign up for an optional one-on-one manuscript critique! (One-on-one manuscript critiques cost an additional $25.) Friday evening, all day Saturday, and Sunday morning are yours for only $195.


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