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Archive for the ‘Writing Life’ Category

Get all your news here for the 2019 Retreat to the Springs!
(And now the links work: sorry about that.)

August 2–4, 2019, “Focus on Fiction” Details

Schedule 

Q&A with Maddie James 

Q&A with Tim Waggoner 

Q&A with Jeffrey Marks 

Deadline has been extended to July 25, 2019!

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

Location: John Bryan Community Center
100 Dayton St.
Yellow Springs, Ohio 45387


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http://www.stayyellowsprings.com/ Lodging in Yellow Springs

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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:

August 2–4, 2019, “Focus on Fiction” Details

Schedule 

Q&A with Maddie James 

Q&A with Jeffrey Marks 

Register by July 25, 2019: To keep our intimate setting and personal attention, the workshop is limited to 25 people.

Location: John Bryan Community Center
100 Dayton St.
Yellow Springs, Ohio 45387


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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.  

More about Retreat to the Springs!
August 2–4, 2019, “Focus on Fiction” Details

Schedule 

Q&A with Tim Waggoner 

Q&A with Jeffrey Marks 

Register by July 25, 2019: To keep our intimate setting and personal attention, the workshop is limited to 25 people.

Location: John Bryan Community Center
100 Dayton St.
Yellow Springs, Ohio 45387


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Ann Hagedorn

Nonfiction Presenter Ann Hagedorn

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Renowned author Ann Hagedorn will be talking about nonfiction at Retreat to the Springs! October 26 to 28, 2018, in Yellow Springs, Ohio.

Q: What is the difference between creative nonfiction and “regular” nonfiction?

 

Actually, I call the genre of my books “narrative nonfiction,” which uses storytelling to deliver current issues and sometimes complex histories to the general reader in a compelling way. These are true stories, meticulously researched, that are told by applying the art of literary techniques, such as descriptive scenes, character development, story structure, suspense, and climax. I think of creative nonfiction as being more about memoirs. But, whatever the terminology, the goal for both is to utilize the very best tools of fiction writing and nonfiction research.

 

Q: Do you have to finish a nonfiction book before you can pitch it to an agent or publisher?

 

No, but you must write a substantial book proposal that shows the significance, scope, do-ability, research sources (such as people to interview, documents to uncover) and the literary potential for your book idea. Also, in the proposal, you must describe your vision for the story structure, which is effectively an artist’s sketch for how you think you will tell the story.

 

The better the proposal, the more confidence — and enthusiasm! — an agent and an editor will have in you and your book. I’m a great believer in writing proposals no matter how many books you’ve written or how solid the idea seems. While you’re writing it, you’ll be able to identify the strengths and potential flaws in the storyline.

 

Q: Do you have a “trademark” or something that distinguishes your work?

I’ve written five narrative nonfiction books — am now in the midst of the sixth — and each focuses on a different topic, but my reasons for choosing particular topics, my methods of research, and my use of literary techniques give them all common ground. For example, whether the stories I select are out of the past or in the present I choose them because they have potential for being significant to us all; because they are stories brimming with what I call “human constants,” meaning my readers may identify with the challenges and triumphs depicted in each of them; and because they are often stories in danger of slipping through the cracks of time and public awareness.

 

And, no matter what the topic may be, my research process always includes digging deeply for as many primary sources as I can find, traveling to the places where the narrative took place, using chronologies as organizational tools and story structure devices, and trying to re-trace the footsteps of the main players in the story.

 

Q: When you get an idea for a book, do you “bounce” it off people, like your agent or editor?

 

Sometimes I do, but typically not until I’ve narrowed it down to three ideas. Usually during the time between books, I come up with a new idea every time I discover an untold story or a significant issue that must be brought alive through nonfiction storytelling or an unknown detail from a story we all know. But I try to refrain from sharing all of my ideas with my agent and editor and explore the numerous possibilities first.

Q: Do you outline your books?

 

No, I don’t like the restraint of outlines; I think they can smother creativity. But one of my favorite parts of writing narrative nonfiction is to study the various possibilities for ways to tell the story, to experiment with story structure sketches, and then to choose one that becomes a flexible guide for the research and can change as the details of the story surface. There’s the saying, “Art flies if held too lightly and art dies if held too tightly.” I think it was Ray Bradbury who said it. [Yes, he did — based on an Oscar Wilde poem.] An outline is too tight; no sketch at all is death to the project; but a good sense of the story’s components and a sketch of how they might unfold is a map for the writer and also lots of fun to figure out.

Typically I use five parts or “acts,” so to speak, and a prologue and epilogue. With the current book, I’m dividing the narrative into three parts because the drama works best in three “acts.”

Q: How long does it take you to write a book, from research to publication?

 

For me, it’s usually about three and a half years from the day I begin the research for the proposal and the day I do the book launch and first booksignings. That includes fact-checking, source notes, edits, press packets, etc. Some of my books have flown quickly through the process: one was very early but another one was late because it was a current topic that kept evolving. They each have had different lives!

Q: Which of your books are you proudest of?

 

To honestly answer that, I will have to steal a line from author Tom Clancy who once said, “My books are like children; I have no favorites.” However, a few of them have main players whose wisdom and foresight had such an impact on me that they could rank as favorites, but I won’t go there!

 

Q: Do you have a few favorite pieces of advice for writers?

 

Yes, I do. Read. Read. Read. And … Write. Write. Write. Set up a routine. Carry a notebook with you at all times. And teach yourself how to walk the delicate line between discipline and creativity.

 

Q: Any favorite quotes from writers about writing?

 

I haven’t read a lot of books by writers about their writing, but I did read Stephen King’s book On Writing, which is excellent, by the way. And his quote is one of the best imaginable; I’ve actually memorized it and here it is, as I remember it:

“On some days writing is a pretty grim slog. On others, I feel that buzz of happiness, that sense of having found the right words and putting them in a line. It’s like lifting off in an airplane: you’re on the ground, on the ground, on the ground … and then you’re up, riding on a magical cushion of air and prince of all you survey. That makes me happy, because it’s what I was made to do.”

 

Retreat to the Springs! is a roaming writers’ workshop. In 2018, it will be held October 26 to 28 in Yellow Springs, Ohio. Go here for more information and registration.

 

 

 

 

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The countdown to our writers’ Retreat to the Springs! in Yellow Springs has started: only four more months! To whet your appetites, here is a Q&A with presenter Donna MacMeans. As you can tell, she is very personable!

WHB: When did you first want to be a writer?

Romantic fiction writer Donna MacMeans

Romantic fiction writer Donna MacMeans

DM: I always thought I’d be an English teacher, not a writer, but I changed that plan after taking my first education course (grin). I switched to journalism so perhaps that was the moment. I was on a two-year scholarship at OSU. When my two years were up, I went home. I got married, moved to Cleveland and went to work at a company that would pay my way through school if I majored in Business. That’s how I ended up in Accounting. I finished up at OSU and became a CPA. I wrote a lot of inventory memos, but I’m guessing that’s not what you had in mind. 

Fast forward to the 1990s. I’ve always been a big reader, but not of romance. As a business executive, clinch covers were frowned upon. Then I read a book named Outlander. I loved it!!! Accolades of how this was a great romance filled several pages in front of the book. I figured if this was a romance, then I was a fool. I went back to bookstore and looked for a similar story. I found a romance with a similar premise that wasn’t a time-travel. However, I wanted to throw that book against the wall. I knew the solution to the story question by the end of the first chapter. Surely, it wouldn’t take a whole book to come to that solution—but it did. I figured I could do better, so I tried. My third complete manuscript won this big contest. I was called by an editor at a NY publishing firm who was interested in publishing that story. I didn’t say “yes” but I did call an agent. She sent the work to another publishing house that wanted it. A third house also was interested. My book was in an auction! Very cool. I think I considered myself a true professional author in that moment. Before that, I thought of myself as a writer, but perhaps more as a hobbyist. Either way, it’s been a fun journey!

All that said, I met the author of Outlander, Diana Gabaldon, many years later. She swears her book is not a romance. Go figure. 

WHB: What were the first meaningful things you wrote?

DM: Other than those long thank you notes that I wrote as a kid, and a short story that I wrote in high school that made my classmates think I was contemplating suicide (I wasn’t. It was fiction, people!), I wrote two full romantic suspense manuscripts that didn’t really go anywhere. Then I was invited to contribute a short story to a paranormal anthology. I did that and earned my first publishing credit—and total royalties of $50. I faced my first reviews! Fortunately, they were all good. Bad ones would have devastated me at that vulnerable time. I give away that short story to entice readers to sign up for my newsletter. No story is ever wasted! 

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

DM: Not really. I write the sort of stories that I want to read. I do wish, however, that I had published the stories in a different order. We’ll talk about that later.

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

DM: LOL. Not really. You read the story to death while writing it, then you read it again in revisions, then again in the printing proofs. By the time the book is published, you’re really sick of the story. It’s lost its magic. But here’s a funny story. I recently got the rights back on two of my early books: the one that won that contest years ago and the first sequel. Because those were written in a time of paper revisions, I had to re-read the books and make corrections before I could put them back out as independently published books. I read the first book, The Education of Mrs. Brimley, and thought—I can’t believe I wrote this book. This is a really good story. The pacing is good, it’s funny, I like it. (It’s a Victorian Striptease, btw). After I published that first book, I started re-reading the second, The Seduction of a Duke. I thought—This book really stinks! Why didn’t someone tell me that the pacing was so slow! It’s taking me forever to get to the action! Fortunately, it did improve and it has a really good ending. Whew! I noticed it also had a lot of typos in the original published version—I don’t know how that happened with all the eyes editing the thing. But I fixed everything except the pacing and put it out there. The reviews have been good so I’m satisfied.

WHB: How do you feel about self-publishing?

DM: This will be long, so go refresh your drink. I’ll be here when you come back.

Back when I won that contest, there was a real stigma to self-publishing. The only, and I mean only, way to publish was through a traditional publisher or a small press. For a traditional publisher to sign you, your story had to fit in a rather narrow box. They had to be liked by thousands of people, which meant you had to write in popular tropes. Self-publishing was very expensive. There were a few small presses that published ebooks, but that concept of reading on a device didn’t catch fire until Amazon entered the market with their Kindle ereader. Amazon needed stories to fill those Kindles so they actively solicited authors to independently publish their stories on their platform. Many people who had stories rejected by the New York publishers tried their luck on Kindle. Some of those writers were really good, but they wrote stories (like Vampire stories) that appealed to smaller audiences (according to NY). Suddenly, no story is wasted. If NY didn’t buy it, it could be self-published at a minimal cost.

The traditional publishers weren’t about to let the ebook market go untouched. They issued paperbacks, but they also uploaded books to Amazon—grumbling all the way. Soon people would go to a brick and mortar bookstore, check the shelves, then order a book they liked on Amazon. The brick and mortar stores began to disappear due to lack of sales. Some of the independent authors were racking up big bucks (but still had a chip on their shoulder about NY).

About three or four years ago, independent publishing hit a tipping point. Traditional publishers quit giving author advances except to their bestsellers. They started handing out digital only contracts—no print books. Authors realized they could publish their books independently without New York’s blessing. There’re still a lot of crappy books in the indie-world, but there’s some really good ones, too. Independent authors can generate print books through Amazon’s CreateSpace, but many bookstores won’t carry those books in their stores. They haven’t forgotten what Amazon did to their market share. I can’t think of a single traditional published author now that isn’t planning to independently publish some books. But it’s a bit scary to make the jump. It’s a whole new world for publishing.

For what it’s worth, I’ve traditionally published six books with a NY publisher, one of which is digital-only. The rights have reverted on three of my traditional books, so I’ve indie-published those to really good results. (One thing I forgot to mention is that I only get paid every six months from NY and until recently, didn’t have access to any sales information. With indie-publishing, I get paid monthly. Big difference!) I’ve sold one book and one short story to small presses. Fortunately, my rights reverted before they went bankrupt, and I’ve indie-published those stories as well. I’ve written one time-travel, one paranormal novella, and two historical short stories that have been indie-published from the start. I guess I’m a mixed bag.

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

DM: I’m not sure how to answer this. Are we talking my first written book, or my first book purchased for publication? My first written book has never been published. Let’s face it. An author’s first book is a massive learning curve. You learn a lot by getting to the end, but there’s still a lot of craft to learn. The brain can only absorb and process so much information at a time. Heck, I’m still learning and I’ve published nine books at this point. Now my first book purchased for publication is interesting in that it was rejected by every New York house—including the editor that later purchased it. I’d say I collected rejections on that book for a couple of years—but I kept working on it, revising it, improving it. Personally, I think many of the rejections had to do with the fact that it was a historical romance. Historicals were not popular around 2004 & 2005. In fact, I once received a rejection from an agent that was the standard rejection with a handwritten line at the bottom that said “This book has a lot of promise. Too bad it’s historical.” What the heck? It’s a Victorian striptease. It HAS to be historical. Historicals were a hard sell back then. Then the pendulum swung the other way and I sold the book. Sometimes a rejection has to do with the writing quality. Sometimes a rejection has to do with market issues. Sometimes a rejection has to do with sending a query to a firm that doesn’t handle the kind of book you’ve written. The problem is that editors and agents rarely tell you the real reason they are rejecting the book. I’m not sure that time matters.

As for pitching, I’d like to pass along this advice from the NY editor that purchased my first book. I had pitched this book at a reader’s event in Cincinnati. She seemed totally bored by my pitch. I figured submitting my work to her was a futile experience, but I did it anyway. After the auction was over, she called me. I told her, “I must admit, I was really surprised that you offered for the book. From that pitch session, I didn’t think you were interested.”

She said, “I do that on purpose. Some people can really pitch an amazing book, but when you read their pages, the writing is not good. Some people can’t pitch at all, but their pages sing. When I hear a pitch, I don’t think it’s fair to react either favorably or not because I haven’t seen the pages. It’s all about the pages.”
Amen.

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

DM: I’d like to lie and say I have a sharp disciplined routine, but that wouldn’t be true. Once I get caught up with the story and characters, I can’t stop writing. Until I get to that point, I can’t stop procrastinating. I’m basically a pantser (the opposite of a plotter). I know the structure of a book. I tend to know my turning points before I begin. But until I really understand my characters and fully work out their motivations…it’s a slow go.

I think the best motivation for sitting down and writing every day is a contract. If you decide to indie publish, then you need to set your writing goals and stick to them. Right now, my husband and I are babysitting my one-year old grandson for his young parents. That really kills my writing output as he’s here when I’m normally writing, but I’m not turning away this opportunity to spend time with the best grandson in the world. These times don’t last. I’m trying to change old habits and write at a different time of the day. We’ll see how this works.

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

DM: I’d probably be writing cozy mysteries. I even have a basic plan for a series of three connected cozy novels. But I love romance and don’t plan to write in a different genre for the moment.

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

DM: I hate to keep harping back on that first NY published book, but that’s when I received rejections. I understand editors don’t send out rejections anymore. They simply don’t respond. If they want your book, you’ll hear from them but no news is no longer good news.

You’d think my harshest rejection would come at the beginning of this journey, but those were actually gentle. The only rejection that brought me to tears came when I knew I was close to selling my book. Central Ohio Fiction Writers had brought in a NY editor, Kate Duffy, to take pitches at one of their events. Kate had purchased books of some of my friends. I really thought she’d like my story. At the event, she mentioned that she thought the next big thing would be historicals. I sat up straighter. She held up a historical romance by Lisa Kleypas and said, “bring me something like this and I’ll buy it.” I’d already read that book. It was funny and sexy, just like my book. I pitched my story to Kate and she requested a partial (three chapters and a synopsis). I volunteered to drive her back to the airport so I could talk further with her. At one point she said, “Well heck, just pull over and I’ll write you a check!” I laughed and said, “Just wait, you’ll see. You’ll love this book.” I sent the chapters she’d requested in the October 2005 convinced that she’d be my editor. Then I heard…nothing.

In April 2006, I learned that my story was a finalist in that prestigious contest. I sent an email to Kate reminding her that I hadn’t heard anything from her and that this story was a Golden Heart finalist. In late May, I got a reply. It was a rejection. A very kind and complimentary letter, but it was a rejection. I was so close…SO CLOSE…but it was a rejection. I called a published author friend whose editor was Kate Duffy and we talked, and I couldn’t help it, the tears flowed. My friend was encouraging. She pointed out the good things Kate said…but it was a rejection and it really, really hurt. That was in May. In July, I left for the RWA convention where the winners of the Golden Heart would be announced. Kate’s rejection convinced me that I would always be a runner-up, I wouldn’t be a winner. I didn’t bother writing an acceptance speech – what was the point? I didn’t buy a new dress or wear spanx to the ceremony. I figured if I was going to sit in the audience, I might as well be comfortable. I didn’t expect to win that contest, but I did, and everything immediately changed.

About four years later, I heard from a group of writers that Kate Duffy spoke to their local chapter. Someone had asked her if she ever regretted rejecting a book. She said that a few years ago, she’d had the opportunity to hop on the Victorian bandwagon but she passed on the book. She regretted that. The author said, “she was talking about you.”

Kate Duffy died in 2009 at the age of 56. Many of her authors were released from their contracts. Others were reassigned to other editors who may or may not have wanted them. In hindsight, I was fortunate not to have been purchased by Kate Duffy, but I sure didn’t feel fortunate when I opened that rejection letter.

My best rejection letter was one that I received for that same book probably around 2003. I had written two Romantic suspense novels at that point and had built a sense of suspense around the opening chapters of my historical. That editor sent me a rejection letter but strongly encouraged me to include more humor. She said not everyone can write humor but that she thought I could. I took her suggestion to heart. I think her suggestion made the book more fun for me and more unique to the market. I’ll be forever grateful for her comment, even though it was a rejection.

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

DM: Romance continues to have more market share of fiction books sold than any other genre. I don’t think Romance is going away any time soon. But the pendulum continues to swing as to which sub-genres are popular. A few years ago, erotic romance was the big thing. Now, it sells well but not as strong as it once was. LGBTQ romance is growing. I think there’s a big push right now for more bi-racial and more diverse romances. So the sub-genres are expanding to reach new markets and it’s all good.

I think the big change, though, is the tremendous increase in ebook romance. Some have suggested that romance readers like to hide what they are reading. I think it’s more about being able to have so many romances at your fingertips. Plus, so many brick and mortar bookstores have closed that in rural areas, the only way a reader can find new books is to buy them online. Formerly traditionally published authors are going independent and making big money at it. I see that continuing to grow. There’s tremendous opportunity in romance right now, but it requires hard work and something more than writing skills. You need business skills and marketing skills as well.

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

DM: My first published book was an author’s dream. I wouldn’t change a thing. However, I would have changed a whole lot of things about my second book. 🙂

As I mentioned earlier, I didn’t think my first book—a straight historical romance—would ever sell. I didn’t know why, but obviously, I wasn’t doing something right, so I decided that I might be better off as a paranormal author. I love paranormal books. I had an idea to set a story about a heroine with a supernatural power in my Victorian world. After all, I’d done all kinds of research for my Victorian striptease. I didn’t want to waste that. So I wrote a book about a woman who turns invisible in moonlight. She can’t help it, it just happens. She’s a little bit of a thief so if your husband is so foolish as to gamble away your jewelry, my heroine will get it back, but there has to be a full moon and she has to be naked. I loved this book and it was practically writing itself—then I sold my Victorian striptease on a three-book contract. The other two books had to be historical, but that was the only condition. My new agent turned the partial of my invisible heroine book and Berkley sent back a check. That was to be my second book.

If I knew then what I know now, I would have set that book aside and written a sequel to Mrs. Brimley. The invisible heroine story was a great book. It won an award for Historical Love and Laughter from Romantic Times magazine. But historical readers aren’t particularly fond of “woo-woo” in their historicals. Plus, my publisher gave me a really crappy cover for that book. The cover made it look like a sweet romance, and it wasn’t. The cover made it look like a contemporary romance, and it wasn’t. The book was a big flop and it shouldn’t have been.

I would have been better off to market strictly straight historicals, but no one told me that doing a paranormal historical would cause me to lose readers. I’ve learned that it’s important to build your reader base in one sub-genre before jumping to another. I’ve written four more straight historicals (and working on number five). I’ve released a contemporary novella that is based on my historical paranormal this year (2017). I did that independently and am hoping that novella will reintroduce that earlier book (with a much better cover). It’s really hard to have a foot in both historical and paranormal, but as I love paranormal, I’m giving it a go.

WHB: Do you recommend getting an agent?

DM: I think the answer depends on what you want to do. If it’s important to you to see your first book in a bookstore, you’ll probably need an agent. If you plan to write young adult or mystery, you should consider getting an agent. If you want to be responsible for just writing and not certain elements of publication, you’ll probably need an agent. An agent will get your work read instead of it languishing in a slush pile. A good agent will negotiate a better deal for your books, than you could by yourself. An agent can run interference between you and your editor when a problem erupts, leaving you free to write.

However, if you plan to publish independently, you don’t really need an agent (you’ll need a good editor). If you plan to sell to Harlequin, it’s possible without an agent (but I’d recommend one). It’s said that it’s harder to sign an agent than an editor. It’s also said that no agent is better than a bad agent. They can really screw up your career. So think about what you want to do. Do your research into agencies and agents and go from there. Only you can know what’s best for you.

Good Luck!

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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!

Oct. 26 to 28, 2018
Yellow Springs OH

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 fantastic 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! (One-on-one manuscript critiques cost an additional $25.) Friday evening, all day Saturday, and Sunday morning are yours for only $195. Manuscript guidelines are here.


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Faculty

Ann Hagedorn, narrative nonfiction

Ann Hagedorn is the award-winning author of The Invisible Soldiers: How America Outsourced Our Security and four previous books: Wild Ride, Ransom, Beyond the River, and Savage Peace: Hope and Fear in America, 1919. She has been a staff writer for The Wall Street Journal, The New York Daily News, and The San Jose Mercury News. She has taught writing at Northwestern University’s Medill School of Journalism, Columbia University’s Graduate School of Journalism, Xavier University, and Miami University. She holds an M.S. in journalism from Columbia University and an honorary doctorate in humane letters from Denison University. Learn more about Ann at http://annhagedorn.com/. Hear from Ann in our Q&A.

Romantic fiction writer Donna MacMeans

Donna MacMeans, romantic fiction

Donna MacMeans is the winner of the prestigious Golden Heart from Romance Writers of America in 2006 and has since written sensuous Historical Romance for Berkley (an imprint of Penguin Random), romantic suspense for a small press, and indie published fun paranormals just for her. She has won the Romantic Times Reviewers Choice Award for Historical Love & Laughter, and has been a finalist for several times and in several categories. She has won or finaled in many regional contests as well. Her books consistently receive high praise and glowing reviews, and have been published around the world. A licensed CPA, Donna currently serves as the Treasurer for Romance Writers of America, as well as maintains a small tax practice. She received the 2013 RWA Service Award and the 2014 RWA Pro Mentor award for her work with unpublished writers. She has taught workshops for the Nora Roberts Institute, the Writer’s Boot camp for RT, The Thurber House, the Antioch Genre Fiction day, several libraries, several RWA conventions and numerous RWA chapters. She lives in Columbus, Ohio, with her husband of 40+ years, along with a demanding cat who likes to dive bomb her from the bed headboard at five o’clock in the morning. Please contact her at https://www.DonnaMacMeans.com. Learn more about Donna in our Q&A.

Jason Sanford

Jason Sanford, scifi/fantasy

Jason Sanford is an award-winning short story author and an active member of the Science Fiction and Fantasy Writers of America. Jason has published more than a dozen stories in the British SF magazine Interzone, which also devoted a special issue to his fiction. Other publications include multiple stories in Asimov’s Science Fiction along with stories in Year’s Best SF, The Year’s Best Science Fiction & Fantasy, Analog, InterGalactic Medicine Show, Beneath Ceaseless Skies, and other magazines and anthologies. Jason is a two-time finalist for the Nebula Award, a three-time winner of the Interzone Readers’ Poll, and the recipient of a Minnesota State Arts Board Fellowship. His stories have also been named to the Locus Recommended Reading Lists along with being translated into a number of languages including Chinese, Spanish, French, Russian, Polish, Hungarian, Italian, and Czech. Jason co-founded the literary journal storySouth, through which he ran the annual Million Writers Award for best online fiction. His critical essays and book reviews have been published in SF Signal, The New York Review of Science Fiction, The Pedestal Magazine and other places. He also writes a monthly column for the Czech SF magazine XB-1. His website is www.jasonsanford.com. Learn more about Jason in our Q&A.

Valerie J Lewis Coleman

Valerie J. Lewis Coleman, self-publishing

Valerie J. Lewis Coleman serves experts and professional speakers to magnify and monetize their message by publishing quality books. She co-founded the Dayton Book Expo, the city’s premiere book event. Since its inception in 2010, the expo has hosted over 500 authors and thousands of book lovers. As a best-selling author and award-winning publisher, Valerie has helped thousands of aspiring authors navigate the mysterious labyrinth of self-publishing. With over fifteen years of experience in the book business, this expert divulges industry secrets on avoiding the top five mistakes made by new authors, pricing your book to sell and identifying dishonest publishers. Her dynamic presentation and knowledge of the business saves thousands of dollars, hours of research and tons of frustration by making publishing quick, easy and affordable. PenOfTheWriter.com | QueenVPublishing.com 888.802.1802

Restoring stepfamilies, empowering women, equipping writers to be greater!
Multi-bestselling author of “The Forbidden Secrets of the Goody Box” and “Blended Families An Anthology”
Like Valerie on Facebook for relationship advice and giveaways:

 

Facilitator

Wendy Hart Beckman

Wendy Beckman, facilitator

Wendy Hart Beckman is an award-winning freelance writer, editor, and author. She has published nine books of nonfiction (including 8 Wonders of Cincinnati, Founders and Famous Families of Cincinnati and Harlem Renaissance Artists and Writers), as well as more than 300 articles in print and online. She has an M.A. in English, with a concentration in editing and publishing, and a graduate certificate in professional writing. She has taught at the University of Cincinnati, Miami University, and Sinclair Community College, and has owned her own writing and editing business since 1994. She frequently speaks at writers’ workshops and retreats, including the Antioch Writers’ Workshop and Midwest Writers Workshop. Follow her at www.wendyonwriting.


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Other useful pages

www.yellowspringsohio.org/ About the town of Yellow Springs

http://www.stayyellowsprings.com/ Lodging in Yellow Springs

(If this form prompts you with my name and email address, change them to yours.)

Go there. Do that. Buy the t-shirt now.

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If you’re in the Cincinnati area and are looking for a writers’ group, please check out my Writing Workshop Workshop. We began as a group of writers who had attended my Communiversity classes on writing. We were discussing the art of critiquing other writers’ work and being critiqued by them. Where can you learn how to do this? At the Writing Workshop Workshop!

 

We meet the second Sunday of every month. Currently, we are meeting at the Green Dog Café in the Columbia-Tusculum area. We start the meeting at 1 and conclude at 3. If you want to eat, come a little early. Bring $5 for the kitty (and more if you want to eat). Bring seven minutes’ worth of work to read: fiction, nonfiction, query letters, blog posts, poetry — all are welcome.

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