Anti-Resolutions, Take 2

A little over a year ago, I wrote a post about my New Year's Anti-Resolutions. (If you want to see why I make anti-resolutions instead of resolutions, go here.)
Oddly enough, I was just about to take off for a vacation in Yosemite when I posted; this year, I've just gotten back from one! (Wow, did we hit it just right! The three days we were in the park were gorgeous and sunny. The day we left, it had started to drizzle--and there's nothing I hate more than rain on top of snow!)

Anyhoo, on the heels of Maven Erica's goal post (haha, I made a pun!), I thought it would be fun to revisit my 2008 Anti-Resolutions to see how I did. Here are the things I promised to try not to do.

1. Enter a slew of contests.

Did all right here. I only entered four contests in 2008, and of those four, I didn't final in two and won my category in the other two. Winning was nice validation, but I have to say that I got a lot of valuable information from those non-finals (including that a non-finaling manuscript can be the one that sells, lol).

2. Start manuscripts I can't seem to finish.

The jury's still out on this one. I started at least four (maybe five) manuscripts this year that I didn't finish...YET. But that doesn't mean I won't/can't finish them. It's just that the ones I've got out there right now are of the "it's not time to try to sell these" variety, which means they're sitting on the shelf pending a better moment.

We'll have to put this one in the "wait and see" category.

3. Put on ten pounds.

Definitely achieved. As far as I can tell, I didn't put on any weight in 2008 and, while I didn't get the 10 I gained in 2007 OFF, I held steady. Good enough for me.

4. Come up with another pseudonym.

So far, so good, but if I do finish one of those "not time yet" manuscripts, I might really NEED another one (esp. since one is middle grade/YA).

5. Open my mouth and insert my foot--at least not repeatedly!

Okay, still working on this one. I do think I'm getting better--or maybe my friends are just getting more tolerant. Either way, this is the hard one for me because I so often tend to speak without a filter. I have a thought or an idea and I just blurt it out. It's in my nature. Doesn't mean it's a good thing, though, or one I don't have to try to improve. But hey, I'm only 44. God isn't finished with me yet ;).

What's New for 2009?

This year's Anti-Resolutions, in no particular order, are as follows.

I will not:

1. Waste so much time on the Internet. (Notice I didn't say I won't waste any time on the Internet. That would be impossible!)

2. Allow myself to fall so far behind a deadline that I have to neglect my family to meet it. (Yeah, this was bad in 2008.)

3. Try to write a book without writing a blurb first. (Yeah, doesn't work for me. Even when I have a synopsis. Go figure!)

4. Get more cats. (We picked up four in the past year for a total of five. One more and I suspect I will be officially considered a cat lady.)

5. Spend every writing moment doing everything but write. (Yeah, corollary to #1, but still, important!)

And, with that, since this is a writing moment, I'd better get cracking!

YOUR TURN: Got any plans for things you won't be doing this year? Or things you will? Tell all. The Mavens want to know!

A Quick Update

Since MaveFave Vicki posted yesterday asking how the Mavens are doing, I thought it was the least I could do to pop by for a really quick update and...well, an utterly shameless squee.

As always, the day job, the family, and the writing are keeping me plenty occupied. I am (still :P) working on my option book proposal for Kensington. After writing about 8K, I found myself in a corner I didn't know how to get out of and realized I needed to retool the story from the ground up. Sigh. It happens!

A little over a week ago, I discovered a black and white, low resolution version of the cover art for my Kensington release, Behind the Red Door. Finally, after many excruciating day of impatient anticipation, the color, high-resolution version is here and I can share it with you.

Let me know what you think! But I warn you, it's mine, mine, all mine.

And, It's Off!

And by "it," I mean the completed manuscript of Behind the Red Door, my novella anthology which is slated for release by Kensington Books in the summer of 2009! I emailed the file to my editor yesterday (my official "extended" due date) with a follow-up hardcopy hitting the regular mail today.

Yay me!

As you may remember, I started a 30K in 30 days challenge to help motivate myself to finish. I wound up not only meeting, but exceeding my 30-day goal, although it wound up taking 32 days for me to put the final finishing touches on it. I literally closed the file ten minutes before I emailed it out.

So now, I'm free. (Breaks into a refrain of "I'm free to do what I want any old time.") It's a rather odd sensation, actually. I've been bound to that book for so long, I feel a little rudderless.

Oh, it's not that I don't have ideas. No, no, never that! It's more that I have a plethora of them, and since none of them are contracted, it's hard to prioritize. That said, for the next couple of weeks, I'm going to kick back and do some fun projects--a short story for a freebie Christmas anthology Anna Leigh Keaton is putting together and a short Christmas novella for Cobblestone Press.

After that, I reckon I'll get serious again by putting together a proposal for an option book for Kensington. And then we'll see what happens.

YOUR TURN: What have you been up to the past month while I (and the other Mavens) have been hiding in our caves? Tell us all the news. We'd love to hear!

30k in 30 Days Challenge--Update

I planned to check in a little more often than this, but actually doing the writing seemed to eat up most of my time. (Wonder how that could have happened?) I have been managing to update my daily word count on my blog, but that's about it for updates so far.

So, yesterday marked Day 15 of the challenge. I'm a little shy of 15k at this point, but that's primarily because yesterday was Sunday, and Sundays are always iffy for writing (this funny little thing called "family time" seems to get in the way, lol).

The good news, however, is that this method seems to be working. Making sure I sit down and write every single day with a specific goal in mind has made a huge difference in my productivity. When I do get a good, solid block of time, I am writing faster and more efficiently, and finding it not that hard to meet or even exceed the 1,000 word goal.

Which is a good thing, because I've now completed two of the three novellas that are due on October 1, and it's going to take me more than 1,000 words per day to finish the one I'm writing now. My math tells me I now have to average 1,400 words to write THE END on that one by September 29, the last day of the challenge, giving me a whopping ONE DAY to polish it up before sending it in. Am I worried? Nah! I'm freaking terrified. LOL.

YOUR TURN: Update us on your writing progress for the last fifteen days. If you're in on the challenge, how's it going? If you're not, what are your current goals and how are things coming along? Remember, we love to hear from you, even if we are pretty quiet ourselves!

The 30K in 30 Days Challenge

Since I last posted right before leaving for the RWA National Convention, I've been swamped by the day job. My company holds a conference for its clients every year in late August or early September (depending on when we can get the hotel), and I'm a major contributor to the effort. This year, I gave four presentations, none of which were remotely close to being developed at the beginning of this month. I had four weeks to get my act together, and believe me, I needed every one of those weeks.

So NOW, I have another deadline looming over me. I've promised all three of the Red Door novellas by October 1st. The first novella is (thankfully) already complete, but the second and third are sitting at 5,000 words (of a projected 25K) and roughly 20.5K (or a projected 30K). Soooo, to finish and ship the printed manuscript off to New York in time, I've got to write an average of 1,000 words per day for the next thirty days.

That's more than doable, of course. But since I've been "out of the saddle" for a full month now, it seems more than a bit daunting. And so, in an effort to motivate myself, I'm setting down the 30K in 30 Days Challenge. My friend and critique partner, Emma Petersen, even created this graphic you can post on your blog or website if you decide to jump on the bandwagon:









The challenge officially begins today, Sunday, August 31 and ends Monday, September 29, but you can jump in any time with your own start and end dates. If you'd like to engage in periodic check-ins, support, encouragement, commiseration, advice, and the occasional ass-whuppin' when you need it, simply leave a comment on this post. I'll be posting again next week to let you know where things stand, and you can let me know how you're doing, too. In addition, I'll be keeping a calendar on my personal blog to show my progress. There's nothing like a little shame and humiliation to keep me on track!

YOUR TURN: Want to join the fun? Leave a comment and I'll blogroll you!

My Heart (and More's) in San Francisco

By the time this post appears (thank you, Draft Blogger, for the ability to manipulate time and space!), I'll be in San Francisco at this year's RWA National Conference. Based on my experience at last year's Dallas event, I'm sure I'm already exhausted, overwhelmed, and giddy with pleasure.

Last year, I have to admit that I spent most of my time a) hanging out friends, b) hovering around the pitch room, and c) in the booksigning area snapping up free, signed books. What I didn't do was attend a whole lot of workshops, perhaps in part because I couldn't decide which would be useful to me and which wouldn't. A few that I went to were very worthwhile, but many wound up not addressing my needs in one way or another and I ducked out before they were over.

This year, I'm still expecting to spend a lot of time on a) and c), though not quite as much on b), since I don't need to pitch either agents or editors (and believe me, I'm as shocked as anyone by that). I would like to chat with some editors informally about some of my other projects to see if anyone seems really interested in seeing any of them when I'm ready to submit. Hence, I volunteered to help in the pitch room on Friday afternoon.

I'm also hoping to meet my Kensington editor, John Scognamiglio, since I hear he'll be in attendance, and I know I'll be having dinner on Saturday night with my wonderful agent, Kevan Lyon, and some of her other clients (can you say networking, baby?). Since I'm bunking at a family friend's house, I've set aside one evening to get away from it all and have a quiet dinner with her.

Beyond that, though, I haven't made up my mind what to do with myself. I've marked a few workshops/sessions that sound interesting/useful to try to attend. I will probably check out the PAN retreat on Thursday afternoon.

I have to be honest, though, and say that if I had my druthers, I'd find a quiet corner somewhere in the hotel to hole up and write. Because three whole days away from the demands of husband, kids, house, and the day job is just too seductive an opportunity to ignore. Especially with a deadline hanging over my head.

YOUR TURN: What would YOU do it you were me? Suck up as many conference goodies and workshops as possible, or find that quiet corner?

Writer's Log Jam

Like Darcy, I was going to blog about my pre-conference preparations, jitters, and excitements this week, but another topic has been pushed to the forefront of my mind by recent events. You see, I'm in the throes of writing my two contracted but as yet unfinished novellas, and I'm realizing that I have a problem. It's kind of like writer's block, but not exactly. It's more like writer's log jam.

You see, I'm not suffering from a paucity of ideas. Quite the reverse. I have too many!

The novella I'm currently writing (the third chronologically in the anthology, but the second I "conceived") is giving me fits because I'm afraid it won't fit within its 25K-35K boundaries. I have at least a dozen more scenes rattling around in my head that could and/or should go into this story, but I'm already pushing 20K and I'm still miles from the Black Moment. The result is that I'm finding it difficult to decide which scenes I should write and which I shouldn't. Worse, I'm an incredibly linear writer, so I can't just write the scenes out of order and put them together later. I have to know for certain what happened before the scene I'm currently writing, or I can't write it.

To make matters worse, other stories are plaguing me. Driving through the Black Hills on our way back from our vacation in Minnesota the week before last got me itching to write a Western historical (which I never thought I'd do, but the place is just do darned evocative!). Add that idea to all the others taking up space in my brain (there must be at least a dozen, if not more, begging to be written), and I'm finding it quite difficult to concentrate on the projects I'm actually obligated to complete! The words for the stories I must write are getting jumbled up with the words for the stories I want to write.

So, is there a solution to this dilemma? Short of just plugging away and doing what I have to do, I doubt it. But somehow, putting my finger on the root of the problem has me feeling a bit less anxious if nothing else. "Writer's block"--the possibility that my ideas will dry up and I won't be able to write anything at all--terrifies me. Being caught in an idea traffic jam doesn't make me nearly as nervous!

YOUR TURN: Do you suffer from writer's log jam? How do you overcome your selfish desire to set aside the project you're currently working on to start a new one? Or do you just give into temptation?

P.S. I'm also blogging today at the Aphrodisia Authors blog and guest-blogging with my critique partner, Emma Petersen, over at Shiloh Walker's blog. Drop by and see me if you get a chance!

Happy Fourth!

I'm blogging today from beautiful Lindstrom, Minnesota, where we're visiting my aunt and uncle for a week before driving back to sunny Southern California. Naturally, there has been no writing for the past few days, but plenty of inspiration as we drove through places like Monument Valley (Tony Hillerman country), Durango, Colorado, and along the Mormon trail through South Dakota. On the way back, I'm hoping to hit Deadwood. Who knows, maybe I'll get the inspiration I need to write that hot Western historical (I hear they're making s comeback).

Since I'm on vacation and I imagine a lot of you are, too, this will be a brief post wishing you a safe and happy holiday weekend (assuming you're in the US, of course!) and all the hot dogs and fireworks you can stand!

Take care and we'll see you next week!

It's an Epidemic!

A few months ago, my local paper ran an article about a group of writers in my area who get together to support one another and commiserate over their rejections. (It wasn't the local RWA chapter, to which I belong.) Several people quoted in the story lamented over how impossible it is for a debut author to get published in New York these days. Agents and editors won't even consider an unpublished writer's work, let alone offer a contract for publication!

But is that really true? That the unpubbed, to quote Rodney Dangerfield, don't get no respect?

I used to think so. I was pretty sure that getting an offer of agent representation or of publication were longshots akin to winning the lottery. Unlike the lottery, that didn't stop me from trying, but I knew the odds were poor.

Yesterday, however, I realized that in the past year, I've seen a lot of my unpublished friends become either agented or sold or both. I mean, a significantly higher percentage than anyone would expect based upon the statistics we all hear all the time (agents reject 99% or more of all submissions that come to them, only one-tenth of one percent of books that come before a NY editor are published, etc.). In fact, these events have been occurring so often lately, it seems like a virtual epidemic.

I still think it's DAMN difficult to get published. I know quite a few authors whose work I think is more than worthy of a six-figure contract who have been rejected repeatedly by agents and editors alike. And yet...it doesn't seem to be to be quite the crapshoot it once did. Authors with lots of skill and talent and more than a little bit of good luck and timing can and do get published. Even if they haven't got a previous publishing credit to their name.

Agents are still looking for new authors whose work they love to represent. Publishers are looking for new blood, new voices. And with diligence and perseverance, new authors do get published.

So, yay for the aspiring and unpubbed. Go forth and submit. And never abandon hope!

YOUR TURN: Do you feel encouraged when an unpublished author sells? Or do you think, "There goes another slot for a debut author; now I'll never get published!"

P.S. A hearty congratulations to Avon FanLit winner and all-around sweetheart, Sara Lindsey, whose three-book deal with NAL/Signet was announced this week, thereby inspiring this post.

This Too Shall Pass

Life seems to move in mysterious circles sometimes. Earlier this week, I was checking the stats on my websites, seeing how many people had come by recently and how many of those had actually found me on purpose. (I figure the ones who find me after inputting searches like "her creamy bosom" or my agent's name or my editor's name probably aren't really looking for ME.)

As I was scrolling through the list of visitor paths, I happened on one coming from a parenting newsgroup I used to subscribe to and post on regularly before I got too busy writing to keep up with that stuff any more. I clicked the link and, lo and behold, someone had posted asking if anyone knew what had become of me. Several people had answered, including a friend who lives in Virginia with whom I still correspond on irregular occasions. And someone posted a link to my website as a follow-up.

I thought it was pretty cool that my old friends (whom I've only ever known online) were asking after me, so I posted a response to say hi and let them know what I'm up to and where they can find me. I did explain before I unsubscribed from the newsgroup WHY I was unsubbing, so it wasn't like I just vanished or anything, but it was still flattering to be remembered and asked after more than two years after I left.

But I didn't see the symmetry in this until this afternoon. You see, I've been lamenting quite a bit lately to my writer friends about how I'm up to my eyeballs in everything. Kids are out of school, so home life is crazy. I've got teaching engagements with my day job almost every day this week and next. And I have to get ready to go to a wedding next Friday night and leave on a two-week family vacation the day after. I've had two books come out in the last two months, and I've got promotion to do.

Oh, and did I mention there's this little matter of three novellas I have to deliver to my editor by September 1? Two of which are no more than a third written, if that.

It helps to whine because I'm finding plenty of company for my misery. Others are in the same boat. Their work and personal lives are crazy. Their writing is suffering. They're hanging on by a fingernail and wondering when or if things will ever return to normal again. And it's awfully nice to know I'm not alone.

That thought made me remember why I haunted those parenting newsgroups for years and years. Because I didn't feel alone in what I was experiencing as a parent. Other people had been through--or were in the throes of--the very same struggles I was facing, whether it was a newborn who wouldn't sleep more than 45 minutes at a stretch (all 24 hours of every stinking day, and yeah, I had one of those!) or teething or potty training or five-year-old trash-mouth. I had company.

But I also remembered the most oft-repeated advice on those boards. Advice I myself gave to other parents as I gained knowledge and experience: "This too shall pass." And while I have to admit, that seemed like cold comfort when I was hanging onto my sanity by a thread because I hadn't slept properly in months (actually, I think there may have been a period where I hadn't slept properly in YEARS!), when the phase would pass and the NEXT problem would crop up, I'd always think, "Damn, they were right. It DIDN'T last forever!"

So today, I'm giving myself that advice. This too shall pass. I'll cope with what life throws my way, and before I quite know what happens, it'll be throwing something else at me. Maybe something better, maybe something worse, but definitely something different. And somehow, I'm finding that's pretty good comfort!

YOUR TURN: Life throwing you curveballs? Want to vent? Need commiseration? Bring it on!

Warning Signals

Last Friday night, at my daughter's bridging ceremony from Brownie to Junior Girl Scouts, I met another writer. Unbeknownst to me, the father of one of the other girls in our troop is writing a novel. Naturally, I was thrilled to meet another writer in my "real" life, and we swapped stories about agent and publisher hunting, publicity, and the trials and tribulations of the writing itself. I honestly had a hard time dragging myself away from the discussion because it was so refreshing to talk to someone who "gets it."

It was only after I'd left the party that I got to thinking about the implications of some of the stories he'd told me. He mentioned he'd submitted the work to a few agents and at least one publisher, and now had it with a "book doctor" to fix it. He also told me about a someone he knew who'd sold out his entire first print run, but that this person had spent so much on publicity that he'd made next to nothing on the book. At the time, neither of these points struck me as off, but in retrospect, they seem like warning signals. Warnings that a writer is maybe not talking to the "right" people.

Now, I don't know this for a fact because I haven't talked to him since then. But little alarm bells go off in my head now that I think about some of these things.

The Book Doctor/Professional Editor

In principle, there's nothing wrong with having your manuscript professionally edited. In fact, I'd say it's de rigeur. It's just that, ideally, it should happen after you've received a contract for publication, and it should be free.

Now, if you're paying a professional editor because doing so gives you that extra level of confidence in your work, that's fine. But all too often, writers end up hiring so-called "book doctors" because they've queried a shyster-type agents whose primary business isn't selling books to publishers, but sending business to the other guy. These agents say nice things about your book, but tell you it needs "work" to be marketable and that such-and-such an editor can help you for a smeall fee of X per page.

Of course, just because these agents are hucksters doesn't mean they're not right. Your book may actually need a little more work to fly in the market. But you should be able to get that kind of input for free from other writers by joining a critique group or working one-on-one with individual critique partners. Finding critique partners isn't easy--I have worked with a lot of people over the years, and some of those relationships have panned out long-term and some haven't--but it's well worth the effort. Not only do you get constructive and honest feedback on your own work, but you can learn a ton from critiquing their work in return. I know having great critique partners (including Mavens Lacey, Darcy, and Erica) was absolutely instrumental in my ability to sell a manuscript and land an agent. I just wouldn't be the writer I am today without them.

But pay a professional editor? Nope. That's my publisher's job!

Publicity Eats Up All the Profits

I have to admit, when I heard my writer friend say that it cost so much to promote a book, I kind of raised my eyebrow. I mean, how much does it cost to have a blog? (Answer: $0) How much does it cost to start a Yahoo Group for your newsletter. (Again, $0.) Those are small things, of course, and they aren't the be all and end all of an author's book promotional activities, but my sense is that you don't have to spend a LOT of money to effectively promote a book so long as your publisher is large enough and reputable enough to get shelf presence in bookstores. Oh, sure, everything you do above and beyond that helps, and it may affect your sell-through numbers to some extent, but the reality is that word of mouth (reader to reader) is the SINGLE MOST EFFECTIVE MARKETING TOOL in the world, and alas, you can't buy it!

What struck me as "off" about this particular story, though, was that the print run numbers were very, very small, and that made me think the book was probably self-pubbed or vanity-pubbed. That's a whole different ballgame, obviously.

Needless to say, though, I wonder now whether my friend has been talking to the "wrong sort" of publisher, especially since he mentioned that an editor told him he had to have a marketing plan, complete with a book signing tour, in place before the book was even contracted. Maybe I should be doing this and no one's told me (a very real possibility), but I'm still wary of the notion that it should cost the average author more to promote a book than he/she can earn from it.

Bottom Line

I think it behooves authors to be skeptical any time someone suggests that an outlay of a significant amount of cash will make him/her successful. When the desire to get that first publishing contract is so strong, it's easy to get scammed, and there are all too many people out there who will feed on those aspirations in any way they can.

YOUR TURN: Have you had experiences with agents or editors that set off your warning bells? What happened? Heard any horror stories from friends or other authors?

P.S. My contemporary novella, The Gospel of Love: According to Luke, comes out today from Cobblestone Press.

P.P.S. I'm over at the Naughty and Spice Blog today, talking about how I learned to stop living (and writing) in the past. Thanks to the fabulous Amie Stuart for the invite!

It's All About the Passion

There hasn't been a whole lot of writing in my life this week. Instead, my days have been heavily dominated by the day job, and particularly by a conference I attended Monday through Wednesday.

I have to be honest and say that when I was reminded that I had this conference to attend, I was far from thrilled. I have a lot on my plate at the moment, and taking three days out to go to workshops that probably wouldn't teach me anything I didn't already know (yeah, call me arrogant, lol) was hardly appealing. But, my company paid good money for me to attend, and so, attend I did. (Fortunately, it was held locally, so there was no major travel involved. Just the 20 minute drive to and from downtown San Diego on $4.20 a gallon gasoline. But I digress.)

Truth be told, there weren't a lot of workshops geared toward the things that I would have really liked to learn. Or at least, they weren't marketed in such a way that I thought they were. In all likelihood, I missed a bunch of sessions that were just not accurately described in the conference materials.

I did, however attend one really FABULOUS workshop on Wednesday afternoon. It was my last of the conference, and honestly, it made the whole experience worthwhile. Not so much because of the subject matter, for though I did learn some new things of value, there was nothing really earthshattering in the material he presented.

No, it was because the speaker was flat-out fantastic. Dynamic, funny, and absolutely PASSIONATE about the subject. And it occurred to me that this guy could have been reading the phone book aloud, but if he did it with the same charisma and passion, I'd have been hanging on his every word.

Of course, when I teach workshops of my own (as I had to do today), I try to bring excitement and energy to my performance. It's one of the reasons teaching is so exhausting! (And why, when I got home this afternoon, I pretty much collapsed in a watery heap and didn't do anything useful for the rest of the day.)

But sitting there listening to this guy talk about something that was arguably incredibly boring (performance support) and eating up every second of it, it occurred to me that a big part of what keeps me hooked in a book is that the author demonstrates the same kind of passion for his or her story in writing. And I got to wondering HOW the author is getting that emotional connection to the story across to the reader. Clearly, it's not with body language, tone of voice, or ad-libbing responses to the audience on the fly, all of which the speaker used in spades. Obviously, whatever an author is doing to communicate that sense of urgency to the reader is both deeper and more subtle than anything a presenter can do with a live audience.

I like to think I can TELL that the author *loves* the story he/she is writing, loves the characters, and is aching to share that love with me, the reader. But I'm not sure I can put my finger on what is telling me that. I know when I'm WRITING something I feel passionately about, the writing itself seems to come more easily and I'm almost racing myself to get to the end because I want to experience the story MYSELF. But I'm not sure if that really comes across to the reader.

My contemporary novella, The Gospel of Love: According to Luke, comes out from Cobblestone Press next Friday. (Yes, Friday the 13th. I promise, however, no one named Jason and no hockey masks appear in the story.) And I really felt a passion for that little book while I was writing it. It fell out of my head in a little over two weeks. Every day during that two weeks, I couldn't WAIT to get time to sit down at the computer and write more.

I hope readers of the story will feel that passion in the words I committed to paper (or screen, as the case may be). And I believe fervently, with every fiber of my being, the loving the story you're writing is the first and most essential ingredient to producing a marketable manuscript. After all, if you don't love what you write, why should anyone else?

YOUR TURN: Do you think you can tell when a writer is passionate about his/her story? And conversely, do you think readers can tell when YOU aren't? How?

Contest Winner and Guest Maven

Good morning, Mavenland. We're running a little late here, but never fear, the party with MaveFave and Kensington author Amie Stuart will get started presently.

In the meantime, the winner of a free copy of Wickedly Ever After is Shelli Stevens (who in addition to being preseident of GSRWA and an all-around great gal just sold to Kensington herself--so double congrats to Shelli!).

Several of you noticed that the cart went down at Cobblestone Press on the day of my release, preventing you from buying. Apparently, the vendor from whom Cobblestone contracts the service had a problem with one of their servers, but it's fixed now. So if you didn't win and you're still hungry, now's the time go buy!

Release Day!

That's right! Wickedly Ever After hits the shelves (figuratively, at least) at Cobblestone Press today. Exciting, yes?



If you click on over and it's not there yet, try again later. The new releases usually get posted before noon Eastern on Fridays, but sometimes, it takes a little longer! For an excerpt, hop on over to the Cobblestone Author's blog.

And if you're a gambling man or woman, I will be giving away one copy of the book to one lucky person who posts a comment either here or over at my blog under the cross-posted version of this post. I'm also giving away two query critiques and a signed copy of Brenda Novak's Dead Giveaway here.

The Road Not Taken

Earlier this week, I got a call that gave me a moment's pause, wondering if I'd made a poor career decision last summer. You see, it was an editor calling to offer me a contract for Carnally Ever After, which I'd long-since contracted to Cobblestone Press. I submitted the story to said publisher back in April of 2007 (ed: not 2006; I'm chronologically-challenged!), and when I didn't hear one way or the other for a few months, I got antsy and submitted it to Cobblestone, never dreaming I'd get a contract offer from them within hours of submission. I figured I had plenty of time to wait for BOTH publishers to get back to me. When I hadn't heard anything from the other publisher after a full six months had elapsed, I figured the rejection dropped into my Spam folder and I'd failed to rescue it.

Anyway, my initial response to this call was to want to kick myself in the head. The publisher in question is a "big name" publisher, and there's no doubt I could have earned more money on the story if I'd contracted with them. Why, oh why, didn't I wait longer? Have more patience?

And then I kicked myself again because, duh, if I hadn't contracted that story with Cobblestone, I'd never have bothered to write the sequel. I'd never have met Deanna Lee and Emma Petersen and Amie Stuart, all of whom were instrumental in my decision to submit that sequel to Kensington Books.

So, as it turns out, what was objectively a "wrong" decision (to go with a lesser-known, smaller publisher without waiting to hear from the larger one) was actually the right one. I couldn't have known any of this back in June, though, and none of these possibilities factored into my decision. I simply decided that I'd found a reputable publisher who loved my story, and I was willing to forego the chance of hooking the "bigger fish" when I already had a solid bite on my line.

Wow, am I glad I did! If I had waited, there's no telling what would have happened, of course. It's possible I'd have written something instead of Wickedly Ever After that would have hooked an agent or editor. Or not. It's impossible to know.

As writers, I think we angst a lot over our decisions. Do I write this story or that one? Should I submit to this agent or that one? Should I sign with this agent or not? And so on.

But I think maybe we worry too much. Even if you make the "wrong" decision, chances are good it'll be a learning experience. It will probably lead you places you'd never have tried to go otherwise. And that, in the long run, it will contribute to your success in ways you can't even dream of when you make your choice.

YOUR TURN: What was the hardest career decision you ever had to make? Did you make the "right" one or the "wrong" one? Or are you still trying to figure that out?

To Contest or Not to Contest

Beverley Kendall, MaveFave and Avon FanLitter, contacted me via IM a couple of weeks ago with the exciting news that she'd finaled in her first RWA chapter contest for unpublished writers. I congratulated her and said I bet it was the beginning of a trend. Well, color me clairvoyant, but within a week or so, she had finaled in two more, and one of those was a double-final. She missed finaling in a third contest by ONE position.

As we were squealing with delight over this surfeit of good news, we started talking a little bit about the overall value of such contests and when/if writers should enter them. One of the things we've both noticed is that the same authors and works tend to reach the final round over and over again. It seems that once a writer reaches a certain level of skill and polish, she (or he) can pretty much count on reaching the finals in many (though by no means all) of the contests she enters. (All bets are off, of course, for those who write stories that are outside the box. Contest judges tend to be traditional/conservative, so the odds of running into one or more judges who just don't get your story are pretty high.)

As a consequence of this observation, we started wondering what motivated authors to continue entering the same manuscript in contests over and over again, especially when the pool of editors and agents reading in the final round is relatively small. Once a manuscript has reached the finals a certain number of times, the odds diminish that it will reach an editor or agent who hasn't already seen it before. And if the final round judge is one who's seen the manuscript before, but hasn't requested it, the chances the entrant will get a request this time can't be great.

Now, I can't claim any particular restraint when it comes to entering contests. I don't have an accurate count handy, but it's certainly in the neighborhood of a dozen over an 18-month period, and more than half of those were with the same manuscript. That said, I was pretty particular in that I didn't enter contests with the same final round judge more than once, and each time I entered the same manuscript, it was after I'd made some pretty significant changes that I wanted to "test-run."

Still, at this point, I didn't think there was anything that could induce me to enter another contest, at least not one for an unpublished manuscript. I just figured since I now have an agent, it's my job to write the books and hers to get them in front of the right people.

But as luck would have it, I met with my agent this week, and we discussed a story that's been taking up large amounts of real estate in my brain lately. The idea behind it is just far out enough that, even though everyone I've shared it with thinks it's fantastically creative and cool, there is some question of marketability. Kevan shared that concern and suggested writing it to the proposal stage, at which point, we'd float it out to a few editors to see what feedback we got and decide where to go from there.

That seemed like a great idea, but then it occurred to me that maybe I could get some of that feedback we were hoping for from the first round of editors by entering the manuscript in a contest. If the manuscript didn't make it to the final round, we'd have some feedback that might help us determine where to tweak to its marketability, and if I did make it to the finals with an editor we'd have targeted otherwise, we could get that editor's feedback without "blowing our wad," so to speak.

As luck would have it, I found a contest I'm eligible to enter with a due date next week with a final round editor we'd love to get the manuscript in front of. So, it looks like I will be going back on the contest circuit again, much to my chagrin.

All of this made me think harder than ever about what *I* think are valid versus invalid reasons for entering contests for unpublished manuscripts. Accordingly, here is my list of three bad reasons and three good ones (I was going to do five, but this post was getting WAY too long!):

Bad Reasons

1. To get published
   
   Yes, it happens. People do occasionally get requests from editors/agents for manuscripts they entered in contests and even more rarely, they get offers for publication. But as a primary strategy for getting published, entering contests is significantly more expensive than the alternative (sending out queries, partials, and fulls) and fickle (because whether or not you get to the final round is so dependent on the subjective opinions of people who are, in many cases, just unpublished authors like you!).
   
   I think authors get seduced by the logic that say a contest final is better than a manuscript in the slush pile because the agent/editor has to read it. (Guilty as charged!) But honestly, that agent or editor will make up her mind about your manuscript in the same number of pages whether it's a contest entry or something that came to her via the query route.
   
   
2. To gain "credits" for the author bio portion of your query letter
   
   Contrary to what we'd all like to believe, the only unpublished contest finals that really "matter" to agents/editors are the big ones. That is to say, the Golden Heart and a possibly a few other premiere contests like the Maggie. And having a lot of contest finals can actually be a negative. It raises the question, "If this author is so great, why hasn't she gotten an agent/sold yet?"
   
   
3. Purely for the thrill of finaling
   
   Getting that phone call or email telling you you've made it to the final round in a contest is pretty exciting. But if that's the only reason you're in it, you could probably get that excitement cheaper at an amusement park.

Good Reasons

1. To get feedback on a manuscript
   
   If this is your reason for entering, then you can't summarily dismiss the criticisms you receive as authors are sometimes wont to do. They may not all be valid, but if you really want feedback, you have to be willing to listen to what you hear. That's not always easy, especially if some of the things you hear aren't the things you want to hear.
   
   
2. For a chance to get the manuscript in front of an agent/editor you couldn't otherwise query
   
   Most of the time, the agents and editors who judge the final round on unpublished contests are people you can query privately as well. But every once in a while, an editor or agent who isn't "open" for submissions judges a final round. It can definitely be worth entering a contest to get a shot at that person, especially if he is your dream editor/agent.
   
   
3. To support your chapter
   
   If your chapter is running a contest, then entering your manuscript(s) is a way to add money to their coffers and get something in return. Of course, you should also judge said contest (but not in the category(ies) you entered, lol).

Of course, none of these rules apply to the Golden Heart. That contest is one you enter purely for the glory of finaling. Nothing else matters.

YOUR TURN: Can you think of other good reasons for entering contests? Bad ones? Have a contest experience you'd like to share? Come on down!

Performance Anxiety

In the world of romance, heroes rarely suffer from this malady. Not only are they supremely confident gentlemen of the world, they are also so wildly attracted to their heroines that any possibility of failure to rise to the occasion is unthinkable.

Would that the writers who invent these rarefied creatures shared their immunity! Alas, I'm afraid it's not, because I seem to have developed a pretty bad case.

You would think that the validation inherent in receiving a contract for publication would be sufficient to convince any author that her work has merit and she should simply forge ahead. But I'm not any author. I am Jackie and I am neurotic. Which means that instead of rejoicing that my editor loves my work and wants to publish it, I'm worrying about living up to his expectations. About not screwing it up.

Now, of course, I know the best way to screw it up is not to get it written. So obviously, I need to conquer my fear. I've still got plenty of time, but every day I fritter away angsting and biting my nails is one less day I have to meet my deadline.

So, my question for you, MaveFaves, is...how do you conquer self-doubt when it's preventing you from writing? I'm already trying the Angie Fox "it's only half and hour" method with some success, but I think I need more techniques in my box of tricks.

Opinions Are Like...

Gotcha, didn't I?

I'm not going to complete that thought quite the way you probably expected. You see, I've been following the kerfuffles in the blogosphere over some authors' bad behavior vis-a-vis negative Amazon reviews. While I have no intention of bringing the heated debate here, it's made me realize one of the most important mantras an author can learn after being published is:

Opinions are like backsides: it's best to keep yours to yourself.

Now, I don't mean published authors are enjoined never to express opinions about anything. I think, for example, it's perfectly okay to state their opinions about thong underwear (I hate them), brussel sprouts (am slowly coming around to them), and sushi (yum!).

But when it comes to other people's opinions about your work (aka reviews, particularly the negative ones), it is never a good idea to argue, explain, or otherwise defend yourself, even when the reviewer is clearly wrong. Because just like it's the kid who throws the retaliatory punch on the playground that gets sent the principal's office, when an author responds to a negative review, it never ends well for the author.

Before my first story was published, I worried a lot about how I'd feel about negative reviews. I'm an inveterate fixer, and if someone doesn't like something I've written, my natural impulse is to want to make it better. But a work of fiction, once finished and published, isn't fixable. It is what it is. And I didn't know quite how I'd handle that impotence.

As it turned out, I've only seen one review of the story that could be considered negative. And I'll admit, reading it didn't make me feel great. But it was also a very honest and well-reasoned opinion, and I appreciated that the writer took the time to think about my story and express her feelings about it so clearly. At the same time, however, my impulse was to explain away her criticisms, but I managed to refrain. It wasn't easy, but in the end, the story has to speak for itself, and it didn't speak to her. And that's okay.

To further illustrate my point, I entered Wickedly Ever After in a contest for unpubbeds a while back. It didn't final, and when the scoresheets/comments came back in the mail, I deliberately didn't open them because I didn't want to be discouraged from completing the story by what I found there. Good thing I didn't. I finally got around to opening them yesterday, and the scores and comments were not encouraging. Oh, they weren't horrible, but I'd certainly never have had the audacity to submit the story to Kensington if I'd read that feedback first.

Which just goes to prove--one reader's "meh" is another reader's "fabulous." And you just never know.

It's certainly difficult to separate our personal feelings from our work. We pour so much of ourselves into every page, it's hard not to want everyone to love our every word. Realistically, though, that's not going to happen. Not even the world's greatest writers are universally loved, after all. There is, as they say, no accounting for taste!

YOUR TURN: How do you handle "constructive criticism?" Do you think an author can ever respond to a negative review without coming off badly?

Jackie's Gems (and, er, Little Lumps of Coal)

Like most of the Mavens, I've been writing off and on almost as long as I could write (with a long stretch of mostly off between roughly 1990 and 2006). My bookshelf could therefore either be excruciatingly huge or relatively small. Being the kind soul that I am, I've decided to spare you you all of stuff I wrote before 1990. (Although I do have fond memories of a Star Wars fanfic I wrote when I was about thirteen. I'm convinced it was much better that what George Lucas came up with in Return of the Jedi. In my version, Emperor Palpatine had a daughter, and she and Luke became an item. Ah, even back then, I had a natural inclination to make everything a romance!)

Because I've written (or am in the process of writing) a lot of short stories and novellas, this list will probably seem a lot more impressive than it actually is!

1) Living In Sin aka A Scandalous Liaison aka Unbridled: This book (or perhaps more accurately, its characters) will always have a special place in my heart because it's why I started writing against after a 15+ year hiatus. The hero and heroine popped into my head and demanded to have their story told. The only problem turned out to be that I had to keep writing it. Over. And over. And over.

It ran the unpubbed contest circuit in many interations (I think I wrote the beginning at least a dozen times) and finaled quite a bit, but I kept getting comments from judges that there wasn't enough conflict. Um, the heroine's a duke's daughter and the hero's an Irish racehorse trainer! How much conflict do you need? But eventually, I did see the point. I reworked the heroine's backstory and rewrote the beginning to make the conflict stronger. And the manuscript not only finaled in two of the three contests I entered it in, it actually won both and got requests from an agent and an editor.

Unfortunately, I'd made the conflict (and plot complications) SO good that, at thirty-five pages, I discovered I'd written myself into a corner and I still have no idea what logically happens next. And thus, the manuscript now graces the Magical Mulch Pile.

2) Lady Libertine: Originally conceived as the sequel to Unbridled, this book features my favorite heroine ever--the snarky, jaded, and promiscuous Amelia. Amelia originally appeared in Unbridled as an antagonist/villainess. I loved her voice when I wrote from her POV so much that I had to "redeem" her at the end so I could give her a book of her own. The plot for this one is sort of a modified Da Vinci Code idea, with the hero and heroine looking for pieces of a blueprint based on the clue they find at each location. Coming up with the clues and their interpretations was fun. My favorite is the one that uses Robert Burns' poem, Of a Mouse.

This one's still unfinished (25K of 90-100), but I suspect it'll be the next historical I complete and submit to Kensington.

3) Carnally Ever After: This is a short story (<15k, so I can't properly call it a novella) that I wrote on a dare of sorts from Ann Aguirre early last year. She was doing a short for an Ellora's Cave call for submissions, and challenged her blog readers to do the same. I didn't think I had any ideas, but suddenly, this story popped into my head and went on to essentially write itself.

This is the story that got me my first contract for publication, though it turned out to be from Cobblestone Press rather than Ellora's Cave.

4) Going Greek: A complete departure from anything I had done before, I got the idea for this contemporary, first-person women's fiction/romance after attending a meeting of the San Diego RWA Chapter at which Sally Van Haitsma, a local agent, was the featured speaker. It's sitting at about 16,000 words right now, and is definitely high on my priority list to finish since my agent thinks it has great commercial prospects. (She described it as an updated How Stella Got Her Groove Back, which would never have occurred to me, since I've neither read that book nor seen the movie.)

5) Beyond the Red Door: This is the title I brainstormed with Kevan for the anthology that includes Wickedly Ever After, Scandalously Ever After, and Sinfully Ever After. As you might have guessed from the titles, these are all sequels to that little story that got me my first contract for publication. Wickedly is the only one that's finished at the moment, and it's also the story that got me my offer for publication from John at Kensington and landed me my agent. I love the way Kevan described it in the deal announcement on Publisher's Marketplace yesterday (er, yeah, I had to get that in here, didn't I?): "an anthology of erotic, historical romance, with three short stories rich in historical detail and the lusty escapades of London's Ton society at the infamous Red Door Brothel." Works for me!

6) The Gospel of Love: This is a quartet (natch!) of contemporary, first person novellas. The idea for this one started as the title, and the first in the series, According to Luke, fell out of my head in a little under two weeks in November of last year. Cobblestone will release it in June of this year. I hope to finish Matthew, which is about a quarter of the way done, in time for it to be released by Cobbelstone in either August or September. Despite the title, there's no big, overarching religious theme here--just the stories of four brothers finding love in the most unexpected places and people.

Of course, this actually only scratches the surface of all the ideas rolling around in my head. If I told you ALL of them, we'd be here until next week! Ah, a writer's dilemma: so many stories, so little time!

Do you have more story ideas than you can live long enough to write? How do you pick between projects when you have a dozen and they all seem like great ideas? Do tell!

Publishing Moves at Geological Speeds...

...except when it doesn't!

This past week has been quite the whirlwind for me as my writing career has taken a giant leap forward in the span, literally, of days. I'm still pinching myself, not quite able to believe I didn't accidentally wake up in someone else's life.

So, to tell the story from "the beginning" (and no, I don't mean the "I was born in a small town..." sort of beginning), in early February, I sent queries to a couple of agents and John Scognamiglio, Editor-in-Chief at Kensington Books, pitching Wickedly Ever After. Within hours, I had a response back from one agent requesting a partial and one from John, requesting that I send the full.

I printed the manuscript and gave it to my husband to mail out from his office the very next day. I figured it would be easier for him to use his company's meter to figure and print the postage than for me to go to the post office. I later discovered that, though he did eventually send it out, he let it sit on his desk for at least ten days before he actually bothered to post it. Remarkably, he is still alive :).

At the end of February, I received an email from John, asking whether the two related novellas I mentioned in my query letter were completed or, if not, available in outline form. I shot back with outlines the following Monday afternoon and posted a rather excited comment on my blog that I might have some big news soon.

And then I waited. And waited. And waited. THIRTY WHOLE DAYS!

Yeah, I know you're laughing. But seriously, that first nibble of interest, which came so quickly--and seemed even quicker once I knew that rather than having had the manuscript for a couple of weeks, John had had it only a few days--had me hoping I'd hear something, one way or the other, within a very short period of time. And it was short, as it turned out. It just didn't seem that way at the time! (Does it ever?)

"The call" came last Wednesday afternoon at 4:00 p.m. Now, for those who don't know, I live on the left coast, which means the last call I was expecting to get at that time was one from an editor in New York City. My son answered the phone and hollered for me, and I made my way down to take it (in my bathrobe) expecting it was someone from my office or a client. When the person at the other end announced, "This is John Scognamiglio at Kensington Books," well, I think you can pretty well imagine my reaction. My heart nearly jumped out of my chest because I knew, even before he said another word, that I was about to get an offer of publication.

John rattled off the details of the offer, but I have to admit that I barely heard them. All I could think of was that I had an offer from a major New York publisher for a single author anthology. That my dreams were coming true. Words really cannot adequately describe how amazing and surreal that moment was.

When John finished telling me the details of the offer, I was still coherent enough to explain that I was searching for an agent and that I'd be in touch with him once I'd selected someone to represent me. I had the manuscript with one agent already, and I let her know I had an offer right away. She said she'd read it over the weekend. In the meanwhile, I contacted four other agents who were on my A-list and received four additional requests for the manuscript.

And then things REALLY got interesting. By Friday afternoon, I had two offers of representation. By Monday evening, I had five. I was floored. And it was a tremendously difficult decision, because I felt a real rapport with every one of them. At no time did I feel that any of them was in it "just for this deal." All of them seemed genuinely interested in helping me build my career and representing me for the long haul. Their faith and belief in me and my work blew me away.

In the end, I chose Kevan Lyon at the Dijkstra Agency (they don't have a website, so I can't link you up, but I'm told they're working on getting one) as my agent. She's been a literary agent for a relatively short period of time, but has been in the publishing industry in one way or another for something like twenty years. And the agency itself has an amazing reputation, with a client list that includes Amy Tan, Lisa See, and Chalmers Johnson, to name a few. I know I'm in good hands.

Even though I'm incredibly pleased with my choice, it was tough to write those rejection letters to the other agents. I honestly don't believe I could have gone wrong, whoever I chose. (And I tip my cap to all those agents and editors who have to write rejection letters on a daily basis. It is no easy task, and I look at my rejection letters with a whole new eye now that I've written a few myself!)

This post has already gone on quite long enough, so I'll close by saying how much I appreciate the friendship, support, and encouragement of all the friends I've made in these past few years of writing, but most especially Maven Lacey. We've told the story of how the Mavens got together, but Lacey was the first person who really worked with me and convinced me I could do this writing thing. Without her, I'd never have kept going, never have met the other Mavens, never have stepped fully onto the path that led me here. There have been lots of other people along the way who've made a difference, and I plan to publicly thank each and every one of them over the course of the next few weeks.

But in the meantime, Lacey, this one's for you! Thank you from the bottom of my heart. You'll always be a rockstar in my world.