The One Review You Need to Make it {Guest Post with Author Crystal Walton}

Hi! It's Laurie :) I just met a new-to-me author and couldn't wait to introduce her to you. (I've apparently been living under a rock.) Anyway, I absolutely love what she has for us today. Take it away, Crystal! 
 

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"If you live for people's acceptance, you'll die by their rejection."

Ahem, excuse me while I go dig that arrow out of my chest. :)

That stings, doesn't it? We naturally desire acceptance. It's one of those built-in battles we all wrestle. And in case the vice isn't challenging enough on its own, the publishing industry steps it up ten notches by constantly measuring an author's value in neat, quantifiable metrics. Rankings, sales graphs, a convenient list of endless rejections from Bookbub, the number of hurtful reviews in the “place that must not be named” (*cough* Goodreads) ;) The list goes on and on.

Man, I know the pain of this struggle. When a careless comment in a review broke my spirit recently, my husband rested a tender hand on my arm, and in an equally gentle voice whispered, "You're remarkable to me."

I wanted so much to cling to his words and separate my identity from my work. But it’s hard, isn’t it? Our work is a part of us. And when we're thrust into a world where success hinges upon others' opinions, it's easy to end up staking our worth in those mass opinions and metrics (or lack thereof).

Which One Do I Listen to?

Before I dove into publishing, I remember reading an open letter to aspiring writers about things we should expect to encounter in the business. The author candidly warned that positive reviews will bolster our confidence but only for about a day. Negative reviews, on the other hand, will crush our spirits and be remembered forever. Ouch.

Lysa TerKeurst once shared about crying in a parking lot while scrolling through a website where readers debated her like she was a product on a shelf instead of a person with feelings. But while the criticism and rejection pierced deeply, she clung to the truth of her identity.

At a conference, she brought a stack of reviews to the platform and read them off, one by one. The first was a glowing remark about how amazing her work was and how profoundly it'd touched the reader's life. The next was a slam to Lysa's writing skills and a harsh critique of her theology. Back and forth, on and on it went. After several, she held them up and asked the audience, "Which one do I listen to?" The answer? Neither.

Ooh, that’s hard. But here’s the thing. Despite how much value the system places on reviews and outward accolades, the bottom line is this. There's only one review worth listening to. Ready for it?

You are fearfully and wonderfully made. By design. On purpose. With gifts to share and a voice that matters. Your value does not increase or diminish based on reviews or publishing metrics. You are loved unconditionally and irrevocably by a Father who puts His arm around you when no one else does and whispers, "You're remarkable to me."

When we ground our identity in that truth, the winds of rejection don’t relent. Doubts still thunder. Comparisons still taunt. But through it all, we continue to stand, anchored. Not in a quest of seeking affirmation, but in a journey of learning to abide in our calling.

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Author Bio: Crystal received her bachelor of arts from Messiah College in PA, married her exact opposite in upstate NY, and earned her master of arts from Regent University in VA, where she currently resides with her husband, David. Crystal writes contemporary clean romance fueled by Starbucks’ venti green teas. She’d love to connect with you at crystal-walton.com and Facebook.

Connect with Crystal:

Facebook: http://facebook.com/crystalwaltonwrites
Free Book: http://crystal-walton.com/new-release-mailing-list/ 

Check out her upcoming release: Begin Again: https://www.amazon.com/dp/B01NAQDA8K

GUEST POST: Marie Benedict, Author of The Other Einstein

Excited to feature debut author Marie Benedict here! Rave reviews have come in for THE OTHER EINSTEIN from PUBLISHER'S WEEKLY, ROMANTIC TIMES BOOK REVIEWS, KIRKUS and BOOKLIST, among others. I was intrigued by the subject of this book, Einstein's brilliant wife, an acclaimed physicist in her own right and a contributor to the theory of relativity. Research is an important part of the writing process for all of us and  Marie's guest post is a fascinating look into her journey. -Julia

Research. Careworn, leather-bound books piled around me. Copies of letters and pictures too delicate for libraries to loan stacked around me. Arcane scholarly articles brightened with post-it notes. This image of getting knee-deep in research draws me to historical fiction. But I know it would give many people the shivers.

For me, falling into the rabbit-hole of the past is one of the primary lures of authoring books like THE OTHER EINSTEIN. In writing this book, I stepped into the academic world of nineteenth-century Switzerland, where Mileva Maric, Albert Einstein’s first wife, studied physics after making a heroic ascent from the far reaches of the Austro-Hungarian Empire where it was illegal for girls to attend high school. To make that transition, however, I had to immerse myself into the challenges faced by girls and women in this time period, the ever-changing science and politics of fin-de-siecle Europe, and most of all, the tumultuous scientific and romantic partnership of Albert Einstein and Mileva Maric.

But how to research a relationship, once very real but now long past? While still keeping in mind that I’m writing fiction?

While many biographies of Albert Einstein and his life exist (among them the wonderful EINSTEIN IN LOVE by Dennis Overbye), for all aspects of my research—especially for an aspect as intimate as a relationship—I seek out original source material. Not the words of a historian but the words of the historical person themselves, if I can find them. This was particularly important in researching THE OTHER EINSTEIN because, while the book is unequivocally Mileva’s story, her relationship with Albert figures prominently in it. I did not want to rely only on anecdotal stories nor did I want to base my story exclusively on another historian’s interpretation of what might have passed between them.

Fortunately, I came across ALBERT EINSTEIN/MILEVA MARIC: THE LOVE LETTERS by Jurgen Renn and Robert Schulman. This compilation of the letters between Albert and Mileva spans the beginning of their relationship in 1897—when they were classmates only—through the early years of their marriage in 1903, and it was discovered in 1986 with the assistance of Albert’s granddaughter Evelyn Einstein. The letters reveal the young lovers to be enamored of one another and with science—physics and mathematical developments figure prominently in their conversations—and uncover the rather challenging early years of their marriage. In reading the young couple’s own words, I could envision the youthful, mercurial Albert and simultaneously brilliant and insecure Mileva. And in my mind’s eye, I could see the unfolding of their relationship in a way that no secondary re-telling could ever convey.

Filling in the gaps in my understanding of Mileva during this time period and beyond were the letters compiled by Milan Popovic in IN ALBERT’S SHADOW: THE LIFE AND LETTERS OF MILEVA MARIC. The author had in his possession letters between Mileva and his ancestor Helene Kaufler, a dear friend of Mileva. These missives showed another side of Mileva, one that explained her willingness to stay with the relationship as it declined and that showed her sadness at the loss of her scientific ambitions.

Taken together, these original source materials—the letters of Mileva, her very words—helped me form her voice and understand her world. This research served as a critical piece in writing THE OTHER EINSTEIN and giving another life to a woman whose astonishing story deserves to be told.

Be sure to check out Marie's website.

Her facebook page.

Or pick up the book. There is currently a $2.99 deal on the ebook

Guest Interview: William Peak, Author of The Oblate's Confession, Part I

I love spotlighting new releases for Library Journal and hearing the latest trends. Sometimes I'll admit I think...oh another_____ book. That's why I'm thrilled when I see new topics, issues, and time periods on the upcoming list. When I saw a book on the Dark Ages of church history, I was intrigued. William Peak is a librarian and newspaper columnist who released his debut novel this winter. The Oblate's Confession is based on over a decade of research of a lesser known but important figure in church history the Venerable Bede. William has some thoughts to share on writing and publication. Tomorrow we will run part II of Peak's guest interview, so be sure to return for more answers and a short excerpt from his release.


Q: How would you describe your journey to publication?

A: Arduous? Interminable? Truth be told, I'd pretty much given up all hope of anyone ever purchasing my novel when, out of the blue, a publisher approached me after reading one of my poems in a literary review. I sent him my manuscript, he read it, sent me a healthy cash advance, and the rest, one hopes, will be history. 

But that unexpected and extremely welcome approach took place seven long years after I had completed writing The Oblate's Confession. It's a hard world out there for anyone hoping to get a piece of serious fiction published today and be paid for it. Certainly I know of no tried and true path to successful publication (unless, of course, you've already been published and your work sold millions). 

I was fortunate. I have little doubt that untold numbers of excellent writers toil away unpublished and miserable today...and I fear that many of them will forever remain so. My heart goes out to them.


Q: What are the advantages you've found to publishing with a smaller house (Secant)?

A: Well, as this is my first novel and my first publisher, I can hardly claim to be an expert on small publishers, but certainly my experience with Secant has been a happy one. Though I have to tell you, when Secant's principal, Ron Sauder, first approached me about publishing my work, I was so gun-shy from all the rejections I'd experienced over the years that I feared it might be some sort of scam. I told myself the minute this guy asks for money, I'm out the door. 

Even after the check for the advance cleared and I could see the new balance in my account, a part of me worried that anything published by such a small company must inevitably look cheap and amateurish. But I was in for a surprise.  

Ron hired an entire stable of artists and designers to create maps and illustrations for the book, design its cover, pick its type and font size, and lay it out. I firmly believe the result to be a thing of beauty. And I love the paper the text is printed on. The stuff is so thick and creamy I can use a fountain pen at book-signings and the ink never runs into the surrounding paper. 

Add to this Ron is a joy to work with, that he truly loves my book and is doing everything he can to promote it, and you can see why, at least as far as my own experience is concerned, I can heartily recommend the advantages of publishing with a smaller house.


Q: How were you inspired with the idea for The Oblate's Confession?

A: A number of different paths led me to the writing of my novel. First, I became interested in contemplative prayer and wanted to learn everything I could about its earliest forms of expression. My research led me to the desert fathers and early monasticism. Reading about early monasticism, I discovered the Venerable Bede and his magisterial work, A History of the English Church and People. Within the covers of that book, I found material enough for several novels. Which played into another interest of mine. Ever since I was a child I have dreamed of time-travel. In imagining the world of a 7th century monastery into existence, I realized I would finally have the opportunity--however vicariously--to travel to and inhabit a time and place entirely different from my own. It is my hope that The Oblate's Confession will similarly transport its readers.

Q: Do you have any writing rituals?

A: Most definitely. All of my life, whenever I've had to move into a new house, the first step in making that house my home has been to find the room that will serve as my study. It must have a window with a view, and it must have room for my books. With the walls lined with books and a good view of nature outside my window, I can set up my desk and begin to write. 

A cup of coffee is necessary. To avoid having to get up for a fresh cup in the midst of some writerly struggle, I always bring a thermos of hot coffee with me to the study. And morning too is part of my routine. As a writer, I identify with the Appolo-like Gawain, whose strength increases as the sun rises, and decreases as it descends.


Q: What was the best writing advice you were ever given?

A: You know I have been fortunate in the guides I have had to the writing life. James Boatwright at Washington & Lee. Richard Dillard and Cronan Minton at Hollins. My father, who was an excellent writer and storyteller. While at Hollins, I used to go camping up in the Jefferson National Forest with Annie Dillard and Steve Pett. Annie won the Pulitzer Prize that year for Pilgrim at Tinker Creek, and Steve is no mean writer himself. 

(Julia: OK, this pre-published writer is getting quite green-eyed at the mention of Ms. Dillard! Talk about mentorship!)

But oddly none of these--so far as I recall--ever gave me the one piece of advice I always tell would-be authors: read. Read everything you can get your hands on. A writer who doesn't read would be like a pianist who doesn't practice. When he wanted to write, he would find there was no ink in his pen. It is from reading--massive, unending amounts of reading--that we gain the fluency required to write. 


Stay tuned for tomorrow's part II as William will share more about his research methods, inspiration, and character creation...as well as an excerpt from The Oblate's Confession.

Also, don't forget to check out Secant publishing homepage.

To buy William Peak's novel, The Oblate's Confession on amazon

  

  

Guest Post: Lacy Williams, Editor at Redbud Press on Boutique Publishing

I had the chance to spotlight some new presses in Christian fiction at Library Journal and these new options caught my attention. It is no secret publishing is undergoing rapid-fire change, both in the CBA and ABA industries. Lacy Williams is here today to offer a spotlight on boutique publishing, one recent trend.


 1) How did the idea arise to start a new publishing company?

My two business partners and I were on our way home from a writers’ retreat and started talking about authors who had told us they wanted to publish more books but were nervous about self-publishing. (There were a lot of them). The business aspects of being an independent publisher can be daunting—not only are you in charge of writing the book, but also marketing and all the business stuff. 

We wanted to give authors like that another opportunity to reach their readers. I had experience with the business and marketing side of being an independent author and we all three bring different industry connections and talents in the editorial process. 

Ultimately, we felt God was opening doors for us, and after a lot of prayer, we just went for it!

2) What does Redbud offer that is an asset to the publishing marketplace?

Most legacy publishers put out one trade-length book per author per year. As a reader, I know if my favorite author had five books out this year, I would buy all of them! Redbud Press wants to bring more books from readers’ favorite authors into the marketplace. We have different marketing strategies from the large legacy publishers and different pricing strategies too, because of our digital-first model. 

3) Your website says Redbud is a boutique publisher. Can you explain what that means?

Think about retail stores. You have the big-box, sell-everything discount stores, and you have boutique stores that have a single focus. Women’s clothing. Baby clothes. Accessories-only. 

Redbud Press isn’t trying to sell everything to everyone. Our target reader is the mom who loves romance and wants a good book to curl up with after the kids are in bed and she has her hour of freedom. We are a boutique publisher because we have that single focus.

4) Can you explain to us about the digital first model? Do you think this option is a good one for new authors? Established authors? 

Our books will be published in ebook form and print-on-demand (paperback). 

I think authors need to educate themselves to find the right publishing path. Legacy publishers are changing. Advances and print runs are getting smaller for the midlist author (and some of those contracts can have terrible terms). How can an author survive when their income is disappearing? Maybe a better question is how can an author achieve the most exposure? If that is partnering with a legacy publisher (and the author has the talent and connections to get in to that market!), great. If the author can publish with a small press or do it themselves to increase their exposure, great.

What I’m finding is there’s no longer a one-size-fits-all publishing path for any author. 

5) How is the digital first model changing the face of publishing? 

I don’t think the digital first model is what is changing the face of publishing. Legacy publishers are facing all kinds of difficult things. Mergers. Lines closing. Editor turnover. A changing market that wants lower-priced ebooks. Competition from successful self-published authors. 

The entire market is changing and the best we can do as authors is discover the best way for us to reach readers and make a living at it.

6) Under this model, how does marketing work?

I couldn’t say for every publisher, but at Redbud Press we aren’t spending big bucks on buying ads. We’re taking more of a grassroots approach. Building our email newsletter list. Asking our readers to be involved in spreading the word about our books. And utilizing connections with online retailers to find new readers.

7) What trends are you seeing in digital publishing? 

Contemporary romance is hot right now. Amish continues to be popular. And series sells.

8) Can you share with us as readers and writers what the imprints you have are and how they are distinctive?

Our HOMETOWN ROMANCE imprint is comprised of frontlist books (never-before-published) that have a small-town feel (or community feel even if they are set in a big city). They are all inspirational romances of between 45,000 and 65,000 words. We have authors like Kathleen Y’Barbo, Rene Gutteridge & Cheryl McKay (co-authoring), Gayle Roper and Camy Tang writing for this line. 

Our TIMELESS imprint brings new life to authors’ backlist books that have gone out of print. We are in the process of signing some contracts for this line, so I can’t mention names, but I think readers will be excited to see these books again (or for the first time). In addition to straight romance, these books can be women’s fiction or romantic suspense as long as they have a strong romance thread.

9) What does a typical day look like for an editor at a small press?

Every day is different. I may be negotiating contracts, working on line edits for a manuscript, creating cover art, or balancing the checkbook. I also have small children at home so life is an adventure every day. 

10) What are some distinctive releases upcoming this Spring for Redbud? 

Out in March, Saving Justice by debut author Susan Crawford tells the story of entrepreneur Nash McGuire returning to the poverty-stricken neighborhood where he grew up. He finds his life overtaken by schoolteacher Kinley Reid and one of her at-risk students, and must decide between risking his heart or walking away.

Available at:

Amazon http://www.amazon.com/dp/B00T3P5KLM/

iBooks https://itunes.apple.com/us/book/saving-justice/id963928909?mt=11

B&N  http://www.barnesandnoble.com/w/saving-justice-susan-crawford/1121151072?ean=2940151755290&isbn=2940151755290

Also out in March, Secondhand Cowboy by yours truly is the story of a former rodeo cowboy Callum Stewart who comes back to the one place he promised to avoid forever: his hometown. When Callum needs help, it’s his high school girlfriend who steps in—and claims his heart all over again.

Available at: 

Amazon: http://www.amazon.com/dp/B00THMNCW0/

iBooks: https://itunes.apple.com/us/book/secondhand-cowboy/id966668034?mt=11

Also upcoming:

The Art of Falling and Kiss the Cowboy by Julie Jarnagin (exclusive pre-order at iBooks)

https://itunes.apple.com/us/book/kiss-the-cowboy/id968053478?mt=11

https://itunes.apple.com/us/book/the-art-of-falling/id968051307?mt=11

And we’d like to let your readers know that we’re offering two novellas free if they sign up for our newsletter list: Kissed by a Cowboy by yours truly and Out of the Flames by Cheryl Wyatt. Readers can sign up at http://www.redbudpress.com/news

Thank you for hosting me! Readers can find our entire author list and other information at our website www.redbudpress.com .

Handle Back Story Like A Boss {Guest Post: Author Carla Laureano}

It's my extreme, bucket list pleasure to host multi-published, RITA (!!) award-winning author Carla Laureano. She's one of my favorites and one of the smartest people I know. Take it away, Carla! 

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If there’s one thing that separates the men from the boys…ahem, the skilled writers from the newbies…it’s the handling of back story in a novel. It happens to be one of the areas of writing that has the most “rules” attached, many of them contradictory. Make sure your characters have a history…but don’t tell us about it. Sneak the important information into the text…but don’t info-dump! How do you reconcile those conflicting requirements?

Let’s first take a look at what back story is and isn’t. Wikipedia, that fount of all internet knowledge, defines back story as “a set of events invented for a plot, presented as preceding and leading up to that plot” and adds that it is a literary device “employed to lend depth or believability to the main story.” (See, sometimes Wikipedia is right!) Back story is something that the author uses to give the sense that the characters lived before the story began and will continue to exist after the story ends. It’s the difference between cardboard cutouts and living, breathing people.

Important as this character history is, however, it is not the main story. Spending page time on something that doesn’t relate to the current conflict can stagnate your plot and stall your pacing. So the big question becomes: how do I convey that information in a way that is both effective and seamless?

The key is to limit the information only to what the reader needs to know at this moment. There are three primary ways to do this:

Interior Monologue 

In my contemporary romance Five Days in Skye, heroine Andrea comes off as being completely in control of her life and her future, which couldn’t be further from the truth. I could have easily spent pages detailing the history of her insecurities, but in chapter three where this passage occurs, the reader only needs to know that there is something deeper going on behind the scenes.

As she turned away from the mirror, the gold cross resting at her collarbone caught her eye. Her fingers drifted to the necklace, and she rubbed the cool metal pendant between her fingers. The symbol felt like a lie now. What would her mother think if she could see what she had become? Would she be proud of what Andrea had made of herself? Or would she be disappointed that a piece of jewelry was all she retained of her past?

By detailing Andrea’s thoughts in a short paragraph, I was able to hint that she had once possessed faith and lost it, that she’s running away from her past, and that her mother is either dead or out of the picture, all without exposition or taking the reader out of the current moment. These things are revealed in detail later, but for now, we only need the hint of things to come.

Dialogue

Likewise, dialogue can be a great way to get information about a character’s history without resorting to long passages of narrative that might take the reader out of the moment. In Oath of the Brotherhood, the first book in my Celtic fantasy series, Conor has tentatively made friends with Aine, but he knows very little about her beyond the fact she was raised outside of Seare.

When Aine diverged into specific Ciraean military tactics, Conor just stared at her, speechless. He finally managed to squeeze out, “Where did you learn that?”

Aine blushed. “All highborn children in Aron are schooled in the strategy of warfare, since women can inherit clan leadership.”

“Will you someday?”

“Not likely. I’m third in line after my two uncles. They still drilled these things into my head, though. We studied the Seareann conquest in great depth.”

“Can you fight, too?” Conor asked.

She shrugged. “I have some talent for archery, but I never really applied myself to it.”

During this class session with their tutor, I was able to shed some light on Aine’s personality, her history, and the differences in her upbringing through dialogue, all of which are important in their developing relationship and soon afterward in the plot.

Narration

This is the most common place to slip in backstory, through either straight-up author narration or by using visual cues that help fill in the blanks. This method also tends to be most problematic, because many authors simply spend too many words on history that doesn’t directly relate to the story.

I ran up against this problem in my upcoming contemporary, London Tides (June 2015). Understanding my hero’s and heroine’s shared history is key to understanding their current relationship, but it didn’t make sense to have them reflect on their past or discuss events for which they were both present. I got around this by using physical description of significant objects (along with a little interior monologue) to convey the necessary information.

[Grace] bypassed Ian’s room and wandered into the spare he had set up as a gym. A weight bench with a rack of free weights stood in one corner, while his rowing machine—the erg as rowers called it—took up the center of the room. On the far side lay his trophy wall, displaying a collection of shadow-boxed medals and framed photos.

There were several pictures of Ian with his Cambridge crewmates in their iconic light blue blazers, along with framed newspaper articles showing the outcomes of the five Oxford-Cambridge Boat Races he’d rowed in—four wins, one loss. Five world championship gold medals from his time on the British national team, one in the juniors and four more in men’s and veterans’ classes. And in the place of honor in the middle, his framed Olympic silver medal.

Grace remembered when he had won that, or lost the gold, as he regarded it. Three full boat lengths ahead of bronze, and yet it was the half-second behind gold that had haunted him.

In three paragraphs, we get a clear picture of what kind of man Ian is and the successful career he had given up for Grace over a decade ago. Since long passages of this type quickly get clunky, I limited the amount of narration and immediately got back to the action of the story.

Now it’s your turn: what’s your biggest challenge with back story in your current manuscript? What’s your favorite method for conveying character history? 

{GIVEAWAY} Comment below to win Carla's latest Celtic fantasy release, Beneath the Forsaken City, the anticipated second installment in the Song of Seare series. (US residents only, please)

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About the Author:

Carla Laureano is the RITA® Award winning author of FIVE DAYS IN SKYE and the Celtic fantasy series The Song of Seare (as C.E. Laureano). She's an avid cook, an enthusiastic but untalented singer, and a thwarted world-traveler. She currently lives in Denver with her patient husband and two rambunctious sons.

Connect with her at:

 

Web | Facebook | Twitter | Google+ | Pinterest

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{About Beneath the Forsaken City}

Conor and Aine have barely escaped Seare with their lives. Conor knows he must return to find the harp that could end the Red Druid’s reign of terror, but in the midst of their escape, he and Aine are torn apart once more. 

Surrounded by despair and thrown into as much danger as they left behind, Conor and Aine must cling to the whispers of Comdiu’s plans for them and the homeland that depends on their survival. But at what cost? 

Will they learn to depend on Comdiu completely? Or will they give up hope?

Guest Post by Preslaysa Williams: Easy Ways to Nurture (and Sabotage) a Creative Life

Have you ever heard of a neurosurgeon who suffered from neurosurgery block?

You know what I’m talking about?

It’s the moment right before a scheduled surgery when a medical professional freezes and forgets how to wield their scalpel on an unsuspecting patient.

You haven’t heard of neurosurgery block? How about school teacher block? I know you’ve heard of this one. It’s the moment right before a teacher steps into a classroom, and he or she forgets how to teach multiplication tables to a sea of rambunctious children.

You haven’t heard of school teacher block either, huh? How about writer’s block? Ever heard of that?

Thought so. Why does creative self-expression cause many to avoid doing something as simple as scribble words across a page?

Image by Idea go, courtesy of freedigitalphotos.net

A lot of the problems of so-called writer’s block stem from the fact that, as ego-centric human beings, we are intrinsically attached to the work we create. If we write something bad, this proves the deplorableness of our fallen moral nature. On the flip side, if we write something brilliant, this proves we are God’s gift to the publishing world. (And with brilliance comes the added pressures of having to continue to produce more brilliance before everyone discovers the truth: You are a hack and, on top of that, you possess a deplorable, fallen moral nature.)

I’ve suffered both sides of this crazy spectrum, and I’m here to say it can drain you, folks. In addition to being a writer, I am an actress. I love, love, love the acting craft. As a child, one of my favorite pastimes was curling up with a good Uta Hagen book on theatre technique and then studying old movies to see how the masters worked. However, the day to day grind of going out on audition after audition (488 auditions to be exact) and getting a bunch of ‘no’s’ was a lot to take.

As a young girl, I believed those rejections were a reflection of Preslaysa the Person. As I got older I learned that to succeed in my creative pursuits, I needed to build a psychological construct around myself or else I’d end up in a padded room. And I’m not kidding. There was a time when the acting work stopped, and I went into a deep, crippling depression for many years.

So here are my profound, life changing ways to ensure that you nurture (and not sabotage) your creative life:

1. Repeat after me: “I am not a bad writer.”
When I seriously pursued the craft of fiction years ago, I joined a critique group with a bunch of writers who ripped my work to shreds. Yes, those first attempts at writing novel length fiction were not the best, but I took it personally and believed I was an untalented hack. Of course my writing sucked, I was a newbie. All newbies suck. Duh! Yet, I created a lie which said: “Why even try? I am no good at this.” That lie set me back from growing as a writer.

Know this, you are not a bad writer; you are a writer embarking on a very beautiful journey.

2. Repeat after me: “I am not a good writer.”
Yes, you read that right. You are not a good writer. Don’t believe the hype. You are not an innately talented genius who could never be replaced by anyone in the world. When I gained success as an actor, I believed I was an “innately talented genius who could never be replaced by anyone in the world.” A couple of years later when the acting work dried up, my genius self (ahem, my ego self) was crushed.

Same thing happened to me in the writing world. After I started to get a hang of the craft, people complimented me on my work. I started to believe it, but when I turned over my next project to someone I trusted, they red-lined it like crazy. I was crushed. How could they do that? Everyone said I was a great writer. Past success doesn’t ensure future results. The only thing that matters in the writing game is what I’ve produced or edited for that day.

All writing starts out rough, whether it’s written by a newbie or by a master at the craft. It’s only time, effort and skill which shapes a rough piece into a thing of beauty. So don’t believe the hype. Keep a clearheaded view of your writing skill, and you’ll last a very long time.

3. Repeat after me: “I am a writer.” 
You are a writer. You are not a brain surgeon. You are not a school teacher. You are a writer. Although you may have a day job, your calling is to write. Don’t doubt it. Don’t question it. Write every day. Write good stuff. Write bad stuff. Show up when they praise you. Show up when they rip your work to shreds. Show up because it’s your job. That’s what professionals do.

Preslaysa Williams is a wife to one, a mom to two and a writer of inspirational romance and middle grade fiction. A 2014 ACFW Genesis semi-finalist and a 2013 ACFW Genesis finalist, she enjoys writing stories that make you smile. Visit her online at www.preslaysa.com where she blogs about romance, faith, writing and mommy brain randomness.

The Writer's Journey ~ A Guest Post with Linnette Mullin

Linnette's novel. Don't you love the cover?

“Writers must pay their dues.”

“If you’re serious about writing, you’ll work hard to prove yourself. Eventually, people will sit up and take notice.” As a new writer, these words needled me. While it sounds like an excuse to ignore newbie writers, it rings of truth. However, I’ve since learned a more comforting truth:

You aren’t a writer because you write. You write because you are a writer.

Don’t let the need to prove yourself discourage you. Even in seasons of life where you have to lay aside the pen, know that if you’re truly a writer you will write. The delay is simply part of your journey.

My own journey is rather abnormal,

but then what is normal in this age of publishing?

While I haven’t been writing since I could hold a pencil and I wasn’t an avid reader in my early years, stories have always swam in my head. I can’t remember a time when I wasn’t a people watcher - an observer of life. If you ever received letters from me in my youth, you can attest to page after page of detailed accountings of my life. My brother once teased, saying I couldn’t sign a card without writing a book. So in my own way I’ve always been a story-teller.

I became chronically ill after the birth of my third son. While my body was broken, my mind remained active. I picked up the pen to preserve my sanity. I finished my first manuscript and then realized I didn’t know what to do with it. Thus began my foray into the world of search engines where I found an inexpensive on-line character building class with DiAnn Mills. She gave me encouraging feedback throughout the class, and guided me to Mark Littleton and HACWN where I officially became part of the writing jungle!

Due to certain providences, however, I set aside my manuscript. In an effort to continue honing my writing

skills I started blogging a short serial story. After a year and a half, I realized “Finding Beth” would be a full-blown novel! Three years of writing, rewriting, and honing the book, I began searching for agents and publishers. The thought of coping with my illness while landing a contract with a big publisher intimidated me. I didn’t know if I could handle the pressure of their timelines, so I also researched self-publishing.

December of 2011, Mark Littleton mentioned that writer friend Pamela Sonnenmoser was somehow connected to a small but growing traditional publisher. He encouraged me to contact her, so (still agent-less) I emailed a request for information. She in turn requested information about my novel. Little did I know she was the acquisitions editor! I sent her the information she wanted and continued my self-publishing research. Months passed and, forgetting about the publisher, I decided to self-publish.

One week in July 2012, I was preparing to set up a Kickstarter to raise funds for my endeavor when I received an email from CrossRiver Media Group. They wanted to see the full manuscript as well as the rest of my book proposal.

“God, what are you doing?”

I thought he wanted me to self-publish, yet I felt compelled to at least explore the CrossRiver option. So I sent them my proposal and full manuscript. After many questions back and forth, and much praying on both

our parts, CrossRiver offered me a contract which we signed in December 2013. After three years of searching for an agent and looking into different publishing options,

God dropped my publisher in my lap – incomplete book proposal and all.

It floored me! Getting a publisher just doesn’t happen this way. Yet, as I reflect back I see how God guided the publication of “Finding Beth”. The three years I spent searching, my publisher was getting established and I was gaining necessary insight to make “Finding Beth” exactly what God wanted it to be. As I still struggle with my health, I remind myself that book two will also be completed and published in God’s timing. That brings me such sweet comfort.

Are you discouraged by delays or rejections? I’d love to hear about your journey.

LINNETTE R. MULLIN is an author of life-changing romance. She has been married to her hubby - Johnathan, for over twenty years, and they've been blessed with four sons. Some of her writing credits include Charles Stanley's "In Touch" magazine, "101 Facets of Faith", Guidepost's "Extraordinary Answers to Prayer", and "Public Health Alert" - a nationally distributed newspaper for the chronically ill. She is the founder and coordinator of Palmetto Christian Writer’s Network in Lexington, South Carolina and she runs the “We Are Writers” group on Facebook. Her favorite things in life are her family, her church, reading and writing, and her Savior most of all. 

Linnette would love to hear from you. For more information about “Finding Beth”, Linnette or how to connect with her, please visit LinnetteRMullin.com.

HUNTING for Your Agent~ A Guest Post with Jaime Wright

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Acquiring an agent is like hunting. Minus the weapon—unless you consider your manuscript a weapon, but then slamming an agent upside the head probably won’t make the best first impression, however lasting it might be. No. I’ve learned a lot this past year as my husband took it upon himself to teach me how to bow hunt. Enter Katniss, Hunger Games, and all those wise cracks—I’m used to it—but I’m not shooting people. FYI.

Hunting is an art. Learning wind direction so a deer can’t smell your apparently crazy repugnant scent. Showering in scentless soap, using scentless deodorant, wearing clothes left hanging outside so you smell like the wind (yeah that’s warm clothing to crawl into, I’m tellin’ ya), and so on and so forth. Whether you like hunting, think it’s inhumane, or are just plain not interested, if you’re looking for an agent…we learn to hunt.

I’ve been writing since I was 13. That a mere 10 years ago. (That’s a lie, but I’m allowed one for 2014 so I’ve been told and I just used it up). Now that I’m 23 (wink), it’s been an awfully long journey. If you’re a regular agent-hunter, you’ll already know you need to study what you’re going for. The agency—its credibility, the agent—their clientele, the published books they rep—prolific and widespread or obscure paperbacks. Once you pick your favorite, you print out their picture and hang it on your fridge, stare at it every day until it fades after years of staring back and your quest to find that perfect agent becomes a hobby with slim rewards. But as every good hunter knows … you Never. Give. Up.

After—ok, let’s be real—24 years of writing, looking, learning, going to conferences, a few pathetic excuses for queries, I was ready to pitch the crazies at ACFW 2013. And I did. I landed 4 pitch sessions. I mailed in my full manuscript to two of them, and a proposal to the others. Within a week, my email blinked. And I quote:

• “Your hero is incredible awkward” (well, I wrote him to be that way, but—whatever)
• “Your heroine is boring” (also wrote her to be a bit dull and plain—success?)
• “You’re not ready for the big time”

…and wait for it …

• “But keep it up, you have potential”

Joyful. I have potential. With a capital P. Yeah. *Jaime bangs head against wall

My crit partner told me not to let it drag me down. It did. For five minutes. But, I’m like that. I poured myself a cup of coffee and then took a scentless shower and went hunting. For real.

Can I give you some sage advice? When you finally get THE email—you know, the one that says “I loved your story! I’d like to talk to you about representation”—don’t be deer hunting, twenty feet off the ground, in 20F weather, with a face mask on and the inability to scream let alone make a peep. Especially, when your insanely die hard, hottie, bow-hunting husband is not too far away and will probably shoot his arrow in your direction to get you to be quiet.

Yes. It happened. To me. The email from my agent, Mary Keeley, of Books and Such Literary Agency, blinked across my smart phone while I was perched in a tree. The only thing I could do was feverishly text my husband “I GOT AN AGENT” (well not quite, but it was coming), then hop on FB Messenger and tell one my besties to scream for me since I couldn’t. Which she did, and scared the diaper off her baby girl. And my husband’s delightful response via text? “Cool.” He’s not prolific—which is why he married me.

The grand point in all of this…don’t discount what God can do. In the end, I hunted, I planned, I coerced, I planned, and I targeted the agent who deemed my hero incredibly awkward. But my agent? Our Spiritual connection is out of this world. God aligned it for us to meet…why?...outside of another three blogs worth of “happenstance”, her son had just texted a picture of him, you guessed it, bow hunting. Now THAT is not a coincidence. God will bring you, in HIS time, to the agent HE has meant you for. In the meantime, don’t just “keep it up” as if you have somewhere you’re supposed to be. KNOW that you ARE where you are supposed to be as you seek His will and His perfect timing.

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Guest Poster Melissa Tagg: Do the Work!

I’ll never forget when Robbie showed up at the door.


Completely unexpected. Kinda bad timing. But oh, just the perfect moment…


Robbie’s pretend, by the way. :) And it wasn’t my door he showed up at, but Miranda’s—the heroine in my debut novel, Made to Last. And it wasn’t a perfect moment for her.

But for me as the author…oh yes. It was a delicious plot twist that took me totally by surprise. Non-writers don’t get it—how characters can go and do something we didn’t see coming. But writers know—it happens!

You’re trotting along in a scene and all of a sudden someone blurts out a line you didn’t plan or something happens plot-wise to surprise you.

It’s a little magical.


And, sometimes, a lot frustrating. As was the case when Robbie showed up.


Don’t get me wrong, at first I loved it. I remember getting giddy thinking about how fabulously that scene came together with Robbie’s sudden and unexpected appearance at the end. But an hour or maybe two later, it hit me: this little twist translated into a lot of work on my part.


See, Robbie wasn’t supposed to show up for a couple more chapters. I had it all planned out in what felt like the perfect timeline.


But noooo…he decides to show up several chapters early and throw off all my plans.  Suddenly my neat little plot spreadsheet didn’t work so well anymore. (If you need to pause here and gasp at the thought of me, Melissa Tagg, hater of Excel, willingly creating a spreadsheet, that’s okay)


And I remember thinking to myself: Well, I could nix Robbie’s appearance, go back to what I planned originally. But deep down, I knew that’d be a mistake. And I knew the only reason I was even considering it was because I was scared of the extra work it meant to the rest of the story.


But here’s what I learned once I decided to hunker down and do the work: It’s worth it.


It’s worth ripping out and tearing up scenes to get to the good stuff.


It’s worth hitting the “delete” key or slaving over necessary new words.


It’s worth messing with what once felt like a perfect storyline to get to an even better plot.


It’s worth digging through what we’ve got with a loose grip, open mind and crazy levels of determination to hit that story sweet spot.


Our stories are better for it when we refuse to be rushed, lazy or impatient during the revision process. Our plots are richer and our characters deeper when we battle through edits, surpassing better and reaching for best. When we stand up to the hard work, take a cue from Nike and just do it.


Even when it means a twist that goes against our plot chart or a scene we never planned on but that we know belongs.


And you know, if we want to veer off into the spiritual for a moment, there’s probably a pretty good life lesson here. God throws us plot twists now and then, doesn’t he? Fiddles with—or maybe sometimes even wrecks—our perfectly plotted lives.


And yet…isn’t it worth it? Isn’t it worth following the twists and peeking around the divine bends, doing the work of trust and obedience even when it’s uncomfortable…or just simply not part of our plan?


I think it is.


Definitely not easy.


But definitely worth it.


Have you ever been surprised by a plot twist that required lots of changes or rewrites to your story? Ever had a crazy life twist that changed your plans? 

Melissa Tagg is a former newspaper reporter and total Iowa girl. Her first novel, Made to Last, releases from Bethany House in September 2013. In addition to her homeless ministry day job, Melissa is also the marketing/events coordinator for My BookTherapy. Melissa blogs regularly and loves connecting with readers at www.melissatagg.com.