Novel Rocket

In Case You Missed It...

2012-02-27T23:59:00.001-05:00

Are you an aspiring novelist? If you're ready to take on the world but feel lost in the crowd, take heart: you're just the person we had in mind when we created Novel Rocket’s LAUNCH PAD Contest: Boosting You Out of the Slush Pile.

No tricks or sleight of hand involved here. Not only does every entrant receive a personal critique, but previous participants have found the experience helpful in moving them forward on their writing journey.

For more details and the official rules, click on our Launch Pad Contest tab.

Questions? Email us at NovelRocketContest@gmail.com, and a real human will provide a prompt, personal reply.

We hope to see YOUR submission soon!

Besides writing fiction that takes you out of this world, Yvonne Anderson has been our contest administrator since the event’s inception in 2010. The first novel in her Gateway to Gannah series, The Story in the Stars, debuted last summer, and the next in the series is planned for release this year. Read more of her wisdom on her blog.

What Do You Really Need From a Critique Group?

2012-02-27T00:01:00.003-05:00

by Mike Duran

Not long ago, I was contacted by an unpublished author who was looking for a crit partner. They had acquired my addy from a mutual friend and was wondering if I’d be interested. I was flattered. Really. Nevertheless, I emailed this response:

Thanks for the consideration. I’ve kind of given up the crit partner thing, mainly because of my own schedule and perfectionist tendencies. When I’m not working (which is full-time), I’m writing or editing. I’ve found that I tend to overwork so many things — nit-pick, second-guess, obsess over detail — to the point that critting just takes far too much time and is often frustrating for whomever happens to be on the receiving end. My apologies, but I’ll have to pass on the offer.

Okay, so I’m anal retentive. When it comes to critiques, I am just too hard on myself and others…

And I think this is a good thing.

Maybe that’s why me and critique groups don’t always get along. You see, some of the critique groups I’ve come in contact with are just way too nice. Perhaps this is what some writers want — they want encouragement, they want to be told their stuff is good, they want to feel they’re on the threshold of publication, they want a pat on the back. The problem is, that’s not what they need.

Flannery O’Connor in Mystery and Manners: Occasional Prose, in a piece entitled “The Nature and Aim of Fiction,” provides some wisdom on what we need in a critique group:

I believe the [writing] teacher’s work is largely negative, that it is largely a matter of saying, “This doesn’t work because …” or “This does work because …” The because is very important. The teacher can help you understand the nature of your medium, and he can guide you in your reading. I don’t believe in classes where students criticize each others manuscripts. Such criticism is generally composed in equal parts of ignorance, flattery, and spite. It’s the blind leading the blind, and it can be dangerous. (emphasis mine)

Two things stand out in this quote in relation to critique groups. One is the nature of the task. O’Connor notes that “the teacher’s work is largely negative.” No, she’s not implying that good critique is intentionally harsh, nor that it should be without encouragement or positive reinforcement, but that critique, by its nature, must be rigorous and address what is wrong with a work. In this sense, the work of a good critique group is largely negative.

Equally insightful is Ms. O’Connor’s suggestion that student-led critiques are unhealthy, “generally composed in equal parts of ignorance, flattery, and spite.” Which is a bit of a problem. Nowadays, most online writing groups are comprised of “students [who] criticize each others manuscripts.”

Clearly, many online critique groups do not seem to meet either of Flannery O’Connor’s specs. Whereas some groups exist primarily to provide support and encouragement (rather than correction and hard critique), other groups suffer because of their make-up (too many students and not enough seasoned authors), resulting in what O’Connor calls “the blind leading the blind.”

Of course, I’m not suggesting that a good critique group is without “support and encouragement” or that it cannot involve “students” swapping advice. The important thing is getting “trained” eyes on our work, receiving hard critiques without swooning, and being willing to absorb and make changes as needed. It is natural to need encouragement and, occasionally, a shoulder to cry on. But ultimately, if we are unwilling to seek honest criticism and unable to weather the toughest scrutiny, we are setting ourselves up for disappointment and potentially capping our artistic growth.

Several years ago, the authors at Charis Connection (a group which has since disbanded) were asked if they belonged to a writing group. Of the ten that responded, only a couple spoke favorably of crit groups. At the time, I was incensed. “Of course crit groups are a good thing!” I protested.

Now I’m not so sure.

The question isn’t IF you need critique partners. The question is WHAT KIND of critique partners you really need. How you answer that question may, in the long run, determine a lot about your growth and longevity as a writer.

Question: Do you agree that there is an inherent danger in being critiqued by unpublished and beginning writers? Do you see the role of a critique group as primarily “negative”? What advice would you give a new writer who is seeking to have her work critiqued?

Mike is a monthly contributor to Novel Rocket. He is represented by the rockin' Rachelle Gardner of Books & Such Literary. Mike's debut novel, "The Resurrection," is in stores now and his novella, "Winterland," is available in e-book formats. Mike's sophomore novel The Telling releases May 2012. You can visit his website at www.mikeduran.com.

I Wanna Bend It Like Bailey

2012-02-26T09:51:00.000-05:00

I Wanna Bend It Like Bailey

But seek ye first the kingdom of God and His righteousness, and all these things shall be added to you.

Matthew 6:33

I adore children, and my favorite age is right around three or four; they’re just developing their communications skills, but haven’t quite perfected the transition from emotion to verbalization.

While babysitting for a friend’s three-year-old, I encountered the challenge of keeping Bailey occupied so that she might forget that her beloved mommy had left the house without her. And it wasn’t easy.

First, we played Safari. After strategically placing all of her most treasured stuffed animals around the house, Bailey put on a plastic pith helmet and climbed aboard her push-and-ride Jeep and we toured the African plains of home to observe the animals in their natural habitat. When she spotted the giraffe leaning against the refrigerator, Bailey suddenly remembered who had given her that giraffe, and she started to cry for her mother.

Several games and a coloring book later, she accepted my invitation to a tea party in her bedroom. We donned straw hats, and Bailey tugged on little white crocheted gloves. Along with two of our very best doll friends, we sipped from empty tea cups and munched imaginary scones with cream and strawberries. Bailey was enthralled!...Until the garage door went up. Tossing the plastic teacup to the floor, she flew from the bedroom and down the hall. On her trail, I stepped over her hat and gloves that she’d shed on the way. I reached her just as the kitchen door opened and her mother walked in.

So excited to see her mom again at last, Bailey squealed with glee. When the words wouldn’t come, she finally began hopping from one foot to the other, pumping her arms, fists clenched, and her little face contorted. The return of her mother had trumped everything else, and thoughts of tea parties and safaris had fallen to dust. I stood there watching as the child completely surrendered to the ecstatic happiness of seeing the one person that meant more to her than anything or anyone else.

On the drive home that afternoon, I tuned my radio to a local Christian station playing I Can Only Imagine by MercyMe, a song exploring the depths of our reaction when we finally see Christ face-to-face. As I sang along, Bailey’s reaction to her mother’s return home sprang to mind. How sweet would it be to the Lord if, at His presence, we just jumped up and down with the glee of little children!

Today’s Prayer: Oh, Lord, thank You for the sweet parenthood You offer us. Let me always see You as Abba Father, through enthusiastic and childlike eyes. Today I am overcome with joy as I delight myself in You, remembering that Your arms always welcome me, Your thoughts are always about my well-being, and there is no one else I would rather see. Amen.

Sandra D. Bricker is an award-winning best seller in the inspirational market with laugh-out-loud novels such as Love Finds You in Snowball, Arkansas and Always the Baker, Never the Bride from the Emma Rae Creation series. She spent 15+ years in Los Angeles as an entertainment publicist while studying screenwriting. However, when her mother became ill in Florida, she left all that behind to take on a couple of new roles: Caregiver and Novelist. Visit her Website at www.SandraDBricker.com

Are You Writing MG or YA?

2012-02-25T06:00:00.000-05:00

In a recent interview on Mike Duran's blog, RJ Anderson summed up the differences between YA and adult novels this way:

What makes a book YA rather than adult is that it contains characters teen readers can identify with, explores issues that are relevant to teens, and tells the story in a way that teens will find interesting.

That's a great answer. YA books are books that interest teens and they explore issues that are relevant to teens. So YA books may be "peopled" by dragons or hobbits or robots, as long as teens can relate to the characters and the problem. But YA books must also be about teen issues. Teens find many adult books interesting. They may love The Lord of the Rings trilogy, for instance, but that story is not exploring issues specifically relevant to teens, so the books are not YA.

So what are YA issues? We could say the same for MG books, after all: They are books that interest middle grade readers. But which issues are relevant to teens and which are relevant to pre-teens? And which characters and plots are of interest to which group?

The Basics

MG books:

are for children 8 to 12

usually have a protagonist who is 11 -13.

have traditionally been from 25,000 to 45,000 words. (Harry Potter blew that rule out, with some of those books coming in at 175,000 to 200,000 words, but most MG books are still under 200 pages.)

YA books:

are aimed at children who are aged 12 to 19

usually have protagonists that are aged 15-19

have traditionally been about 45,000 to 60,000. (See note above about on Harry Potter. The norm for YA books is under 300 pages, even yet. Fantasy books run longer than most.)

The Finer Points
According to Mary Kole, with Andrea Brown Literary Agency...

MG books:

are shorter than YA

deal with any “issues” or “content” (edgy stuff) but only secondhand (like the kid’s mom is an alcoholic, not the kid herself)

have less darkness and often a sweeter ending than most books for older readers

YA books:

are longer

are darker

are edgier

Babette Reeves, The Passionate Librarian, thinks...

MG books have characters who are:

concerned with the concreteness of life--friends, siblings, the mean teacher, the lost dog, fairly ordinary (to an adult eye) daily difficulties.

wanting to please, and they worry about being wrong or doing it wrong

YA books have characters who are:

trying to figure out who they are

looking for a set of values one can call one’s own

questioning the family’s and especially parent’s value--just because

full of an “I gotta be me” mentality that shapes choices for years

I would add that both middle-grade and young adult readers tend to be idealistic. They are all still young enough to want to shout out that the the emperor has no clothes. They want people to be honest and they want the world to be fair, but these desires play out differently for the two groups.

The middle grade hero wants to free Willy or to save the hoot owls or to stand up for his friends who are being bullied at school. He may even, in the course of trying to save his chums, end up saving a lot more (Harry Potter), but he doesn't set out to save the world. He's trying to survive without being too dorky, and he's fighting the battles that take place in school and in his family. Meg Murry battles the darkness taking over entire planets, but she only means to protect her little brother and to save her father.

YA heroes, on the other hand, are looking for their purpose in the wider world. They have accepted that pets and people die, but they still want to right wrongs. They march in war protests, they get involved in short-term missions, and many of them experiment with religion and sexuality. They choose sides on hot-button issues, such as gay rights and abortion and illegal aliens. They get involved in politics.

Middle grade children are, perhaps, more fearful than teens. They have less power. They can't drive. They don't have much control over their lives.

Teens, as they get older, have more and more control, and by the time they are driving, they are often feeling optimistic about life, and invincible. They are young and full of energy and they have their whole lives in front of them.

What am I missing? Leave a comment to let me know what you think the differences are between middle grade and teen readers. And then go check out some YA and MG books.

Awards lists are a good place to start:

The Newbery is awarded to MG books

The Prinz is awarded to YA books (With a very little bit of bleed-over between the two lists.)

Read ten books off of each list and you'll know the difference between YA and MG.

~~~~~~~~~~~~~~~~~~~~~~

An Organized Schedule Leads to Success

2012-02-24T06:57:00.000-05:00

As many of you know, I've had a couple of really productive years in and a lot of you have asked how I accomplished it all. I did it because I was willing to follow a schedule - it was my way of eating an elephant one bite at a time. I learned how to break large tasks into smaller ones. here are some of my suggestions.

It doesn't matter whether you write as a calling, a hobby or a business. We all perform better when we have expectations and a way to judge results. For those of you just starting out, here are some suggestions.

Set small, measurable goals. A lot of people defeat themselves right here. They get confused about the difference between a goal and a dream. A goal is something you have control over. For example, my goal is to write five hours a day, five days a week or twenty-five hours per week. I generally can control my schedule so this is a reasonable goal. I’d also like to be a New York Time’s bestselling author. I can put in the hours writing and learning my craft, but becoming a bestseller isn’t something I have control over.

Under estimate the time you’ll be able to put in. Yes, you read that right. I tend to be a perfectionist and when I fail, I get discouraged and quit. So if I think I can post five articles a week on my blog, I commit to three or four so I have room to succeed. I do the same thing when I set deadlines. If I have a project due on a Thursday, I’ll put it on my schedule as due on Tuesday. Why? Because life happens, and I can’t always control the things thrown my way.

Adjust your goal setting to a weekly mode, rather than daily. Like my goal of writing five hours a day, five days a week, I want to leave a day or two to make up any time I may have missed. Like this week, our middle son is having hand surgery. If I only look at the writing five hours a day, the day he has surgery I’m going to fail. But by working a few extra hours each day, I can still make my weekly goal.

Along those lines, here are some attainable, weekly goal setting ideas.

Weekly Word Count Goal. One of the things I've found most helpful when setting word count goals is to set my goal for the week rather than the day. I still have one teenager in and out of the house, so sometimes life interrupts life. To combat this, I set a weekly word count goal for my fiction endeavors. Then, I break it down into daily totals. If I miss a day's goal, I can make it up later in the week and I don't wind up feeling like I've failed.

Weekly Project Goal. You may normally work on smaller projects, like articles or devotions. If that's the case, try to set a goal of one devotion or article a week.

Revolving Weekly Goal. You might want to try something I call a revolving weekly goal. This is where you have a different goal every week for 3 weeks and then it starts over. The first week you might complete a small project. The next week, you look for markets where you can sell it. The third week you might spend learning about the craft of writing. Then you begin the cycle again.

Whatever method works for you is the BEST method.

Just remember, that no matter how early or how far along you are on your writing journey we all need to spend time studying the craft of writing. That can be done through reading books, attending a seminar or conference, or reading blogs and websites.

All of these are necessary for us as writers to improve our craft.

So what have you found works best for you? Share your insights with the rest of us - please!

Edie Melson is a freelance writer and editor with years of experience in the publishing industry. In keeping up with the leading edge of all things digital Edie has become known as one of the go-to experts on Twitter, Facebook, and social media for writers wanting to learn how to plug in. Her bestselling eBook on this subject, Social Media Marketing for Writers, is available on Kindle and Nook.

Fighting Fear, Winning the War at Home, is Edie’s latest project. This devotional book for those with family members in the military debuted on Veterans Day, 2011. Married 30 years to her high school sweetheart, Kirk, they have raised three sons.

The winners of JoAnne Durgin's books are

2012-02-23T16:00:00.002-05:00

Voni and Emily

Craft & Creativity of Writing. Learned or Developed?

2012-02-23T04:00:00.000-05:00

YVONNE LEHMAN is a best-selling, award-winning author. Hearts that Survive – A Novel of the Titanic (Abingdon, March 1, 2012) is her 50^th book. Others to be released in 2012 are A Knight to Remember (Heartsong, April) and Let it Snow (Heartsong, November), the 2nd and 3rd in a series. Yvonne founded and directed the Blue Ridge Mountains Christian Writers Conference for 25 years and now directs the Blue Ridge “Autumn in the Mountains” Novelist Retreat held at Ridgecrest, NC in October. She is a Mentor with the Christian Writers Guild. She will be signing the Titanic book April 27, 28, and 29 at the Titanic Display in Pigeon Forge TN.

THE CRAFT OF WRITING

Can be learned.

Material about the CRAFT of writing is all over the internet, at conferences, in books, English classes, Literature classes, writing courses, critique groups, internet loops where we ask and receive questions and answers. All those are great. It’s our education. We read others’ writings and discover how they did it. We experience rejection (returns!) which can teach us whether we’re truly committed to writing, why we write anyway, and encourage us to learn more.

No matter how much we learn about a subject, a profession, it means nothing unless and until we put that knowledge and experience into action. Craft enhances creativity.

THE CREATIVITY OF WRITING

Must be developed.

At my writers conferences, many beginning writers have bemoaned the fact that God called them into writing, they’ve been writing for two years or more and still get rejections. I tell them they are to start in the stock room, not as president of the company. Some may never become the president, but we can become a valuable employee in the organization of writers.

This is an example often used because it’s so apt. When a child is discovered to have talent in playing the piano, does he quit taking lessons and apply to be a concert pianist? No. That’s when extra lessons and extra practices begin. That’s when more is required. The same with writing. If we have a talent, then it’s time to being studying the craft and practicing the creativity, and continue.

Most writers long for the time to write. I hear this over and over - I have family, I have a husband, I have a job. My reply is that this busy time is our training center. We’re learning to be everything so that we have something to write about. So often, the difficulties and challenges in our lives that we don’t want, but go through, are what enrich our lives, our faith, and our writing.

We spend a lot to time learning the craft of writing, and we should. We likely can never know enough. Too, we should spend considerable time taking a subject that is not new, that is not original, and make it exciting, beneficial, new to the reader because we say it, experience it, learn from it, in a way no one else can.

Moms could be given the assignment to write about how they discipline their children. Each might have the same method of standing them in a corner. However, the results would be different with each child, or their reaction would be different, or the moms’ reactions would be different, or each would have her own unique way of telling (showing!) the story.

Twenty-one of us published writers wanted to show other writers that we could use the rules (craft) of writing, write about the same subject, even use the same elements in a short story and each would be different. The five elements to used in each story are:

The first line: The wind was picking up.

Mistaken identity

Pursuit at a noted landmark

Unusual form of transportation

The last line: So that’s exactly what she did.

The book of short stories is titled What the Wind Picked Up (iUniverse). We showed that a story can be told many times, include the same elements, and yet be different because each writer has his own unique style and voice.

Sometimes we hear, “That’s already been done.” Critics might say that about the Titanic and I suppose everyone watched the movie. Yes, the sinking of the ship has been done. However, the stories of my passengers, my characters, had not been done until I wrote about them in my novel Hearts that Survive – A Novel of the Titanic.

This 50^th book of mine is a composite of what I’ve learned about life, craft, and creativity in my thirty years of writing. I could not have tackled a Titanic story with confidence had I not experienced the years of learning, studying, teaching the craft, practicing, writing, re-writing, failing, being rejected, and being accepted.

Those who succeed are those who don’t give up, but continue to study the craft, practice the creativity, work through the challenges, because it leads to the joy of publication and having our words mean something to another person, as the Lord created us to do

Hearts that Survive – A Novel of the Titanic

Of all the unbelievable things that occurred, the strangest phenomenon took place. The floating half of the ship began to melt like a dollop of butter on a hot roll. It just melted smoothly into the ocean and the hoard of people were in the water. Their hair didn’t get wet. No water splashed on their faces. For an instant they didn’t scream. They couldn’t. A communal gasp went out over the sea, produced by hundreds and hundreds of terrified people who unexpectedly stepped into icy water up to their necks.

The ship of dreams vanished, disappeared as it sank into the sea.

In its place emerged a nightmare.

The sinking of the “unsinkable” Titanic was not the end of the story for the 2207 passengers, plus the crew. It was the beginning of an unforgettable event that changed history, changed culture. There were only a few hundred saved in the 20 lifeboats. Not only were hundreds and hundreds of souls lost that night, but the event touched people throughout the world. Each person had family, friends, acquaintances and their lives too were touched and changed. Being saved was not the end, but the beginning for those who struggled not just to survive, but to live again.

Read this incredible story of

ONE SHIP… TWO FAMILIES… THREE GENERATIONS.

An Author’s Voice . . . Innate or Developed? by guest blogger JoAnn Durgin

2012-02-22T04:00:00.000-05:00

JoAnn Durgin is the author of the popular contemporary romantic adventures, Awakening, and its follow-up, Second Time Around, published by Torn Veil Books. Her third book in the series, Twin Hearts, releases next month. JoAnn, her husband, Jim, and their three children live in her native southern Indiana after living in TX, CA, PA and MA. She likes to say she’s “been around in the nicest sense of the word.” She’s a full-time wealth administration paralegal in a Louisville, Kentucky, law firm, and is a member of the American Christian Fiction Writers and Romance Writers of America. Her books are available at every major online book retailer such as Amazon and Barnes & Noble, both in paperback and electronic versions. Please visit her at www.joanndurgin.com or on Facebook.

NR: JoAnn will give away one copy of Awakening (Book #1 in The Lewis Legacy Series), one copy of Second Time Around (Book #2), and one copy of Twin Hearts (it won't be available in paperback form to ship until on or after April 1, 2012, but can be sent electronically to the winner). Leave a comment for her to be entered in the drawing. Continental U.S. residents only, please.

An Author’s Voice . . . Innate or Developed?

One of the most challenging hurdles for a beginning writer is finding his or her “voice.” What does “voice” mean, why is it so important and how is it different from point-of-view? A well-developed “voice” is a technique used by writers to help a reader “see” the unfolding events in a story through the eyes of one or more characters. Since an author creates those characters, he or she knows their family dynamic, background, environment, accomplishments, hopes, dreams, loves, failures, vulnerabilities and fears. The better the author knows a character, the more real they will become. An effective voice is a crucial element to keep the reader turning the pages, and it’s manifested with active (as opposed to passive) phrasing, dialogue and narrative as it draws them deeper into the fictional world.

Is an author’s voice like a fingerprint, unique to that one person? Some suggest it’s innate and writers are “born” with it. Some believe voice is learned or developed after much practice, trial and error. I don’t pretend to have all the answers, but it could be a combination of both. Just as some recording artists are easily identifiable (think Adele, Willie Nelson, Barbara Streisand), other vocalists’ voices are more generic. Authors should never be content to simply “blend in” with the crowd; they want to rise above the rest and shine! But how?

Showing is the best way to illustrate my point, so below are two examples from my March 2012 release, Twin Hearts (third in The Lewis Legacy Series, but it can stand on its own):

Example #1: Weaving his way through the room of a hundred or so women in red hats of all sizes and shapes—pretty much a reflection of their owners—Josh was a wonder to behold. A number of the ladies looked at the guys as if they were dessert, but they smiled and laughed as they went about their task, ignoring the middle-aged hormones in overdrive. It was as close to swooning as anything she’d ever seen. Based on all the fanning going on, there were enough hot flashes in the room to bake a cake.

Example #2: She didn’t want to feel such a strong attraction for Josh, but her heart and pulse weren’t listening. Don’t look at the eyes. If she repeated it to herself enough times, would it keep her from succumbing to his charms? Those eyes had been her undoing before and would be again if she didn’t watch herself. So much for the self-pep talk. A whole lot of good it did. Why he felt the need to dress in one of his fancy power suits was beyond her, but then again, here she sat in a dress costing the equivalent of a monthly car payment for Ladybug. Hypocrisy was highly overrated sometimes.

Both of the above examples are in the point-of-view of my heroine. Do you see where her “voice” comes into play? Even without knowing anything about this character, you get a good sense of who she is, her sense of humor, her powers of observation, and understand she has a history with Josh. Look at the last two sentences of each paragraph. Those are my zingers, but they’re not always at the end of the paragraph. However, writers should always try to end chapters with a word or a sentence that will hook the reader into turning the page in order to find out what happens next. One of the best compliments I ever received is when a reader said, “I’ve learned to stop reading your books in the middle of the chapter. Once I read the end of a chapter, I have to keep going.”

As authors, we love reviews describing our books with adjectives like fresh, innovative, effortless and engaging. More often than not, those words are referring to the writer’s voice. It’s that element of a novel differentiating it from the rest of the crowd which makes the writing shine, stand out and worthy of attention. Finding one’s writing voice can sometimes be elusive, and it can become a source of great frustration. Persevere and don’t allow it to deter you from writing your best. Perhaps it’s hidden, but I firmly believe a unique voice is within every author, waiting to be discovered and revealed. I’d like to suggest the following five ways to help discover your voice:

#1: Know your characters from the inside out.

#2: Keep the voice true to the character’s point-of-view.

#3: Be an observer of people and events, but also the ironies, humor, tragedies and triumphs of life. It makes you a better writer overall, but it also helps infuse your characters with personality so they almost leap off the page—and into the hearts and minds of readers.

#4: Write what you know and write passionately from your soul.

#5: Approach every character and story as if it were your first or your last. Make them count.

Remember this: even the most innovative plot can be dead-in-the-water without that well-developed voice. Conversely, even the dullest, plodding plot can be enthralling if told with a masterful voice.

Thank you for the opportunity to visit with you today, and I wish all of you God’s best as you read and write. Blessings, my friends. Matthew 5:16

Twin Hearts

Josh Grant is a man seeking redemption. He’s not looking for love, but finds it in a most unexpected and tender way. His twin sister, Rebekah, is torn between two very different men: one a dashing British aristocrat offering her the world, and the other a humble, quiet, faithful Louisiana lumberman. When family tragedy strikes, the twins lean on Sam and Lexa Lewis and their fellow TeamWork Missions volunteers for encouragement. Together they learn lessons in faith and family and what's most important in life as they discover it’s time to stake their claim on love, which means a road trip from Louisiana to . . . the peace to be found in seeking and finding the sweetest desires of the heart. Available from Torn Veil Books in March 2012 in both paperback and e-book versions at all major online book retailers.

How To Take Writing Advice

2012-02-21T05:00:00.000-05:00

In 9th grade I wanted to be a rock star. (Yes, along with every other kid who had a modicum of talent on the guitar.)

That meant buying an electric guitar. I searched my school for someone experienced. Someone who could tell me the secret of getting the right guitar.

Finally I found him.

He explained there were two types of electrics: rhythm and lead. And if I wanted to play screaming solos—which I did of course—I needed to buy a lead electric.

Because I knew nothing about electric guitars I asked, “What’s the difference between a rhythm electric guitar and a lead electric guitar?”

My acquaintance leaned back, assumed an impressive air guitar stance and said, “You can wind a lead guitar out!”

Being a typical 9th grader I pretended for a few minutes to understand what he meant. But my desire to know was greater than my insecurity at being looked the fool.

So I said, “What do you mean?”

“You know! You can wind it out!” He nodded at me with wide eyes. “You know?” Another impressive air guitar solo ensued.

No. I still didn’t know. But I was determined to find out. So I went to a music store in downtown Kirkland and asked one of the staff to show me his LEAD electric guitars. His response: “Uh, I’m not sure what you mean.”

Those of you who play guitar are ahead of me. (For the rest of you, there’s no such thing as a lead electric or a rhythm electric. An electric is an electric is an electric.) But I didn’t know that. I was looking for advice and went to someone who was more experienced than me, spoke with confidence, and knew the lingo.

Now the rest of you are ahead of me in regards to how this applies to writing, but I’ll say it anyway.

Before you take writing advice from anyone ask yourself:

1. Does this person have the credentials to be offering me their advice?

2. Have I asked three or more different people the same question? (There is wisdom in many counselors. Often you’ll get different answers even from multi-published authors and teachers.)

3. Have I looked in books from respected authors to get their perspective on the question?

What About You?

Have you ever taken writing advice which you later found out was wrong?

How do you make sure you’re getting the right counsel when trying to an answer to one of your writing questions?

Must go. I just came up with a great ending for a chapter I’m working on.

I think I’ll be able to wind it out.

James L. Rubart is the best-selling author of ROOMS, BOOK OF DAYS, and THE CHAIR. During the day he runs Barefoot Marketing which helps businesses and authors make more coin of the realm. In his free time he dirt bikes, hikes, golfs, takes photos, and occasionally does sleight of hand. No, he doesn’t sleep much. He lives with his amazing wife and teenage sons in the Pacific Northwest and still thinks he’s young enough to water ski like a madman. More at www.jameslrubart.com

Author Interview ~ NYT Bestselling Kristin Hannah

2012-02-20T10:04:00.001-05:00

Kristin Hannah is the New York Times bestselling author of novels including Night Road, Firefly Lane, True Colors and Winter Garden. She was born in Southern California and moved to Western Washington when she was eight. A former lawyer, Hannah started writing when she was pregnant and on bed rest for five months. Writing soon became an obsession, and she has been at it ever since. She is the mother of one son and lives with her husband in the Pacific Northwest and Hawaii.

Where were you when you hit the bestseller’s list and what went through your head?

You're right that this is one of those memories that stick with you in life. The very first time I hit the New York Times bestseller list was in 2000. My husband and I were driving north on the Interstate when a girlfriend called and told me that she'd seen my name on the list. I didn't hear it from my agent or my publisher for almost twenty-four hours, so I wasn't entirely sure whether to celebrate or not. But then I decided, what the heck and had a glass of champagne.

How has becoming a bestseller changed your life?

Become a bestseller has changed my life in some ways, but not as many as you would think. On the positive side, list performance allows your work to be seen by a larger and larger audience, and that's always a good thing. It certainly holds you in good stead with your publisher. On the down side, becoming a bestseller is kind of like taking a seat in the front of a giant roller coaster. Once you're on, it's a great ride, and you don't want to get off. The pressure to continue hitting the list can be a little intimidating.

To what do you attribute your success?

A combination of dedication, determination, hard work, and good old fashioned luck.

Who was your first mentor or champion?

In the very early days of my career, I joined a group called the Romance Writers of America, and found there an amazing community of published authors who were willing to help out new writers. They were incredibly caring and supportive and generous with their time. Two names come to mind as early mentors--Jill Marie Landis and LaVyrle Spencer. These two women really went above and beyond in offering me substantive support and technical advice. I learned a great deal from both of them.

Did you have a mentor who helped you? In what way did they help: craft or networking and introductions?

I have had two editors who were magnificent mentors with regard to the work itself. Ann Patty was the editor who really helped me move from genre to commercial fiction. She was absolutely dedicated to demanding the very best of me. She taught me more in a year and one book, than I had learned in all the years that came before. The mark she has left on both my work and my perception of it is profound. The other editor that has really taught me a lot is Jennifer Enderlin. She, more than anyone, has helped me to identify and clarify my vision. I think I've written my best books in the past few years, and Jen is a big part of that. Also, I'd have to mention my glorious agent, Andrea Cirillo, whose belief in me has been probably the most important single component of finding success in this career.

How has perseverance played a role in your becoming a bestselling novelist? In what area did you have to persevere the most: craft or marketing?

What, in your opinion, makes a book prone to hitting bestseller status?

Quite simply, it is everything. If I had to choose between talent and perseverance, I'd choose the second every time. Writing a novel is hard, hard work, and as a career, it is a minefield of rejection. You have to be able to overcome adversity and rejection every single day. You also have to stay on schedule and stay motivated during some difficult times.

Honestly, who knows? Luck? Publisher support? The right topic? A great book? I guess I would say that--in the broadest possible sense, and in a perfect world--the books that hit the bestseller list are those that speak to the greatest number of people. It's a vision thing. I believe that we embrace and talk about books that mirror our own worldview.

What role did your agent play in your success?

I wouldn't have had this career without my agent. She has been my rock, my guide, my friend, and my champion. When I was too tired to wield the sword, she picked it up. You can't ask for more than that.

Has helping others contributed to your success? If so, how?

Yes, I think that I have "given back," to young writers and I have certainly tried to be the kind of mentor that I was lucky enough to find along the way.

Is there a down side to becoming a bestseller?

In a word, pressure.

What advice would you have for other novelists who strive to get where you are?

The best answer is the easiest: Never give up. Writing is a career that will challenge everything that you are and demand the best you have---over and over again. You have to learn to let go of your ego and start over all the time. You have to believe in yourself when it is not easy to do and no one else believes in you. And most of all, you have to write. Every day, all the time, whether you feel like it or not. You have to write when you are having a good day and when your father has cancer and when the mortgage payment is overdue. A writer writes. It's an old saying and true. If you're always writing, and always learning, you will improve, and that is the start of the road.

This is Grace

2012-02-19T04:00:00.000-05:00

This is Grace

“In Him we have redemption through his blood, the forgiveness of sins, in accordance with the riches of God’s grace that he lavished on us with all wisdom and understanding.” Eph 1:7-8

My first grandchild entered life on a tsunami of pain. A devastating wave of emotional and spiritual concerns accompanied what should have been a joy-filled announcement—“Mom, we’re pregnant.”

The words were couched with shame and embarrassment. My son and his girlfriend weren’t married and faced far more challenges than the fact that she craved fish sticks and FunYums. They both knew they’d made bad decisions. One of those “what were we thinking?” decisions meant that now, rather than ironing out their relationship issues and dealing with a 747-worth of baggage, they—and we—prepared for a baby in the house.

As with most parents of young people in trouble, we were heartbroken over their choice to bypass the divine plan for a husband and wife to bring children into the world in God’s glorious timing. It’s not that we didn’t understand how a thing like that could happen. But my husband and I and everyone else concerned knew that the path my son and his girlfriend chose came laced with difficulties and complications they weren’t prepared to handle, challenges the Lord never intended them to experience.

The young woman was homeless and a legal issue kept them from getting married right away. My son had a home of his own a few miles from ours, but the expectant mom lived at our house. As her belly grew, we tamped our disappointment and chose to love and forgive, taking our cue from the mercy that floods the pages of Scripture. Together we walked through morning sickness and fatigue and community stares and whispers. We traversed a path of embarrassment and concern, and faced challenges that only happened to “other people.” We felt every bit of the baby weight on our own frames and somehow adopted the waves of nausea and the clenching of false labor in our own bodies.

But through it all we counted on the wonder of the Lord’s forgiveness, His redemptive heart, His ability to turn what started out distressing into something of great beauty. It’s what He does. He molds rough clay to make art. He recycles pain to make a place for His joy to land.

As expected, He did just that.

At 4:30 in the morning one day in September, my son came to get us from the waiting room to lead us into the birthing center where a new life had entered the world moments before. Warm and bright-eyed and rose-petal pink, the child was laid into my eager Grammie arms.

“Mom,” my humbled but glowing son said, as if a formal introduction were necessary, “this is Grace.”

I drew that darling baby to my heart, as I imagine the Lord drew me, and answered, “Yes it is. This is grace.”

Today’s Prayer: Father God, how is it that You can make something so incredibly beautiful out of the messes we give you? Yet You do. And we’re grateful. You don’t just forgive, You lavish the riches of Your grace on us. Thank you for the exceptional and exceptionally well-loved child Grace, and for where-would-we-be-without-it divine grace.

Cynthia Ruchti writes and produces the drama/devotional radio broadcast, The Heartbeat of the Home. She is editor of the ministry's Backyard Friends magazine, the author of a novel and novella recognized with nominations for Reviewers' Choice, Retailers' Choice, and Readers' Choice awards, and speaks for women's groups and writers' events. Visit her website at www.CynthiaRuchti.com

Vlogging 101

2012-02-18T00:30:00.000-05:00

Since I’ve started vlogging once a week, I’ve gotten a fair amount of question bones tossed my way. Like what is it? Why do it? Isn’t it scary to have your face out there for all to see?

Here’s a quick tutorial and reasons why you should give vlogging a whirl.

What Vlogging Is

Video + Blog = Vlog. It’s that simple. Instead of typing out a blog entry, you simply speak it into a camera. Doesn’t have to be fancy. In fact, I wouldn’t know how to edit if you paid me. I use photo booth and do a vlog entry in one shot. If you want to get fancier, though, you can use things like Microsoft Movie Maker or Apple iMovie to add all kinds of fun effects to your video.

Why You Should Vlog

It’s a great way to spice up your usual blog posts. It adds a little variety. Personally, I choose to post humorous vlogs, but you could make them “how to’s” or even use them for interviews.

The other benefit I’ve noticed is that it bumps up the hits on my blog. If you’re looking for a way to increase your blog traffic, vlogging is an easy way to jack up your numbers.

Vlogging is a great way to show your readers the human side of you. Your facial expressions, your inflections and intonations, are seen instead of imagined.

And don’t forget, by vlogging, you’ll stand out from the everyday Joe-Schmo blogger who uses text only.

It’s Not As Scary As It Seems

I'm not going to lie. The first time...let's just say your knees will knock a fair amount, but after that, it's a piece of cake. If it creeps you out to see your mug up on the screen, then here’s a little tip. Just post it. Don’t watch it.

So give it a try. It’s worth the experience even if you decide not to continue with the vlogging adventure. If you’d like to see my latest vlog entry, check out Writer Off the Leash.

Michelle Griep’s been writing since she first discovered blank wall space and Crayolas…professionally, however, for the past 10 years. Her latest release, UNDERCURRENT, is a tale of honor and sacrifice.

You can find Michelle at: Writer Off the Leash, www.mmgriep.com or on Twitter, Facebook, or Pinterest.

Free on Kindle!

2012-02-17T16:33:00.000-05:00

Our friend, Creston Mapes' ebook Nobody: http://www.amazon.com/dp/B006BG4QAC/ref=tsm_1_fb_lk.

He's a good guy and unique writer. And it won't cost you a dime today!

Alcatraz Producer and Novelist ~ Daniel Pyne

2012-02-17T02:06:00.026-05:00

Throughout his career, Daniel Pyne has moved freely between the television and feature worlds and the world of books. He acts as a visiting professor at the UCLA Graduate School of Film and a writing advisor for the Sundance Institute. At present, he is writing and co-producing JJ Abrams' highly anticipated TV show Alcatraz on FOX. Click for more info on Daniel Pyne.

Daniel you wear plenty of writing hats. Which one is the most comfortable fit and why?

It’s not a matter of comfort as much as it is my good fortune to be able to pursue all these different kinds of storytelling. I like television for its immediacy, its serialized narrative, for the collaborative process it requires, (working with other writers, as well as filmmakers and crew, on multiple storylines, at the same time), and for the way it allows for the exploration of character through repetition – in much the same way we experience people in our lives, slowly revealing themselves over time.

I love movies for their size, their visual power, and for their economy, which requires a writer to pare down prose and dialogue to only what is absolutely necessary to tell the story. I also enjoy working with directors to craft a film that is both visual and richly textured. And I love novels for their purity of expression unmitigated by anyone or anything else, their breadth, the intimacy you can develop with a reader, the way words can create images and emotions that transcend the real and the concrete; at their best, novels soar.

Most of our readers are novelists. What can you tell us about writing for television/film that can help us become better novelists?

My theory, completely unsupported by any empirical evidence, is that the way people read is changing. Maybe it’s always changing, but certainly with the growth of film and television as the dominant cultural expression in the twentieth century, and the rapid rise of blogging and texting in this new century, the way people receive information and express themselves and process cultural mythology must mean that novelists need to adapt to new kinds of narrative.

People have shorter attention spans. They’ve become used to processing information in a scattered, almost holographic way. I have a pet peeve about novelists turning their manuscripts into auditions for feature films, but I do think that the modern novel has to acknowledge that storytelling has been profoundly affected by the way film and television has, (sometimes detrimentally), altered the way we expect stories to engage us.

If there is one lesson you've taught to writing students over the years that you want them to GET, that you consider to be a key to writing success, what is it? Feel free to give us more than one.

Get a good chair.

It’s hard. Get over it.

Don’t give up.

Don’t settle -- try to write as well as you possibly can. And then better than that, next time.

Write what you love to read.

Be willing to do it for free – because you’ll probably have to.

How has producing helped you as a novelist?

I don’t think it has any relationship to writing novels. Well, unless I wanted to self-publish, I guess. It does, however, get me out in the world with a wide variety of people and situations, rather than sitting alone at my desk trying to decide whether to use “said” or “explained.”

Do you find your multiple writing venues to be a challenge when you sit down to write a novel? How? What have you done to combat that?

For a long time, finding the time to write prose was difficult. I approach every piece I write with the same level of commitment, so if I have too much going on in the film world, I have no time for my fiction. Over the past decade I’ve made the effort to back off from television and carve out the time necessary to work on novels; the first one took years to finish, my second just a little more than a year.

What writing disciplines/tricks/habits have you developed that have helped you?

Somebody once told me that the secret to writing was staying in your chair. It’s pretty much true. The minute you get up, you can find a million things to distract yourself from going back to the page. Washing dishes. Throwing a ball to the dogs. Worrying about those cracks in the fireplace. Snacks. Napping. ESPN Sportscenter.

What is your favorite/most effective marketing tool?

I don’t have one. The novelist’s need for promotion, especially self-promotion, depresses me. I’d like to think that you could just write your tale, and when you are finished, people will read it -- and that would be that. That’d be a fine world to live in.

Social media - career builder or time waster? How do you make it work for you ?

I don’t. It hasn’t. I really haven’t much engaged in it. For better or worse. I don’t think what I had for lunch is very interesting. (It was a Greek Salad, by the way. Heirloom tomatoes and olives and feta.) Am I wrong?

Time waster? Probably. But definitely not going away.

Supernatural Fiction — The Next Big Wave?

2012-02-16T09:34:00.001-05:00

Allen Arnold loves great stories, passionate conversations and authentic living. As Senior Vice-President and Fiction Publisher at Thomas Nelson, he spends his days acquiring, reading and publishing world-class adult and young adult fiction written from a Christian worldview. Allen’s favorite way to spend the day is with his family – preferably with a C.S. Lewis book or Superman comic close at hand.

Retailers and the media regularly ask what the next hot trend will be in Christian Fiction.

Is supernatural fiction the next big wave? Fair question.

One of the most important skills a Publisher has is the ability to anticipate trends in the marketplace. No one bats 1,000 on this front. At the same time, no Publisher survives long if they have more misses than hits in this essential area.

In my recent post “What do Christian Fiction Fans Want to Read Next”, I focused on our research and ways to deliver fresh content rather than rear-view mirror publishing. More the “how” than the “what’s next”.

Now let’s focus on a type of novel that I believe is gaining heat – and will only gain more in the coming years. Supernatural Fiction.

True – this may not be an “official” genre, but I believe it’s an apt descriptor for many future best-selling novels. In recent Focus Groups and in-depth research, we continue to hear buzz about this desire from the most passionate Christian Fiction fans. In fact, there’s currently more buzz than best-sellers in this area…but not for long!

Within Christian Fiction, I describe Supernatural as stories that delve into the thin places between the seen and the unseen. Where the natural is intruded upon by “super” natural forces that often include angels and demons. There can be prophecies, visions and dreams.

The challenges are more vertical than horizontal (between humans). The territory is more unknown and mysterious, yet never counter to biblical truth. In the past few decades, Frank Peretti’s This Present Darkness is probably the best example of the type of novel I’m referring to.

Hmmm. So if this will be a growing trend in the coming years, should you write Supernatural stories if that isn’t what you are personally drawn to as an author?

No way. That would be chasing a trend rather than writing what’s authentic to you. Avoid that temptation.

But Thomas Nelson Fiction is drawn to these stories. We don’t want to ride this wave or trend. As one of the world’s largest publishing houses, we aim to fuel this coming wave. We’ve already released several major Supernatural novels in the past few months (Waking Hours by Lis Wiehl with Pete Nelson, The Baker’s Wife by Erin Healy, The Promise of an Angel by Ruth Reid) and many others – including Young Adult titles – will ship in the coming year.

At the same time, we’ll continue to publish a rich mix of Contemporary Romance, Amish, Legal Thrillers, Sci-fi / Fantasy, Young Adult, Suspense, Historical, Mystery, Movie Novelizations and Biblical Fiction. We love having such a diverse roster that satisfies such a wide reading audience.

In future posts, I’ll share additional trends and findings from our in-depth Christian Fiction research.

Getting to Know Author Renee Andrews

2012-02-15T00:15:00.000-05:00

Renee Andrews spends a lot of time in the gym. No, she isn't working out. Her husband, a former All-American gymnast, co-owns ACE Cheer Company, an all-star cheerleading company. She is thankful the talented kids at the gym don't have

a problem when she brings her laptop and writes while they sweat. When she isn't writing, she's typically traveling with her husband, bragging about their two sons or spoiling their bulldog.

Renee is a kidney donor and actively supports organ donation. She welcomes prayer requests and loves to hear from readers! Write to her at Renee@ReneeAndrews.com or visit her Web site at www.reneeandrews.com.

Writing is a journey. How did your journey to publication begin?

I’m from the South, and we’re natural born storytellers. I’ve been writing stories ever since I first held a pencil and told my teachers in school that I wanted to be a writer when I grew up. After college, I was a technical writer for a while but always longed to write fiction. Ten years later, I began submitting my stories and sold my first book two years after my first submission. However, I’d completed 21 full manuscripts before that first sale. I didn’t send them all out, because I knew they weren’t ready. Moral of the story – practice, practice, practice – and when you have that book ready, send it on!

Reflecting back, what do you see as most significant to your publication journey?

The support of my family. I have an amazing husband and two wonderful sons who have supported me every step of the way.

What’s your biggest challenge in balancing writing time with your other responsibilities?

Because my husband travels nonstop, I do a large portion of my writing on the road and in hotels. The biggest challenge is staying focused and getting those pages complete when the beach, mountains, etc. are outside the window. However, I know that when I meet the day’s goal, I can go out and enjoy the beautiful scenery with my wonderful Cajun.

How do your faith and spiritual life play into the picture and affect your storytelling?

Many of my stories revolve around the theme “God has a plan.” My faith in His plan finds its way into every story. And since I’m writing romance, it’s easy to include the love of God, because if you have Him at the center of your relationship, everything else will fall into place and thrive.

What do you think makes your style of storytelling unique?

My stories are Southern-based and have Southern flavor, but I also have a quirky sense of humor that often finds its way on the pages as well.

Finish this sentence. The best piece of advice I can give to a new author is . . .

Write, write, write and pray, pray, pray!

Cubby Hole, corner of the couch, or office, where do you write?

I have a desk, but I honestly write all over the house and/or at a hotel. The sunroom is one of my favorite places to write in my home, and I’m including a picture. My bulldog Roman is usually

nearby snoring, but he woke up for the photo.

What writing tool(Flip Dictionary, workshop, index cards) have you found to enrich your writing?

Discovering Story Magic. I love that workshop and have taken it at least three times. It gives a method to the madness of plotting – what’s not to love about that? Website is www.discoveringstorymagic.com

What’s next for you?
I just turned in the revisions for my October release, Love Reunited, for Love Inspired. I have a single title romantic suspense that my agent is getting ready to send out and another Love Inspired book due May 31 (it is going to be a busy year, but I love being busy!)

Any parting words?
A big thank you to Novel Rocket for this opportunity! Have a blessed day!

Picture Perfect Family

"I Made A Promise."

Intending to keep her vow to raise her orphaned nephew, photographer Mandy Carter is concerned when the boy's uncle appears in town. Handsome youth minister Daniel Brantley is determined to take over little Kaden's upbringing. Once upon a time Mandy was in love with Daniel, but he left her behind to do mission work overseas. Now he's back—and seems to think she's the same girl she once was, with big dreams a small town and motherhood can't fill. Turns out marriage and motherhood are all Mandy wants. It'll take winning Daniel's heart, though, to make this family complete.

Contact Renee Andrews on: Facebook:www.facebook.com/AuthorReneeAndrews.KelleyBowersZeringue

Renee Andrews on Twitter: www.twitter.com/reneeandrews

My Valentine

2012-02-14T10:37:00.001-05:00

by Jessica Dotta

What do you write about on Valentine's Day when you're a recent divorcee? Not an easy decision, let me tell you. The second Tuesday of each month is mine and I had planned to show you an amazing couple who are missionaries in Mexico. But when I discovered my turn to post fell on Valentine's Day, I changed my mind and started praying, What, Lord, would you have me post?

I debated putting up the opening to 1 Corinthians 13.

I wondered if I should write something for those with broken hearts.

I thought about finding a different scripture passage about love.

I considered researching the history of Valentine's Day. I mean after all, I'm thirty-seven and can't rattle off its history. Surely I'm not the only one.

For two days I prayerfully wondered what to post.

While I wait, the messages flies through the airwaves—radio, television and wireless internet—all of them scrambling and screaming for attention—This Valentine's Day tell her that you love her/ Give the love of your life the very best/ Come find your soul mate/ We have more marriages than any other online site—they all cry—buy me—buy me—buy me.

But what is love, I wonder in Madeline L'Engle style.

Then this morning, the 13^th, I listened to Misty Edwards at International House of Prayer, worshiping while reading Ann Voskamp's One Thousand Gifts and somehow in the midst of this, I realize how extraordinary it is that I've met and supped with the true lover of my soul.

The thought gives me pause. I've met and supped with the love of my soul, and His banner over me is love!

The messages die. I know what I see represented on television will never satisfy. I know it on levels that I wish I didn't—and yet I am thankful because otherwise I would have been content with scraps and called it a feast. How strange we have a day to celebrate love—but then seem to have forgotten what love actually is.

Madeline L'Engle also says, "What you think is not the point. What you do is what's going to count."

So here is the lover of my soul and what he did for me:

On this Valentine's Day, I will praise Him, my betrothed (Hos 2:9) My husband, my maker (Isa 54:5). The One who asks where the certificate of divorce is (Isa 50:1). The One who calls me married and no longer forsaken (Isa 62:4).

And no matter where you are, I hope you do too—whether you're falling in love, getting in engaged or in a relationship that is falling apart. There is love out there—one that lasts and is beyond compare.

Dialogue ~ Make it Real!

2012-02-14T10:25:00.000-05:00

I cut my authorial teeth on dialogue as a playwright. I was the creative arts director for 11 years at my church. We did everything from the 30-second sermon starter to full-length musicals.

When I wrote my first few scripts, my actors often used different words than what I'd written, or they changed the sentences around, and even ... gasp ... dropped the golden gems I penned.

As hard as it was to admit, I liked what I heard, so I dissected the changes and found the common ground. I wrote like Snoopy, trying to be literary. Gag. The lines were too perfect and not realistic.

Have you read a book where the dialogue actually pulls you out of the story because it's so stiff and unbelievable? Or worse, it sounds like an info dump, as if the writer's saying, "You won't get this part unless I explain it to you."

Well, thank you Billy Sunday. That'll make me throw a book across the room faster than a politician can empty your wallet.

So what does make good dialogue in a book?

It has to be realistic for starters. And it has to be organic to your character. If you're an Oregonian and writing about a Southern Belle, you'd better have a Cousin Sue Ellen read your manuscript or it may well be stereotyped. The same goes for Sue Ellen writing about a Yankee.

If you aren't sure how the characters would really talk, go to a local mall and hang out in the food court and eavesdrop. Listen to the half sentences, colloquialisms, and especially to the way people answer questions.

One problem is found in the way characters answer questions.

"Good morning, Bob. Where are you headed this fine morning?"

"Good morning, John. I'm heading to the hardware store to get a new float for the toilet."

First of all, we don't really care about Bob's toilet, unless his four-year-old flushed the latest Wiki-leaks state secrets. A bit more realistic might sound like this:

"Morning, Bob. Where you off to?"

"Hardware store."

"Anything I can help with?"

"I got it."

"Okay, holler if you need me."

That's how two neighboring men would have this conversation. If it were women, it still wouldn't be complete sentences, but it might go something like this:

"Morning, Sally. Going shopping?"

"Macy's is having a huge sale, and you know the new slip covers I got for the den sofa? John ruined it with cranberry juice."

"I hear you. Bob got mustard on my bedspread. Why can't they be more careful?"

"I think it's in their genes."

"Yeah, he got mustard on those, too."

Anyway, you can see how their conversation veered off the main track. Another thing in romance is build conflict in dialogue. Jenny B, Jones is great at this. A few lines from Save the Date illustrate this point well:

"Do you know anything about football?"

"You toss around a ball and throw people to the ground. What else is there to know?"

"Okay then, what's a birdcage?"

"The name of the bar where you met your last girlfriend?"

"A cut?"

"A fantasy I have involving your throat."

She never answered his questions seriously and he kept asking instead of commenting on what she said. It was brilliant dialogue for building character and a great example of verbal ping-pong.

And that, my friend, is great dialogue. So listen before you write.

Debut author Courtney Walsh ~ gives liberating advice

2012-02-13T04:00:00.000-05:00

Courtney Walsh is a published author, scrapbooker, theatre director and playwright. Her debut novel, A Sweethaven Summer, was released this month by Guideposts Books. It is the first in a series of three. She has also written two paper crafting books, Scrapbooking Your Faith and The Busy Scrapper and is currently working on her third, which will be released February, 2013. Courtney has been a contributing editor for Memory Makers Magazine and Children’s Ministry Magazine. She lives in Colorado with her husband and three kids where she consumes entirely too much coffee.

Tell us about your new release:

A Sweethaven Summer is the story of Campbell Carter, who finds part of an old scrapbook just after her mother’s death. The scrapbook contains evidence of a life in a tiny beach town in Michigan—one her mother had never spoken of. With the scrapbook as her guide, Campbell travels to Sweethaven, where she meets her mom’s childhood friends and searches for the identity of her real father.

In my mind, this is a book about friendship and forgiveness—two things we all need a lot of in our lives!

Was there a specific 'what if' moment to spark this story?

Definitely. I was fortunate enough to spend a few days in our friends’ cottage, and it was in that community that I started to imagine old friends who returned every summer, working on their scrapbooks and watching their kids grow up together. That trip was the spark for the whole series.

Did anything strange or funny happen while researching or writing your book?

Well, it wasn’t related to my research, but while I was on deadline for this book, my husband applied for, interview for and accepted a job in Colorado. We had one month to pack up our house, sell it (we didn’t—we’re renting it) and move across the country. Looking back on it, I’m not sure how I survived that!

Do you ever bang your head against the wall from writer's block? If so, how did you overcome it?

I think there’s a head-shaped indentation on my wall! For the first two books in the series, I didn’t plot or outline the entire book. I had a general idea of where I wanted to go and I sat down and started writing. Both times, when I got about half-way through, I got SO stuck I had to get up and walk away. In the end, the only way I overcame it was to go back, read what I’d already written and let the momentum of that carry me through to the end.

By the third book, I opted for a chapter by chapter road map with most of the details already outlined. So far, I haven’t had to bang my head into the wall on this one, but I’ve just hit that half-way point! (Be praying for my head.)

Do you consider yourself a visual writer? If so, what visuals do you use?

Absolutely. I think my experience in the theatre lends itself to being very visual. I act scenes out while I’m writing them and tend to research every aspect of the town or event I’m writing about. (Saving files of photos along the way.) I also find images of people I think look like my characters (a trick I learned from my friend, Deb Raney.) This helps me keep clear pictures in my head.

Novelists sometimes dig themselves into a hole over implausible plots, flat characters or a host of other problems. What's the most difficult part of writing for you?

Overwriting. I am the master at showing something and then telling the reader what I’ve just shown them. I also have a tendency to write whole chapters about what my characters are going to do instead of just having them do it. My constant questions as I write are: “Does this move the story forward?” “Is this active?” “Am I showing this?”

What's your strength in writing (characterization, setting as character, description, etc)?

I’d have to say characterization and dialogue. Again, I credit the theatre with this. Ever since I was about twelve years old I’ve had a huge passion for the stage. Plays are remarkable tools because they’re straight dialogue with limited stage directions. You have to be so concise and make sure you’re showing with every scene. I didn’t realize that my stage training and writing for the stage would come in so handy down the road, but I utilize elements of it every time I sit down to write.

Did this book give you any problems? If not, how did you avoid them?

Since this was my first novel, it certainly gave me problems. I’d be horrified to go back and see what the first draft looked like! My main problem was keeping my characters active. Thankfully, I’ve had wonderful and patient editors. I’ve learned SO much!

Where do you write: In a cave, a coffeehouse, or a cozy attic nook?

Before I moved to Colorado, I wrote at Barnes and Noble faithfully every week. I loved that place. I had the luxury of my mom’s help with the kids. But now that I live here, without any family around, I write at home, usually under a pair of headphones in my office or holed away in my bedroom (which is hard on the back!) I love to write to the Michael Nyman Pandora station (with a little Hans Zimmer, James Horner and John Williams for variety!)

Some authors report writing 5-10 thousand words a day. Do scenes flow freely from your veins or do you have to tweeze each word out?

This is such a funny question to me because I get really caught up in my numbers (both word tallies AND the ones on the scale!) I’m under a pretty tight deadline for my third book so yes, I write fast. I have to. I work from home, so I only have three good writing days every week and I make the most of them!!

What’s the best writing advice you’ve heard?

“Don’t get it right, get it written.” How liberating!

How do you balance your writing time with family and any other work you do?

Um…I don’t do a very good job with this! I have a day job at Webster’s Pages, which is a scrapbooking manufacturer (I love it!) so I save most of my writing work for Fridays-Sundays. My husband is the one that gets me out of my writing cave and back into the real world. Otherwise, I might never resurface! (And I definitely would never do laundry!)

Do you have any parting words of advice?

When God puts something on your heart to write, don’t question it, just write it. You never know how he’s going to use it to bless someone else. That and don’t take up writing novels unless you’re comfortable with a LOT of hard work. Next to childbirth, writing a novel is the hardest thing I’ve ever done!

A Sweethaven Summer

Campbell Carter has come to Sweethaven in search of answers about her mother's history. Just before losing a battle with cancer, Suzanne Carter sent letters to childhood friends from her hometown of Sweethaven, Michigan. Suzanne's three friends -- Lila, Jane, and Meghan -- haven't spoken in years, yet each has pieces of a scrapbook they made together as girls.

Suzanne's letters have lured them all back to the idyllic lakeside town, where they meet Campbell and begin to remember what was so special about their long Sweethaven summers.

As the scrapbook reveals secrets from the past, old wounds are mended, lives are changed, and friendships are restored -- just as Suzanne intended.

Jordan, Jericho, and Just My Own Stuff

2012-02-12T04:00:00.001-05:00

“Have I not commanded you? Be strong and courageous. Do not be terrified; do not be discouraged, for the Lord your God will be with you wherever you go.” Joshua 1:9

In a few months, my financial situation is going to undergo a significant change. That doesn’t make me different from many other people, especially in these days of crazy financial fluctuation in our country. At least I have forewarning, which is proving to be both a blessing and a curse. On one hand, I know exactly when I need to be prepared to take on the new financial burden, so I’m taking as many steps as I can to secure my nest egg and increase my income. On the other hand, I often wake in the middle of the night stressing over how I’ll handle it. Whether I’ll handle it.

What I’m experiencing is a teeny tiny version of what Joshua probably felt when he knew he had to take over for Moses and get the Israelites across the Jordan and into the Promised Land. At least I don’t have throngs of people leaning on me. Nor do I have an icon like Moses to live up to.

In this one chapter, God commands Joshua four times to “be strong and courageous.” Well, okay, I can do that. Until a little later on today, when I think about the future again and break out in a sweat over how slowly I’m preparing, despite my best efforts. Then I need to toughen up again, remember Joshua’s challenge, and exhort myself to be strong and courageous.

But, what if that’s just not my nature? I mean, I have courage in certain things, and I’m thankful for it. Birthin’ babies certainly wasn’t for sissies. Neither was raising them to be healthy in mind, body, and spirit. Surviving a pretty scary marital relationship required fortitude and courage on many occasions.

Still, I think of the challenges friends, acquaintances, and entire nations of people face—cancer, loss of loved ones, war, famine—and realize their call to courage is far more daunting than mine.

How do they do it?

How did Joshua do it? Once he led the Israelites across the Jordan he had to overthrow kingdoms already established in the Promised Land. And he succeeded at all of his God-commanded tasks by taking one step at a time and trusting God’s guidance with unshakable obedience, right down to marching around an enemy fortress seven times and tooting horns in order to make it fall down.

We all have our Jordans to cross. We all face fortresses of varying sizes at points in our lives. While my trials may pale in comparison to someone else’s, they’re still my trials. Or maybe I face a task more overwhelming than someone else’s. God knows all about it. If I can remember to keep putting Him at the center of each day, each effort, to pray, search His word, and seek His will, I’ll cross that river. I’ll win whatever battle I see on my own personal horizon. He’ll be with me, wherever I go.

Today's Prayer: Heavenly Father, You know the future I face and how much strength and courage I need to get by. Help me to always seek that strength and courage from You.

Award-winning novelist Trish Perry has written inspirational romantic comedies for Harvest House Publishers and Summerside Press, including Love Finds You on Christmas Morning. She has served as a columnist and as a newsletter editor over the years, as well as a 1980s stockbroker and a board member of the Capital Christian Writers organization in Washington, D.C. She is a member of American Christian Fiction Writers and Romance Writers of America and holds a degree in Psychology. Visit her Web site at www.TrishPerry.com

Kathryn Fitzmaurice

2012-02-11T06:00:00.000-05:00

When Kathryn Fitzmaurice (pronounced fitz-mor'ris) was thirteen years old, her mother sent her to New York City over the summer to visit her grandmother, who was a science fiction author. After seeing how her grandmother could make the characters in her books into whomever she wanted, Kathryn decided that she, too, wanted to become a writer someday. Years later, after teaching elementary school, and taking many classes, she now writes full time and lives with her husband, two sons, and her dog, Holly, in Monarch Beach, California.

Kathryn's latest book, A Diamond in the Desert is available now for pre-order and is scheduled to release on February 16^th. Find Kathryn at her website or on her Twitter and Facebook pages.

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Sally: Welcome to Novel Rocket, Kathryn! I just read in your bio that you like to organize things, and I believe it, because the plots on your books so far, have been uncluttered. Deep, but organized. Everything works in your books, with no spare parts. Do you outline your plots ahead of time?

Kathryn Fitzmaurice: Not normally, though with this book I did because I needed to. There was so much information I never would have been able to keep it organized without an outline.

Sally: Do you have a theme in mind before you begin writing?

Kathryn Fitzmaurice: Mostly, yes. Sometimes, though, the theme comes quite by accident.

Sally: Well, your prose isn't accidental—it's gorgeous. I don't know how else to describe it. Page after page is beautifully written with lovely metaphors and similes. This book was a fast read because your metaphors made it easy to picture Tetsu's world and what was going on with his inner conflicts. How hard do you work on the imagery? Do you polish the gems as you go along with your first draft, or do you sketch the story bones and then go back and brush in the textures and colors with word pictures?

Kathryn Fitzmaurice: Thank you, Sally. How nice of you to say these things. With this book, because of all of the research I had to do before writing it, I ended up with a very concise outline. I also had an entire wall in my home office where I taped photos of the camp and the main character, a huge map of the camp and the surrounding area, and three separate timelines, one of the events which happened at Gila River, (which I got from microfiche, specifically, three and a half years of the Gila News Courier, which was the newspaper written by the Japanese Americans while at the camp), one with the major events of WWII, and one with the events of baseball and what was happening in the 1940’s. I carefully combined the three timelines and there was, basically, my story. So each day when I sat down to write, I picked up where I had left off the day before. Because I had done most of the work before ever writing one word, the whole book took only four months to write. I spent several months at the Laguna Niguel archives building reading through three years of the newspaper so I could better understand the camp and its culture. Of course it’s impossible to really understand living at one of the camp unless one was there, so I did the best I could and made copies of the pages that I knew I wanted to include in my story. I also discussed almost everything I included with the gentleman who was the pitcher for the team, whose name is Tetsuo Furukawa, now 87 years old. The one thing I did know well, however, was the setting because I had grown up in Arizona. I knew the desert like it was my backyard. I knew what the sunset looked like and the Gila monsters and the snakes and the scorpions. I knew what it was like to get a piece of cholla stuck in my skin.

Sally: Where did you get the story about the little girl going to the latrine and wearing a pillow case over her head? Was that a real memory of one of the men you interviewed or did you manufacture that?

Kathryn Fitzmaurice: When I was interviewing Mr. Furukawa, he mentioned that many people, he specifically remembered the younger girls, had a hard time using the latrine because there were no walls. So for privacy, their mothers would give them a pillowcase they could slip over their heads. I couldn’t imagine this, having absolutely no privacy. That story really stuck with me, how the Japanese Americans had everything taken from them. I wanted the reader to understand this from the very beginning.

Sally: Where did you come up with Horse? His name, his situation, his shame, his injury, his gentleness--everything about Horse was a little painful and yet, he gave me great hope for the future. Who is he and where did he come from?

Kathryn Fitzmaurice: I remember looking through a commencement announcement from one of the senior classes at Gila River that Mr. Furukawa had sent me. They had school graduations, weddings, etc., in Gila River, and when I came across the name Horse, I called Mr. Furukawa and asked him about this boy. He told me he didn’t remember anything about him. But I knew he would be one of my characters. So I started writing about him, and he appeared instantly as a boy whose parents had been killed, and he couldn’t face what had happened to them.

Sally: You're a literary writer and you choose quiet stories—conflicts that happen to real people, not to children who are spies or superheroes. There is plenty of drama and tension in your stories, but there are no dystopian worlds or kick-ass heroines. I'd compare your stories to ones written by Patricia MacLachlan or Kate DiCamillo. What authors have influenced you?

Kathryn Fitzmaurice: Thank you, again. I wish, one day, I could write as beautifully at Kate DiCamillo. I tear up even reading her facebook fan page. How does she do it? I would love to have lunch with her someday and learn everything about her. I also really enjoy Gary D. Schmidt, Deborah Wiles, LaurenChild, and Sharon Creech.

Sally: Have you taken any flak for being a white woman and writing about a people of a different culture and color?

Kathryn Fitzmaurice: I thought a long time before writing about another culture. Because I am not Japanese, the only way I felt comfortable enough to write the book was by sending every single draft of the story to Mr. Furukawa. He would read them and call me and tell me which parts needed revision. He was a tremendous help. I could not have written the book without his careful consultations, of which there were many. He allowed me call him over the course of two years and was extremely generous with his time. He sent me many envelopes filled with information, photographs, DVD’s, so much of the story is his. I drove up to his house in northern California to meet him and his wife when I was almost finished with the story. I spent a lot of time with him discussing his experiences. It was remarkable. He gave me 1000 paper cranes that day. He said they were for good luck. I have them hanging in my home office.

Sally: You have an MFA, right? Would you advise young writers to pursue that course?

Kathryn Fitzmaurice: I don’t have an MFA. I have an MA, Ed., a graduate degree in education, specifically, Curriculum and Instruction. Once, a few years back, I started to fill out the application for the MFA program at Hamline, but I never completed it. I wish I had one. I think it would be a great asset.

Sally: You are a Christian. Do your religious beliefs come into play when you write?

Kathryn Fitzmaurice: With the exception of A Diamond in the Desert, all of my main characters have faith in God. It’s such an important part of my own life. I believe all things are possible through faith.

Sally: What advice can you give to unpublished writers that will help us understand what elements make an editor fall for a story?

Kathryn Fitzmaurice: I’m probably not the best person to give advice, but my grandmother, who was also a writer (she wrote science fiction), told me to write what I know. She said that if the story you’re writing is true and people can see this, someone will understand it and maybe even love it.

Sally: Do you have a critique group that comments on line by line issues? Or do you have readers who will read and comment on the whole novel? Both? Neither?

Kathryn Fitzmaurice: I have a critique group that meets every other Tuesday. We submit pages by email, critique them, and then hand them back to each other. Each person/manuscript gets thirty minutes of discussion. We give general and specific advice on every story. The group has been together a long time. I’m their newest member.

Tell us a little about your editorial process for A Diamond in the Desert. Did you go back and forth a few times with your editor?

Kathryn Fitzmaurice: I was extremely lucky to be able to work with Catherine Frank at Viking. The first letter I received from her was six pages long, single spaced with suggestions, in addition to her line edits on the actual manuscript. I finished those recommendations and then we went back and forth one more time before the manuscript went to copyediting. She made the story so much better than it was by tightening it up, etc. We also got rid of a couple of characters because there were a lot in the beginning, considering that it was a baseball team. One of our favorite sub plots was the story about Lefty. In the original manuscript, the reader didn’t know if he was reunited with his owners. I remember she wrote to me explaining that she would be tremendously relieved if Lefty got back to Tetsu somehow. I completely agreed and changed that part so Lefty found his way home. I have a dog named Holly. I can’t imagine ever losing her.

Sally: Does your agent edit your work before she sends it to publishers? Will you tell us a bit about how the writer/agent relationship? Or even about how you came to land your agent?

Kathryn Fitzmaurice: My agent, Jennifer Rofe, at the Andrea Brown Literary Agency, reads everything before she sends it out. She likes the manuscript to be near perfect. Often I will go though several revisions before we are both happy with the story. I met her at the Big Sur Writing Workshops. I was in a critique group with Eric Elfman, who is a wonderful screenwriter, and he said he thought Jennifer would like my Swallows story, so he introduced me to her. I sent it to her several months later and she had me do an extensive revision and then asked to represent me after that. She’s a great agent, very emotional and savvy, exactly what you’d want in an agent.

Sally: I've looked at that Big Sur Writing Workshops website several times and wished I could go. One of these years…. When did decide to write for middle grade kids and why did you decide that?

Kathryn Fitzmaurice: When my youngest son was nine, we read Because of Winn-Dixie together. The part where Opal has her dad tell her ten things about her mother and then she goes off and memorizes them so she can recognize her mother when she sees her, that part right there made me think, “this is the loveliest writing I have ever read.” But more importantly, when my grandmother died, she left me a box of her unpublished manuscripts. For years I’d go through them and wonder if I could do it, if I could write. One day, I decided it was time to try. I quit teaching and sat down on the first day of school after getting my own kids off and started writing about a little girl named Eleanor, named after my grandmother. It was the least I could do after all of the support she gave me while she was alive. I had written things while growing up, under my grandmother’s encouragement, but it wasn’t until I was much older that I became more serious in my efforts.

Sally: Do you own an e-reader?

Kathryn Fitzmaurice: Yes, a kindle and an iPad, and an iPhone. Though, truth be told, I like real books best.

Sally: I always thought I liked real books best, too, until I got the e-readers. I love pulling out my iPhone in the waiting room at the doctor's office or on the plane and finding an entire library from which to choose.

Well, thanks so much for dropping by, Kathryn. It's been swell. Godspeed with your writing.

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Sally Apokedak is represented by Reclaim Management. Her short works have been published in various magazines, including Highlights for Children. She blogs about young adult novels at sally-apokedak.com. You can read a sample of The Button Girl, one of her YA manuscripts, here if you like.

Need a Platform? Inspire A Fire.com is for Sale

2012-02-10T16:05:00.000-05:00

If you're a writer in need of a platform, or just want to further your reach for the Kingdom, I may have good news for you.

The website I founded some months ago Inspire A Fire is now for sale on Flippa. Even with a team of self-sufficient writers posting daily, I soon learned that running two busy websites was doing neither justice. Inspire has tremendous growth potential and already has a growing audience. The design is part of the transaction and I'll even stay on to walk you through the process for the first month. The team of writers will likely stay on as well.

Click HERE for details.

Imprisoned by Your Fans ~ Tess Gerritson

2012-02-10T01:45:00.014-05:00

Tess Gerritsen left a successful practice as an internist to raise her children and concentrate on her writing. She gained nationwide acclaim for her first novel of medical suspense, the New York Times bestseller Harvest. She is also the author of the bestsellers Life Support, Bloodstream, Gravity, and The Surgeon. Tess lives with her family in Maine. (PHOTO CREDIT: Paul D'Innocenzo)

As appeared on Murderati December 2010

The amazingly multi-talented Steve Martin (actor/writer/comedian/musician) doesn't need me to leap to his defense. But that's what I felt like doing, claws bared, when I read this article in the New York Times a few weeks ago:

In the history of intellectual chatter, the events of Nov. 29, 2010, at the 92nd Street Y will be archived under disaster. Or comedy.

That night, a conversation between Steve Martin, the writer and actor, and Deborah Solomon, who writes a weekly interview column for The New York Times Magazine, resulted in the Y’s sending out a next-day apology, along with a promise of a refund.

Mr. Martin, in Miami for a book event, said in an e-mail on Wednesday that Ms. Solomon “is an outstanding interviewer,” adding that “we have appeared together before in Washington, D.C., in a similar circumstance to great success.”

But Sol Adler, the Y’s executive director, saw it differently. “We acknowledge that last night’s event with Steve Martin did not meet the standard of excellence that you have come to expect from 92nd St. Y,” he wrote in an e-mail to ticket holders. “We planned for a more comprehensive discussion and we, too, were disappointed with the evening. We will be mailing you a $50 certificate for each ticket you purchased to last night’s event. The gift certificate can be used toward future 92Y events, pending availability.”

What was Steve's big mistake that night? What terrible misbehavior did he engage in to so enrage his fans? Simply this: he had the audacity to be himself and talk about his latest book -- which is about art. The audience came expecting to hear the wild and crazy guy they knew from his film and TV career. They wanted to hear tales of glitz and glamor and movie stars. They wanted their trained monkey. They didn't want the Steve Martin who talks about art, which is what he is clearly passionate about, and what his book is about.

When he didn't deliver exactly what they expected, this audience was so disappointed, so incensed, that they pitched a tantrum worthy of spoiled brats and demanded their money back.

Now, if this were an audience who paid big bucks to hear Lady Gaga sing in concert, and instead had to watch her read the Manhattan phone book in a monotone, I could understand their disappointment. When you pay for music, you expect music. When you pay for dinner, you expect food.

This audience came to hear an interview with Steve Martin, and they got an interview. But the man is known to have many facets; he is not just a wild and crazy guy, but an author who wanted to talk about his latest book. A book about a serious topic. Over the years, through his comedic movies, Steve Martin has been branded as a funny guy. But that branding has locked him into such a tight cage that if he dares step one foot out of that cage, the public cracks their bullwhip to drive the prisoner back to where he belongs. In the cage for wild and crazy movie stars.

This, fellow authors, is the downside of branding. Every time you write a book that reinforces your brand, you have welded in another bar of your cage. Once that cage is locked and sealed, you're going to have a hard time getting out of the thing again.

Only a few authors have been able to do it successfully. John Grisham has managed the feat, occasionally releasing a sentimental novel between his usual legal thrillers. Stephen King has escaped branding, too, partly because he has regularly produced non-horror, literary fiction throughout his career.

For most of us, though -- writers who aren't as prolific as King, or who don't wield the clout of Grisham -- a large part of our success is tied up in branding ourselves. We start off wanting readers to think of us as the crime thriller or romance go-to gal. It's only later, when we get a hankering to try something else, or when our chosen genre starts to lose its audience, that we realize that being branded isn't always such a good thing.

My own brand has skittered around through my career. First I wrote romantic thrillers, then medical thrillers, then science thrillers, then crime thrillers. With an historical thriller thrown in. The one part of the brand that's stayed constant is the "thriller" part, and that's allowed me a bit of leeway. Readers will forgive you for moving between sub-genres. But try making a really big leap -- say, from serial killer novel to sweet sentimental novel -- and your audience is going to howl. The way they howled at Steve Martin.

If you truly want to slip out of that cage, you may have to do it in disguise with a pseudonym. Which means starting over again as a newbie writer trying to find your first audience. Or you'll have to find an understanding publisher. Or you'll have to publish it yourself as an E-book, an option that more and more authors seem to be leaning toward.

Good luck to you. May you escape the wrath of fans who'll never forgive you for craving a little variety in your art.

What Has God Done? What Have You Done?

2012-02-09T01:28:00.001-05:00

Recently my business coach asked me to do a simple exercise. She said, "I want you to look back over your year and list the things God did." I took it one step further and listed the things I initiated in 2011 and then I compared the two. You can read my complete lists here, if you're interested. But here's an abbreviation:

What I tried:

Tried to do everything possible to make The Muir House (novel) a success.
Tried several marketing ideas that flopped terribly.
Tried to write a memoir about life with my enigmatic, perplexing, genius father, only to abandon the project in depression.

What God initiated:

People came out of the woodwork to promote my upcoming book Beautiful Battle, a spiritual warfare book for women.
The 700 Club approached me to share my story (and I did!)
I changed my tagline from "Turning Trials to Triumph" to "Live Uncaged."

What I learned:

As I looked back over my lists, I realized how much I'd relied on my own grit and tenacity to make things happen in my career. Note the use of the word "tried." While it's good to have perseverance and smarts and wherewithal, I've learned that most of that is wasted if it's done in our own strength. We can strategize, hire experts, and be extremely proactive, but if we're not spending time consulting God, we'll ultimately end up frustrated and overwhelmed. I veered dangerously close to burnout last year.

Two verses stand out as I look back at 2011:

“For the LORD grants wisdom! From his mouth come knowledge and understanding. He grants a treasure of common sense to the honest. He is a shield to those who walk with integrity. He guards the paths of the just and protects those who are faithful to him” (Proverbs 2:6-8, NLT).
"We are merely moving shadows, and all our busy rushing ends in nothing. We heap up wealth, not knowing who will spend it" (Psalm 39:6, NLT).

If we want to be successful in business from a God-standpoint, it's imperative (and mandatory) that we consult God first, and cease all that unfruitful busy rushing. He alone imparts the treasure trove of wisdom. He alone helps us live unhurried, trusting lives.

The first part of the year is typically a time when we re-evaluate last year and anticipate the next year of our growth and business. Why not take a moment and list what you tried to do and what God initiated? Some things to consider:

Be thoughtful and prayerful as you make your lists.
Ask God to show you where you've been guilty of running things without Him.
Remember that not all success are God-started, nor are all failures a result of living in your strength. Yet, still look for patterns.
Looking back over what God did, ask yourself, "What kind of person do I want to be this year? Stressed out or dependent?"

The word God keeps hollering to me is "abundance." As I look back over my lists, I realize He's been initiating in my career, but I've still tried to conjure up my own success. May it be that we all approach 2012 with joyful dependence.

And the winners of The Scent of Cherry Blossoms are ...

2012-02-08T21:11:00.002-05:00

Lace and rebbiej. Please email me at ane [at] anemulligan [dot] com an drive me your snail mail addresses. Congratulations!