Mystery and History—The Perfect Blend  by Michelle Cox

Mystery and History—The Perfect Blend 

                                                                            by Michelle Cox

People often ask me why I write mystery and why I set them in the past, particularly Chicago in the 1930s.  What is it about this blend of genres that appeals?  Good question.

Mystery, I have to admit, is not my go-to shelf at the bookstore.  As a kid, I read every Trixie Belden, Happy Hollisters, and Encyclopedia Brown ever written, with an occasional Nancy Drew thrown in, but not so much as I grew older.  This was especially true when I went away to college and discovered what “real” literature was supposed to be.  Guiltily, then, I quickly tossed out all of my beloved mysteries— and romances, too, for that matter—and exchanged them for solid classics, which I threw myself into for roughly the next twenty years, gobbling up Dickens and Shakespeare and Wordsworth and Tennyson at an alarming rate.  But then, years later, after my third child was born, my brain inexplicitly turned to mush, and I found myself reverting back to more “entertaining” reads.

So it was that when I finally decided to try my own hand at writing a novel, I approached it from sort of a mixed background.  What first resulted was a somewhat sappy coming-of-age story set in the 1940’s Chicago and which was the size of three contemporary novels.  Tolstoy would have at least admired its length, if nothing else.  After spending a year trying to sell this tome to an agent, I finally declared it to be dead and stuffed it away in a drawer.

Starting over, I determined that if I wanted to actually sell something, not impress a lit professor, I would need to write something much shorter . . . not to mention something more fast-paced and sexy.  Something like . . . like a mystery, I thought triumphantly!  Yes, that would sell, I naively thought.  Not knowing the slightest thing about writing a mystery, however, I dug deep into my early reading experience as well as into all of the PBS or BBC period mysteries and dramas I had become addicted to over the years and was able to eventually produce A Girl Like You, which, mid-way through the writing of, I decided to turn into a series.

So, I publically admit here that I first chose mystery because I thought it would be more sellable.  Period.  But having thus delved into it, I found it to be a great fit for me, actually.  First of all, I’m very much a character writer, so coming up with intriguing plotlines has always been a little more challenging. Writing mystery was a great fix for this.  It forced me to concentrate on plot and give my characters something to do—solve the mystery.

And then there’s pacing.  Mystery has no time for soggy middles.  Each chapter of a mystery has to have a reason to be. The story has to clip along.  I often tell new mystery writers to watch any mystery or drama show on television as a reference.  Each scene is costing the filmmakers thousands of dollars to make, so each action or character in that scene absolutely has to have a reason to be there.  Following this example has made me a more concise, focused writer.

So mystery works for me on several levels.  And I think my books have been successful because, in a genre that is sometimes criticized for being tooslanted toward plot, I think it’s fair to say that I’m able to provide both elements that make up a good story—well-developed characters wrapped in fetching plots.

But now how to explain the historical connection?  Why set a good mystery in the past?

Well, there are several reasons for that, the first being the fact that I really don’t know enough about the modern world to write about it.  I can more easily explain how an antique telephone works more than I can a cell phone.  How does a microwave work?  Or the furnace?  A car?   It’s embarrassing, actually. Writing about the past lets me hide this pitiful truth about myself.  For the life of me, I simply wouldn’t be able to come up with a modern, realistic crime, much less have the sleuths be able to solve it.  Mining foreign social media data?  Selling harvested body parts?  Identity theft?  You can see already that I’m reaching.  And as for solving it . . . fancy phone apps?  GPS systems?  Satellite link-ups?  Again, this is probably sounding very ‘90s, at best.  Give me Colonel Mustard in the study with the candlestick any day.

Another disconcerting truth about me is that I’m actually not very good at coming up with a premise for a story.  I need something to start with, some strands of yarn, and then I can pretty creatively weave something out of them.  As it turns out, all my story prompts come from people who lived in the past.  Just after college, I started working in a nursing home on Chicago’s northwest side and delighted to find myself in a perfect treasure trove of stories from people who had lived through so much, including two world wars and the Great Depression.  Is it any wonder, then, when I began writing years later, that all of my novels would be set in the past?  Those tales, many of them stranger than fiction, have provided me with a wealth of reference material!

So when I was looking for a premise for my first novel—a mystery, I had already decided, as explained above—I naturally dug into said treasure trove and, after looking about a bit, eventually chose the story of an eighty-year old woman who had had this amazing life as a young girl in the 1930s in Chicago.   I didn’t take all of her story, of course, but I used various bits and pieces in the creation of A Girl Like You.  All I needed to do then was to insert some sort of crime, something suitably old-fashioned—like a murder, say—and voila!  A perfect mystery/history blend.  But then I couldn’t help myself, and I had to add the handsome, aloof inspector for a dash of romance as well!  But that’s a story . . . and yet another genre . . . for another time.

 

Author Bio:

Michelle Cox holds a B.A. in English literature from Mundelein College, Chicago, and is the author of the award-winning Henrietta and Inspector Howard series, as well as the weekly “Novel Notes of Local Lore,” a blog dedicated to Chicago’s forgotten residents. Cox lives in the Chicago suburbs with her husband and three children and is currently hard at work on the fifth book of the series.  She also sits on the Board of the prestigious Society of Midland Authors and is a reviewer for the New York Journal of Books.

Website: http://michellecoxauthor.com/

Facebook: https://www.facebook.com/michellecoxauthor/

Twitter: https://twitter.com/michellecox33

Instagram: https://www.instagram.com/michellecoxwrites/

 

 

Despite Adversity, There’s Always a Way to Publish by Nina Romano

Despite Adversity, There’s Always a Way to Publish

                                                              by Nina Romano

 

When I was writing poetry, I would send out poems to many different venues: literary magazines, journals in print and online magazines.  I kept circulating and sending out several poems a week, usually 12 to 20 and usually on a Friday, until I found myself with a good number of accepted publications.

Next, I added new poems to these already published ones to complete a theme and then turned the themed poems into a small chapbook of 24-40 pages or a complete collection of 60-80 or more pages. I would then include what I called “the book’s beginning pages.”  That is to say the title page, contents page, acknowledgments page, dedication page and an “About the Author” page to finish the book.  I love dedicating books! Then, I’d send out to poetry contests and/or small, independent publishers.

I didn’t win any contests for my poetry, but I did win Graduate Poetry one year at FIU while on the road to completing my MFA in Creative Writing, and it was for one of my best poems: “The Crucifixion of Garlic, ” which is in my first poetry collection, Cooking Lessons, and still available on Amazon!

I was fortunate to finish five complete collections and two poetry chapbooks and have all of them published with small, independent publishers.  When I knew the collection was going to be published, I’d begin asking poets and writers for blurbs. Networking at Writing Conferences and in Workshops, always pays off.  Talk to other authors.  Marketing these published collections was a completely different matter, and subject for another blog altogether.

However, poetry is not fiction. I tried for years to get an agent for my first and second novels.  I had an agent but without success of placing the first novel with a publisher.  I decided to take back the novel and write another one—the prequel.  After receiving dozens of rejection letters telling me what a great query letter I’d written, I realized I was batting my head against a stone wall trying to “hook” an agent, so I decided a different tack.

I had my collection of short stories, always difficult to place, accepted by Kitsune Books, but sadly the wonderful owner/editor Anne Petty passed away, so I published The Other Side of the Gates with Bridle Path Press, a cooperative kind of publication, since then we’ve parted ways and I own the rights to my collection. But when it came to my novels, I wanted to go the traditional route and not self-publish.  So I skipped the agonizing and grueling querying to agents and started submitting to small, independent publishers.

I looked up three in the category of where I best thought my novels would find a good fit—historical romance—and selected three publishers in a list of one hundred of the best ones for novels, and sent to them.  I hit, luckily with the first one I’d sent to, Turner Publishing, but if I hadn’t it was my intention to query every single solitary one that I had marked off on that list. Determination and persistence is the name of the game. I published the Wayfarer Trilogy with them, three novels: The Secret Language of Women, Lemon Blossoms, and In America.  All of the novels finished as Finalists in various Book Contests, and the first one won an Independent Publishers IPPY gold medal.  But that didn’t give me a free pass to have all my novels published with them—so you keep submitting and if they don’t take it, you try someplace else.

Or you decide to self-publish like these famous authors did: E.L James, Beatrix Potter, E.E.Commings, Stephen King, Mark Twain, Virginia Wolf, Rudyard Kipling, Gertrude Stein, Anais Nin, Stephen crane, Walt Whitman, Alexander Dumas, George Bernard Shaw, Upton Sinclair, Ezra Pound, James Joyce, and Henry David Thoreau, to name but a few.

You can publish on blogs—yours and other people’s as a guest blogger.  There’s a blog on your author page of Goodreads, and there’s an “About the Author” page on Amazon, and if you look hard enough, you’ll find many other places to market yourself and your titles, or at least write about yourself and what you love doing: writing. The point is that if you want to see your words in print remember: “where there’s a will, there’s a way,” and just keep seeking.

In the words of the James W. Hall, “Master of Suspense” and the Thorn mystery series, said the last day of an undergraduate writing workshop at FIU, “There are dozens of better writers than me, I just stuck with it.”  Thanks, Jim, your words have served me well! So here it is short and bittersweet: perseverance and tenacity are key and almost as important as the writing itself.

 

Author’s Bio

Nina Romano earned a BS from Ithaca College, an M.A. from Adelphi University and a BA and an M.F.A. in Creative Writing from FIU. She’s a world traveler and lover of history.  She lived in Rome, Italy, for twenty years, and is fluent in Italian and Spanish. She has authored a short story collection, The Other Side of the Gates, and has published five poetry collections and two poetry chapbooks with independent publishers. She co-authored Writing in a Changing World.  Romano has been nominated twice for the Pushcart Prize in Poetry.

Nina Romano’s historical Wayfarer Trilogy has been published from Turner Publishing. The Secret Language of Women, Book #1, was a Foreword Reviews Book Award Finalist and Gold Medal winner of the Independent Publisher’s 2016 IPPY Book Award. Lemon Blossoms, Book # 2, was a Foreword Reviews Book Award Finalist, and In America, Book #3, was a finalist in Chanticleer Media’s Chatelaine Book Awards.

More about the author at: www.ninaromano.com

 

Why Do I Write Chick Lit? by Melissa Westemeier

 

Why Do I Write Chick Lit?

                                                by Melissa Westemeier

Sure, the genre sounds sappy–it shares a name with a type of candy, for Pete’s sake! Yet chick lit isn’t typical romance writing, it’s a little less formulaic and it has broader appeal. I wrote my first novel, Whipped, Not Beaten, a few years after Oprah started her book club. I loved Oprah’s picks–at first. But after a while they all seemed the same: stories about abusive people, people who’d survived terrible hardships, people who faced injustices, depression, addiction, assault. After a while all of those sad stories start to wear on a reader. I wanted to read something lighter, brighter–a palate-cleanser, if you will. That type of book wasn’t easily found, but chick lit consistently provided me with a good story and characters I could root for. There weren’t many chick lit writers at the time, so I decided to write what I craved: a feel-good story with a happy ending.
The first trick with chick lit is to create a character with flaws. This makes them personable, relatable and genuine. In Whipped, Not Beaten Sadie Blair is a bit of a klutz, she has money trouble and she’s emotionally wounded from a bad break up. All of these are problems typical to young women, but they aren’t the kind of flaws you read about in a typical romance novel. In those the heroine never gets a pimple, always has a fortune and their biggest problem is somehow being misunderstood. Boo-hoo, right? In real life people screw up, fall down, go broke and spill their drinks. When writing about characters that do these things, there’s opportunity for humor and for moments when the reader nods and thinks, I feel you, Sadie.

The second trick–and biggest trick–is plot. Trouble has to heap up and rain down on the protagonist. Guess what? Creating a character with real-life problems makes it easy to advance the plot. Sadie’s broke. She recognizes the potential in home party sales. She signs on to sell Coddled Cuisine. She can’t cook. She has to build an independent business against the odds. She has to build that business while still performing at her day job at Wisconsin Public Radio. More trouble? She shows up to do a party for a bridal shower and learns the guest of honor is her ex-boyfriend’s fiancé! In his apartment, no less! In a lot of ways writing chick lit storylines comes easy because daily struggles do snowball into bigger problems. We’re all crawling our way out of some mess or other–why not mine our own disaster zones for the purpose of great plotting? (And on the outside chance that you’re blessed with a drama-free life, you can always mine your friends’ lives!)
The third trick is adding humor. Bridget Jones’ Diary, The Shopaholic series and Simply Divine gave readers reasons to laugh. Everyday problems often are funny–“Just when you thought things couldn’t get worse.” Add it in. Sadie’s come under pressure to attend a co-worker’s scrapbooking party. She doesn’t scrapbook. She can’t cut a straight line. She gets assaulted by the family dog, spills chips and dip on the hostess’s shag carpeting and ends up yelling at the hostess’s bratty kids when she snaps. At the end of the chapter she rides the bus home, stained with sour cream and onion, tears and slobber. Amping up the drama in chick lit always brings the laughs.

I write mainly for a female audience–women like me who have normal lives and problems and need to read the literary equivalent of a hot fudge sundae. But my audience is much bigger than that, a lovely discovery that came from my husband’s co-worker. She’d bought Whipped, Not Beaten for her mother, who brought it on vacation to read. When the co-worker asked her mother how she liked the book, the mother replied, “I haven’t read it yet. Your father won’t put it down!” Here’s the deal: MEN like chick lit, too. They like it for all of the same reasons: it’s relatable, plot-driven and funny. They like the happy endings, when each character gets their just desserts, ala Jane Austen. Many of my biggest fans are men, something I never would have expected, but it stands to reason because chick lit truly is good lit.
Author Bio

Melissa Westemeier teaches high school English, tends a huge garden, raises three sons and writes. Her published novels include: Whipped, Not Beaten, Kicks Like a Girl, and Across the River.  Coming out in April is the sequel, On the River. Westemeier leads workshops about writing humor, using Wisconsin as a setting.

Her next appearances will be at the Green Bay’s Book and the Author Festival UntitledTown, April 19-22

 

In Search of Authenticity by D.J. Niko                                                                                                                  

In Search of Authenticity

                                                                                                                                             by D.J. Niko

 

In writing believable fiction, research is imperative. Everyone knows that. But how far should an author go to delight her readers by making scenes plausible and characters authentic? I’ve always believed that firsthand research is best, even if it comes with a high degree of adventure (or, as is often the case, misadventure), so I try to visit the places I write about (yes, even the remote ones), get to know people of the cultures represented in my pages, and maybe put myself in some unusual situations, just to see what happens. No risk, no reward—right?

As an example, I’d like to share a story about a personal experience that informed one of the scenes in the first novel of The Sarah Weston Chronicles, my series of archaeological thrillers: The Tenth Saint.

In Chapter 7, Gabriel warns the Bedouins about an imminent sandstorm. As a Western man and a scientist, Gabriel knows with mathematical accuracy the storm is coming. The Bedouins do not listen to him, instead pressing toward the oasis so they do not miss their turn in the fertile lands. Sure enough, the storm comes, wiping out the Bedouins’ caravan and brutally claiming lives.

Describing this sandstorm in an authentic, realistic manner came naturally to me, because I had experienced it firsthand. I was with four friends in the Moroccan Sahara, near the Mali border. We had been traveling on camelback for about a week, heading toward an oasis to replenish supplies.

Just before dusk, we saw the cloud approach from the south and knew we were in for a long night. Typical Westerners, we covered our backpacks and camera gear in blankets so that sand would not get in. We had no tents, and there was no cover anywhere in sight, so we built perimeter fences from bed linens, holding the contraption down with sand bags. We were industrious. We were resourceful.

We were scared.

Meanwhile, our Berber camel drivers were calm as could be. Without breaking a sweat, they built a fire and boiled some murky water we’d collected earlier from a sand depression. They made tea and cooked some noodles. I shook my head. Who could think of food at a time like this?

The nomads were unruffled because they knew there was nothing they could do in the face of such fury. They couldn’t stop it; they couldn’t hide from it. So they went on with life. Whatever would come, would come, tea or no tea.

The sandstorm did come, and it battered our camp from sundown until four in the morning. It was the longest eight hours of my life. I still recall the constant grit of sand between my teeth and the violent stinging of my eyes as I lay there, in the fetal position in total darkness, waiting for the hissing to stop, hoping we would not be buried alive.

At dawn, as the shreds of our perimeter fence whipped in an errant breeze, we surveyed the damage. We shook pounds of sand off ourselves and searched for our belongings, which had been scattered by the wind. I recall inscribing “LIFE” with my fingernail on my sand-caked arm, in the same way you’d write “WASH ME” on a dirty car. But what I remember most vividly is Mohammed the Berber blowing into the belly of a meager fire, coaxing some flames, as if nothing had happened.

I learned something that day, and it is summed up this way in The Tenth Saint: “The way of the nomad is to accept everything as it comes: there is no anticipation of better days, no longing for the unrequited, no despair for loss.”

For my next book, the fourth Sarah Weston adventure, I have traveled to Morocco and the American Southwest, looking for the genuine soul of these places. Stay tuned for more on that release!

Daphne Nikolopoulos in an award-winning journalist, novelist, lecturer, and writing instructor. Under the pen name D.J. Niko, she has written three novels in an archaeological thriller series titled The Sarah Weston Chronicles and a historical novel titled: The Judgment (Medallion Press, 2016). Her debut novel, The Tenth Saint (Medallion Press, 2012), won the Gold Medal (popular fiction) in the prestigious, juried Florida Book Awards. The Judgment won a national Bronze Medal in historical fiction in the IPPY Awards 2017 and first place in historical fiction (pre-published) in the Royal Palm Literary Awards.

All four books have been translated and published internationally, and The Tenth Saint has been an Amazon best-seller in Germany. Daphne has just completed book 4 in the Sarah Weston series, tentatively titled Firebird.

Find D.J. Niko on FacebookTwitter, and www.djnikobooks.com.

The Tenth Saint on Amazon

 

Hanging the Swags:The Art of Historical Fiction by Ruth Hull Chatlien

Hanging the Swags:The Art of Historical Fiction

                                                by Ruth Hull Chatlien

One of my favorite analogies for writing historical fiction is “hanging the swags.” My first two novels are both based on the lives of real woman. The first, The Ambitious Madame Bonaparte, is about Elizabeth Patterson Bonaparte, the American beauty who married Napoleon’s youngest brother and became embroiled in conflict with the emperor because of it. Her life is extremely well documented. The Maryland Historical Society has something like eighteen boxes of letters, account books, and newspaper clippings related to her life.

My second novel, Blood Moon: A Captive’s Tale, is based on the captivity narrative written by Sarah Wakefield, recounting her time as a prisoner during the bloody Dakota War of 1862, which took place in southern Minnesota. In her case, I had her own words on which to base my narrative.

For both women, however, there are plenty of things that historians just don’t know. No one’s life is perfectly recorded for posterity. This is where my analogy of hanging the swags comes into play. I think of the known events of my characters’ lives as metal brackets extending at irregular intervals along a wall. They are solid and dependable, but they often look rather sparse. As a novelist, my job is to fill in the gaps between those brackets with luxurious fabric, draped from known event to known event, filling in the blank spots of the story with imagined episodes and dialogues to flesh out the people I’m writing about.

As a historical novelist, I can’t just weave these episodes out of thin air. Rather, I must pull together threads of research and use them for the warp and weft of my storyteller’s fabric. Let me give you a couple of illustrations of this.

About a year after Jerome and Betsy Bonaparte’s marriage, they took a trip to Niagara Falls. Niagara was not the tourist attraction it is today. It was located in what was still wilderness. No settlements existed near the falls, so to traveling there, people had to be willing to rough it. The Bonapartes learned from Aaron Burr that his daughter Theodosia and her husband took a honeymoon journey to Niagara, the first couple known to do so. Jerome decided he had to see the falls for himself. From what I’ve been read, for the rest of her life Betsy viewed that trip as a wonderful adventure, but she left no written descriptions of it—at least none that survived. To tell that part of her story, I had to read the account of an explorer who traveled to the falls a few years before the Bonapartes. From his narrative, I was able to glean the kind of vivid details I needed to make Betsy’s journey come to life. For instance, I learned to my surprise that in the early 1800s, rattlesnakes could be found in upstate New York, so I made certain to put that detail in the story.

Sarah Wakefield’s written account of her captivity among the Sioux is a very short book that summarizes much of Sarah’s experience rather than elaborating on it. She states that she adopted Indian dress and customs to survive the war, but she doesn’t give many specific examples of what that means. One thing I did know about Sarah was that she was a seamstress who loved sewing and fashion. I decided to use this personality trait to develop her character. One reason Sarah and her children survived the war was that a Dakota acquaintance named Chaska took her into his mother’s tepee to make sure that she would be safe until the conflict was over. About halfway through her captivity, I portray Sarah as making Chaska a pair of beaded moccasins in gratitude for his protection. I don’t know that Sarah did any such thing, but because it was an action that combined her love of sewing with her survival tactic of assimilating, I thought it was an appropriate fictional episode to include.

Next time you read historical fiction, ask yourself where the author might have embellished the known facts with fictional flourishes. I’m certain that you’ll discover I’m not the only writer who practices hanging the swags.

 

 

Author Bio:

Ruth Hull Chatlien has been a writer and editor of educational materials for nearly thirty years, specializing in U.S. and world history. She is the author of MODERN AMERICAN INDIAN LEADERS for middle-grade readers. Her award-winning first novel, THE AMBITIOUS MADAME BONAPARTE, portrays the tumultuous life of Elizabeth “Betsy” Patterson Bonaparte, and BLOOD MOON: A CAPTIVE’S TALE is based on the captivity narrative of Sarah Wakefield. Ruth lives in northeastern Illinois with her husband, Michael. When she’s not writing, she can usually be found gardening, knitting, drawing, painting, or studying Swedish.

Amazon author page: http://amzn.to/2FJ4KVf

Facebook page: https://www.facebook.com/ruthhullchatlien/

Twitter: @RHCHatlien

 

Writing a Horse-Themed Novel by Emily Williams

Guest post by Emily Williams –

Writing a horse themed novel
– a dream since childhood pony books?

Horses have been my life for a very long time, as has reading novels. My earliest memories were sitting on the Shetland pony that lived behind my childhood home on the Isle of Wight when I was around four years old. My Dad had started to make up pony stories to tell us, which my sister and I loved and I’d developed an interest in the pony. Then, trips through the New Forest (despite being kicked) to see the wild ponies ignited my passion for equines even more. Ponies and pony stories have always been a part of my life since these early years.

When we moved to Shropshire, there were again ponies behind the house, in a meadow at the bottom of the garden. I wrote to the pony’s owners but, sadly, she didn’t want any help with them. I then, around age ten, started visiting a local Victorian farm museum and became a regular. Soon, I knew the family that owned the farm well and was given tasks to help out with day to day running of the farm animals. I was also able to ride their Shetland pony, Neddy. Around this time I had a passion for reading anything horse related, from non-fiction horse manuals to billions upon billions of pony novels. Saddle Club and the Jinny series by Patricia Leitch were particular favourites.

child_on_pony

This love for horses continued over the years, and I began to help with the farm’s shire horses and rode another pony, a piebald cob, as I’d grown too tall for Neddy. By the time I reached my teens, I was desperate for my own pony and started saving. My love for horse novels continued, however, I ran out of new books to read that were age-related. The horse whisperer became a book I read until it turned dog-eared!

When we moved down to Worthing, we again had ponies next to the house! It seemed like fate but also quite bizarre to find in the garden of an end terrace townhouse. I offered to help care for the miniature Shetland ponies before, thankfully, the owners re-homed them to somewhere more suitable.

It wasn’t until I was twenty-one that I finally bought my horse, a beautiful red bay American Quarter Horse mare Profits Red Ridge, aka Bella. She is now retired and has a Welsh Mountain pony Lucy, for company. I am unfortunately unable to ride due to an accident that caused wrist and arm problems, which later has developed into rheumatoid arthritis. Luckily, dictation software aided the completion of the novel.

brown_horse

Bella was the inspiration for the racehorse in the novel, also called Profits Red Ridge but what the teenagers affectionately named Minty, due to his love of mints. As an adult, I still miss reading novels about horses and I am open to any recommendations about good ones you find out there! Writing Rafferty Lincoln Loves… filled that void for me. I hope you’ll enjoy my novel too.

emily_book

The blurb of Rafferty Lincoln Loves…

Rafferty Lincoln doesn’t like horses. Not one bit. But when the popular high school girl of his dreams, Liberty Ashburn, pulls him into a world of lead ropes and horse brushes, who is he to say no?

Except this isn’t any old horse. This is the missing racehorse, Profits Red Ridge. The horse Rafferty and three of his friends are hiding from the world. And Liberty Ashburn isn’t just any ordinary high school girl. How far will Rafferty go to win her over?

An intense, witty and powerful coming of age story with startling consequences.

Advanced reviews of ‘Rafferty Lincoln Loves…’

‘A heart-warming and emotional story that will stay with you long after you’ve read the final page. With one of the most beautiful writing styles I’ve ever read, an emotionally charged story and brilliantly created characters – this book is sure to stay with you for a very long time.’ @MegsTyas Between the Pages

‘A story full of heart, this took me by the reins and left me breathless.’ @hayleylipsquid Lipsquid Bookblog

About the charity ‘The British Thoroughbred Retraining Centre’

british_trc

The proceeds from the novel ‘Rafferty Lincoln Loves…’ will be donated to The British Thoroughbred Retraining Centre.

BTRC is dedicated to improving and promoting the welfare of retired racehorses through education, retraining and suitable rehoming in order to ensure that our Thoroughbreds have a rewarding and valuable life after their racing careers have ended.

Each year thousands of horses leave racing, some because they reach the natural end of their career and others through injury or lack of ability. Established in 1991, The British Thoroughbred Retraining Centre was the UK’s first charity dedicated to ex-racehorse welfare, retraining, rehoming and protection for life.

‘It is fantastic to see a contemporary novel for young adults embracing passion and love for horses, as well as advocating for their welfare. Emily’s fast-paced novel not only explores the relationship and incredible bond between horse and rider but also delves into darker aspects relevant to today’s challenging world of growing up. Rafferty Lincoln Loves… deserves to be celebrated for bringing an important cause to the forefront of today’s young adults.’ Frankie Dettori MBE

I am thrilled to have written this novel for the BTRC and to be donating the proceeds to such an important and dedicated charity for the welfare of retired racehorses.’ Emily Williams

Author Bio

Emily Williams lives by the seaside in West Sussex with her family and a menagerie of small pets. After graduating from Sussex University with a BA in Psychology, Emily trained as a primary school teacher and teaches in a local school.

Rafferty Lincoln Loves… is her first YA novel after the success of her debut adult novel, Letters to Eloise, released in 2017.

Emily_Williams

Confessions of a Mid-List Author by Susan Mary Malone

Confessions of a Mid-List Author

                                               by Susan Mary Malone

 

Publishing has changed drastically in the last two decades. I know—not exactly a news flash, right? But for those of us who’ve been in the trenches all this time, the speed at which that happened crossed our eyes.

My first novel, By the Book (Baskerville Press), came out in 1993, from a very nice literary publisher. And oh, the fun! Reviews and book signings and lots of press. All the trappings of what it meant, then, to be a real author.

Of course, this wasn’t my first novel written. Nor my second. But actually, my third. I cut my writer teeth on the first two 🙂

Two co-authored books of nonfiction quickly followed: BodySculpting: The Weisbeck Way (Eaken Press, 1993), and Fourth and Long: The Kent Waldrep Story (Crossroads Publishing 1996).

I was on my way as an author!

My books resided firmly in what the industry once called the Mid-List.

It was the backbone of publishing, as while big-sellers have always filled publishing’s coffers, the Mid-List was the bread and butter that backed it all up.

But a funny thing happened on the way to success.

As the ‘90s progressed, and into the new millennium, technology soared. What once was a very pricey process to self-publish, became inexpensive and easy.  Books flooded the market.

Year after year, the number of books published rose through the stratosphere. To the point that according to Bowkermore than 725K self-published works were registered in 2015.

That’s a whale of a lot of books.

And it ushered in a powerful sea change in this industry. Much of what we knew of traditional publishing simply drowned.

With the new millennium, the Mid-List author vanished.

Some genres still exist with journeymen writers, such as Westerns and category Romance, etc. But I write Literary Fiction, where the Mid-List ceased to exist.

I had two more co-authored books of nonfiction published, and another novel, I Just Came Here to Dance (which is still in print), by hybrid publishers. Different from self-publishing, these houses didn’t charge the author, but didn’t do traditional press runs either.

Still, my books saw print. Still, I was in the game.

Into the second decade of the new millennium, traditional publishing took a huge hit. Houses closed down (including those that published my books), combined, and greatly scaled back the number of titles published every year.

I’m also a book editor, and have seen over 50 of the books I’ve edited traditionally published, many award-winners, and some made into film.

Funny thing though, the editor side of me and the author one don’t really cross market well.

And as most writers know, or will soon learn, it’s a jungle out there trying to sell books!

Going through the huge change, however, was heartbreaking. I saw my fledgling career die on the vine. And watched other authors I knew and respected suffer the same fate.

Writing well is oh-so difficult. Delving into the publishing side of things has taken many a great writer to his knees. I can’t tell you how many I’ve known who have simply quit it. And I never blame them.

As you know as well, this isn’t an endeavor for the faint of heart. You truly do have to forge that backbone of steel.

Publishing is a fickle business. I know—not exactly another news flash! But no one can predict trends. No one has that crystal ball, showing us what comes next.

Not even my friends who are editors and VPs at major publishing houses. Many of them were taken every bit as much by surprise by the industry’s changes, and no one knows where this will all go from here.

But one thing I know for true: the essence still comes down to why one writes.

Yes, my heart was broken. Yes, the industry humbled me to my knees as well.

All of that, however, is on the outside. And we can’t control outer events now, can we. We can only roll with the punches as they come.

What we can control, however, is our own internal foundations. Because even though I wished things had worked out differently, and would by lying (mostly to myself!) if I said otherwise, the flame that burns so brightly within has never ceased.

Probably like you, I write because I love writing. Through all the ups and downs, through all the insanity, I kept writing.

I have a short-story collection coming out very soon from Dark Horse Fiction. Many of these stories were previously published in literary journals and anthologies. Some are new to print. But how wonderful to see them out again!

I finished another novel last year, and am going out to agents with it now. I’ve recently queried a few, and while none has taken it on yet, the rejections have been glowing.

Writers can live on those for a while 🙂

I’m also knee deep into a new novel. And, well, just loving it.

Because of course, as we all know, writers write. No matter what.

And it’s funny what sustains us, no? One of my fondest quotes is by Rainer Maria Rilke, in Letters to a Young Poet:  “Above all, in the most silent hour of your night, ask yourself this: Must I write? Dig deep into yourself for a true answer. And if it should ring its assent, if you can confidently meet this serious question with a simple, “I must,” then build your life upon it.” 

Wishing you all the joy and passion of creativity.

www.susanmarymalone.com

www.maloneeditorial.com

 

Author bio:

Award-winning writer and editor Susan Mary Malone is the author of the novels, I Just Came Here to Dance and By the Book, as well as four co-authored nonfiction books, and many published short stories.  A freelance book editor, fifty-plus Malone-edited books have now sold to Traditional publishers.

Channeling Coltrane by Lenny Della Rocca

Channeling Coltrane

                                            by Lenny Della Rocca

 

I seem to unleash lines that come from the ether. Many of my poems start as a musical phrase in my head. A little Coltrane at midnight is a phrase that came to me in the 1990s and ended up in a poem. I run with the initial riff. An exception is when I write something topical. After reading a Life Magazine article on the 75th anniversary of the beloved film, “Casablanca”, I knew I had to write the poem. It was a challenge to fit “Here’s looking at you, kid” and “Major Strasser has been shot!” in it. When I saw a mention of an annual meeting in Australia called the Festival of Dangerous Ideas—off I went—It’s now a book-length collection, and if all goes as planned it will be released January 2019.

More often than not, however, something comes over me—a spell, the Muse, a flashback—and that mysterious musical line imagines itself in my head. And as soon as I grab a pen (keyboard always comes after the hand-written first or second draft) it’s pretty much automatic writing and word association. I usually tweak as I write deleting words or lines that are uneventful. But before the juice runs out, I explore where the lines take me. In a blurb on the back of my chapbook, The Sleep Talker (NightBallet Press, 2015), Denise Duhamel says “he does what every poet (and driver on wet roads) should do—he steers into the skid”. Of course, too much steering into the skid could cause a crash. My dear friend, poet Gary Kay, tells me that I need to Slay My Darlings, and he’s usually right.

Once I have the first draft—like all of us—I begin editing. I look for a solid center, a location in time and place, and depending on the poem, I ask myself to whom is this being addressed? Who is speaking? Then I start removing anything that doesn’t fit what might be a theme, or central narrative. I ask what am I saying? What does this mean? But meaning is not always the point. I love obscure poetry. I love a mystery. (How many interpretations of The Beatles’ “I am the Walrus” have there been?) I air out the lines using leaps to suggest rather than “mean” as long as the language is compelling. This short poem of mine means nothing other than what it may evoke.

Eight Lines

Three ripe pears in the sun.

Smell of lavender in the dark.

Earth upheaved in the wake of a plow.

A triangle of birds in the sky.

Children under the spell of puppets.

Madness in an ordinary home.

The way history finds its way to your door.

Women who love girls and fire.

 

*Published by Every Day Poems, (2015)

One could argue each of the lines could be developed into their own poem. I like them as they are without exploring what they might be in eight different poems. There is, I think, something about them on the page, something magical. I don’t need to know what it “means”. My poem “Prisons” goes on for five full pages of anaphora: “A prison of 2s./A prison of angry ventriloquists/ A prison of spiritual sodomy/…” As in “Eight Lines” each line in “Prisons” could be considered a one-line poem. And it doesn’t mean anything. At least not overtly. There is something to be said about what it might mean in the subconscious mind, the dream-world. Readers should re-read a poem at least two or three times, not so much to get a literal meaning, (although there is that, too) but to let the “music” seep into the body and occupy a space where it meshes with the visceral and intellect. Poetry is not for those who want to be told something (although exceptions certainly apply). Poetry is for those who want to open their imaginations, to let the words and music move inside like lightning or a jazz.

Like most poets I write several drafts. I’ll put it away for a time and then go back to it. I’ll change lines around, take the ending and make it the beginning. Etc. Sometimes changing a word here or there makes a difference between good and great. I like to put two words together in the same line for contrast and surprise: “You are an infant, too, curled in the dark chocolate of history among proverbs and calculus, inhaling passages from the lives of oracles and thieves”—from my poem “History of the Invisible Child” (The Sleep Talker, NightBallet Press, 2015).

I’ll workshop new poems with friends and listen to their ideas, too. But too much work—shopping and/or editing can ruin a poem. As poets we must trust ourselves.  Often a poem just doesn’t want to appear. But I don’t throw uncooperative poems away. I put them in my Junk Heap folder. Every now and then I’ll go through it to find something I can shape into something acceptable. Mostly those poems live the rest of their unfinished lives in that blue box on my computer screen.

I usually write very late at night or very early in the morning. It’s 2:52 a.m. right now! I love a cup of coffee next to me at my desk; A brew for the muse. And when the jazz starts all I do is get out of the way.

 

Author Bio

Lenny DellaRocca won of the 2017 Yellow Jacket Poetry Chapbook Contest for his collection Things I See in the Fire.  He is founder and co-publisher of South Florida Poetry Journal: SoFloPoJo. A former president of the Hannah Kahn Poetry Foundation, his work has appeared in Fairy Tale Review, Nimrod, Poet Lore, Seattle Review and other literary magazines. His second book-length collection, Festival of Dangerous Ideas is forthcoming from Unsolicited Press in January 2019. Della Rocca has two other poetry collections.

 

From Writer’s Block to Half Million Words by S. S. Bazinet

FROM WRITER’S BLOCK TO OVER A HALF MILLION WORDS IN A YEAR

                                                                                                                                            by S. S. Bazinet

An extraordinary thing happened to me in 2008! After almost twenty years of writer’s block, I couldn’t write fast enough. I barely slept, yet I was filled with a boundless energy. I went from being rather sedentary to walking three miles a day. And to my great surprise, I felt inspired to write a series of books. By the end of that first year, my word count reached 570,876 words. When I look back on what transpired, I’m still amazed.

Ever since I was a child, I wanted to find answers to life’s questions about why we’re here and how we can improve mankind’s plight. I scoured the library for books that might have answers. After many years of questing for knowledge, I tried to put my ideas and the things I’d learned on paper. It became a very frustrating venture. I could never get very far. I’d write a few pages, and then I’d reach a roadblock that felt impossible to breach.

Finally, in 2008, I’d had it. I gave up! Some part of me kept saying that I needed to write something meaningful, but no matter how hard I tried, I couldn’t do it. So I made a declaration to myself and to the “Universe.” I would write, but I would give myself a total break and just have fun with writing. A few minutes after that, I went out into my back yard and sat down. I put pen to paper. I hadn’t thought about what to write. I didn’t have to. A story simply flowed out on its own, a story about a vampire who wanted redemption and an angel who wanted to help him.

The strange thing is that I never thought about writing that kind of story. Why would I want to write about a vampire? A short time later, when I went to a local writer’s club meeting, the speaker was very adamant about the subject. He admonished all of us in a stern voice. “Please, don’t write about vampires! They are old news.” I tried not to be discouraged. I had to believe in the story that came to me. I knew was a gift.

I guess you would say that inspiration had taken hold of my writing process. By not having an agenda, I believe I allowed my spirit to come forth. By the end of one year, I had completed the first drafts of six books. It was a wonderful accomplishment, but so much more came out of the experience. The stories I wrote helped me to connect to emotions I didn’t realize I was harboring. By relating to the plight of my characters, I began to purge many of my fears and doubts. Later I learned that science had discovered that writing can help ease stress and trauma. Music also helped. I felt inspired to listen to music as I wrote. The music and writing combined to help me clear my negative emotions in a way I’d never imagined.

It wasn’t always an easy process. Many emotions surfaced, including hopelessness, but I hung in there. With a steadfast attitude, trust in my spirit and lots of prayers, everything slowly came into balance. Now, years later, I feel blessed and happy. I’m very grateful that I gave up my need to “push the river” when it came to writing. I’m grateful that I decided to have fun and open the doors to that light, bright spirit that resides in all of us. And guess what! It cured my writer’s block!

More about S. S. Bazinet:

Writing and my stories have been a wonderful, transformative process for both my characters and for me. My fondest wish is that they entertain my readers and also provide them with moments of clarity and a deeper connection to themselves. My books include The Vampire Reclamation Project series, the Sentenced to Heavenseries, as well as the YA thriller, My Brother’s Keeper, and a dystopian novel, Dying Takes It Out of You.

Author page on Amazon: https://www.amazon.com/S.-S.-Bazinet/e/B0078KS7BO/

Website: http://www.ssbazinet.com

Twitter:  https://twitter.com/SSBazinet

Facebook: https://www.facebook.com/SSBazinet/

Contact: ssbazinet@gmail.com

Below are some helpful articles on the benefits of writing and music:

Informative articles on writing and music:

“Writing To Heal” http://www.apa.org/monitor/jun02/writing.aspx

“Writing About Emotions May Ease Stress And Trauma”

https://www.health.harvard.edu/healthbeat/writing-about-emotions-may-ease-stress-and-trauma

“Scientists Find 15 Amazing Benefits Of Listening To Music”

http://www.lifehack.org/317747/scientists-find-15-amazing-benefits-listening-music

“20 Surprising, Science-Backed Health Benefits Of Music”

https://www.usatoday.com/story/news/health/2013/12/17/health-benefits-music/4053401/

It’s All About Atmosphere by Gabriel Constans

It’s All About Atmosphere by Gabriel Constans

Some people like to do it in bed; others in a car, on a plane, or a train. A few prefer using other people’s houses, and caffeine addicts like doing it at coffee shops. What? No, I’m not talking about sex or eating. It’s all about writing. Well, usually.

You can see people going to retreats, or renting out cottages far away from there abode, or hanging out at Starbucks, furiously typing, looking off into space, or talking to themselves. You know these people. You may BE one of these people. For me, there’s nothing like creating at home.

Writing at home gives me a sense of security and safety, so that I can write about horrendous, dangerous, wild scenes, and acts, that I may never have done, or want to do, personally, yet the story, and/or characters, call for them to come forth and be manifested on the page (or screen).

I can take a break at home, without running into others, or being distracted from my train of thought or ideas. Grabbing something to eat is as easy as walking into the kitchen. Taking a nap, or reading someone else’s story, is as simple as laying down, or picking up a book. And, there are no lines, or waiting, for the bathroom.

There are a variety of places to write at home, including my desk, chairs, couches, in the garden, or in bed. It is also cheaper to do one’s writing where you live, as there are no expenses, or time, for transportation, workshop fees, or cabin rental.

Now that I think of it, it can be enjoyable to have sex at a restaurant, in a writer’s cabin, in a car, on a plane, or a train, but I think I prefer that most at home too, just like writing. If I plan it just right, I could write and have sex in bed at the same time. Ah, there’s no place like home.

 

The Last Conception was conceived and written entirely at home.

Gabriel Constans’s Bio:

Gabriel Constans’s works of fiction include The Last ConceptionBuddhas WifeZen Master Tova Tarantino Toshiba: The Illustrious and Delusional Abbess of Satire, and Loving Annalise. Works of non-fiction range from A B.R.A.V.E. Year: 52 Weeks Being Mindful, and Good Grief: Love, Loss & Laughter, toLuscious Chocolate Smoothies, and The Penis Dialogues: Handle With Care. Gabe’s screenplays have been produced, optioned, and several are presently in development. Website: http://www.gogabriel.com/books.html
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