Interview with Kobbie Alamo, President of Whidbey Workshop MFA Alumni Association

The Whidbey Workshop MFA Alumni Association was founded in 2010 and is registered with the state of Washington as a not-for-profit association.  Our Mission Statement is as follows:

To represent and promote alumni and interests of the Whidbey Writers’ Workshop MFA
Program (Whidbey MFA) by facilitating on-going relationships between Whidbey MFA
and its alumni and by fostering loyalty and support for Whidbey MFA.

The people behind the alumni association include our current Board of Directors. They are as follows:

• President: Kobbie Alamo, graduated in 2010
• Vice-President: Joe Ponepinto, graduated in 2009
• Secretary: Ann Beman, graduated in 2009
• Treasurer: Frances Wood, graduated in 2010
• Membership: Lois Brandt, graduated in 2007
• Member at Large: Claire Gebben, graduated in 2011

1.      What is the Whidbey Alumni Association First Novel Contest? Who’s eligible to enter?

We decided to name it the “Emerging Writers Getaway Contest,” as a respectful nod toward the Northwest Institute of Literary Arts (NILA)* Master of Fine Arts in Creative Writing program. The low-residency MFA (an offshoot of the renowned Whidbey Island Writers Association) offers degrees in Fiction, Non-Fiction, Children’s/Young-Adult, and Poetry. The first year’s contest is novel-length fiction for emerging writers – those who have not had a completed manuscript published. We hope to rotate the genres annually. All of the eligibility requirements can be found on our website.

2.  What inspired you to start this contest, and what do you hope to accomplish by offering it to writers?

By offering this contest we hope to connect to, encourage, and reward aspiring writers.

As recent MFA graduates ourselves, we believe in contributing to the success of writers who are just emerging. A primary goal of the Alumni Association, in addition to helping NILA students and graduates become members of the writing community at large, is to raise scholarship money for aspiring writers. Therefore, proceeds of this contest will be put toward an MFA student scholarship fund and continuing education and networking for alumni.

3.      Contestants are asked to submit the first twenty-five pages of their manuscript. What are the most important elements you look for in these first few pages?

We’re writers, and our second love is reading. Like all readers, we appreciate the basics of an engaging and polished story, with strong characters, absorbing dialogue, and a grabber of a hook.

We understand that “emerging” means unpublished; we’re looking forward to that unpublished diamond.

4.      One of the materials required for a submission is a synopsis. Do you have any tips for writing a proper and engaging novel synopsis?

The best tip I have is to quote “Writer’s Digest” which states, “The synopsis supplies key information about your novel (plot, theme, characterization, setting), while also showing how these coalesce to form the big picture.”

As far as this contest is concerned, since we are only requiring the first 25-pages of the manuscript, we are looking to the synopsis for the overall story line; to provide the bigger picture. To help writers, we have provided a link on the contest page of our website that opens on an instruction guide from “Writer’s Digest” that details how to write a synopsis.

 5.      How can writers prepare their manuscript for submission?

Have it ready. Then proofread it again to make sure it’s ready. Then double check the guidelines before proofreading it again to – yep, you guessed it – make sure it’s ready.

One of the main stumbling blocks to submissions is they often have not followed the guidelines. We don’t want anyone who has a manuscript ready for the contest to not qualify because of something as simple as missing the guidelines.

We have posted an email link on the contest page so that anyone who has a question can write to us for clarification. It’s important to us that we help the emerging writer!

 6.      You are a chairperson of the Alumni Association. What goes on behind the scenes of a manuscript contest?

Chaos!

No, that makes it sounds as if we’re not prepared or organized. The truth is, the alumni association has an AMAZING board of directors and most of them are actively involved in every step of this contest (Kobbie Alamo, Joe Ponepinto, Ann Beman, Lois Brandt and Claire Gebben). The duties have been divided amongst the team – for example, all advertising copy was written by Joe and coordinated with Claire – which makes it easier to handle the whole since the parts are shared.

Of course, acquiring a final judge was a critical component to the success of the contest. We have been blessed that Pulitzer Prize winner William Dietrich has agreed to be the judge.

Another critical component was ensuring our awards were worthy of the $25 submission fee. We are thrilled that the literary experts of Andrea Hurst & Associates have so generously volunteered to be the crown jewel of the awards!

Last, we needed to coordinate the location of our first place award for a week-long writing getaway. We are proud to offer writers the unique opportunity to relish in a retreat – we’re providing a room of one’s own in the majestic Smoky Mountains.

 7.      How will the proceeds from this contest support writing or writers?

A large portion of the proceeds from this contest will simply cover the costs of the contest (judge’s fee, website hosting, etc.). The largest portion of the proceeds will fund the establishment of a new scholarship for writers/students in the NILA – Whidbey Writers Association Master of Fine Arts in Creative Writing – program.

Additional proceeds will help fund a biennial writing conference for graduates of the program; the purpose of this conference is multi-folded but the two most important elements are to maintain a sense of community and to help ensure writing successes flourish.

 8.      Can you tell us about the Northwest Institute of Literary Arts MFA program? How is it different from other programs out there?

Oh, I doubt there is enough space here for me to tell you all the wonderful things about the NILA program!! But I’ll try to hit on some of the headlines…

To begin with, this fully accredited program is the first to be offered by an organization of writers! It is low-residency, which means that twice a year students converge on lovely Whidbey Island for intensive workshops, presentations, and classes; they then spend the remainder of the semesters studying via online classrooms with the same professors they met at residency.

As mentioned earlier, the program offers four different degrees – fiction, non-fiction, children’s/young-adult, and poetry. The professors in each of these genres are working, award-winning, multi-published writers. To a one, they are inspirational.

But the learning doesn’t stop with the professors. Indeed, one of the most unique aspects of the program is the afternoon sessions during residencies. In these sessions, writing professionals from all facets of the industry (authors, agents, teachers, publishers, editors, marketers, etc.) facilitate presentations for the students. These sessions allow for students to learn – and network. It is an invaluable component to the overall program.

9.     What other services does the Alumni Association offer? Are there any other contests to be on the lookout for this year?

There will not be another contest this year – but be on the lookout for next year’s contest!

Other services the Alumni Association offers include our “Wines & Lines” event, which is held during the August residency. During this evening event, we offer readings by both published authors and some of our graduates while enjoying good chocolates and fine wines. The event is open to the public – in 2011 we had many members from the Whidbey Island community attend – and is a terrific way to spread the NILA word to the community at large. We also host the graduation celebration.

An additional service to our alumni association members is our website. Here we offer many advantages including, but not limited to, industry news feeds, marketing news, tips on craft, a library of scholarly articles, links to members’ blogs/websites and our own blog that features both members and guests.

All of us here at the Whidbey Writers Workshop MFA Alumni Association deeply thank you for this opportunity to share the word about our contest here on the AUTHORNOMICS interview series!!!

The winner of Jody Hedlund’s The Doctor’s Lady is Jenn Harris! Thanks for reading our blog!

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

Interview with Author Jody Hedlund

Jody Hedlund is an award-winning historical romance novelist and author of the best-selling book, The Preacher’s Bride. She received a bachelor’s degree from Taylor University and a master’s from the University of Wisconsin, both in Social Work. Currently she makes her home in Michigan with her husband and five busy children. Her second book, The Doctor’s Lady released in September 2011. Find her on Facebook, Twitter, or at her personal website:

Author Jody Hedlund

@JodyHedlund

 jodyhedlund.com

1.      You give a lot of information on the craft of writing on your blog and website. How did you first start learning to write? Did you always know you wanted to be a writer?

I’m pretty sure I was born with a pen in one hand and a notebook in the other. Since my earliest days, I loved making up stories and writing them down. The passion followed me into adulthood. During my college and post-graduate years, I began to devour every book on writing that I could get my hands on. I filled note cards with all of the things I was learning and I wrote numerous practice books.  After many twists and turns along the path, I’ve finally been able to channel my passion into a full time writing career.
2.      You live a self-proclaimed chaotic life, with a house full of children and pets. How do you juggle the demands of your life as a wife and mother and still find time to prioritize writing?

It’s definitely not easy. I feel like I have two very full time jobs! But like any other writer trying to balance dual careers or multiple responsibilities, I’ve had to look for ways to make it work. I’ve scaled-back on outside commitments and simplified home life as much as possible. I also stick to a very strict writing schedule when I’m in first draft mode. I block out writing time and don’t let myself go to bed at night unless I get in my daily word count.
3.      Your work is very popular in the Christian marketplace. What tips do you have for writers trying to break into this genre?

Start reading inspirational fiction books especially in your genre. Study them to see what works and what doesn’t. Analyze how your stories and style can offer something unique and fresh from what’s already out there. Also begin to immerse yourself into the Christian publishing industry. A great place to start is by reading Christian agent blogs (including my agent, Rachelle Gardner). I have a short list of agent blogs in the sidebar on my blog.
4.      In the spirit of Valentine’s Day, let’s talk about romance. How do you find fresh romantic storylines for each book?
 
I find inspiration from real couples from history. When I read their diary entries or letters, I often glean ideas. Once an idea is sparked, my imagination takes over. My inquisitive mind starts asking, “Why did they do that?” or “What really happened?”
 
5.      Your books feature strong, independent heroines. What makes these characters so compelling for you to write?

History hasn’t always given proper recognition or prominence to many women of the past. We often hear about great men and the heroic things that they did. History (mostly recorded by men) often neglected to tell the stories about the wives that stood beside some of these great men, the women who faced danger and deprivation and were just as heroic in their own way.

So, my hope through The Preacher’s Bride and The Doctor’s Lady is to bring to life heroic women for our modern generation. I think we have a lot to learn about courage and facing hardships from their lives.

6.      Both of your novels are historical romances, but in different periods. What drew you to those time periods?
 
I was first drawn to the characters, to the strong women that I wanted to bring to life. The characters just happened to be in a couple of time periods that I find fascinating. The Preacher’s Bride is set in England in the 1600’s during a time of religious persecution. And The Doctor’s Lady is set in America in the 1830’s on the trail to the West. The settings for both are primitive and dangerous which I really thrive on as I write.

7.      As a historical fiction writer, how important is research to your writing process and how do you coordinate the two?
 
I spend many, many weeks researching before I start a first draft. Of course, that’s part of the nature of writing historicals. When I lay a foundation with all my research, then I’m able to build the story more solidly and naturally. The words flow with more confidence and credibility. In fact, that initial research often sparks ideas for plot twists and turns.

Once I start the first draft, I try as much as possible to keep the flow of the story going without stopping to research. I like to give my creativity permission to proceed without hindrances.

After I finish the first draft and starting editing, I go through my document and spend time researching everything I’d previously put off. In fact, as I re-read my story, I keep a running list in a notebook of all the things I need to research further.
 
8.      Can you talk about your journey to publication? How did you get an agent and how long was it between signing with the agency and signing with a publisher?

I’ve spent the past twenty years writing, taking a hiatus during the days when I was busy having babies. The Preacher’s Bride was the first book I wrote after I returned from my hiatus. After completing The Preacher’s Bride, I began querying it, but the book was rejected by all the agents on my list—except one. The one agent emailed me back and said she liked my query and sample writing and asked me to send her the full manuscript.

Of course I was excited. But little did I know at the time that my manuscript would languish in her slush pile for nine long months. During the wait, I wrote another book and decided to enter both books into a contest for unpublished writers.

Much to my surprise and delight, both of my entries made it to the finals. At that point, I followed up with the agent who still had my manuscript. I notified her of the contest finals. Within three days, she offered me representation.

My agent and I put together a proposal for my books. She sent it out to a publisher that she believed was perfect for my books. Within the span of a few months, I signed a contract for a three book deal with that publisher—Bethany House Publishers.

The Preacher’s Bride was the first book in that deal (released in 2010). The Doctor’s Lady is the second book (released in 2011). My third book, Unending Devotion will release in the fall of 2012.
 
9.      On your website, you keep a blog, hold contests, and maintain an open discourse with your readers. How does your relationship with your readers affect your writing?
 
Interacting with readers is one of the most pleasurable aspects of being an author. I love being able to chat with readers on my blog, facebook, and twitter. I even Skype with book groups. Through all of the connections I’ve made, I’ve realized that my writing isn’t just for me. Sure, I want to enjoy the story and find pleasure in my writing. But I’m also writing for my readers, to continue to give them stories that they can love and enjoy.
 
10.  Your website is largely devoted to assisting and inspiring other writers. What piece of advice do you have for writers trying to get published for the first time? What do you think of the opportunities that self-publishing provides for authors these days?

Write a couple of books first and unleash your creativity. Then start reading books that explain how to write. Study techniques, practice them, and keep writing. When you begin reaching a level in your writing where you think you’re ready to start querying, get a critique partner to read your work, vamp up your online presence, and immerse yourself in the writing industry.

Nowadays, writers should be carefully evaluating all the publishing options available, including self-publishing. I know plenty of writers who are doing very well at self-publishing. Some authors are doing both—traditional publication with some self-publishing on the side. Each of us has to determine what is going to be the best path for us and then give it all we’ve got.

11.   You’re also active on social media. What tips do you have for building a successful presence on Facebook, Twitter, and other social media sites?

There are a lot of factors that have helped me to grow my web presence. If I had to pick the top ingredient—the one thing that has helped me the most—I’d have to say hard work. There’s no easy way to gain a following. It takes dogged determination day after day.

12.  Do you have any projects coming up that we can look out for?
 
My next historical romance, Unending Devotion, releases Sept. 1, 2012.

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

Interview with Larry Brooks

Larry Brooks is the author of “Story Engineering: Mastering the Six Core Competencies of Successful Writing,” published in 2011 by Writers Digest Books.  He is also the creator of Storyfix.com, a major site for fiction writers, and has several craft ebooks available through that site.  He is the author of five psychological thrillers, including a USA Today bestseller and a novel named by Publishers Weekly to their “Best Books of 2004” list after a starred review.  He teaches and keynotes and workshops frequently, and has less hair than the accompanying picture would have you believe.

1.      Your blog and workshops teach writing on the developmental model. Can you explain what that is?

It’s hard to explain what it is, but it’s actually hard to explain what makes a story work without a development model.  In other words, beginning writers often just grab an idea and take a swing at it, using their intuitive notion and subconscious story architect (usually gleaned over years as a reader, one who ‘feels’ what makes a story work).  The trouble with that is, like anything else done at a professional level – and make no mistake, getting published, or self-publishing a story readers will be drawn to, is very much a professional-level of aspiration – this is like sitting in the stands at a game and using that audience-level experience to declare you’re ready for an NFL or a PGA tryout.  It’s much harder, and much more complex, than it looks.

My site breaks the element of a story down in four basic groups, and then adds the two basic “execution” skills required to make those groups work together.  When broken down, we see not only what these elements are, but also how they work together – as they must – to become a sum in excess of their parts.  I leave the rhetoric behind and get very precise, assigned definitions, criteria and applications for each of the elements, and in context to each other.  The fog lifts, and no longer are you alone with your idea; you now have a tool chest with which to carve greatness from it.

 2.      You separate issues with manuscripts into criteria-based issues, like concept, character, structure, and theme, and executional issues, which are scene writing and writing voice. Is either of these categories easier to correct?

Never been asked that.  They’re all challenging, and it depends on what you mean by “correct.”  Is elevating “good” to “great” a correction, or a value-add?  Much of what we do intuitively is good, really not in need of correction as much as benefitting from an elevation, so to speak.  That said, if a story is missing one of the four elements – concept, character, theme and proper structure – or even just weak in any one of them, it’s pretty hard to fix that after writing some great scenes with a killer writing voice.  It’s like a car that’s “just not running quite right”: you need to put it on a diagnostic computer operated by a trained pro to really understand what’s working.  If the writer has just winged it, chances are they’re not the person to see what could be better.

3.      Can you give an example of a theme problem and how a writer could fix it? 

Sure.  Let’s say a writer has a strong concept for a mystery.  A whodunit. So the story becomes a sequence of clues and close calls, and maybe behind the curtain we eventually see the bad guy out-smarting the detective and is about to get away with it all.  Great fun.  But… it needs to be more than “great fun.” Offering a puzzle to solve is entertaining, but they’re empty calories.  What this story means, how it reflects real life and the interior landscape of characters is the place where theme kicks in. It’s what makes a reader relate and offer empathy; it’s what makes a story “feel” good rather than just taste good.  Romances are always about theme, but is the theme original?  This is a tough core competency, but it parallels character development and arc, which is nearly impossible to achieve without also infusing the story with them.  In my view, if this is given solid thought beforehand, with a thematic intention and target, it informs the writing itself through the characters.  It’s like a kid being raised in a religious home, versus a kid being raised in a morally bankrupt home: this background tapestry informs everything that the character brings to the table.

 4.      What about a writing voice problem? How can a writer fix their writing voice?

Years of practice, for one thing.  Not imitating the style of another, even though another writer may lead you to your own voice.  Comfort level.  Study.  Feedback.  Openness to that feedback.  Not over-writing.  Discarding purple.  Understanding that less is more.  Infusing the writer with power and substance over style and adjectives.  Developing an ear, along with finally knowing who you are as a writer, and who you aren’t.

5.      You are author of five psychological thrillers. Do you prefer writing or coaching?

I can’t make that call.  They are connected, like playing and coaching, investing and spending, preaching and praying.  One leads into the other.  My teaching makes me salivate to work on a story, and my stories reinforce the power of what I teach.  I can’t separate them now, and thus, I can’t choose.  I am a writer who teaches, and a teacher who writes.  There is no fence there for me.

 6.      How did you learn the craft of writing?

I have all the usual answers… but let me give you an unexpected one.  The most powerful thing I’ve done to learn about storytelling, and about writing novels, is to study screenwriting.  There is much me baseline information (“how-to”) out there than there is about novel writing, and it’s orders of magnitude more precise.  I discovered that the underlying core competencies are EXACTLY the same, just as the athleticism required for most sports is the same, only the exeuctional skills differ.  Same here.  It’s the best I have: if someone needed to learn to write a novel in, say, two months, I’d say read my book and website, and/or study anything and everything about screenwriting.  If nothing else, what you learn is demonstrated in an abundance of two-hour clinics (films) that allow you to see the craft in play, versus the many, many hours it requires to read a novel for the same purpose.  And by the way, studying stories IN CONTEXT to an exposure to the underlying principles really is like the fog lifting, you’ll see things going that, as a reader, you had no idea were so powerful, or even there at all.  But they always are.

 7.      What was it like transitioning material from in-person workshops to a blog?

Hardest part was breaking things down into small bites, rather than feeling the need to serve the whole meal, or a whole course, in one post.  The posts are bites, each one with flavor and nourishment.  Together they form a portion, then a dish, then a plate, then a table full, then a banquet.  You really have to consider the whole in addressing the parts, both as the writer and for the reader’s benefit.

 8.      What are some of your tips for building a successful blog?

Quality content trumps everything.  Giving as much of it away, as fast as you can, with a minimum of transparent agenda (what you’re selling).  You need to earn loyalty through consistent quality, and do so in a non-threatening, peer-empathetic yet credible way.  Not easy.  Then you have a build a following.  Ask for comments, and when you get them, respond.  Be a commenter on lots of other blogs in your arena.  Never compete; be a peer, part of a community.  When you can, ask to guest post on the bigger sites.  Social media… sure, though it’s not my favorite part of the job (I suck at it).  If you build it, and it’s worth reading, and you do a minimum of obligatory pimping out there, they’ll come.

9.      Do you have any upcoming projects we can look out for?

I’m talking to Writers Digest about the next writing book.  I just launched a Storyfix monthly newsletter, one can subscribe (free, of course) from my home page.  I’m working on two novels and two writing ebooks, and developing two other non-writing sites.

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

Interview with Author and Blogger Sharon Lippincott

Sharon Lippincott is a life writing teacher and coach and the author The Heart and Craft of Lifestory Writing, The Albuquerque Years, Meetings: Do’s, Don’ts, and Donuts, and the popular Heart and Craft of Lifestory Writing blog and stories and essays in assorted publications. She serves on the Advisory Board of NAMW and  teaches lifestory, memoir, and creative writing classes at Carnegie Mellon University and the University of Pittsburgh. She leads writing groups at Gilda’s Club and the Pittsburgh Psychoanalytic Center. She is currently collaborating with the Allegheny County Library Association to establish lifestory writing groups in county libraries.

1.      On your blog, you talk a lot about Life Writing. What is Life Writing?

That’s a big question. Life Writing is a multi-faceted category including any form of written self-expression on some aspect of your life, whether experiences, reflections, or perceptions. It includes spontaneous writing (i.e., journal entries, personal letters, emails, and simple free-writing), short, free-standing pieces (stories and essays) and the complex umbrella category of memoir, which synthesizes aspects of all the above. In its broadest definition, it can also include writing true accounts of the lives of others.

2.      You started writing to share your memories with your grandchildren. Do you find writing more difficult than telling stories orally?

In one way, yes. It’s easy to spin a yarn on the spur of the moment. But crafting a fine oral story for formal presentation takes at least as much time and effort as polishing a written one, plus the time to practice enough to ensure a flawless delivery. The two use overlapping skill sets, but story telling involves as much performance skill as verbal.

3.      What was your process for learning the craft of writing?

The most powerful learning experience I had was writing my first published book, Meetings: Do’s, Don’ts and Donuts. Up until then, all my writing had been intuitive. The content of that book was solid enough to sell it, but two editors emptied at least a barrel of red ink each, and fewer than a dozen sentences survived intact as I wrote them. They were compassionate about it, and that was a learning experience! Since I began writing life stories in 1998, I have voraciously read books about writing as well as fiction and memoir, and a few years ago I began publishing reviews of most books I read. Studying a book deeply enough to review it is quite an education. I’ve belonged to many writing groups,  attended classes workshops and conferences, and listened to dozens of hours of audio downloads from organizations like National Association of Memoir Writers and International Association for Journal Writing. I also learn more than any of the students when I teach. But I’ve learned most of all by writing, revising, and revising some more.

4.      You teach several classes, including one on Writing for the Health of It. How does writing help a person heal?

That is another huge topic. Well over 200 studies based on the initial work of James Pennebaker on expressive writing have demonstrated that simple expressive writing is good for both physical and emotional health.  Journal therapists incorporate journal writing into various psychotherapy modalities, and Linda Joy Myers’ book, The Power of Memoir, explains how writing memoir can heal. Each of these modalities involves a change of perspective — seeing things from someone else’s point of view — or considering other ways of explaining and understanding things. Beyond that, writing brings focus and closure to memories, cutting through rumination cycles and clearing the mind. There are many scientific ways of explaining it, but legions of us write simply because it makes us feel good.

5. What advice would you give to somebody starting to write down their own life story? Where should they begin? How do they make a “story” out of their lives?

A memoir written by recipe will be as appealing as a paint-by-numbers picture. In the first chapter of my book, The Heart and Craft of Lifestory Writing, I emphasize that there is no “right” way to go about this process. Some people like to plan their project in detail before they write a single word. Others jump in and write, with little forethought and revel in the messiness. Some set out to fill a volume, others want to write one or a few stories of things they remember. The only wrong way to write a life story is to keep it locked in your head. Like your writer’s voice, your writing style is as personal as your finger print, and you’ll do well to find and honor it. That said, my general advice is to do a memory dump, striving to list at least 100 poignant memories. Cluster them if you wish, by time or topic, and start writing your way through the list in any order you wish. Transforming these vignettes into a longer story is more complex, as you identify a story arc and begin to develop the short pieces into scenes, adding dialog and description.  A high percentage of memoirists write multiple drafts before they find a structure that works.

6.      On your blog, you talk about the “courage to bare your soul.” How does a writer find that courage?

Find a supportive and compassionate writing group, preferably one specifically for lifestory or memoir writers. Take a little time to assess your comfort level with the group, then share a story with a small amount of risk and see how it goes. Over time you may feel safe about sharing more openly. A major benefit of sharing intimate stories is the sense of freedom that comes from disclosing a secret and being met with acceptance and compassion. The bonus is that your courage may inspire others to do likewise. Someone recently said in a Facebook Group, “I am so relieved to read that someone else felt (that way) — I thought I was the only one!” Sharing connects people in powerful  and dramatic ways.  Another tactic is to write your story quietly, then begin showing it to people you mention in it. You can ease your way into that by starting with supportive readers, discussing how to handle the tougher ones.  By the way, you neither must nor should tell everything. Follow the Hypocratic Oath: First of all, do no harm — to either self or others.

7.      How important is it when writing memoirs to stick to the facts, and how important is it to capture the atmosphere of the experience?

If you can verify data, such as dates, names of people in photos, and other demographical information, do so, to maintain credibility and avoid confusing future historians or genealogists. However, evidence abounds that even if they stand shoulder-to-shoulder, no two people experience an event in exactly the same way. Your memories and interpretations, whatever they are, have made you the person you are. They are your “truth” and your story, so unless someone sincerely convinces you of an error, tell it the way you remember it. The real challenge comes when you begin questioning your memories and discover that assumptions held for decades may not be quite what you thought. Should this happen, you will have rich material for a highly introspective memoir!

8.      There has been a surge of memoirs on the market recently. Why do you think they are suddenly appealing to both writers and readers?

Several factors may be at work. The craft of memoir has developed over the years, resulting in more sophisticated, well-written volumes, many filled with juicy material that few would have considered disclosing a few decades ago, so the genre has become more generally interesting to read. Word has gotten out about the healing power of writing memoir. And the publishing industry has dramatically changed, making it feasible and affordable to self-publish a memoir, through one means or another, that may be read by only a few people.

9.      What is the difference between memoir and a book based on a true story?

A memoir is written by the person who lived the story, and it is assumed to be true in every respect. Expectations of veracity are lower for a book based on a true story. We expect it to be altered and shaped to hide identities, facts, and various details, conveying the sense of the story rather than the particulars. These books may or may not be written by or with the person who had the experience.

10.  Do you have any classes or new books coming out soon to share with our audience?

Thanks for asking! Beginning on February 8, the National Association of Memoir Writers is sponsoring my 3-week tele-course, “Soaring High and Digging Deep: Tools for Refining Your Memoir.” These tools are designed to help memoir writers find and clarify the thread of their story. Details are on the NAMW website. I am also in the process of working with the Allegheny County Library Association in southwestern Pennsylvania to prepare staff to start lifestory writing groups in county libraries in 2012 as part of our 2012 “One Book, One Community” program. I have a vision of 100 new lifestory writing groups beginning this year all over the country, and toward that end, I have released a general version of the leaders manual for widespread distribution. Anyone who finds my email address on my blog is welcome to request a free copy.

The winner of a signed book from Jennie Shortridge is Bernadette! Thanks so much for reading our blog.

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

Interview with Jennie Shortridge

Seattle author Jennie Shortridge has published four bestselling novels: When She Flew, Love and Biology at the Center of the Universe, Eating Heaven, and Riding with the Queen. When not writing, teaching writers workshops, or volunteering with kids at 826 Seattle, Jennie stays busy as a founding member ofSeattle7Writers.org, a collective of Northwest authors devoted both to raising funds for community literacy projects and to raising awareness of Northwest literature. In her previous lives she has been a magazine freelancer, a traditional businesswoman, a plumber, a cook, and a working musician. For her personal website, go to http://jennieshortridge.com; for more information about the Seattle7, go to http://seattle7writers.org/.

1. Many authors say the sophomore book is the hardest to write. You’ve now written four books; which was the most difficult for you and why?

My second book was quick and easy to write, because it was the first novel I’d ever written (although not very well the first time around). My third book was much harder because I didn’t have a ready-made idea to run with, and I discovered that story as I wrote it. I learned my lesson about going into the writing process better prepared (especially once deadlines enter the picture!), I’ve studied structure more and more with each book, and like the idea of having this road map to refer to, even though I may take side-trips or change course all together. It has made subsequent books more satisfying to write.

2. In all of your books, one of the things that stands out is your expert use of voice. In Eating Heaven your characters come across as real and relatable. Can you give us some insights on how you get your characters to jump off the page?

Well, thank you! That is the highest compliment for me, because it’s what I truly strive to do when writing. It’s also the most fun part of the process for me. Before I begin a novel, I write pages and pages about the characters—their histories, backgrounds, peculiarities, strengths, traits. I want to know what makes them tick. I want to know what drives them and what scares them most. I want to know how they’ve been hurt, and by whom. Then, when I’m ready to write the story, I employ a really closely held viewpoint, whether in first or third person. I like to be right inside each character as I write, and see, hear, feel, touch, taste, and smell what they do, both physically and emotionally.

3. Many writers have trouble getting an outstanding first page and hooking the reader early. Your books accomplish this with ease. Is there any advice you can share with writers on how to capture the audience’s attention from the very beginning?

Again, thank you for the vote of confidence! The “ease” comes with rewriting those openings over and over and over, constantly distilling it down and down, and pulling the ending of the book back to the beginning, and vice versa, to create the sense of a full circle. What is promised in the opening sentence must be delivered by the end, so I want to make sure it all correlates. But more than that, that beginning has to compel the reader on, to create a mystery right out of the starting gate. “Why?” I want the reader to ask, and then feed her just enough of the answer to pull her into another why, and then another. As most writers will say, the beginning pages take the most work of the entire book.

4. You’ve had plenty of day jobs, but right now you’re a full-time writer. What do recommend for someone planning their career knowing they want to be a novelist?

Win the lottery. Marry someone who loves his or her job. Have a sizable trust fund. Truly, it’s impossible to say with any certainty whether you will make enough to live on as a novelist, especially in the beginning. And these days, even if you’ve published successfully but have sales slip on one title, you may go backward in pay, or lose the ability to get published all together. It’s a tough damn world. I am very lucky to have the emotional and financial support of a patron, my husband, who feels that the work I do is important in the world. Some years I do okay. Other years are lean because I won’t be getting an advance for a while, and teaching doesn’t pay very well. I don’t believe anyone should venture into it without some other means of financial support.

5. Your novel, When She Flew, took a lot of research to produce an authentic story. Do you have any suggestions for authors who are looking to incorporate research into their writing?

Here is what I’ve found, first through my magazine and newspaper freelancing, and now with fiction writing: People love to be asked to talk about themselves or about what they know. Especially by a writer! I’ve asked all kinds of people to either let me interview them, or to read certain pages to check for accuracy and veracity (a psychologist reads everything for me, for instance, and four different police officers helped me with When She Flew). I’ve never paid anyone except for in thank yous, coffees, lunches, and copies of the books they helped with.

6. Hotel Angeline has 36 voices throughout the novel. What was it like writing this novel with so many people? How did it affect your writing process knowing that this novel had to tell a cohesive story?

As the organizer of the event, along with Garth Stein, we convened an editorial board the week before to create a story idea and arc. I then took the input from that meeting (which included wonderful plotters Elizabeth George, Robert Dugoni, and Maria Semple) and created a story map, showing each participating author what her or his chapter must accomplish, who was on stage, etc. They then had the freedom to write what they wanted, as long as they met their chapter goals, and everyone was really awesome about doing just that. I wrote the very first chapter, so I actually had it the easiest! (For more information about Hotel Angeline, go to http://www.openroadmedia.com/authors/the-novel-live-authors.aspx.)

7. You have started doing book discussions on Skype. How do you find working with book groups online? What are some of the issues that have come about from using Skype instead of one-on-one contact? What are some of the benefits?

Skype and other online video chat forums are just so much better than the old speaker phone meetings (which I still do, too). Seeing faces, communicating directly with readers who are in another state or on the opposite coast, is just wonderful. Of course, the technology has a long way to go to be perfect, and there can be issues of dropouts and bad sound quality, but we always muddle through, and bond more for the experience.

8. What is the most important thing you have learned for successfully promoting your books?

You need to be a valuable partner with your publisher when the time comes to get the word out about your book. You shouldn’t have to go it alone, but often end up doing that anyway, especially early in your career. Find ways that you enjoy promoting, whether it’s guest blogging for online book blogs, or getting out to all of the bookstores you can to meet and greet the booksellers. Work to your strengths. And remember, you are the best advocate for your book, and no one cares more than you do about its success.

9. As a co-founder of Seattle7 Writers, can you tell us more about what this wonderful organization does to help support the written word and the Northwest Writer?

Our mission is really to connect writers, readers, booksellers, librarians and anyone who feels a part of this wonderful community. We plan events that bring people together around writing and reading; we bring authors out of their little writing holes to spend time with other writers and readers; and we advocate for literacy in the community by raising money for such organizations as Writers in the Schools, 826 Seattle, and Powerful Schools. This year we’ve added Path With Art, which provides art and writing classes to adults in transition from homelessness, addiction, and hardship.

10. As a novelist you have a very effective author blog. What are your tips for other authors who are trying to create their own presence online?

When I heard what Jonathan Evison does to create his online presence (which is phenomenal) I finally understood: I must spend time online, everyday, to keep those lines of communication open with readers. And so I devote probably an hour or so most days to doing just that, either writing blog posts or posting great resources or advocating for wonderful writers and books. It’s actually fun for me because I’m a pretty social person, and sitting behind a computer all day can be lonely!

11. Can you give us a sneak peek into the next book you are writing?

As with When She Flew, I’ve chosen a story from the news that compelled me, but this time I’m fictionalizing it even more. It’s the story of a couple who are about to be married when the woman runs away, having experienced a condition called dissociative fugue, a type of amnesia caused by emotional trauma. The story begins as she waits in a San Francisco psyche ward for her fiancé to come pick her up and take her home to Seattle. She doesn’t know him, she doesn’t know herself, and she becomes almost an amateur sleuth in trying to figure out who she is and what happened to her. It’s nearly complete, actually! I’m really enjoying writing this one, which I’m doing from both the man’s and woman’s perspective. With any luck, it might be out in fall 2012, or early spring the following year.

12. Do you have any special events coming up where writers can hear you speak or a book signing that writers can attend?

I often teach at area conferences and workshops, and you can find details on my website, www.jennieshortridge.com.

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

Susanna Margolis has ghostwritten more than 25 nonfiction books—and countless articles and speeches—on a range of subjects. She is the author of the adventure travel guides Walking Europe From Top to Bottom and Adventuring in the Pacific, and she is a contributor to The Sierra Club Guides to the National Parks: California, Hawaii, and American Samoa. She is co-author, with Judith Dunford, of the novel Cashing In under the joint pen name Antonia Gowar. She lives in New York City. Find out more at www.susannamargolis.com.

The word “process” suggests a level of deliberate planning that I really cannot claim. In my case, I’m not sure whether I fell, jumped, or was pushed into ghostwriting; I think it was part accident, part natural progression. As a freelance, you’re always poised to change direction and/or jump into the next opportunity. And as someone who had done a lot of speechwriting, in which you really have to get inside somebody else’s voice, I suppose writing books was the next logical step—an extended stay inside another person’s voice. In any event, when the opportunity presented itself, I took it.

2. Is it a difficult field for a writer to break into? For those who are interested in becoming a ghostwriter, what steps would you suggest?

What is distinctive about ghostwriting is that you are writing for someone else: you have a client. So it is useful to seek out projects in which you interact directly with the person you’re working for. You need to learn how to hear what he or she is saying—and not saying—and you will have to adapt to different personalities and different levels of articulateness. You may also need to learn a subject matter that is totally unfamiliar to you, so knowing how to do basic research in any field is essential.

3. What are some of the advantages of using a ghostwriter? What are some of the challenges?

The authors I work with are typically people who have something interesting and important to say but simply have no idea how to go about saying it. Nor do they have the time, in most cases, for the sustained work of writing a book. So they turn to a professional writer. The challenge for said professional writer is to capture what the author has to say and relay it to a wide audience clearly and compellingly. Both sides of that equation—capturing and relaying—can be thorny. Sometimes it is difficult even to understand clearly what the author wants to say, so you must somehow get it out of the person. And then you must organize and write the material in a way that both gets the message across and keeps readers’ interest. But the point is that you, the ghostwriter, are not in charge of the message; you cannot control the content of what the author wants to say. Yet you have the responsibility to transmit it with clarity and cogency. That can be a challenge.

4. As a ghostwriter, how directly do you work with the author and how do you maintain their voice and their vision?

I work directly with the author from start to finish, and I find that one of the best ways to maintain the author’s voice and vision is to quote him or her directly. With permission, if we’re face to face, I will tape a conversation and take notes. If I’m interviewing by phone, which I prefer, I can take down what is being said virtually verbatim. It is not atypical for authors to fail to connect the dots when they talk about a  subject they know so well, and that is what I have to be sure to get from them by probing, cajoling, encouraging—whatever it takes. But once they get going, most speak powerfully and passionately about the subject, and that’s what I want to get down in their own words.

5. What is the difference between working as a book doctor or editor for a client versus doing rewrite?

I think it’s a matter of degree. The truth is I’m puzzled by the proliferation of different terms for editing: content editing, developmental editing, copy editing, rewrite, doctoring, etc. In all cases, the name of the game is to do whatever it takes to communicate what the author is trying to communicate; you’re there to bring forth what the author intends. That may take a total rewrite, or some reorganizing, or just a blue pencil here or there. I would make a distinction between ghostwriting a manuscript from scratch versus being presented with a manuscript to edit or doctor, but as I say, total rewrite may be part of that latter process, if needed.

6. One of the services you offer is book proposal writing. How important do you think it is for nonfiction authors do have a strong proposal?  For fiction authors?

Fiction or nonfiction, the proposal is everything. It is what sells the book to a publisher. And as I tell my clients, it’s also the hardest part of the book-writing process. The proposal is where author and writer together “find” the book, figure out its core message, how it will work, why it is different. And it’s where you map out the book, chapter by chapter. But once it’s done, the book virtually writes itself.

7. Tell us about some of your favorite projects you have worked on.

I know this sounds saccharine, but I just love the process. Put me in front of a blank screen and I’m happy and excited, and I’ve honestly felt that way about all the books I’ve written—and there are a lot of them! Partly, I enjoy learning about subjects I basically know nothing about, and I like the detective work involved in figuring out how I’m going to present a subject to readers. But I suppose some of my favorite projects are those in which I get to tell stories about different people. Gay Dads, authored by David Strah, was a favorite for that reason; the stories of gay men becoming fathers were really very moving. And for Billion Dollar Mistake and The Big Win, both by Stephen L. Weiss, I got to meet and interview a bunch of gazillionaires and hear the stories of how they made, in one case, and lost, in the other case, huge fortunes in a single blow. They constituted a very colorful cast of characters, so that was fun.

8. You have done just about every kind of writing there is, from school curricula to websites to novels. How have you honed your skills? Do you find each kind of writing requires a different skill?

Honestly, I think writing is writing. One way or the other, whatever the medium, you are trying to get something across to an audience of strangers, so you must find what works to achieve that—adapt your voice, shift the style, whatever. In fiction, you create different characters; each speaks and thinks in his or her unique voice. In the kind of nonfiction writing I do, you write for the client’s unique voice or for the occasion or the medium or the format. The one difference in writing is between good writing and bad writing. And I do think the more you write, the better you get.

9. What type of writing do you enjoy doing the most?

I really love speechwriting. But I go back to what I said earlier: I just love the process. Subject matter doesn’t count; finding a way to tell the story is what I like.

10. You have authored two adventure travel books. What goes into travel writing? Did     you have to go to the Pacific Islands to write about them?

Yes, I spent about seven months traveling in the Pacific, and for an earlier book, Walking Europe From Top to Bottom, I hiked from Holland on the North Sea to Nice on the Mediterranean. Obviously, being there is essential. But it’s work, of course. Especially when you’re hopping from island to island in a vast ocean, you figure it won’t be easy to get back here to check up on your facts, so you’d best be thorough and exacting while you have the chance. The same with the walk across Europe: I’ve often thought I’d like to do the walk again—this time without having to take notes.

11. Can you talk about the process of getting your travel books published? Would you consider self-publishing in today’s changing market?

I’m afraid getting the travel books published was fairly easy: I wrote a proposal for the first book, sold it to Sierra Club Books, and they asked me to do the second one. But it would be much harder to do that today, at a time when publishing is changing before our very eyes. I would certainly consider self-publishing, and I tell my clients to consider it as well. It is an increasingly viable option. Even distribution, which commercial publishers once had sole and exclusive dominion over, can now be done over the internet. But I think self-publishing takes a lot of work; you have to build a platform and sell yourself. Not easy.

12. Do you have any upcoming projects we can look out for?

I worked on a couple of very interesting money books coming out this spring. One, The Big Win, which I mentioned earlier, is about big-time investors and the particular investments that really made a killing for them. That’s by Steve Weiss. The other, by Jerry A. Webman, is about how to invest in the current economic environment—a very timely, very smart book. It’s called MoneyShift: How to Profit From What You Can’t Control. And then I’m working on a proposal for another delightful author, but as the ghost, I don’t think I can say just yet what that one is about…

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

Interview with Author Rhys Bowen

Rhys Bowen is the author of two historical mystery series: the Molly Murphy Mysteries set in 1900s New York City and the lighter bestselling Royal Spyness mysteries about a penniless minor royal in 1930s England. Her books have been nominated for every major mystery award and she has won 11 to date, including Agatha, Anthony and MacAvity. Rhys is a transplanted Brit who now divides her time between California and Arizona.

1. You have many successful series, including mysteries under the name Rhys Bowen and children’s books under Janet Quin-Harkin name. What are some of the difficulties you’ve had in maintaining different pseudonyms? What are the advantages?

I had to adopt a pseudonym when I started writing mysteries as my editor and agent felt I would pre-judged as a children’s author. The disadvantage was that I had built a reputation as a YA author and had to start from square one again.  The advantage is that Rhys Bowen is a cool name and I love being Rhys. People ask me how to pronounce it and it’s a great ice breaker.

2. Many historical novels take years of research before they are written. Your historical mysteries come out quickly. How much research do you do before launching a series? How much research do you do between each book?

When I wrote Murphy’s Law I just knew I wanted to set a book on Ellis Island, so I did a lot of research on that and on the Transatlantic crossing. Then of  course Molly steps ashore in Manhattan and I realized how little I knew about New York in 1901. It’s been ongoing research ever since. I do a lot of advance reading before I start each book and of course I’m often in New York, just prowling around Molly’s haunts.

For the Lady Georgie books it was easier in many ways because I married into an upper class British family and am at home with the manners and speech that Georgie uses. Of course I research everything to do with the royal family and real people like Coco Chanel so that everything they say is authentic.

3. You are writing several series at the same time. Do you have a system for keeping track of what is going on in each one? How do you decide which one to write when you sit down?

That’s easy. I write two books a year—one Molly and one Georgie. I have contracts to turn the books in at a set time so I write to deliver on time. It’s three months of intense work to get a first draft done and I am so focused that I never even think about the other series while I’m writing. As for keeping track—you remember what each of your family members has been doing, don’t you? It’s pretty much the same for my heroines.

4. How do you get inspiration for each book?

I decide where I’d like to set a story—which kind of environment in New York, for example, then I research it and start writing. I knew very little when I start and wait for things to happen.

5. In your Molly Murphy Mysteries, the protagonist Molly Murphy starts out as a poor Irish immigrant and through her adventures in turn-of-the-century New York City ends up rubbing elbows with the notable members of society and is even present at big historical events. How much can a historical author tinker with people and events that actually happened without risking the integrity of the event?

I don’t change historical events and who is to say whether Molly was present at them or not? Obviously I’m writing historical fiction.

6. Molly Murphy, the first-person protagonist of the Molly Murphy Mysteries, is the modern woman born into the wrong time, making it both believable that she would have the gumption to do everything she does and also giving us modern gals someone to relate to. But the other characters she encounters have the mentality of the 1900’s, often creating problems. How do you go about learning the culture of the different time periods you write in so you can create such a believable world?

She wasn’t as unusual as you might think. Young women were doing extraordinary things in 1901 and Molly is in many ways representative of the spirit of the suffrage movement. I model her in some ways on real people—Nellie Bly, policewoman Isabella Goodwin.. both of whom appear in the stories and I look  back at my grandmother and great aunts.

7. What advice do you have for writers who are trying to write in more than one genre?

The same advice I’d give any writer—don’t ever write something because you think it will sell. Write where your passion is. I enjoy spending part of the year in Molly’s difficult world of Old New York and the other part chuckling at Lady Georgie’s mishaps in a comedy of manners in 1930s England.

8. How did you learn the craft of writing?

I have been a writer all my life. I have always written and always read a lot too. Along the way one develops a style and learns how to craft a story.

9. What is your writing ritual?

Up early. Check email. Start by revising everything I’d written the previous day then go on to write a minimum of 5 pages. Not allowed to leave until pages are written. That way I know I can get my first draft finished in 3 months. Then give to readers whose opinions I value then complete rewrite.

10. In this New Year, what are some of your writer resolutions?

Not to say yes to so many speaking engagements but only the ones I really want to go to. Not to check my Amazon stats every day! Not to worry about bestsellerdom.

11.  Many of our readers are aspiring writers encountering problems like how to finish that novel and then how to get it published. As a successful writer, is it all smooth sailing? What are some of the problems you encounter?

Of course it’s not smooth sailing, especially now when publishers are cutting back and only take on projects they know will be instantly successful. There is no place any more for the emerging genius who might take a few novels to hone his craft. And one needs an agent even before a publisher will look at work. It’s a crowded marketplace with a shrinking number of places to sell books so any new book has to be unique and outstanding.

12. How has your experience as a writer changed in this tumultuous time of the publishing industry?

I’ve been lucky in that I’ve been a selling professional writer all my life, but it has upset me to see so many fine bookstores go under and the market constantly shrinking.

13.  Do you have any upcoming books or appearances we can look out for?

I’ll have two books out this year: Hush Now, Don’t You Cry—a Molly Murphy novel in March and then a new Lady Georgie book, The Twelve Days of Christmas, due out next November. I’ll be speaking at bookstores for both of those and my schedule will be up on my website, www.rhysbowen.com.

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

The winner of Andrea Hurst’s critique of a first chapter or up to 600 words is M. Christine Weber! Thank you for reading our blog!

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

How to Start the New Year Write with Andrea Hurst

Andrea Hurst Signing Her Books

President of Andrea Hurst Literary Management, Andrea works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile adult nonfiction and well-crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

In addition to working in the publishing field for over 25 years, Andrea is a published author, skilled development editor, keynote speaker, and educator. She is the founder of www.justwriteon.com, a site that offers expert instruction and resources for writers. She enjoys working with authors who have something meaningful to share and are driven by their enthusiasm and desire to create books that touch lives and make a difference. Author of The Lazy Dog’s Guide to Enlightenment and Everybody’s Natural Food Cookbook.

1. This New Year, what are some realistic resolutions writers can make to write more?

I saw a funny magnet at a writer’s store and it said, “Back away from the refrigerator. Good. Now go back to your desk and write!”  That about sums it up.  Where ever you need to put that sign to remind yourself to write, that is my suggestion.

2. What are the do’s and don’ts when setting writing goals?

I find that if I set my goals too high it is easy to get discouraged and use that as an excuse to stop writing. Often I underestimate how long a project will take to finish.  So the best tip I can give is to be reasonable with your goals and no matter what keep going back.

3. What are some of your writing resolutions this year?

I will finally have the draft done for my first novel in a day or two.  And I will celebrate! For me it is a struggle when I tend to put working on everyone else’s book before my own.  My number one resolution this year is to make sure my own book gets edited and published. (Interesting thought, I may just take my book straight to Kindle and Nook format.) I am a much happier person when I put my work on the same priority list my authors I work with get.

4. What are realistic publishing goals for a writer to set this year?

Getting your book published is a whole new game these days.  Anyone can do print on demand publishing or produce an eBook.  I suggest really looking at your goals and ask yourself:

• Is my book written and edited to the best of my ability?
• How can I best reach my audience? What is my marketing plan?
• What is my time frame for getting my book out?
• How important is distribution?
• Should I go traditional or the Indie route?

If you decide to look for an agent, realistically this could take many months.  The same goes for finding a publisher.  If you book is picked up by a publisher, it usually will not come out to book stores for at least a year.

5. Where can a writer turn for advice and direction?

There are many excellent blogs for writers including Chuck’s Sambucino’s blog on finding an agent, Jane Friedman’s blog for writers, and Michael Larsen’s blog on publishing and writing.  For fiction and memoir writer’s I also recommend The Writer’s Journey, Writing the Breakout Novel and Self Editing for Fiction Writers. Writer’s Digest offers wonderful classes and I will be teaching a webinar for them in March.

6. What are some tricks for getting over writer’s block?

Last week I asked this question at Just Write, my free writer’s drop-in group that meets on the pier every Wednesday in Coupeville, WA.  There were many suggestions, but the one that has worked for me is to lay the project down you are working on and start another one. Going for a walk always helps too.  Sometimes it is all the voices in our heads that tell us our work is not good enough, or we will never finish, or no one will ever buy the book, etc.  I had to get to the point where I really did not care what anyone else thought of my writing, and just decide to write the book for the pleasure of it.  All books have an audience and I know my book will find one too.

7. Let’s say a writer has just finished writing a manuscript. What is the first step in the revision process?

After you have done all of the self-editing you can, I highly suggest you have a professional editor that comes recommended review your work.  Yes, your husband or your best friend may be good at grammar, but unless they are experienced book editors, they may not be the best choice.  Always have your work copyedited before you send it out to agents, editors or the public.

8. How do you see the role of the literary agent changing in the coming years?

Many agents I know and work with are diversifying. Many agents are acting as consultants or working with clients who want to publish non-traditionally.  At our agency, we offer separate author services through our consulting division for both authors seeking traditional and alternative ways of publishing their book. Everything is changing in publishing and agent’s roles will probably change as well.  One thing that remains constant is that readers want a good story and a well-written book.

Everyone at Andrea Hurst Literary Management wishes all of our readers a happy and successful New Year! Here’s to all of your writing and publishing dreams coming true!

The winner of Laurie McLean’s three-chapter critique is Marcy Kate! Thank you for reading our blog!

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

Laurie is giving away a three-chapter critique to a random commenter on this post! Comment by Monday, January 2nd to enter.

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan present a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

Interview with Literary Agent Laurie McLean

At Larsen-Pomada Literary Agents in San Francisco, Northern California’s oldest literary agency founded in 1972, Laurie represents adult genre fiction (romance, fantasy, science fiction, horror, nouveau westerns, mysteries, suspense, thrillers, etc.) as well as middle-grade and young-adult books. She looks for great writing, first and foremost, followed by memorable characters, a searing storyline and solid world building.

For more than 20 years Laurie ran a multi-million dollar eponymous public relations agency in California’s Silicon Valley. She is passionate about marketing, publicity, negotiating, editing and a host of other business-critical areas. She is also a novelist herself, so she can empathize with the author’s journey to and through publication.

Check out her blog, www.agentsavant.com, for tales of the agenting life, and www.larsenpomada.com for valuable information and links, plus her submission guidelines. Query her at query@agentsavant.com.

1. What is your favorite part of being an agent? What is your least favorite part?

First of all, I have to say, I love being a literary agent. I get to work with smart/creative authors who are passionate about their prose. I get to work with smart/creative editors who are just as passionate about making great books even better. And because I also enjoy marketing, I love helping my clients become better known so their books find their way into readers’ hands to change lives.  I like the variety, pressure, intellectual stimulation, friendliness, support, the reading, the writing and pretty much most of what an average day entails for me.

My least favorite part, by far, is having to reject so many hopeful writers. The ones who have written something good, but not good enough (for sometimes capricious reasons), for me to believe I can sell the manuscript to a large New York publisher.  I expect I will be coming back as a slug or ant in my next life because of all the bad karma I’m generating as a literary agent. (Writers I’ve rejected can at least take heart with that image in their mind’s eye!)

2. What is different now about being an agent than when you first started?

The disruptive force of technology.  Digital publishing is transforming an industry that hasn’t changed much in hundreds of years. When I first became an agent seven years ago, the process was this: the client made six copies of a manuscript and shipped them to our office. I placed that manuscript in a box, created a custom cover letter, put it on the outside of the box, put a rubber band around the box and letter, stuffed all of that in a huge envelope, addressed it and shipped it off to an editor.  On average, two months later, I received the smashed up box, wrinkled up manuscript and a rejection notice.  Rinse and repeat.  Today everything is done via email. The initial pitch to the editor, the manuscript “shipping”, the conversation about the project, even the deal memo (and sometimes the contract!) .

All areas of publishing have been affected by digitalization…from pitching to publishing to promotion.  Social media, eBooks, production (I saw the Espresso Book machine while I was in New York in May and was astounded at the quality of the books it produced in ten minutes while I watched), everything.  I am excited and terrified by the rapid rate of change this tradition-bound industry is attempting to absorb.  But I come from a high tech background so I know that change is ultimately good, regardless how painful the process may be.

3. What is the most important part of submissions for you: the query, the synopsis, the manuscript, or the platform?

Since I handle adult genre fiction along with middle-grade and YA children’s books, I care the most about the writing.  As in, the manuscript.  But close on its heels these days is the author’s social media presence and proficiency with this new promotional technology.  I just signed up a new client who had not even finished her first full-length novel.  I found her through her comments on another author’s blog, tracked her back to her website, read some of her paranormal romance novellas (one was free the other was 99 cents), and then had a surreal conversation as I explained the benefits I could provide to someone who was making a nice chunk of change just by selling her eNovellas.  It’s a conversation I won’t soon forget.  But I did manage to convince her that I could help with expanding her audience to bookstores far and wide, negotiate foreign rights and movie deals and give her great career advice. We ultimately signed a contract that allowed me to handle her novel-length fiction while letting her continue to create and sell anything shorter than that on her own online.  I think we’re both going to make a lot of money.

4. Do you have a favorite genre to read, and is it different from your favorite genre to represent?

My favorite genre to read is fantasy, with romance and science fiction close seconds.  I work so many hours I don’t have much time to read for fun.  But when I do, I prefer fantasy (that was said with the accent of the Most Interesting Man in the World from the Dos Equis commercial.) There’s something about the escapism that I adore.  Plus my dreams afterwards are always great adventures.

5. What are some of the ways you work with authors and publishers that that make you such a successful agent?

First of all, I limit the amount of clients I have so I can spend a lot of time on each of them.  I enjoy advising them on marketing and promotion as well as offering career counseling.  And I have been an editor most of my professional career, so I believe I can always help an author make a book even better. I also like to think that I’m a nice person with a great sense of fun, so I’m enjoyable to work with.  Publishers find me knowledgeable and fair.

6. If you had to give an aspiring author one piece of advice, what would it be?

Six words.  Read. Read. Read. Write. Write. Write.

7. As an agent do you consider self-published/print on demand books?

Absolutely. In fact I am in the process of creating two publishing companies for backlist books with two of my clients.  Both will launch later this Fall.  The first is Joyride Books with Linda Wisdom and will feature only backlist romance novels from the 70s, 80s and 90s.  Closed door, sweet romance.  The market there is older women.  The other company is being named as you read this and my partner is award-winning children’s book author Douglas Rees.  We envision that will be only backlist once again, but midlist children’s book titles that have long been out of print.  We’ll give them a new life.

And for my agenting clients, I make sure that they each have a digital component (eBooks and POD) as a strong part of their career plan as an author.  eBooks are great for testing the waters on new material, for shorter fiction, new markets, etc.  We’re only dipping our toe in the water of what these new eBook capabilities will blossom into.  I’ve very excited about digital publishing.

8. Are there any books you suggest aspiring novelists read?

Oh, dear.  I’m so heavily into genre fiction I’m not sure I’d give any good advice to authors writing outside of it.  But Stephen King’s On Writing, Orsen Scott Card’s How to Write Science Fiction and Fantasy, Deb Dixon’s Goal Motivation and Conflict, and maybe Snoopy’s Guide to the Writing Life.  

9. What does it mean when you reject a manuscript because you really did not fall in love with it?

It takes so much effort and blood, sweat and tears to sell a book these days, I have to be fully committed to see it through to the end of a deal.  Ergo, I have to feel passionate about the book to transform it from a dream to a reality.

10. What genres are hot right now? Do you have any predictions for what publishers will be looking for in the future?

I absolutely hate telling authors which subgenres are hot or trending. Yet that is the number one question I get at writers conferences across the country.  So, let’s see.  In romance, contemporaries are on the rise, paranormals are still riding high, historicals in the Regency era continue to sell steadily while medieval romance is down a bit and romantic suspense is tanking. In fantasy, epic fantasy is coming up again after nearly a decade of being trod upon by urban fantasy (thank you Game of Thrones!). In science fiction, steampunk is the new darling, cyberpunk is nearly dead (some say because we have already integrated the computer into our lives so deeply), hard science fiction is small but steady, and space opera is also still popular. Westerns continue to struggle to find an audience. Historical mysteries, cozy mystery series with a unique/memorable/strong protagonist, all types of thrillers and suspense novels are trending up.

What will publishers be looking for in the future?  How about this.  More of the same, but slightly different.  That’s what it seems like to me anyway!

11. How much are you willing to work with a potential author if you loved the plot but the book needs work?

I used to do more of it, grow my own bestsellers.  But I just don’t have time to do a lot of that anymore.  Especially in genre fiction.  Usually I give them a bunch of tips if I think they’ve got something worthwhile, but I leave it up to them to either work with an independent editor or a critique partner or something to edit their own work.

12. What is the best way for a fiction writer to build their platform and reach their audience?

Social media. This is, bar none, the best way for authors to market their work and broaden their audience.  Blogs, Facebook, Twitter and YouTube are the best way for an author to get noticed.

13. I see you have a new service through Agent Savant. How does it assist writers?

While I am super excited about the potential inherent in self-published eBooks, I feel that if an author doesn’t market themselves through social media vehicles, they will not sell very many copies of their books regardless of how great they are. And since I spent the bulk of my professional career in marketing, I have created what I hope is a win-win scenario with Agent Savant Inc. (www.agentsavant.com, click on Agent Savant Inc.) I work closely with the author to discover their unique author brand, then create a marketing plan that they can implement to promote their books.  I don’t do the work, I just create the plan for them to follow. Because with social media, it really doesn’t work if someone else does it for you.

The winner of Chuck Sambuchino’s 2012 Guide to Literary Agents is Julia! Thank you for reading our blog!

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope Publishing and Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.

With a publishing industry that is ever in flux, it can be hard for an aspiring author to figure out what information is relevant and what she needs to do to be successful. Recognizing this, literary agent Andrea Hurst and writer and blogger Katie Flanagan will be introducing a series of weekly interviews with publishing industry specialists. The AUTHORNOMICS Series features literary agents, editors, authors, marketing experts and more talking about their opinions on the publishing industry, writing, and what a writer needs to know.

Interview with Author, Editor, Journalist, Playwright and Expert Chuck Sambuchino

Chuck Sambuchino is an editor and a writer. He works for Writer’s Digest Books and edits GUIDE TO LITERARY AGENTS (guidetoliteraryagents.com/blog) as well as CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET. His humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK (gnomeattack.com), was released in Sept. 2010 and has been featured by Reader’s Digest, USA Today, the New York Times and AOL News. The film rights were recently optioned by Sony and director Robert Zemeckis. His first book was writing-related: the third edition of FORMATTING & SUBMITTING YOUR MANUSCRIPT (2009).
Besides that, he is a produced playwright, magazine freelancer, husband, cover band guitarist, chocolate chip cookie fiend, and owner of a flabby-yet-lovable dog named Graham.

1. You’ve been involved in all sorts of writing arts, including newspaper journalism, playwriting, editing, blogging and, of course, authoring a humor book. Do you have a favorite role?

Not really. I’ve always kind of had ADD, which is why my writing career has been something like “I wanna write plays! … Wait, I wanna write articles! … Nope, I wanna be an editor! … Sike! I guess I seriously want to write books! … Sike again. I’m gonna sell this screenplay or bust!”

I would have to say book writing has been the most rewarding because of the reach of books. I mean, if you write a great article, it kind of goes unnoticed and then fades away forever. But people read books and tweet about them and shake your hand at events. It’s great to get out and meet people and get feedback.

2. As editor for the Guide to Literary Agents, what is your best advice on getting an agent?

I’ve blogged more than 1,500 posts for four years on this very question, so it’s tough to boil it down to one point because there are many. But try this one: Don’t put all your eggs in one basket. Keep writing. A lot of first books don’t sell. I just heard this week from a writer whose first book fell flat on submission, but her second book got her an agent. So, again—keep writing. You get better as you go.

3. With the publishing business in transformation, do you see the role of a literary agent changing as well?

I think we’ve seen agents take a more aggressive approach to selling subsidiary rights like foreign rights and film rights. As book advances (payments) continue to slowly slide downward, agents are adapting to make sure they can make money. Also, I’ve seen an agent recently start a side business formatting e-books; others have started editing manuscripts on the side. I recognize that is all a slippery gray area with the AAR, but agents are simply adapting to a changing market and trying to make money, same as everyone else.

4. You have been to many writers conferences over the years.  What are some of the most beneficial things a writer can do at a conference to help their writing career?

Do everything. Attend lots of sessions. Go to every event. Pitch agents. Get up early. Go to bed late. Schmooze and meet friends over drinks. Take notes. There is usually a ton of stuff going on—and it’s all for the taking.

5. What is your view on custom and print on demand publishing? How does a strong social media presence affect this choice?

If you’re talking about self-publishing your book or e-book, I would say my thought is this: If you have the means to get your work out there and promote it, then this can be a very profitable avenue for you. If you have a great platform (social media like Twitter and a blog factor into this), then you can self-publish a book and spread the word easily—getting people to buy your work. Self-publishing can be a great thing, but you have to know what you’re getting into (and it seems most people do not).

That said, I personally am still a fan of traditional publishing. When How to Survive a Garden Gnome Attack came out, the book got good placement at Borders as well as Barnes & Noble. It got mentions in USA Today, Reader’s Digest, and more. We recently learned that Sony is going to option the film rights. Italy bought rights to it, as well. I mention all this good news to prove an important point: Methinks none of this would have happened without the work of my publisher and agent. And that says a heck of a lot about traditional publishing.

6. You keep a blog for the site of How to Survive a Garden Gnome Attack as well as the Guide to Literary Agents blog. Do you have any advice for an author setting up a new blog?

It takes time to develop a readership—and I’m talking years—so be patient. A blog must have a focus and must have takeaway value for the reader; otherwise, it is more for your sake their theirs (and will not attract many readers). Include art and white space in posts. Invite good guest posts. Write good guest posts for others. Try to maintain some regularity. Have fun. Pay attention to your titles, as that will be what people search for through Google.

7. How did you come up with the idea for a book on surviving a garden gnome attack?

I was thinking about the movie THE FULL MONTY and remembered a quick scene with a garden gnome. I started to think about how tacky and creepy they are, wondering why anyone would actually own one in real life. Then I thought: Certainly if they creep me out, then they must creep out others, as well. That was the genesis.

8. Do you have any upcoming projects or events you can tell us about?

Mwahahahaha. I’m always cooking up humor book concepts, screenplays, and more—but nothing I can share right just now.

9.  What is the best piece of advice someone has given you in the publishing industry, and what do you think is the most important thing a writer today needs to know to succeed?

Again, this is hard to boil down to a single point. How about this one? I once heard a screenwriter say: “If you’re writing a spec and you’re not having fun, something’s wrong.” What they meant was this: In life, you will write some things for love and some things for money. So if you’re writing some fiction for love (as opposed to being commissioned to write a novel), then you should be having fun. Not every minute will be fun (I myself love first drafts but hate rewrites), but most of it should be.

Also, recently, I read something dynamite written by literary agent Mary Kole. See, when I tried my hand at a middle grade novel in 2009, my problem wasn’t plot. I love plot. My problem was character. Mary wrote that if you’re writing a main character in a children’s novel, they can be loved or they can be hated. Both approaches will attract readers. “It’s the mushy middle ground you should be afraid of,” she said. That struck a chord with me, because sometimes my characters enter the mushy middle ground area.

The winner of Bharti Kirchner’s The Bold Vegetarian is Hannah Jayne! Thanks for reading and commenting on our blog!

Andrea Hurst has over 25 years experience as a published author, developmental editor for publishers, and skilled literary agent. She works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times best-selling authors. Andrea represents high profile Adult Nonfiction and well crafted fiction. Her clients and their books have appeared on the Oprah Show, Ellen DeGeneres Show, Good Morning America, National Geographic network and in the New York Times.

Katie Flanagan is a fiction major at Northwestern University. She is currently an editor with Booktrope and a reader for Pink Fish Press. In the past, she has interned with Andrea Hurst Literary Management and the Northwest Institute of Literary Arts. Her favorite genre is women’s fiction, but she reads any fiction put in front of her. Check out her blog about the writing life at katieflanagan.wordpress.com and follow her on Twitter at @K_Flanagan.