Surprises Of The Writing Life

The writing journey is filled with a strange dichotomy of emotions. We reach one summit, suck in a deep, satisfied breath, and gaze at the beautiful view before us. Then the next moment, we hit a dip in the road, tumble into a backward fall, and cringe at the pain.

Although life is filled with the "two steps forward, one step back" principle, the writing life seems especially characterized by the back-and-forth mix.

There are so many high places: discovering a new plot twist, getting positive feedback from a crit partner, bringing a chapter to a satisfying completion, having an agent ask for a partial.

But we fall into just as many low places: hitting a research snag, missing a plot thread, getting the hundredth rejection letter, failing a word count goal.

No matter where we're at on the writing journey, we ALL have highs and lows. Getting an agent doesn't smooth out the trail, and achieving a book contract certainly doesn't either. In fact, I've noticed lately my emotions are swinging into higher highs and lower lows.

This week I'd like to delve deeper into the range of emotions I've experienced lately--both the thrills and insecurities. . .

Today, however, I wanted to share about another emotion--something I've encountered more and more lately. That emotion is surprise.

Last weekend, I treated my family to a special celebration trip to Great Wolf Lodge Indoor Water Park. Back in the spring when I was working on my Genesis Contest entries, I promised my children I'd take them on a get-away if I ever got a book contract.

I was delighted to finally fulfill that promise. We spent three days living in our swim suits, riding intertube slides, and splashing in warm pools.

One of the best parts of the water park was an enormous bucket at the pinnacle of all of the slides. Water continuously poured into the bucket and every twenty minutes or so a bell would ring to signal that the water level was nearing the top. Then, when it was completely full, the bucket would tip, spilling gallons and gallons of water on anyone below. (In the picture above, my son is waiting in that spot!)

For those getting the dump, the emotion was always the same: surprise. Even when they purposefully positioned themselves under the bucket, they'd jump back and gasp as the water splashed against their skin.

Surprise. Even when we're expecting certain aspects of the writing journey, we often jump back and gasp in surprise when we're splashed--splashes of unexpected friendships and buckets of warm encouragement. We may even prepare ourselves for rejection, but it never fails to sting when it hits us.

Lately, the biggest deluge of surprise for me has been the work load. Even though I expected my contract would bring more responsibility and work, I'm still finding myself gulping for air and spluttering out the mouthful of water I've swallowed.

Can a contracted author really work part time at a writing career? I'm not sure. It's getting harder for me to keep the hours to a minimum. Perhaps part of the challenge is in my personality--embracing everything I do with a one hundred and ten percent gusto.

On the other hand, more is expected of the modern writer than the actual writing, including the ever-growing need to market our books and ourselves as authors. I'm still trying to figure out how to best handle all of the new challenges.

Has anything about the writing journey taken you by surprise, even if you thought it wouldn't? Please share!

P.S. If you're interested in writing contests, head over to Seekerville where I'm guest posting today about my contest success story.

Are Self-Published Books REALLY Second-Class?

I'd considered writing a warm and fuzzy "What I'm Thankful For" post for today. Instead, I couldn't resist jumping into the gravy pot and swimming around in the murky self-publishing discussion. Indulge me for a minute and jump in too. I hope this post is a different flavor than what you've already tasted.

In response to my last post, What Do Agents REALLY Offer Writers, there were a couple of comments that not only surprised me, but sent my mind into overtime. Both comments alluded to the idea that self-published books are plan b or second class.

Karen Walker said: What about the really good writers out there who try and try to find an agent and just don't have the luck. They never know if it's the query letter or whether they just got lost in the shuffle. . . How long is a writer supposed to try? I tried for almost 2 years. Self-publishing was not my first choice--it was always my plan b.

Eva Ulian said: I’ve dealt with more agents than I have seen Sunday dinners. I think assisted publishing like WestBow is an unprecedented, excellent opportunity for us, often categorized by agents as “second class,” “inferior fodder” of the writing industry.

First of all, I hope I've never given anyone the impression on this blog that self-published books are second class. I haven't read many self-published books and am not in a position to pass judgement.

The reality of the writing business is that there is no easy way to define what makes a book appealing to agents and editors. But I do think there are several factors that come into play:

Writing Skill: I'm sure there are self-published books that didn't make it through the agent/editor "gatekeepers" because the skill of writing wasn't up to par. And yet we can all point to best-selling books and find fault with the number of adverbs, clunky dialogue, or passive verbs.

When my book is released, I suspect I'll receive criticism, especially from other writers. Just because I have an agent and editor doesn't mean my book is perfect. And just because someone is self-publishing doesn't automatically mean they have poor writing skills. Whether going the traditional route or self-publishing, we're all at different places in honing our writing skills and learning the craft.

Story-Telling Ability: We've all read published stories that fell flat--books we put down and couldn't finish. Some writers have a natural ability and some have to work really hard at it.

Perhaps we've got the gift (or worked for years to develop it) and now we've written a book set in ancient Mesopotamia, and it's full of adventure, and romance. The drama and excitement are all there. But still we can't find an agent or editor to take a look. Does that mean our story-telling is second-class?

I would say, no, of course not. In fact we may have nearly perfect writing skills AND an incredibly well told story. So, we're definitely not second class. Instead I would have to say the issue lies more with the last point. . .

Saleability: Agents and editors have to constantly look at what the large majority of readers are buying. They have to keep tabs on what is selling or what they think will sell, and then plan accordingly.

Most of you already know I had two books under consideration for contract, but Bethany House only took one of them in the three book deal they offered me. That doesn't mean my other book is second-class. It just means that right now it's not as saleable, especially for a debut author like me. I need a break-in book. (Read here for more about break-ins.)

So, are self-published books REALLY second class? If I self-published my second book someday, would it be inferior to my traditionally published book? I doubt it. And no, I'm not planning to self-publish it. For now, I'll continue to work on writing saleable books and maybe someday my second book will have another chance.

My final word of humble advice: If you want traditional publication, don't give up too soon. But also know that it takes more than writing skill and story-telling. It takes a saleable book--and that's not so easy to figure out.

What do you think? Are self-published books generally considered second-class? And is it fair or unfair to stereotype them as inferior? I'd love to hear your opinions.

Happy Thanksgiving! Even though I won't be posting again until Monday, I'll still be checking in and reading ALL of your comments!

What Do Agents REALLY Offer Writers?

Last week Harlequin announced that it has formed a new self-publishing division called Harlequin Horizons. This comes on the heels of Thomas Nelson's decision to create WestBow Press, also a self-publishing division.

These decisions by major publishing houses have sparked many debates about self-publishing and what affect it will have on the future of publishing. My agent, Rachelle Gardner, posted two very thought provoking posts last week about this issue (here and here).

Michael Hyatt, CEO of Thomas Nelson, wrote a blog post: Why Agents May Be Opposed to Self-Publishing. It, too, was very thought-provoking.

One statement in particular from Michael Hyatt's post caught my attention. He said this: "The primary thing an agent sells is “access.” I fully realize this isn’t the only thing, but I would argue it is the primary thing, especially for new authors. The agent offers access to acquisition editors who otherwise wouldn’t give a would-be author the time of day."

I haven't had an agent very long, just since May of this year. Even though I don't have years of agented experience to draw from, something about Michael Hyatt's statement didn't settle right with me. After a few days thinking about it, I've put together my thoughts about what I think agents offer writers.

Yes, agents do offer "access" to big traditional publishing houses. Since most editors do not accept unsolicited manuscripts, agents have become the first door through which writers must pass in order to realize the dream of publication.

But is "access" really the primary thing agents sell? I have a few writer friends who've managed to get book contracts without agents (either via writer's conferences or through the category romance lines that still accept unsolicited manuscripts). Even these authors eventually go on to get agents.

Why would such writers bother to get an agent if they already have access? What do agents REALLY offer writers? In my humble opinion, here are a few primary reasons agents are necessary in today's publishing world.

1. Agents Are Gatekeepers. There are a lot of people writing these days. Okay, that's an understatement. There are a zillion people writing. One only has to look at the follower gadgets on agent blogs to see a fraction of those serious about publication. The competition is very high.

Agents have the tough job of sifting through numerous manuscripts and finding books that are ready for publication. As gatekeepers, they help offer an industry standard. And lest writers think the standard is too high, I believe if a story and craft are good enough, an agent will see that at some point. I have several writing friends who've recently landed agents. Don't lose hope.

2. Agents Are Teachers. Indirectly (via blogs and the querying process), agents push all writers to be better students of the writing craft. Those serious about a writing career work harder and study the craft and industry even more. And perhaps the faint-of-heart learn they need to pursue writing as a hobby and nothing more.

More directly, agents teach their clients many, many things. They help us improve our books, titles, proposals, and skills. They educate us on the realities of the publishing process, direct us how to market, and challenge us to grow. Agents have an invested interest in our writing careers and therefore want to teach us how to succeed.

3. Agents Are Matchmakers. This is perhaps the biggest advantage to having an agent. In the enormous, complicated publishing industry, writers need experts who know editors, who are familiar with all of the publishing houses, and who interact with them on a daily basis. Agents have their fingers on the pulse of the publishing industry in a way that the average writer could never hope to achieve.

My agent laid out a plan of action for my books almost immediately. She picked a publisher she thought was perfect for my books, made initial connections, and then proceeded to strategically negotiate until the deal was done.

What if I hadn't needed an agent for access? What if I could have submitted to Bethany House without Rachelle's help? First of all, I don't think I would have known just how perfect they were for my books. And secondly, I probably wouldn't have had the tenacity and savvy to get the deal she did. It's possible, but I'm thankful I didn't need to try it myself.

Agents do much more than I could possibly list in this post. I'm one writer who's grateful for agents--especially my agent. She offered me access, but in a way that went far above and beyond anything I could have ever done without her.

Thanks, Rachelle.

What do you think agents really offer writers? Do you wish you had the access to traditional publishers without having to go through agents? Or do you think agents have become a necessary part of today's publishing world?

How My Publisher Chose My Book Title

This week I've been answering some of your questions about in-house edits, specifically how I'm handling my first set of macro edits/rewrites.

I saved the final question for today, because I wanted to spend a little more time on it. The question came from T. Anne: Was The Preacher's Bride your working title and if not who came up with it?

Let me just say this first: coming up with titles is NOT something I'm good at. When I read some of your book titles posted on your blogs, I'm absolutely blown away by your creativity (and also slightly jealous that I can't think of deep, meaningful titles for my books!)

The first title I came up with was Bunyan's Bride--simple and straightforward. Since my book is inspired by the love story of the real John Bunyan (the author of Pilgrim's Progress), I thought Bunyan's Bride would capture the essence of my story.

However, when I entered my book into the Genesis Contest last spring, I decided I needed something a little more romantic, so I changed the title to My Elizabeth, My Beloved. At the end of his life, John Bunyan refers to his wife in those exact terms, so I thought it sounded very 1600's and sweet.

Then Rachelle offered me representation and the first thing she told me to do was change the title of my book to something shorter and less clumsy. Since she was sending my book proposal to Bethany House, she encouraged me to go to Bethany House's website, study their titles, and get an idea of what they use and what's popular.

Finally, after researching and brainstorming with my agent, we decided on The Preacher's Bride and that's what we sent to the acquisitions editor. It turns out this title fits the angle of the story better. Because my book is a fictionalized account of a wonderful love story from history (and for a myriad of other reasons to long to discuss in this post), I've agreed to change Bunyan's name.

After contract, I quickly learned the publishing house would have the final title decision. Some authors might find a title change frustrating, especially after laboring to find the perfect fit for their story. But, as I mentioned, titles aren't my forte. I figured if the Title Committee could find something better, I'd trust their judgement.

My acquisition editor emailed me the week before the Title Committee was due to meet. He asked me to come up with a list of additional title suggestions. So in my bumbling, but hopefully cooperative way, I emailed him a list of "possibilities." He graciously thanked me (instead of laughing at my attempts!). Then he asked me to verify that the term "preacher" was indeed used during the 1600's as opposed to vicar or priest or some other form of address.

Although I was fairly certain, I scrambled to locate "proof." I wanted my editor to have a couple of primary sources he could take to Title Committee that would support using The Preacher's Bride as the official title. Fortunately, I was able to find proof within actual church records of the time, and I discovered a title of one of John Bunyan's books where he referred to himself as "Preacher."

The Title Committee met, and later that day my editor emailed me the news that the Title Committee had decided to go with The Preacher's Bride. Almost 11 months before the release of my book, the title is official.

Believe it or not, we're already working on the cover. But more about that in another post. . .

For today, I'd love to hear how you decide on your book titles! Do you have an easy time picking your titles? Or like me, do you struggle to find the perfect fit?

P.S. If you want a little extra help with your title, Writer's Digest has an excellent article this month called: 7 Tips to Land The Perfect Title for Your Novel.

Answering YOUR Questions About In-House Edits (Part2)

Today I'd like to take the opportunity to answer a few more of your questions regarding the in-house editing I'm doing for my first contracted novel.

Jill Boyd asked: You finally started to research your second book, but now the edits have come. Do you have days where the ideas for book two just flow? And if so, do you leave the edits in order to work on that? How do you balance two different projects?

Most of you know Bethany House contracted me to write three books and that Book #2 is due to them by next fall. I've given myself the deadline of finishing by next summer. As Jill mentioned, I was in the beginning stages of researching and plotting Book #2. Then I got my rewrites back for Book #1 (The Preacher's Bride.)

For the past month, I've almost completely put aside Book #2, aside from the occasional biography that I can't put down (yes, I'm a history geek). Instead, I've focused all of my energy and time on making the rewrites for The Preacher's Bride.

If I had already started writing Book #2, then I think I would have continued to keep up with a basic amount of writing to keep the flow going. But since I'm still in the research phase, I can easily set it aside and focus entirely on getting the rewrites completed.

Cassandra Frear asked: How do you take care of yourself so that there is enough creative energy for writing effectively everyday?

The rewrite stage is intense. It demands a great deal of my energy and time, more so than writing the first draft of a novel. But because I know I only have about six weeks of this intensity and then I'm done (at least until the next edits come along!), I can sacrifice more of myself.

When I start writing Book #2, the best way for me to rejuvenate creative energy is to plunge myself into history. I told you I was a history geek! I find incredible inspiration from my musty stack of library books. All it takes is an interesting name to spark an idea or a unique event to start a plot thread.

Tamika asked: Does your family see a change in your writing load?

During the rewrite stage, my family knows I'm pouring more time and energy into my writing. They understand the rewrites are for a limited time, and that once I'm finished I will have time to do the Christmas shopping. I've reassured them, that yes, they will actually get presents under the tree. And now they're happy.

No, seriously, since getting my contract, I've talked with my family, specifically my children, about how my writing career will take more time and dedication than it has in the past. The new demands will require more from all of us. We've also talked about how God gives us all gifts and how we must use those gifts diligently and faithfully. I'm setting an example of that for them with my writing.

Christina Davis asked: How did you stay motivated and deadline-oriented BEFORE someone was counting on you, before you had a book deal?

The dream to become a published author has always been a HUGE motivator, and is in fact, what keeps most of us persevering against so many obstacles. We dream big, and we long for the day when we can kiss our name on the cover of a book.

But, we need more than dreams. We need self-discipline too. Fortunately I have the type of personality that doesn't have to work too hard at making goals and sticking to them. I usually give myself a daily word count goal and I don't go to bed until I meet it.

Mostly, however, before getting a contract, my biggest motivator was an absolute LOVE of my story. Once I start, I have a driving need to bring the story to a satisfying completion. It's almost like I'm reading my story and can't put it down until the last page.

What about you? How do you motivate yourself to stay dead-line oriented? I'd love to hear what inspires you to keep going!

Answering YOUR Questions About In-House Edits (Part 1)

As most of you know, I'm working furiously at completing in-house edits on my first book, The Preacher's Bride. Last week I shared the nitty-gritty of my rewrite process. (Click here if you missed the post.) This week I'd like to answer some of your very thought-provoking questions!

Katie Ganshert & Cindy Wilson asked: How much guidance do editors give you in the rewrites? Do they give very specific feedback or is it more general?

Before answering this question, I just wanted to take the opportunity to congratulate Katie on her recent offer of representation by Rachelle Gardner! Congrats again, Katie! Way to go!

My editors have given both specific and general feedback. For example, they've specifically asked me to change my hero's last name, delete a past occurrence I'd used to intertwine my characters, cut a particular kissing scene, and more.

Most of their requests, however, are general like change the ending, switch hero's character arc, or add more emotional elements to the romance. With each of the general changes, my editor gave me suggestions for how I might rework the areas--especially during our first long phone call.

Later, after I'd finished laying out my scene-by-scene spreadsheet with my notes, I called my editor and shared my new ideas. I wanted to get her confirmation before I began. She liked them, gave me a few more helpful suggestions, and told me to call her any time I wanted more input or help.

Ultimately Bethany House trusts my creativity to reshape the areas of my book that need it. They've pointed out what they want changed, but aren't micro-managing how I change them.

Patricia Woodside asked: How are you capturing/organizing the deleted passages for easy, later reference?

Initially, I read and edit my completed work in hard copy. I mark it up with a red pen. If I need to move a section to a different chapter, I red-line it and make a note of where it needs to go, both on my hard copy and my spread sheet. If I need to delete, I mark that too. Then I refer back to both as I work through my book.

Before starting the rewrites of a chapter, I copy/paste the chapter into new Word document. With my marked up hard copy and printed spread sheet in front of me, I go through the chapter line by line in my Word document, deleting what I don't need, pasting from other areas, or in some cases adding completely new information. When I'm done with the revised version of the chapter, I paste it back into the full document.

So, in answer to the question, I don't specifically save deleted sections. By the time I pick apart what I need from that scene or paragraph, I usually don't need what's left.

Karen Peterson asked: Are you excited about the changes? Or do you feel like your entire original story has been rewritten?

I'm amazed at how my creativity can still jump into high gear even during rewrites. One new idea leads to another, and yet somehow all of the changes still fit within the original plot and story. The rewrites have forced me to dig deeper into the story that's already there to bring out the rich treasures waiting under the surface. So, I would say it's still very much the original story, just richer.

Tamika asked: How is this stage of your writing different from the first draft?

I don't do rewrites with my first draft. I'm definitely a plotter (not a pantser!). After weeks of researching and plotting, I have a very sturdy structure to build upon when I start the writing. Of course, I always leave room in my plotting for those wonderful twists and turns the story brings. But overall, I have a blueprint for my story and stick to it.

Therefore, my first draft editing consists primarily of line-editing--combing through my manuscript, adding sensory details, correcting awkward sentences, etc. My current in-house edits are giving me my first real experience doing major renovations.

Thanks for the questions! Now I'd love to hear how you edit! Do you have to make major rewrites after your first draft? Or do you mostly have line-editing? I personally would rather get my story mostly right the first time through, rather than have to go back and try to make it flow. What about you?

The Story Of My Chaotic Writing Life

My internal alarm wakes me in the blackness of cold dawn. I make my blurry way downstairs to the kitchen, following the scent of timer-brewed coffee. The lop-sided hamster wheel is clunking, the only noise in the yet sleeping house. I sit down at the table and flip open my laptop. As the screen sputters to life, I wrap my work-worn fingers around the coffee mug and take a deep breath.

How much can I get done in my hour and a half of daily silence?

I take thirty minutes to respond to emails and read early-bird blogs. Then I force myself to focus on my writing. I desperately need the morning jump start. The quiet centers my creative energy and I race against the clock on my screen to squeeze out every possible second of writing time.

Then I hear the patter of footsteps above me. Doors open and close. Toilets flush. The noise begins. For a few minutes I try to block it out. My fingers refuse to leave the keyboard, desperate to eek out the precious words hovering in the silence of my mind.

The slap of little feet sounds in the hallway. The kitchen door swings wide and I'm greeted by the sunshine of a smile. "Good morning, Mommy." My heart warms and now my fingers slip easily away from the keyboard and I reach out to my little man for a hug.

It doesn't take long for another child to appear. More sunshine. Then another, and another, and another. Until the room is bright and alive with laughter and squabbles. My quiet dawn has slipped away. Another vibrant day has begun.

The voices of my large family surround me. The passion of their joys, tears, anger, and excitement follow me throughout the day. I am indeed a wealthy woman for the richness of their love and the treasures I find in motherhood.

And yet, a deep part of me is made richer from the writing life too. That writing soul calls to me until finally it demands I sit down again. By mid-afternoon, I'm ready to give my writing it's due time, another two hours of solid, no-internet writing time.

No matter what plans I've put into place to occupy my children, my two afternoon hours of writing are a jumble of mothering and writing. I write for five minutes then stop to listen to my daughter share her excitement about the book she just finished. I write for another short burst before I must clean up the child who didn't make it to the potty in time. I type out a paragraph and jump up to rescue my son's favorite football from the teeth of the dog.

And that's the story of my chaotic writing life. Each of my children need me in their own way and I struggle to be both mother and writer at the same time. Much of my writing is squeezed into the every day moments of ordinary, chaotic life.

However, recently I have attempted to bring more order to my chaos. Here are my top 5 time savers:

1. Stop striving for perfection: I can't perfectly keep up with reading the blogs I'd like to, or always respond with perfect, thought-filled comments. My emails have spelling and grammar mistakes. My housework, cooking, and parenting are less than perfect. And that's okay. Nobody else expects me to be perfect, so why should I?

2. Involve family: I pay my oldest three children to take turns babysitting during my two hour writing block in the afternoons. On the rare evening when my husband isn't working or coaching, I head to the library to work uninterrupted. And on Saturdays he takes over child and house responsibilities so that I can have extended writing time (mostly at the library).

3. Sacrifice: I sacrifice sleep, hobbies, TV, free "me" time, and my social life. Even in the evenings, after the kids are in bed, I usually try to squeeze in another hour of writing work. Fortunately for me, with having five children, I've already had plenty of practice sacrificing many of my own interests. So it hasn't been too hard to give up more.

4. Work faster: I don't have the luxury of dawdling anymore! Whether folding laundry or fixing dinner--I work efficiently. Same with my writing. I can't linger over a troublesome word or fixate on a particular phrase. I fix it and move on.

5. Set work hours and stick to them: My working conditions aren't always ideal. If I waited until my life is perfect and quiet, then I'd never get anything done and I certainly wouldn't be where I'm at today. Instead I make the most of my scheduled writing time, even if it's less than ideal. Each two minute burst of writing eventually adds up.

What's the story of your chaotic writing life?

5 Time Saving Tips For Writers

We all struggle with how to squeeze a writing career between other life responsibilities. Even after we’re contracted and published, most of us won’t be able to quit our day jobs to write full time. In fact, now that I’m contracted, I’m finding l have to shove even more writing responsibilities into my limited time.

Today, debut author, Erica Vetsch will share some of her tips on managing a writing career while trying to juggle a myriad of other jobs. Erica has been writing for five years and has been under contract for the last year. She’s currently working on her sixth contracted novel.

In a typical week, Erica homeschools her two teenaged children, does the books for the family lumber company, and until quite recently was one of the primary care-givers for her terminally ill mother-in-law. She’s also active in her local church leading a bi-monthly women’s Bible study.

Her first book recently released and she is even busier with marketing efforts. I asked Erica how she possibly manages to get everything done in a day! Here are Erica's top 5 time saving tips for writers:

1. Realize I can’t do it all, and some things I used to do I can’t do anymore. Cross-stitching, something I love to do, has fallen by the wayside simply because I don’t have the time. I can’t be a dabbling writer. It has to have a high priority, therefore I have to sacrifice some of the things I love to do.

2. Streamline where I’m able. I make out a grocery list and menu every Monday morning and grocery shop while my kids are at piano lessons. I bunch my errands, so I don’t have to drive into town too often during the week. I try to group appointments all on one day if I can, to save time.

3. Give my children chores to do. I’m a firm believer in kids doing chores. They take so much of the burden off me, especially when I’m on deadline. Laundry, cooking, vacuuming, dusting. They have a daily list of chores they are responsible for, and they also step up when I call on them for extra help.

4. Turn off the Internet. Email, Facebook, Email, Twitter, Email, and did I mention how much I love email? Don’t let the Internet become a tyrant. When I set a word count to accomplish, I always get it done faster and better if I’m not constantly checking to see if anyone loved me enough to send me an email.

5. Prioritize and find a schedule that works. Because I have several things I have to do, I do those first. In the mornings, I homeschool and work on the bookkeeping. In small snatches I catch up on blog reading and email correspondence. I also try to get in my time on the treadmill in the morning. Fortunately, my kids are old enough at 17 and 13 for me to set them to work without needing to monitor them every second. Afternoons are my time to write and edit. I guard that time and treat writing as my job.

Thank you for sharing with us today, Erica! I love the idea of guarding our writing time and considering it a job. If we're serious about publication, then we really do need to get into the mindset of viewing our writing as a JOB.

We show up at the keyboard just like we would show up to the office. We work diligently and productively the same way we would if we had a boss looking over our shoulder. We set working hours and we stick to them.

Sometimes all it takes is a switch in mind frame--no longer seeing our writing as merely a hobby, but as a job--one that is as important as the others in our lives.

Are there any of Erica's tips that you need to practice more? Or do you have other time saving ideas that you could add to the list? I'd love to hear them!

Here's a little bit about Erica's book: Duluth, Minnesota in 1905 boasts more millionaires than any other U.S. city. Tycoon Abraham Kennebrae intends to marry his grandsons off to three of the wealthiest heiresses in town and allow Kennebrae Shipping to gain control of Duluth Harbor. Tempests rage, in the board room, the ball room, and on treacherous Lake Superior. Will hearts and helms survive? Will God prove Himself sovereign over wind, waves, and weddings?

For more information check out Erica's blog: www.onthewritepath.blogspot.com or to order click here.

The Nitty-Gritty Details Of My Rewrite Process

For the past three weeks I've had my head buried in my first contracted book, now officially titled The Preacher's Bride. As you may remember, Bethany House sent me my first of three sets of edits. (For an outline of the editing process, click here.) The edits I'm currently tackling are called rewrites because they involve--well, LOTS of rewriting! (For more on what my editors asked me to change, click here.)

I didn't allow myself much time to wallow in the despair I initially felt after getting back my rewrites. Only hours after I got off the phone with my editor, I opened up a blank spreadsheet screen and started plodding through my book, chapter by chapter, scene by scene. I made notes in my spreadsheet of what I needed to change, add, or delete from every scene.

Then I started from page one implementing the major changes. In some places, all I've needed to do is tweak descriptions, add a sentence or two, delete a phrase, or simplify/clarify something. In other places, I've had to slash whole paragraphs, delete entire scenes, and in a couple of cases rewrite chapters.

As of today, I'm up to Chapter 21 out of 35. I've made it my goal to tackle one chapter a day. Some days I can race through a couple of chapters, especially if I see from my spreadsheet that the chapters are fairly clean. Other times I struggle to complete my daily goal and have to drag the chapter out over a couple of days.

The hardest part about the rewrite process is the cutting and pasting. If I have to delete a scene or chapter, I can't just throw it away. There are things within those scenes that are critical to my plot and character development. The trick is finding another place to seamlessly weave those details back into the story.

The best part about the rewriting is seeing the story come together in a new, but better way. My editors were completely right about most of the changes I needed to make. Now that I'm deep into the rewrite process, I can see the increased potential these changes are bringing. It's truly one of the most thrilling things I've experienced in my writing journey.

The most daunting aspect of the past few weeks has been the TIME factor. I've had to put my research for my second book on hold. Even though my rewrites aren't due until Christmas, I gave myself a personal goal of finishing them by Thanksgiving. If I continue to finish one chapter a day, then I should be able to meet my goal.

But TIME is incredibly hard to manage! My writing days are usually chaotic, and I'm having to learn how to balance new writing demands with life responsbilities. More about that later in the week. . .

For today, I'd love to hear your questions. I want my journey to publication to be an open book. So let me know what you're curious about! I'll keep a list and try to answer the questions in future posts. And if you don't have any questions, then just say "howdy" and let me know what you're up to these days!

5 Easy Ways To Market Before Publication

From all of your comments in the last couple of posts, I think we all agree authors can benefit from beginning to build their platforms before publication.

Blogging friend, Patricia Woodside, emailed me an excellent summary of the whole platform building effort: There are stages to being an unpublished writer. Not everything is prudent in the earliest stages, but we don't have to wait until contracted either.

In other words, if we're newer to the writing journey, we may need to put most of our energy and time into learning the craft and improving our stories. But as we move further along, it doesn't hurt us (and may even benefit us) to start laying a foundation for marketing.

I liked how Susan Reinhardt put it: As a pre-pubbed novelist, I look at platform building the way I viewed my hope chest years ago. I'm putting things away in my writing trousseau for future use.

Many of you also said balance is critical for platform building in the early stages. We're easily swept away in the numbers game, whether trying to gain more blog followers or facebook friends. When that happens we end up spending more time networking than writing.

So, my friends, how can we keep platform building in it's proper place?

Here are 5 Easy Ways to Market Before Publication:

1. Build Name Recognition: Getting our names "out there" can be as easy as joining online writing/reading organizations, participating in local writer's chapters, attending conferences (and volunteering to help at them), or writing shorter pieces for magazines. Patricia Woodside gave me the link for this article: How Unpublished Authors Can Build Name Recognition. The article gives several other excellent ideas.

2. Develop A Web Presence: When we think of web presence (read previous post here), most of us think of the blogosphere. While blogging is an important way to connect with others and stretch our internet presence, it's also one of the most time-consuming. I'm finding that I can make just as many, if not more, connections on Facebook and Twitter. Both take less time and are easy ways to keep in contact with friends.

3. Maintain Professionalism: We never know who may stop by our blogs or read our comments/tweets. If we're actively querying and connecting with agents and editors, we need to be prepared for a potential visit. Several agents visited my blog before I was offered representation. Some of you have had agent visits too. Keeping our cyber "homes" tidy and our communication professional are simple but effective ways to showcase ourselves in a positive light.

4. Start Getting Writing Noticed: I'm not advocating that we should post chapters of our books online. I personally don't think that's safe, nor do I think most blog readers want to take the time to critique the work in a blog post. Instead find critique groups, crit partners, or beta readers. Hire an editor. Enter contests. These are all helpful ways to not only make friends and get feedback, but to also possibly gain the attention of published authors or agents/editors.

5. Build Genuine Friendships: This is the best way to begin building a platform. I'm going to absolutely LOVE going into a bookstore, picking one of YOUR published books off the shelf, and taking it to the counter. You know what I'm going to say when I give the cashier my money? "I'm lucky. I KNOW the person who wrote this book." I'll just smile at the cashier's amazement and say, "Yep, she's one of my friends."

Yes, you are my friends. And more important than the marketing are the relationships we form with one another. The sales, the money, and all of the platform in the world cannot compare to the treasure we have in genuine, loving friendships.

Thanks for being one of mine!

Can you think of any other easy ways to market before publication? And which from my list are you already doing?

When Should We Start Building A Platform?

Platform didn't help me get a book contract. The story and writing clinched the deal.

However, we will need a platform at some point--it's inevitable in today's market. So, when is the best time to start building one?

If we're just starting the journey, then we ought to focus the large majority of our time improving our writing. We can use blogging and other social media to help us grow. But we shouldn't worry about attracting large crowds to our blogs and racking up followers. If we don't have a saleable story, then we'll just waste precious writing time.

Yet, for many of us, publication is looming closer. We've spent many years taking our writing to the next level. We're actively querying, getting requests for partials or fulls, and we're starting to get positive feedback from agents and editors.

Tina Russo of Seekerville asked an excellent question in the comments of my last post: What about platform for getting your manuscript an invitation to be read? As in out of the slush pile?

In other words, if our writing is good enough (remember not perfect!), and we're attempting to get the attention of agents and editors, will platform help us?

I'm no expert, but I'd have to answer: Absolutely! An agent might be more likely to pick up a manuscript from an author they "know" through social networking versus a complete stranger. In that case, platform could definitely give us an advantage. But in the end, only the book itself can land an agent or book contract.

All that to say, if we've started seriously pursing publication, I think it's wise pull out our hammer and nails and add them to our writer's tool box. I know some fiction authors wait until they're published before they start any marketing efforts. However, I personally think that into today's tough market, once we're nearing publication, we should begin building that platform little by little.

An article by the Washington Post from Sept. 2009, titled On Web, A Most Novel Approach, discusses the brutal realities of modern marketing:

"Publishers actively market and promote big names, but for thousands of writers it's a figure-it-out yourself world of creating book trailers, Web sites and blogs, social networking. . . Being an author has become much more of an ongoing relationship with your audience through the Web rather than just writing a book and disappearing while you write the next one. . . You have to be out there in the online world, talking and participating."

Maybe we won't get far with the platform before publication, but we can at least lay a foundation. In the Washington Post article, 60% of respondents in surveys say the decisive factor in purchasing a book is that they are already fans of the author.

Obviously the statistic applies to published authors. But I think it's applicable to unpubbed too. It's never too early to begin to build genuine connections. I'd be much more likely buy the book of someone who is already my friend than from someone who befriends me in order to sell their book. How about you?

Today, I'd love to hear where you're at. Do you need to pull back from cyberland and focus more on your writing? Or do you need to pull out the hammer and nails and start building? And what do you think: Can having even a small platform work to an unpublished author's advantage in the agent/editor hunt?

Birthday Party!

Just wanted to take a minute to say thanks to those of you who've already sent me birthday wishes!! Apparently facebook has a way to announce birthdays, and so for the past couple of days I've been getting such sweet birthday messages!

My editors at Bethany House even sent me a birthday card and a book! Do they know what I love or what? I was beyond thrilled they took the time to make me feel so special.

Yes, today is my (numberless) birthday!

Not only is it my birthday, it's fellow writer and friend Janna Qualman's! We couldn't let the excitement pass without a celebration.

We would love to have you join us for a virtual birthday party! You're invited to head over to Janna's blog and join in the fun. Bring your favorite party food, silly games, and special entertainment. She has a beautiful cake waiting!

If you don't know Janna, please visit her blog and take a look around. She has such honest and inspiring posts about writing and life.

See you at the party!

Does Platform Really Help an Unpublished Writer?

If we read agent blogs long enough, we're sure to come across the word "platform." According to my wonderful and lovely agent, Rachelle Gardner, platform is: The means by which YOU will help sell your book by your presence in the media and/or the public sphere, or at least within the audience you hope to reach with your book. (Taken from: Let's Talk About Platform).

In other words, platform is all of the ways we're attempting to build our readership. Nowadays, writers are encouraged to begin their platform even before they're published. From what I understand, non-fiction writers must have a platform--the bigger, the better. Fiction writers are not required to have one, but it is considered a plus.

Last week, I blogged about some of the reasons Bethany House picked up my book (click here to read). In response, Joanne asked a great question: How about platform in addition to the writing? Do you think that plays a significant part?

In other words: Did my platform play any part, even minor, in helping sell my book to Bethany House?

My answer: Platform had absolutely nothing to do with landing me a book contract.

Of course, as part of the book proposal that Rachelle initially sent to Bethany House, I stated a number of the ways I planned to help market my book once it's published. I mentioned blogs as well as my website (which is still in the works). My editor may have briefly looked over this part of the proposal and said to himself: "She's off to a good start."

But I'm fairly certain the STORY and WRITING sold the book, because in reality, my platform is non-existent. My blog and my web presence are still much too small to have had any influence in selling my book. Even if they were much larger, even astronomically higher, I don't believe they would have made a difference.

I'm convinced that for fiction, publishers look at whether they can sell our books. Story and writing trump platform every time for unpublished writers. Even published authors, with platforms much, much bigger than mine, struggle to renew contracts.

If we don't write quality, entertaining books that attract readers, then all of the platform in the world won't help us. We can have hundreds of blog followers and facebook friends, but if we haven't crafted a book they'll want to read, then we're really just spinning our wheels, dare I say, even wasting our time building a platform at the sacrifice of time spent on writing?

I didn't enter the cyberworld of networking until just this year. Before that I spent years focusing on honing my craft and creativity. In hindsight, I'm glad for those years of uninterrupted, uncluttered writing, without the pressure to build a platform.

There comes a time, however, when we need to jump in an start thinking of the future and building that platform. But we shouldn't put that pressure on ourselves until our story and craft are ready to sell. More about that in the next post. . .

Today, I'd love to hear your opinions. Do you think the emphasis placed on platform for unpublished authors is over-rated? Have you felt the pressure to build a platform yet?

*Update: Make sure to check out the comments! My agent left her opinion there!