Tag Archives: Colorado Gold

Forget the Money: Show Me the Contract

By Susan Spann

This September, I’m co-teaching a workshop at Colorado Gold with Midnight Ink editor Terri Bischoff. The workshop, titled “Contract Law: Where You Can Make a Difference,” is intended to offer advanced-level instruction on which publishing contract clauses are (and are not) negotiable.

In preparation for that, my guest posts between now and Colorado Gold will offer some entry and mid-level information about the contracts process, to help authors get up to speed for the information Terri and I will present at Colorado Gold.

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For many authors, obtaining a publishing contract is a lifelong dream-come-true.

It doesn’t matter whether you publish traditionally, through a self-publishing service like Amazon or CreateSpace, or with a hybrid publisher who gives the author significant control over things like cover art and pricing.

Getting your novels into print is both the fulfillment of a dream … and also the start of a business endeavor.

Smart authors remember to treat it as both.

No matter which publishing route you use, you must have a written contract. Copyright law requires one when rights are licensed on an exclusive basis (which is the case with most publishing contracts), and no smart author would ever publish a book without some writing governing the terms of the publishing deal.

In the case of self-publishing venues like Amazon, CreateSpace, and others, that writing is often the online Terms of Use.  Authors should treat those terms of use like a contract–albeit a nonnegotiable one, since website publishers generally will not change any terms of those contracts on an individual basis. Even so, online terms of use have been held just as binding as written contracts–so beware.

Many authors make serious contract mistakes because they allow emotion to get in the way of business sense. Don’t be that person.

When presented with a publishing contract (or preparing to self-publish your work), remember:

1. The financial terms (royalties and advances) are important, but NOT AS IMPORTANT as the sum of all of the legal terms in the contract. Don’t let royalties or advances blind you to the other legal terms.

2. Read the entire contract carefully, and get experienced legal help with anything you don’t understand. This help might come from an agent or an attorney — but it should always come from someone not affiliated with the publisher. The publisher may or may not be honest–but publishers have a conflict of interest when it comes to explaining your legal rights. It’s always more expensive to try and break a contract after the fact than it is to find out what the contract says up front.

3. Remember that contracts are legally binding documents — and that ONLY the actual words in the contract govern your legal relationship with the publisher. Emails, telephone calls, and other promises don’t mean anything if they’re not included in the contract. In some cases, a court may even prevent you from introducing evidence that “outside promises” even existed. Treat the contract as if it’s the only document that matters, and the only thing controlling your relationship with the publisher–and then make sure that everything is included.

4. Be wary of ANY contract which doesn’t comply with industry standards. In particular, beware: nondisclosure clauses (which prevent the author from talking about the publisher in public or on social media), non-competition clauses preventing the author from publishing ANY other works of any length without the publisher’s permission, a total lack of termination options for the author, and “out of print” clauses tied to inventory or “on sale status” rather than sales figures. These aren’t the only warning flags, but a contract which contains one or more of these must be approached with caution (and a lawyer in your corner).

These aren’t the only things to beware in your publishing contract, but they’re a decent start. Next month, we’ll take a look at some more contract pitfalls to avoid.

In the meantime – keep treating your writing as a business and remembering that, regardless of your publishing path, YOU are the one in charge of your publishing career.

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Susan SpannSusan Spann is a California transactional attorney whose practice focuses on publishing law and business. She also writes the Shinobi Mysteries, featuring ninja detective Hiro Hattori and his Portuguese Jesuit sidekick, Father Mateo. Her debut novel, CLAWS OF THE CAT (Minotaur Books, 2013), was named a Library Journal Mystery Debut of the Month. The second Shinobi Mystery, BLADE OF THE SAMURAI, releases on July 15, 2014. When not writing or practicing law, Susan raises seahorses and rare corals in her marine aquarium. You can find her online at her website (http://www.SusanSpann.com), on Facebook and on Twitter (@SusanSpann).

An Interview with Literary Associate Elizabeth Copps

Interview by Janet Fogg (We’re simul-publishing Janet’s interview with Chiseled in Rock blog)

Elizabeth CoppsToday, I have the pleasure of interviewing Elizabeth Copps, Literary Associate with the Maria Carvainis Agency, Inc.

Elizabeth began her publishing career in 2010 as an MCA intern after graduating from Florida State University with a BA in English Literature. She was thrilled to join the agency full-time in 2011 as the new literary assistant. Two years later, she was offered the position of literary associate and is incredibly excited to build her own list of authors.

Elizabeth considers herself an eclectic reader, but she is particularly interested in literary, multicultural and contemporary fiction, women’s fiction, young adult and young adult crossover, gritty thrillers and mysteries, memoir and romantic suspense. She appreciates rich and believable characters who immediately draw readers into their world, and she is always captivated by a startling plot twist. Her favorite authors include, John Boyne, Chris Cleave, Gillian Flynn, John Green, Joanne Harris, Jhumpa Lahiri, Dennis Lehane, Stephen King, Daphne du Maurier, David Sedaris, Jeanette Walls, and Carlos Ruiz Zafón.

MCA’s clients include Mary Balogh, Sandra Brown, Candace Camp, Cindy Gerard, Kristan Higgins, Will Thomas, and Laura Wright among others.

Thank you for joining us, Elizabeth!

JF: Please tell us about your typical work day (and how many manuscripts you usually have waiting in your inbox).

EC: Our solicited manuscript log is ongoing, so I have a lot to sift through every day. I usually read between 5 and 10 manuscripts a week depending on whether I am reading partial or full projects. Regarding query letters—the agency usually receives between 20 and 25 letters a day. We try our best to respond to every query within 10 business days of receipt.

JF: What gets you excited in a query letter? Do you have any pet peeves when it comes to submissions?

EC: Queries that read similarly to a blurb on the back of a book always make me sit up and take notice. I love tight, witty language. Additionally, I want to be hooked by a story’s concept from the first sentence or two of the pitch—but fascinating and unusual characters appeal to me as equally as an intriguing plot.

As far as pet peeves are concerned, I have three biggies:
1. Failing to research our agency’s submission guidelines. It’s clear to me when authors have not done their due diligence. Query letters that are not personalized, or queries with 30 other agents copied on the same email are giveaways.

2. Providing biographical information before describing the writing project. I’m very interested in hearing about a writer’s credentials or reading a short biography, but a writer’s first job is to sell me on their book.

3. Starting with an excerpt of the novel instead of a formal pitch. I appreciate receiving 10-15 sample pages in a separate attachment so I can get a sense of the writing, but it is disorienting to begin reading a sample without any context.

JF: Certain agents edit a manuscript prior to shopping it to editors. Others don’t. How would you describe your process?

EC: Providing our authors strong editorial feedback is a service we pride ourselves on at MCA. We want the best, most polished version of our client’s work to land on an editor’s desk.

JF: What do you enjoy most about representing authors to the publishing industry? Least?

EC: In publishing, I really do feel like I get to have my cake and eat it too. I have the privilege of working with highly creative minds as well as impressively business-savvy men and women. I love that I’m in a position where the two sides of the industry merge.

The most unenjoyable aspect of the business has to be sending rejection letters. It’s a necessity, but it can be really difficult. Agents receive rejection letters too, so I know that it is never a good feeling to see one pop up in your inbox.

JF: Which social media venues do you consider most important for authors: a website, a blog, Twitter, Facebook, or Goodreads? Are there others you recommend?

EC: Knowing their way around all types of social media platforms can only benefit authors, especially those who are hybrid or self-published writers. I will say that I believe having a strong website is a necessary foundation for any writer. A website should contain links to an author’s Facebook, Twitter, blog etc. as well as the option to sign up for a weekly or monthly newsletter. Play to your strengths. For example, if you know you can keep up a Twitter account, do so. If you know you hate Facebook and will rarely post, you won’t do yourself or your readers any favors by starting up an account.

JF: What one piece of advice would you offer to authors who plan to pitch their novel to you at Colorado Gold?

EC: Have fun with it! Tell me why you’re passionate about the book you wrote. If I can see how enthusiastic you are about the characters and the plot, chances are I’ll be excited to read your work too.

JF: What do you do for fun when you’re not working?

EC: I’m a big foodie, and I should probably make my motto something along the lines of, “no cookie left behind.” I also have a serious travel bug. This year I am lucky enough to be doing quite a bit of domestic travel for business. Louisiana, Texas, Tennessee and of course Colorado are on the docket thus far for 2014.

JF: Now I would like to ask an off-track question. What did you dream of doing when you were twelve years old?

EC: I was convinced that I was going to be a famous painter. The best afterschool class my mom ever enrolled me in was called “Art Safari.” The classroom was in a converted warehouse, and the teacher filled it floor to ceiling with every art supply imaginable. The first day I walked in she looked at me and said, “Create!” It was pretty magical.

Thank you, Elizabeth!

You can visit http://mariacarvainisagency.com/ for submission guidelines, or meet with Elizabeth in Denver when she joins us at the Rocky Mountain Fiction Writer’s Colorado Gold Conference, September 5-7, 2014.

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Janet Fogg by Aspen copyJanet Fogg’s focus on novel-length fiction began when she was CFO and Managing Principal of OZ Architecture, one of Colorado’s largest (and coolest!) architectural firms. Fifteen writing awards later Janet resigned from OZ to follow the yellow brick road, and Soliloquy, a HOLT Medallion Award of Merit winner, was released by The Wild Rose Press in 2009. Fogg in the Cockpit, co-authored by Janet and her husband Richard, was released worldwide in 2011 by Casemate Publishing. This Military Book Club best seller received a 2013 Air Force Historical Foundation nomination for best WWII book reviewed in Air Power History. Janet served on RMFW’s 2010 Board of Directors as PAL Liaison. You can visit Janet at her website.

How to find all those Colorado Gold agent/editor/speaker interviews

Our regular blog contributors and guests have been busy interviewing the agents, editors, and speakers who will attend the Colorado Gold Conference in Westminster September 5-7.

We’re trying to make it as easy as possible for you to find and read those interviews. On the day they post, we put the link on the Rocky Mountain Fiction Writers Facebook page and the RMFW Google+ page. The link usually gets tweeted a couple of times as well.

On the home page of the RMFW website, there’s a link to the interview list. The link is called 2014 Conference Guest Interviews. That link takes you to a concise list of the published posts with an individual link to each.

Additional interviews scheduled so far include Elizabeth Copps on Tuesday, July 15th. We’ll have more on the schedule soon.

Meanwhile, you can go to the 2014 Conference Guest Interview page to view the ten interviews published so far.

Look Who is Coming to Colorado Gold: A Conversation with Agent Sue Brower

By Kerry Schafer

Last month I had the privilege of posting an interview with Lucienne Diver of the Knight Agency. Today, I’d like you to meet Sue Brower, another fabulous agent, who works with the Natasha Kern Agency.

suebrowerSue Brower loves finding and developing authors and connecting them with the reader. Book publishing has changed dramatically over the past several years and it’s no secret that the novels that create buzz through their unique writing or concepts are the ones that become bestsellers. Over the past 25 years in publishing, Sue has done marketing, editing, story development and acquisitions for Zondervan, a division of Harper Collins Publishers. Most recently, she was Executive Editor and had the privilege of working with New York Times bestselling authors Karen Kingsbury, Tim LaHaye, Stephen Carter, and Terri Blackstock and was named ACFW’s Editor of the Year in 2010. And now she is fortunate to partner with Natasha Kern at the Natasha Kern Literary Agency. Sue’s been an avid fiction fan since childhood and loves the way stories are able to change lives, heal hearts, and bring joy to readers. Today, she wants to read and acquire women’s contemporary fiction, any kind of romance, suspense, mystery and historical novels. She would love to discover the next breakaway author in any of these genres.

Kerry: Thanks so much for taking the time to chat, Sue. I’m looking forward to meeting you in Colorado! But first things first. Your bio tells us that you are interested in acquiring women’s contemporary fiction, and also romance, suspense, mystery, and historical novels. Could you tell us a little bit more about what gets you excited?

Sue: I like stories with strong characterization and a well-paced plot.  One of my favorite quotes about writing comes from John Gardner’s The Art of Fiction: “…fiction does its work by creating a dream in the reader’s mind.” I want to be so engrossed in the story that I am disoriented when I close the book. I do not acquire based solely on genre because publisher and consumer trends change so quickly.  But give me a well written book and I think I can pitch it anywhere, anytime.

Kerry: What was the last book you read for pleasure and what did you love (or not) about it?

Sue: I have been on an odyssey the last six months or so to read beyond my normal  favorites. Unfortunately, that left a lot of books unfinished. Probably the most memorable book I’ve read recently is Reconstructing Amelia.  It was a little dark and had some themes that put me off, but it was compelling and I still remember many of the characters.  The best book I’ve read that feeds my love of romantic fiction was Julianne Donaldson’s Blackmoore.  I loved that it drew me into an era that I read a lot about, yet this felt new and refreshing.

Kerry: Now that I have a couple of new books to add to my towering To Be Read pile, could you talk a bit about how you view the author/agent relationship? This seems to be a hot topic for writers these days.

Sue: I view the author/agent relationship as a partnership.  As a former editor and marketer, I tend to be very opinionated, so the writer needs to be open to input on their writing, where they should be spending their time, and how they should brand themselves. Notice I said “input.” I want to be available to help an author to succeed at building a writing career.

Kerry: I think that input is one of the things that makes an agent so important to a writer. Things have changed a lot in publishing over the last few years, and it gets overwhelming trying to figure out where to spend your time. Another question writers often have involves what you see as your role in publishing, and how do you help your clients navigate the slippery territory spawned by Amazon and self publishing?

Sue: I see my role as coach, career counselor, advocate, listening post, and biggest fan.  Editors today do not have time to acquire projects that just have potential. The editorial staff has more and more to do and there are fewer of them doing it. It’s my job to make sure that what I send out truly represents the writer’s best abilities.  With regards to the various ways that a writer can be published, I think we, as agents, should be aware of the pitfalls of self-publishing and coach the writer to make the best choices for their career goals.

Kerry: I see that your agency is closed to unsolicited manuscripts—do you have any advice as to how a querying author could still get your attention?

Sue: There are a number of ways that a writer can get their manuscript in front of me.  The best ways are through referrals from current client authors and through conferences.  I would also say that if you respond to a blog or online class that I am a part of, I would be open to talking with you about your manuscript.

Kerry: Could you tell us a little about what happens when writers pitch to you at a conference?

Sue: When a writer pitches to me at a conference, they need to have a completed manuscript ready to be reviewed.  I want the writer to tell me what their story is about and anything about their research or background that supports why their book is fresh or unique. I will look at a one-page, but I want to hear the writer to engage in conversation with me. If I am interested, I will ask for a proposal, synopsis, and three sample chapters to be emailed to me. If that looks good, I will ask for a full manuscript. Writing conferences are a great way to reach your preferred agent or editor since most will not accept unsolicited manuscripts.  I would absolutely ask for anything that interests me.

Kerry: If you are considering a project that doesn’t immediately shout “pick me pick me” – what tips the balance toward acceptance?

Sue: I don’t usually consider projects that don’t shout “pick me up.” I have too much to read and too many queries to follow up on.  The things that tip the balance for me are usually in the writing. If I am intrigued by a project, but the writing isn’t quite there, I will look for possibilities. Are they willing to revise? How much work will it take to get it ready for the publisher? If I am interested in an author, I usually want to have a phone chat before making an offer. If I see that they are not open to constructive criticism, or are reluctant to do the work, I will pass on the project.  Also, if there is just too much work that needs to be done, I will have to put it aside. I usually make a few recommendations including finding a critique group or editor and I offer to look at it one more time.

Kerry: Are you open to authors pitching their books to you if they see you out and about in the hallways or the bar?

Sue: No. The worse pitch I ever received happened when I was leaving a dinner on the last day of a conference and I was obviously worn out and sick with a cold, but the writer wouldn’t let me politely decline a conversation. It’s never good to approach an agent when they are heading to a meeting or relaxing with colleagues after a long day. It’s absolutely forbidden to approach them in a restroom!

Kerry: I’ve heard horror stories. Personally, I can’t imagine the desperation that would drive a writer to the bathroom pitch, but I know it happens. Would you prefer writers keep to the boundaries of scheduled pitch sessions entirely?

Sue: I think that depends on who the agent is.  If I am sitting in a common area (lobby, for instance) and not already talking to someone, I am open to a writer starting a conversation.

Kerry: Last and most importantly, what is your beverage of choice? Just in case we do find you hanging out in the bar and would like to show our appreciation for spending time with us at Colorado Gold.

Sue: My favorite drink is Diet Coke. I am particularly open to this approach when the venue is Pepsi only!

Kerry: Excellent. I’m a Coke fan myself, so if the venue happens to be misguided I will try to snag you a drink from somewhere. Thank you again for taking the time to answer my many questions.

Interview with Jessica Renheim, Associate Editor of Dutton/Penguin Group

Interview originally published at Chiseled in Rock blog by Dave Jackson on June 4, 2014.

Rocky Mountain Fiction Writers is pleased to welcome Jessica Renheim to the Colorado Gold Conference September 5th through the 7th.

jessicarenheimJess joined Dutton in 2007 and has been there ever since. She edits both fiction and nonfiction at Dutton, including speculative and paranormal fiction, mystery/crime, thrillers, narrative nonfiction, and memoir. Among the bestselling and critically acclaimed writers she has worked with are the #1 New York Times bestselling authors Richelle Mead and Kelley Armstrong, as well as New York Times bestselling and award-winning writers Mark Adams, Dan Savage, Stephen White, Meg Gardiner, Brian D’Amato, Jennifer Lee Carrell, Raymond Khoury, and David Rich.

We are particularly pleased to interview Jessica because she apparently makes rare appearances on blogs!

CIR: How important is it for an author to be flexible with edits? By the way, I’m so flexible my leg is curled around my head as I write this.

JR: Flexibility with edits is always very welcome, but ultimately it’s the author’s book so he/she is going have the final say on most things. The editor’s primary job is to provide guidance where we think it’s needed. Is a certain character feeling too one-dimensional or predictable? Is it too easy to guess the mystery at the heart of the novel? Or is there some inconsistency between the start of the story and the climactic showdown at the end? These are the kind of editorial questions and concerns that may need to be addressed to make the book better, and I’ve been very fortunate to work with talented writers who can step back from their work and assess what’s clicking and what needs to be reconsidered.

CIR: In just the past few years the major publishing houses have become very active with electronic publishing. Can and or will this open the door for more experimental stories to be published in New York from unknown authors since costs can be saved on printing?

JR: I think so. There are quite a few digital original or digital only imprints publishing new authors across different genres these days. One recent example is Tor.com announcing the launch of a new imprint devoted to publishing original novellas, shorter novels and serializations. This seems like a natural area of growth for science fiction and fantasy, and a great way for aspiring writers to get stories published that wouldn’t have been the right fit for more traditional formats due to length or other considerations.

CIR: Have you had the chance to meet any celebrities and if so, who was the coolest?

JR: Dutton publishes the occasional celebrity book, but I have yet to work on one. There have been few brief encounters. Nick Offerman has come by our office to work with his editor. John Hodgman gathered a sizeable group of his (well-known) friend to shoot a scene for his book trailer at the office once. If you watch the trailer here http://www.funnyordie.com/videos/4cc168ca62/that-is-all it’s the scene in the conference room. I also worked on It Gets Better and American Savage with Dan Savage, who is so lovely and down to earth that I sometimes forget he’s a celebrity.

CIR: Did you always know that you wanted to be in the publishing business, an editor?

JR: I think by senior year of college I realized that I wanted to pursue a job in book publishing. I was lucky enough to attend the Columbia Publishing Course, which not only led directly to my job at Dutton, but also helped me to decide that becoming an editor would be the best fit for me. It’s incredibly fun and rewarding to work with an author through the entire process, from acquisition to well after his/her book hits stores and online retailers.

CIR: Because we strive to be unique, I must ask a bizarre question. How do you think Charles Dickens would have felt about E publishing?

JR: Well, Dickens was a prolific writer whose novels were mostly published in monthly or weekly installments, a format that allowed him to evaluate his audience’s reaction and use that feedback to shape his stories. Serializing his novels also made them cheaper and more accessible, so my guess is that Dickens would have loved the greater flexibility and access digital publishing affords to readers.

CIR: I have to ask this one because many friends and I have experienced it a couple of times. If an editor had very encouraging things to say about a manuscript, but rejected it stating that it would be better as a…we’ll say a YA, or any number of other succinct suggestions…and the author revamps it as such, do you think the writer is out of bounds to try a resubmission?

JR: It’s a good question. I think if an editor feels strongly enough about a manuscript to provide very encouraging and specific feedback before ultimately rejecting it, then it’s fair game to resubmit the manuscript if it’s been substantially reworded. There’s always an exception to the rule, of course, but in general editors are looking to fall in love with a project and champion it. As long as you’re not submitting a newly revised YA novel to Dutton—where we only do adult books—chances are the editor will take another look!

Thanks Jessica!

We look forward to seeing you at the Gold!

Interview conducted by Gusto Dave

RMFW Spotlight on Susan Brooks, Colorado Gold Conference Chair

Susan BrooksSusan Brooks has been conference chair since 2011.  She is Editor-in-Chief of YA and Children’s Divisions of a traditional publisher and has an MA in Publishing from George Washington University.

Registration for the Colorado Gold Conference opened on May 1st. The conference is scheduled for September 5-7 at the Westin in Westminster, Colorado.

1. Susan, tell us what you do for RMFW and why you are involved.

I am the current conference chair, which means that I organize Colorado Gold. RMFW is such a wonderful organization and I love the mission of helping people learn. My biggest goal as conference chair is that each conference is better than the last one.

I initially got involved with RMFW in 2008. I had taken a long break from writing and after some life changes I wanted to write again. I knew I needed a critique group because I hadn’t written in such a long time. I searched online and found RMFW. I learned about the free monthly programs and I went to a few those. I met wonderful people at each event. One of them asked if I wanted to volunteer and do hospitality for the monthly workshops. I agreed, and once I started doing hospitality, it was a slippery slope. Pamela Nowak reeled me in to replace her as conference chair in 2011.

2. What is your current WIP or most recent publication, and where can we buy a book, if available?

My current WIP is a paranormal romance and I am working on my second draft. I have been published for other writings, but no novels as of yet. I blog at http://susanbrooks.wordpress.com/ and I occasionally tweet as @oosuzieq.

3. We’ve all heard of bucket lists — you know, those life-wish lists of experiences, dreams or goals we want to accomplish– what’s one of yours?

I really love helping other people solve problems, especially with stories. I think it is hard for us as writers to see our own plot or character problems. We all need another set of eyes to see what we are blind to. That is why I like editing so much. I really want everyone to be successful and am sometimes surprised by really good stories that get rejected. So one of the bucket list projects is to start a traditional publishing company. I want to publish stories that I really like!

4. Most writers have an Achilles heel with their writing. Confess, what’s yours?

My Achilles heel is that I am a pantser by nature. I love the creative process of just sitting down to write something and exploring my characters, and finding out what happens with them on the page. It suits my recursive brain to write this way. When one of my characters says something I didn’t anticipate for example, I love being surprised by that. But, the problem with being a pantser, and an ADD pantser whose brain naturally runs in tangents, is that I have spent a great amount of time writing pages of my particular story that do not actually have anything to do with my intended plot. These tangents are fun, but they don’t get me to the end. And when you have ADD it is most important to be focused.

Over the years I have learned that I must create an outline so that I can get to the end. I don’t outline every detail and I am still happily surprised by some things that happen on the page, but I know what has to happen in the chapter I am working on so that I can get to the next chapter, and get to the end. This means I have become a plotter by necessity. I absolutely must have the structure. It’s funny because I have set up a rather intensive structure in other areas of my life, such as project management tasks for the conference. It just took me a while to figure out that I needed structure for my writing too.

5. What do you love most about the writing life?

I love the element of discovery. I love when I am writing, based upon my outlines now, and something happens on the page that I did not intend. It’s magical and surprising and it excites me and sometimes frustrates me because I have to revise my outline to make it work. Sometimes I can’t make it work and I have to edit it out. But, discovering that creative spark is my favorite thing. The rest of the process is not my favorite. It is work and I have to settle down and focus in order to do it.

6. Now that you have a little writing experience, what advice would you go back and give yourself as a beginning writer?

I would definitely talk myself into outlining from the start. The thing about the outline is that you can change it if something magical happens on the page which you didn’t intend. Just tweak the outline so that everything gets resolved. With an outline you still know what you need to write in the next chapter which is imperative to move forward as a writer. Outline, little Suzie! Outline.

7. What does your desk look like? What item must be on your desk? Do you have any personal, fun items you keep on it?

Well, I have two desks actually. And I write at both of them. I also write at the kitchen table, and at the coffee table in the living room. I write with a lap desk on the chaise lounge with the cat, and occasionally in a coffee shop or a bar. I don’t have one particular place, which is probably an ADD thing. I aspire to have a regular place, and a regular writing time, and a regular routine, but I don’t. Over the years I have just come to accept this about myself.

The most important thing is not the location, but my ability to focus. I actually found an audio recording that induces brain wave patterns for focus and that has been the most helpful. The recording is saved on my laptop so I just plug in the headphones and go to work in whatever places seems best at the time. The recording is that item that I must have. Otherwise, every little thing distracts me, from shiny objects to birds flying by. I also use the audio recording when editing, or working on conference tasks or doing other things that require more than 20 seconds in a row.

8. What book are you currently reading (or what was the last one you read)?

This is a funny question for me to answer. As I mentioned earlier, I am a tiny bit ADD. And part of my reading process is that I read multiple books at a time. It tends to take me awhile to get through them all, but I always remember where I left off and I don’t get the storylines confused. I don’t know how that works, but it is how I read. I am reading several books to learn new things, like Google Analytics, but I won’t list those here because they are boring and not at all fun.

At this moment, I am re-reading Dragonfly in Amber by Diana Gabaldon. She is one of my favorite authors and has a new book coming out in this summer. I wanted to re-read the series from the beginning because it has been so long since I read them. I am also reading Hotel Transylvania by Chelsea Quinn Yarbro. This is a series that I haven’t read since…I can’t remember when, She does some interesting things with character development. The main character is Saint Germain, a heroic vampire.

I am also reading The Chronicles of Amber by Roger Zelazney. Zelazny is wonderfully creative with plot, and again, this is something I read long ago and wanted to read again. I am reading Bruce Lipton’s Biology of Belief. Lipton is a rogue cellular biologist. Science interests me, though it definitely is not my forte. I am also reading a few different books on mythology, which are perpetually in the book stack just because I love the topic. None of these books mentioned were in my “angst pile” which is that stack of books that I want to read but haven’t yet. Reading all the books in the angst pile might need to be listed above as a bucket list item!

Current and Upcoming Events with Rocky Mountain Fiction Writers

Special Note: Time is running out.  The Colorado Gold Writing Contest for unpublished novelists will be accepting entries until June 1st. You’ll find all the rules and entry instructions (and the names of the final judges) on the contest page of the RMFW website.

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Upcoming Classes (for more information and registration, click on the class title):

Scenework: Writing the Robust Scene (Online Class)
Presented by Trai Cartwright
Monday, June 2 thru Sunday, June 15

Reading Aloud: Public Speaking for Writers (Free Program)
Presented by Chris Devlin & Aaron Ritchey
June 7, 2:00 P.M. to 4:00 P.M.
Lakewood Arts Council, Lakewood, CO

RMFW Advanced Screenwriting
Presented by Trai Cartwright
June 15 thru August 3
3498 Elmsworth, Lobby Media Room,
Cherry Creek, CO

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Registration is Open for the Rocky Mountain Fiction Writers Conference
September 5-7, 2014
The Westin, Westminster. Colorado
The schedule of workshops and master classes, the list of visiting agents, editors, and guest speakers, and registration information can be found on the conference page of the RMFW website.

Don’t forget that we’re interviewing as many of the agents, editors, and keynote speakers as we can before mid-August. You can find the a list of links to the published interviews on the Special Guest Interview Page.

Look Who’s Coming to the Colorado Gold Conference: Meet Bestselling Author William Kent Krueger

Interview by Susan Spann

New York Times Bestselling author William Kent Krueger is not only a talented author (and the winner of the 2014 Edgar Award for Best Novel), also a fabulous and approachable person. I’m looking forward to meeting him in person at this year’s Colorado Gold Conference, and after this interview, I’m sure the rest of you will be looking forward to it, too. Since his website leads with “Call me Kent,” I hope he’ll forgive us that liberty here as well:

Here’s a little more about Kent: 

WKKruegerRaised in the Cascade Mountains of Oregon, William Kent Krueger briefly attended Stanford University—before being kicked out for radical activities.  After that, he logged timber, worked construction, tried his hand at free-lance journalism, and eventually ended up researching child development at the University of Minnesota.  He currently makes his living as a full-time author.  He’s been married for over 35 years to a marvelous woman who is an attorney.  He makes his home in St. Paul, a city he dearly loves.

Krueger writes a mystery series set in the north woods of Minnesota.  His protagonist is Cork O’Connor, the former sheriff of Tamarack County and a man of mixed heritage—part Irish and part Ojibwe.  His work has received a number of awards, including the Minnesota Book Award, the Loft-McKnight Fiction Award, the Anthony Award, the Barry Award, and the Friends of American Writers Prize. Northwest Angle (2011) and Trickster’s Point (2012) were New York Times bestsellers. 

A stand-alone novel, Ordinary Grace, was released in March 2013 and also became a New York Times bestseller. The thirteenth book in the Cork O’Connor series, Tamarack County, is scheduled for release in August 2013.

And now, let’s get to know even more about this very special guest:

Susan Spann: How and where did you come up with the idea for your first novel?

Kent Krueger: Iron Lake, the first novel in my Cork O’Connor series, was an evolutionary process. I began with the seed of an idea for a character. All I knew about him at first was that he was the kind of guy who was so resilient that no matter how far life pushed him down, he would always bob back to the surface. His name would be Cork. My next decision was to set the work in the great Northwoods of Minnesota. Then, because I was a great fan of Tony Hillerman, I decided that I would include the Ojibwe culture as an element. And my final decision—probably because of Hillerman—was that it would be a mystery.

What I’ve described sounds very linear, but in truth, it was all a jumble that I was sorting out as I thought everything through. I’d been trying to write the Great American Novel for years, and was sick of it. I wanted to write something that would appeal to a broad range of readership, and when I really took a look at what people were reading, I saw mystery novels everywhere. I thought it might be a refreshing change, so I altered my literary course and found a direction that proved satisfying to me on so many levels.

SS: I understand that you prefer to write in a coffee shop. Do you ever write anywhere else? And how does the coffee shop environment create an inspiring and positive influence on your creative process?

Kent Krueger: I began writing in coffee shops for a very practical reason. My wife was in law school, we had very young children, and I was the sole support of our household. When I came home at the end of a work day, I had no time or energy to write. But I knew that if I wanted to develop my art, I needed to find a way to do that on a regular basis and still meet my responsibilities to my family. I took a lesson from Hemingway, who loved to rise at first light and write. He felt it was the most creative time of the day. We lived a couple of blocks from a coffee shop that opened its doors at six a.m. So there I was every morning with notebook and pen in hand waiting for them to unlock. I’d sit down, they’d pour me coffee, I’d open my notebook, and for the next hour, I’d bend to the writing.

I find now that if I try to write at home, the environment is too quiet. I hear everything—the furnace cycling on and off, the dishes crying from the sink to be washed. The phone rings or someone knocks at the door, and I’m required to answer. At the coffee shop, I have no responsibilities except to my writing. In its odd way, it’s a very liberating environment.

SS: If you could return to the beginning of your writing career, knowing everything you’ve learned along the way, would you do something differently? Why or why not?

Kent Krueger: I would give up trying to write the Great American Novel a lot sooner. Now, there’s an aspiration that I’m sure has done in its share of fine young writers.

In terms of my career as a genre author, I can’t think of anything that I might choose to do differently. It’s been a pretty good ride. I’m proud of my body of work. I have a great readership. I enjoy a strong relationship with my publisher and editor and all the folks at Atria Books. I love my agent. I make a decent living. And when I do book events, lots of people gather to tell me they like my work. What could be better?

SS: What inspired you to write mystery novels? What do you like most about the genre?

Kent Krueger: I turned to mystery writing during a mid-life crisis. At the age of eighteen, I’d fallen in love with Hemingway, both his Nobel prize-winning prose and his mythic image. I wanted to be Ernest Hemingway. I tried for way too long to write a novel as he might have written it, which was stupid on so many levels I won’t even go there. In my early forties, I decided it was time to write something else, something someone might actually enjoy reading. I looked around, and what I discovered was that people everywhere, in all circumstances and at all social, economic, and educational levels, enjoyed mysteries.

What I realized when I read and then began to write mysteries was that there is a structure to the story that is simple yet sturdy, and most importantly, flexible. Mysteries begin with something happening. Usually this a crime, often a murder. Investigation follows. And answers are found. That’s it. Simple, right? A structure anyone can use. But its real appeal, I believe, is its flexibility. Within that simple structure, a writer is free to do anything he or she may want to do. Historians write historical mysteries. Funny people write humorous mysteries. And someone who wants to talk about important issues—social, philosophical, spiritual—can do just that within the loose framework of a good, compelling mystery. The reach of the crime genre is so broad that it can embrace any interest that a reader or writer might have. I think of it as a very egalitarian form of prose. There’s a reason it’s called “popular fiction.”

SS: Could you tell us a little about your personal editing process? What happens after you finish the first draft of a new manuscript?

Kent Krueger: I write the first draft rather slowly. Usually I’ve thought the story through significantly, so I know the basic plot. What I focus on in the actual writing are the narrative elements: language, setting, character development, themes, atmosphere. When I’ve completed the first draft, the revision tends to be rather brief (because I hate revising!)

My agent, who is wonderful, always critiques my manuscript before I send it to my publisher. She—and a few of her selected colleagues—read the manuscript and offer me feedback. I revise based on their suggestions, then it goes to my editor. She also has suggestions. As does the copyeditor. (I never feel more stupid than when I look over the copyedited manuscript and see all my errors.)

SS: Of all the novels you have written (published or unpublished), which one is your favorite and why?

Kent Krueger: Ordinary Grace, which is not a part of my series, is my personal favorite. I tapped the deep roots of my own experience for this novel, and that allowed me to speak significantly about issues that have been important to me all my life. When you’re the author of a popular series, it’s risky to write something different. Readers may not be willing to follow you to a new place. But the story of Ordinary Grace, when it finally crystallized for me, was so compelling that I had to write it. I didn’t know if my publisher would be interested. And even if it was published, I had no idea if anyone would buy it. But the reception—the sales, the awards, the personal response from readers—has been so gratifying.

*A Note from Susan: Ordinary Grace, the novel mentioned above, just won the 2014 Edgar Award for Best Novel. On behalf of myself, and RMFW, I’d like to offer special congratulations on the award - it’s a wonderful thing when a novel that’s so special to the author receives such fabulous recognition! 

And now, the speed round:

SS: Coffee, tea, or bourbon?

Kent Krueger: Oh, coffee, coffee, and more coffee.

SS: Outlines or no outlines?

Kent Krueger: Outlines, usually, though not for Ordinary Grace.

SS: Cats, dogs, or reptiles?

Kent Krueger: None. I travel too much.

SS: What was the last book you read purely for enjoyment?

Kent Krueger: I reread, for the umpteenth time, Harper Lee’s masterful To Kill A Mockingbird.

SS:  Thank you for joining us here on the RMFW blog. We’re honored, and excited, to welcome you to Colorado Gold this September! 

Growth

by Pamela Nowak

The other day, I began working on my presentation for two upcoming conferences and a thought slammed through me. Ten years ago, I wouldn’t have even imagined myself in such a position.

Ten years ago, I wasn’t published. I had—finally—placed in and won a few contests after years of attending critique group, entering again and again, and plugging away at rewrites. At that stage, I was “getting close” and my critique partners were telling me I would sign a contract “any day now.” Still, I hadn’t crossed that threshold. I didn’t think I’d learned enough, and I certainly didn’t think I had anything to share in front of conference attendees.

I remember my first conference…twenty years ago. Twenty years ago, I sat in awe of the presenters. And, here I am, preparing a presentation…my tenth one, I think. Growth is an amazing thing!

But growth doesn’t occur in a vacuum and it doesn’t occur without effort. It doesn’t happen because one calls oneself a writer for a few (or more than a few) years. It doesn’t appear because one claims membership in a few writing groups. And it doesn’t get bestowed upon us just because we tinker around with writing and call ourselves writers.

Growth happens when we practice our craft, when we put our work out there and allow others to give us feedback. It occurs when we listen to critique and learn from it. We grow when we read books and observe what others are doing. We stretch ourselves each time we attend a conference or a workshop or class with the attitude that we will gain something from it. There is always a technique or tool that is new, another layer, a unique way of seeing an element of craft if we open our minds to seeing. We need only recognize that our work always needs improving and look for ways to make our writing better.

I find, even in preparing for the workshop, that I am growing. Each element I prepare to share with others leads to more growth of my own writing. As I glean examples to share with attendees in my session, I realize there are techniques I need to apply more often to my own writing.

And as I recognize that, I renew a promise to myself. This year, in all I do and in every conference I attend, I will look for ways to grow and things to learn. Whether it be in socializing with old friends, interacting with attendees as a presenter, or seeking new knowledge while sitting in the audience at a workshop, I will open myself to learning all I can and growing further.

Join me?

An Interview with Terri Bischoff, Midnight Ink Acquisitions Editor … by Linda Joffe Hull

Linda Hull_Terri BischoffTerri Bischoff  (@TerriBischoff), is not only my editor and close friend, but a perennial favorite at our annual Colorado Gold Conference. She joined Midnight Ink as an Acquiring Editor in October 2009. She leads all editorial directions and creates the seasonal lists. She has dramatically increased the number of titles per season, publishing 36-38 titles per year, as well as expanded the type of crime fiction Midnight Ink now publishes. Before signing on at Midnight Ink, she worked at Kramer Books in Washington, DC, and owned Booked For Murder Mystery Bookstore in Madison, Wisconsin. Several other Colorado authors have books coming out by Midnight Ink, including Mark Stevens, Shannon Baker Maggie Sefton, and Laura DiSilverio. Terri is looking forward to hearing pitches from potential new voices this September.

Welcome to the Rocky Mountain Fiction Writers blog, Terri. Thank you for agreeing to this interview.

1. Midnight Ink is known for publishing cozies, but I’ve noticed the list is diversifying with some really interesting upcoming titles. What else are you looking for these days and how many books per year are you acquiring in each sub-genre?

I am looking for a good story that I fall in love with. The one where I have to stay late or take home over the weekend because I need to finish the manuscript. I tend toward books that have strong characters. I am currently pubbing books ranging from traditional cozy to serial killer dark.

2. As an acquiring editor, what plot and/or character do you never want to see again? What would you love to see in the next manuscript you read?

I don’t ever need to see another baby kidnapping/smuggling ring. What would I love to see? Hmmm… There are some holes in my line, for example, I don’t have a historical series or a police procedural. A female assassin would be cool. It really doesn’t matter, as long as I fall in love with the book.

3. What’s the best advice you can give to writers submitting their first novels?

To go through a critique or professional edit before submitting. I no longer have time to work on manuscripts. In the past I have done up to three rounds of revisions with an author before I put the book into production. I can’t do that now. The book needs to be solid from page one.

4. So you recommend that authors pay to have their manuscripts professionally edited before submitting?

I don’t think it’s mandatory, but the advice of a solid critique group or that of a professional editor can give you an advantage over other submissions, especially if you do not have an agent. At Midnight Ink, after I have acquired a manuscript, both the production editor and I make a list of revision requests. This is generally for content, but occasionally we will point out some copy edit issues. After the revisions are sent back in to me, I put the book into production, where the production editor will do line edits with the author. At other publishing houses, the acquiring editor does both the content and copy edit – but they also don’t acquire as many books as I do. But as I mentioned above, a polished ms will put you ahead in the submission process.

5. What is the easiest and hardest part about your job as an editor?

That is a hard question. The hardest is breaking up with an author. I don’t think there is a part of my job that is consistently easy. But the best part of my job is getting to know my authors.

6. How have changes in the world of publishing impacted your job in the last year?

To me it feels like the last year has been holding the status quo. Ebook sales have leveled out. The loss of Borders has been absorbed. Specific to my job, I do feel like I am getting a higher caliber of submissions. I have picked up a few more authors who have published with the big five (new series or stand alones.) But I am still committed to finding debut authors to balance out our line.

7. You’ve been to the RMFW conference a number of times. What keeps you coming back? (Besides your adoring authors, of course.)

The sense of community is amazing – it doesn’t matter if you have published 25 books or if you just started writing last week. The conference itself is very well run and informative.

8. What advice would you give authors who plan to pitch their novel to you at Colorado Gold?

Keep your presentation short, but include all the important info – if the ms is complete, word count, sub-genre, comparable authors. And give me the first five pages of your ms. That will tell me more than your presentation.

9. Conferences can be expensive and daunting, while querying agents and editors these days is really only a matter of sending off an email from the safety of your own home. How much of an advantage do you think there is for writers to attend conferences and meet and/or pitch you personally?

I am only taking unagented manuscripts from people who have pitched to me at a conference. Otherwise the only way for me to see it is if the author has an agent. Beyond that, I am more likely to take on a borderline project if I have met the author and feel good about the working relationship. And if I reject a manuscript, I may give the author feedback rather than a form rejection.

10. Are you coming into town early to allow extra time for some shopping and a mani-pedi with me while you’re here?

Maybe shopping, but no mani-pedi. I think I am still a bit traumatized from my first pedicure with you, thank you very much.

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

Linda Joffe Hull is the author of The Big Bang (Tyrus Books) and Eternally 21 (Midnight Ink) the first title in the Mrs. Frugalicious mystery series. Linda is a longtime member and former board member of Rocky Mountain Fiction Writers and currently serves on the national board of Mystery Writers of America. She is the 2013 RMFW Writer of the Year. Her next mystery, Black Thursday, will be released in October 2014. To watch a recent interview with Linda please go to Off the Page on You Tube  or visit her website. You can also find her on Twitter.