The 2013 Colorado Gold Contest for Unpublished Writers

Are you thinking about entering The Colorado Gold Contest for unpublished writers?  Let me ask you something first, before sharing my thoughts. It sounds as if you’re trying to find an excuse to avoid entering. Why? What’s the problem?

What?! You’re afraid you won’t win? Well, pull up a chair and let 's talk about winning. To be honest though, I’m also anxious to talk about losing.

Yes, I’ve won my share of contests and it’s exciting. First you receive word that you’re one of the finalists in your category. At the big banquet, all spiffed in your fancy pants, your heart pounds when your name is called. You bolt to the podium amidst waves of applause. And then, the moment of truth. Who won? You did? Applause! The editor picked your entry and now she’s shaking your hand!

Shhhh… Here’s what you’ll do later, right? You’ll find her in the bar or hospitality suite and thank her for selecting your manuscript. Then, at the perfect moment, she’ll undoubtedly lean close and slip you a three-book contract.

Ahem. You really do write fiction, don’t you?

What will really happen is that you'll have an edge, and the final judge in your category might just request a full. Regardless, you’ll have increased confidence as well as additional credentials to boost your resume, which is very helpful in this profession of ours. But wait, there's more.

Cut to scene at pitch meeting: ME, many years ago: “Hi, Big $$ Agent! I’ve had several articles published as well as one short story, and I just won first place in the Colorado Gold Contest for my time-travel, Soliloquy... Yes, it’s complete, about 80,000 words. Sure, I have a few pages with me. Here.”

BIG $$ AGENT (flipping through the first three pages): “Well, at least you can write. Here’s my card, send me the manuscript next week. I'll take a look.”

Happy dance! Was it because I’d polished and honed and studied and fussed and fumed and listened to my friends in critique regarding those first 20 pages, which helped me win the contest? Most likely. But I didn't win first place the first time I entered.

Speaking of not winning, I want to talk about losing a writing contest and why that’s not a bad thing. Yes, I know it’s not politically correct to say “you lost,” but if you didn’t win that means you lost. Or does it?

Alone, in the dark (and sometimes stormy) night, I’d written my first book. Then I attended a class on How to Get Published. At the class I joined fellow attendees to form a critique group (Uff Da!). During that class I also learned about writing organizations, conferences, and contests. I learned about RMFW. I wasn’t alone anymore.

Entering my first Colorado Gold contest was scary-fun. I remember being chew-on-your-elbows nervous when preparing my entry, to the point that I probably had the rules memorized from double-checking them. I already mentioned I didn't win first place in that first contest I entered. But in retrospect I did win, BIG time.

The RMFW conference and contest were my first real foray into the big, bad world of publishing. When I didn’t win first place I was flattened. Think fresh asphalt on a hot day. I was so certain that I would be the next Zenna Henderson or Julian May. The world of fantasy would be mine for the taking… and it wasn’t. But the writers and editors and agents at the conference welcomed me to their panels and luncheons and dinners, and we talked, talked, talked about writing and publication. I doubt that I’ve ever learned so much in so few days. But I was still sad about not winning first place.

At some point I hitched up my britches, grabbed a cup of tea, and carefully arranged my score sheets on the dining room table so I could study them on a warm, optimistic morning. Oh no, look at this, where I keep shifting POV! Oh no, look at that passive text! Deep breath. Oh wait, here’s a nice comment. This judge liked my synopsis, said the overall story holds together. And this judge said my voice is INCREDIBLE. All in caps! Wow! Then she said if I’d tighten my pacing, address a few mechanical issues such as POV and passive text, that she would have purchased my book if flipping through it at a bookstore!

I’d already sent out at least a half-dozen queries before entering that contest. I should dig them out and send apologies to each of those editors. Don’t get me wrong, I’m proud of my first manuscript, my very first try at novel-length fiction, but I now recognize how poorly it’s crafted, that it lacks pacing, subplots, and world-building. The comments from the contest helped me recognize what I needed to study to improve my next effort. And manuscript number two was better. I kept entering contests, reading, attending critique, learning, and most importantly, writing new words. Then, with manuscript number three I finally landed my first publication contract.

But let’s talk rejection for a moment. There could be an analogy made between losing a contest and that loss preparing you for a glimpse of the future, when query after query might trigger rejection after rejection. In other words, the contest is kind of an apprenticeship for the world of publishing. You want to win the contest and you want to win a publication contract. To win either there are lessons to be learned, words to write, worlds to conquer.

When an agent sends comments with a rejection this is a compliment, even though they're attached to a rejection. Just like in the contest, there are lessons to be learned from those comments. Yes, you do have to filter all comments, decide if you agree or disagree. But your writing will improve and someday you will win! First you’ll land an agent or you’ll meet an editor and pitch to them. They’ll love your story idea and request a partial, then a full. You’ll receive an offer and then… a contract!

So when it comes to writing contests, it seems as if losing might just be winning. Of course winning is winning as well. Guess that means you can’t lose, doesn’t it?

Janet Fogg
RMFW's 2013 Colorado Gold Contest is now open!  See submission guidelines at http://www.rmfw.org/contest/ for full contest information!

Northern Colorado Writers Conference April 26-27

Time is running out to register for the Northern Colorado Writers Conference in Fort Collins, Colorado, scheduled for Friday April 26th and Saturday April 27th. The event is being held at the Fort Collins Hilton on Prospect near the Colorado State University campus.

The keynote speaker for this conference is actor, traveler, and writer Andrew McCarthy. He is best known for his roles in the 80's classics, Pretty in Pink, Weekend at Bernies and St. Elmo's Fire, but has nowadded author to his list of accomplishments. His memoir, The Longest Way Home, One Man's Quest for the Courage to Settle Down, was recently released and has been well received by critics.

The workshops and instructors for this conference include:

Tap Into Your Creativity, Instructor Dr. Joan King
Write a Breathtaking Action Sequence, Instructor Bonnie Ranthum
Rejection is Not a 4-Letter Word, Instructor Mike Befeler
Successful Self Publishing, Instructor Teresa Funke
Dialogue and Setting: Letting Your Characters Speak and Live, Instructor Todd Mitchell
Jumpstart Your Rewrite, Instructor Trai Cartwright
When, If, Why, and How to Use Sex Scenes in Your Writing, Instructor Laura Pritchett
Top Reasons Agents Stop Reading Your Manuscript (And How to Keep Them Hooked), Instructor Anita Mumm

And many more. Check the full listing on the Northern Colorado Writers website conference pages. You can also find detailed descriptions of each session here.

Note that there are no agent-editor individual pitch sessions. This year NCW is featuring agent round tables. See the agent-editor page for details.

Your conference registration includes:

REGISTRATION INCLUDES:

*Tote bag with a copy of Andrew McCarthy's memoir, The Longest Way Home.
*A certificate for a 30-minute consultation with Kerrie Flanagan
*Chance to win a weekend writing retreat at a cabin in Crystal Lakes
*Chance to win a registration to the Rocky Mtn Fiction Writers Gold Conference in Sept.
*All meals and snacks
*Choice of 27 workshops
*Opportunity to meet with agents and editors to discuss your project.
*Program booklet that includes all the handouts
*Access to the NCWC bookstore
*Inspiration, encouragement & knowledge
*3-hour preconference workshop from 9:00-12:00 on April 6, led by the conference director.


I hope you'll consider joining us in Fort Collins for the best little conference for writers in Northern Colorado. And check that faculty lineup again and notice how many of the instructors are published members of Rocky Mountain Fiction Writers.

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*For non-conference attendees, there will be an Andrew McCarthy Book reading and signing of his memoir, The Longest Way Home, on Saturday, April 27, 10:15am-11:30am at the Hilton. There will be 100 seats available: 20 VIP 80 General. There were only a few seats left the last time I checked, so go here to confirm availability and register.

*Again, this event is meant for those not attending the conference.

Posted by Pat Stoltey who's looking forward to a great time at the conference.

A Call for YA Author Contacts from the RMFW Conference Chairperson, Susan Brooks

The Rocky Mountain Fiction Writers 2013 Colorado Gold Conference Chairperson, Susan Brooks, is putting together a list of best selling YA authors who might be interested in being a conference keynote speaker or in presenting conference workshops, participating in panels, etc.

Many RMFW members write in the middle grade/teen/Young Adult genres, so expanding the conference offerings would help this group a great deal.

Susan says she is interested in both traditionally published and indie published authors as long as they have a good sales record. If you can add any author names (and hopefully their contact information) to Suzie's list, please e-mail her at conference at rmfw dot org (you know the drill to make the e-mail address work, right?).

The Colorado Gold Conference is held in September in Denver, Colorado. You can get an advance peek at the special guests and agents/editors lined up so far by visiting the conference page of the RMFW website.

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Posted by mystery/suspense author and regular CIR contributor Patricia Stoltey who sometimes hangs out in an alternate universe.

Getting Online with RMFW and Colorado Gold

By Pat Stoltey

If you’re attending the Rocky Mountain Fiction Writers Colorado Gold Conference in Denver this weekend, and if you’ll have your laptop or a gadget with access to the web, here are a few things you’ll want to know.

Twitter

The official RMFW Twitter ID is: @RMFWriters

Watch for and use this hashtag for conference tweets: #RMFW2012

The Twitter ID for Chiseled in Rock blog is: @Chiseledinrock


Facebook

Rocky Mountain Fiction Writers is here:
https://www.facebook.com/rockymountain.fictionwriters

Chiseled in Rock blog is here:
https://www.facebook.com/groups/234259013309874/


Hope to see you this weekend.

Q & A with Rocky Mountain Fiction Writers President Mark Stevens

Mark Stevens has been a journalist, producer of field documentaries, bartender, and now works in public relations while he writes mysteries set in Colorado. His first published mystery, Antler Dust, introduced hunting guide Allison Coil. Buried by the Roan, the second book in the series, focuses on fracking (hydraulic fracturing), a controversial technique for extracting oil or natural gas from certain types of rock.

Pat:  Mark, how did you first hear about Rocky Mountain Fiction Writers and when did you join?

Mark:  I wish I knew. I wish I could go back in time and remember who first pulled me in and what year it was because I know I didn’t appreciate it at the time—the first interaction with RMFW. (If anyone out there remembers, drop me a line.) Eight years? 10? I started going to a few workshops around town—the coolest free deal out there—and finally decided to attend a conference. This was years before I was published. I remember realizing the wealth of talent and everyone was so willing to offer ideas, discuss, chat, or share a coffee or adult beverage. And then something really profound dawned on me. All these people had the same questions I did about putting together quality prose, about constructing tight plots, about making dialogue work, whatever. I soon realized you get more out of RMFW than you put in and I thought, well, I’d found my people. I’m not much of a “joiner” in general but it felt easy and fun to hang out with my pals in RMFW. And joining put a bit of discipline into my writing so when people asked “what are you working on?” I didn’t just have a blank look on my face.


Pat:  How many members does the organization have at this time? Are they all from Colorado?

Mark:  We have 450 members representing 18 states from Washington to Florida and 1 in British Columbia. 90 percent are in Colorado.


Pat:  What does the organization offer for beginning fiction writers?

Mark:  Plenty! If I were advising a beginning fiction writer, I’d say go to the monthly workshops and sample the wide variety of coaching, information and inspiration available there. Did I already mention they are free? I think so. It’s such an easy way to meet fellow writers and pick up on some good, regular coaching. Once you see how darn friendly everyone is, join RMFW for a mere $45 and check out the monthly newsletter for other opportunities, book signings, more events and articles and insights about all aspects of the business. Then, check out a critique group. Bring some of your work to share and listen to the feedback—see if the group would be a good fit for your style. Next, submit an entry to the contest (watch the website for when the contest opens in the spring) and see how you stack up. You’ll get some worthwhile comments and maybe a high score. And who knows? (Finalists for this year’s awards were just announced). The next thing you know, you’re having a conversation with a nationally-known editor or agent.


Pat:  Are there additional benefits for published authors?

Mark:  Being published doesn’t mean you’re done. Some of the finest writers around (too many to start naming here) are still frequent visitors to the workshops, the conference, and critique groups. And so many published writers give back by putting on workshops or reading at critique groups or putting on major sessions at the conference. I think the “benefits” for published writers is the same as it is for anyone at any stage in the process—support, friendship, kinship and networking. Endless networking. And if you’re the best prose stylist since (fill in the blank, I’m not here to pick fights) then you might need some insights on the fast-changing publishing world or tips on marketing. It’s always something. Writers who manage to stay at home and pound out the novels are far and few between. They all need to get out there and keep up with the changes.


Pat:  What does RMFW have to offer writers who live too far away from Denver to attend the monthly educational events?

Mark:  Many members drive a long way to come to the workshops (an hour or more). Yes, the workshops are that good. And coming to the conference is a given—we have members flying in from across the country so driving in from around the state should be a snap. Members get access to the email loop (lots of good regular chatter about writing issues), access to the online critique group, and a monthly newsletter (you’ll never feel more connected). Plus, you can just say you belong. You’ve got friends. Friends for $45 a year? What a deal.


Pat:  The RMFW Colorado Gold Writers Conference, scheduled for September 7-9 in Denver, is being advertised as its thirty-year anniversary. Tell us why you think this conference has been so successful.

Mark:  The hospitality suite? Two late-night bashes unparalleled in the history of writer fests nationwide? (I’ve actually never gone to one of the parties.) Actually, too many reasons to name. You have to be there to see it and get it. Feel it. There is so much going on—agent and editor pitches (top-notch agents and editors from both coasts), master classes, stellar workshops, a fun banquet with contest winners announced. There’s just this wonderful buzz happening during the whole event. If you come once, you’re coming again and next time you might bring a friend. I’ve never laughed as hard as I did at last year’s keynote speech by Bernard Cornwell. Also last year, I happened to sit down next to an enthusiastic, upbeat young writer who was clearly working so hard at her craft I knew it would pay off. Now, she’s got a fabulous agent and well on her way. That kind of story is repeated over and over. Our conference chairs hear from these agents and editors that the days are very well run—and they are. It’s like the whole Mentos and Pepsi thing, the combinations can be quite explosive. And no, I’m not referring to the hospitality suite.


Pat:  You’re a published mystery author. What specific advice and training did you receive through RMFW that helped you accomplish your writing goals?

Mark:  Good question—and a tough one to answer. I wouldn’t know where to begin. I can’t cite just one. I don’t even have a list of all the advice or workshops. What inspiration you walk away with one year might be different than what you walk away with the next year—because you’re looking for different things, or you’re exposed to a new way of thinking about a specific issue. And some of it isn’t even all that specific—it’s the atmosphere. It’s being around serious writers and serious agents (some of the funniest people you’ll ever meet) who are immersed in the business, and you see how they talk about reviewing a manuscript, and you get a feel for the level of quality you need to produce to get in the door. You feel as if some of the standards they set might actually rub off on you and, well, I think it does. If forced to mention one specific piece of advice it would be the same one you hear everywhere—write and write some more and then write some more. And then keep writing. It’s a war and we’re all just soldiers doing a bit of battle each day—your job is to grab a pen and crank out the stories and keep the words flowing. You don’t get better by reading advice books—or even going to conferences—you get better by writing.


Pat:  How do you schedule your writing time, your RMFW president duties, work, family, and still get everything done?

Mark:  I don’t know. First things first? A “nail it” approach? Deal with the big stuff first and let the little stuff deal with itself? The one guaranteed part of every day is writing fiction. Forty-five minutes to an hour, every morning, at least five or six times a week. Then, the rest of the day, you know, bring it on. Compared to many others, I have an uncomplicated life and very little of it (okay, none) involves manual labor. So it’s just busy. I can’t complain about that.


Pat:  Tell us something about yourself that most of your RMFW friends don’t already know.

Mark:  I dig reality shows like “Flying Wild Alaska,” “Ice Road Truckers,” “Survivor,” “Amazing Race” and, yes, “Project Runway.” And if someone’s cooking on television, I am compelled to watch. Also love podcasts of all flavors and would love to get some new recommendations on cool new shows.


Many thanks to Mark for letting us give him the third degree this month. And I hope you all will be joining us September 7th in Denver for the Colorado Gold Conference. Maybe we'll see you in the Hospitality Suite? 

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You can get to know Mark better on his website, Facebook and on Twitter at @writerstevens He also reviews books on his blog, Don’t Need a Diagram.

For more information on Rocky Mountain Fiction Writers, visit the RMFW website. The full schedule for the Colorado Gold Conference and registration form is available along with information about guest agents and editors and all presenters.

Q & A conducted by Pat Stoltey via e-mail.

Editor with Kensington Peter Senftleben

If you attend a conference and meet an editor, hopefully you’ll get to chat with someone as cool as Peter Senftleben. We of Rocky Mountain Fiction Writers and Chiseled in Rock have a special place in our hearts for him because he discovered our friend J.A. Kazimer. Her novel Curses, a hilarious and irreverent take on classic fairy tales—think Shrek for grownups—went on sale March 1st 2012.

Maybe his cheerful disposition has something to do with the fact that his background is in engineering and math and he dodged them to do something he loved for the next fifty years. He’s a bit of a Renaissance man.

Peter frequents writers conferences in the Colorado area and we look forward to seeing him again at our Rocky Mountain Fiction Writers Gold Conference.

CIR: Is there lots of pressure from publishing companies to their editors to choose titles that will sell?

PS: Of course, that’s how anyone makes money! Ideally, all the projects we acquire will sell well, but the truth of it is that many don’t. And they ultimately become labors of love for us. We acquire books that we feel passionate about and hope that translates to the general book-buying public, but with so many options out there, it’s not always that easy. The challenge for us is to find books we love that also stand out enough to make people pick them up and get them to read them above all the other choices. For whatever reason, people still may not connect with a book on a grand scale the way we do personally, but those are inevitable and risks pretty much any publisher will take for the right books.

CIR: I’ve heard countless times that writers have to be working publicity angles even if they don’t have a book sold yet to be considered for publication. Is this really a deal breaker if they aren’t?

PS: It depends on the book. That’s much truer for nonfiction than fiction. If a book is good, fits our list, and we think there’s a market for it, pre-sale publicity efforts don’t matter to me (also, what would you be publicizing if you don’t even have a publisher yet?). It’s great to have a website and maybe a blog, Facebook page, Twitter account—for yourself as an author rather than a specific book—as a jumping off point, but there’s enough time between the sale of a manuscript and the publication date that you can get things up and running in the meantime. We’re getting more pressure to include early endorsements, especially for debuts, so personal connections with bestselling authors in your genre are the best thing to develop.

CIR: How important is it for a writer to be flexible about changing their manuscript?

PS: Authors always need to be open to revisions of any size. It’s very rare that a manuscript comes in perfect, and almost never by a new writer. One of the first books I worked on, I basically had the author rewrite nearly three-quarters of the book to change the points of view. There was much resistance, but in the end, he and I both agreed that it was much stronger because of those changes. I’ve also asked authors to change character names because too many started with the same letter. Often, writers get too close to their work and can’t see the weaknesses in it, so they need to be receptive to constructive advice. No editor is out to make the book worse, trust me. If an author is so attached to every single word as they’ve written them, then they should probably look into self publishing instead. Also, inflexible authors are nightmares and nobody wants to work with them, so chances of a renewed contract are slim; sorry, but it’s true.

CIR: What is your dream as an editor? Finding the next J.K. Rowling?

PS: That would be nice, but I think it’s a little bit more personal for me than finding a blockbuster out of the gate (though I suppose Harry Potter took a bit to get going). I have so many books and authors that I truly love and can’t extol their brilliance enough—T. Greenwood, Ken Wheaton, and Lee Houck, to name a few among many—and it would be a dream if more people discovered them and became as fanatical as I am. Also, if they were mega-successful and made tons of money, because then it would just be validation of my tastes and I would be satisfied knowing that I helped make it happen. And maybe I’d get a bigger raise…

CIR: Kensington has open submissions, no agent necessary. Has Kensington found lots of good writers through this submission path?

PS: I know that we have acquired some projects that way—I personally have a couple—so it’s possible, but I can’t speak to the company as a whole or how successful they are. I just don’t know the path every author has taken to get here or their sales figures. But since we’re so commercial and publish a lot of genre books (romance, mystery, thrillers, etc.), we are able to get some quality projects directly from writers, be it because agents haven’t taken them on for whatever reason or authors simply haven’t even tried to find agents. On the flip side, it opens us up for a lot of terrible submissions, too. Like, can barely write a sentence bad.

CIR: Now, staying in accordance with my M.O., I must ask something off track. You had interest in doing stand up comedy. Did you ever try it?

PS: No way! I’m much too shy. That was just a pipe dream for another life.

The genres that Peter accepts are posted on the Kensington webpage.

Interview conducted by Gusto Dave Jackson, urban fantasy and YA western steampunk author represented by the Belcastro Agency.

Original interview posted 11/17/11.

Debra Dixon, Author and Publisher, BelleBooks and Bell Bridge Books

Debra Dixon

Today, Chiseled in Rock has the pleasure of interviewing Debra Dixon, a former Vice-President of Romance Writers of America, multi-published author, and a nationally known writing guru whose how-to book, GMC: Goal, Motivation and Conflict, has become a staple of writing workshops.  Debra’s published work has been awarded the Georgia Romance Writers' "Maggie," A Little Romance Magazine's ROMY, Colorado's Award of Excellence, the Kiss of Death Award for best suspense of the year from RWA's Mystery/Suspense Chapter, and she's received a Romantic Times Career Achievement Award for Innovative Series Romance. Her books have been recognized as finalists for the Virginia Holt Medallion, Romantic Times Best Loveswept, and the National Readers' Choice Award for romance fiction. 

These days, she’s better known as Publisher for BelleBooks and its imprint Bell Bridge Books, which tackles a broad spectrum of genres in both print and ebook formats.  A 2011 company highlight was holding the # 1 spot on the full Paid Kindle list for more than two weeks.  Their titles have been picked up in translation and by major New York publishers in subrights deals for mass market paperback, book club, audio and large print.  The company has published work from NYT’s bestselling authors: Anne Bishop, Susan Addison Allen, Deborah Smith, Sharon Sala, Sabrina Jeffries, Sandra Hill, Jill Marie Landis, and Jill Barnett.  As well as USA Today bestseller Kalayna Price.

Thank you, Debra, for joining us today, and for agreeing to speak at the Rocky Mountain Fiction Writers Colorado Gold Conference in September.

CIR: Please tell us about your role with BelleBooks and how you manage your time as writer, editor, and an award-winning quilter.

Debra:  Time management?  Thank goodness for a great staff and my partner-in-crime, Deborah Smith, our V.P. and Editorial Director.  My role as President and Publisher of BelleBooks/Bell Bridge requires complete focus due to our growth and the changing landscape.  It’s a 24/7/365 job.  I manage time by “choosing.”  You can’t be all things to all people.  That’s the tough part of enjoying so many challenges.  I loved being a writer, but thirteen years ago, I moved on to the next phase in my career, with only the occasional foray into short fiction writing. . .like when an editor colleague cornered me and wanted something for a DAW fantasy anthology.  Sometimes, you have to say, “Yes.”  But my focus is and has been on growing and building the authors who publish with BelleBooks/Bell Bridge.  We have a broad umbrella, strong distribution, and a busy publishing list, but I have to acknowledge that my responsibilities as Publisher trump my desire to keep my fingers in the editorial pie.  I focus on one small area of what we acquire. My list of fantasy, SF, Horror and YA is very tight, carefully selected, focused.  One of our editors is beginning to take on a bit more of the fantasy with my guidance.  Deborah Smith runs the editorial show and does a fabulous job.  The best thing I do is try to let people do what they do well.  That’s the best time management trick I know.  As for quilting, I adore it, but I have to fit it in.  I try to do at least 15 minutes a day.  You’d be surprised at the production that comes out of simply setting a limit on the time and shoehorning it into your schedule.

CIR: It seems as if publishing changes constantly.  Blink and there’s something new.  What do you think we might see next? 

Debra:  Right now I think there is a lot of flash and pow about the future, about the possibilities of what can be done with the technology to enhance and change the reading experience.  But for me, the reality is that publishers need to get their arms around the bread and butter which is the pure fiction reader who wants words on some kind of page whether that is electronic or analog.  Our focus needs to be on discoverability and surfacing books.  We need to find the ways to help recreate the browsing experience or give the reader a new experience that works seamlessly to help them “find their reads.”  So, that’s what I’m looking for is the next big browse idea.

CIR: As a writer, what do you enjoy most and least about the publishing industry?  And as a publisher?

Debra:  I can’t speak for writers these days because that’s not my focus and career.  As a publisher, I love the fact we can discover, nurture and launch amazing authors.  I like a challenge.  Everyday is a new experience.  Something new to learn.  Something new to master.  Publishing is never dull.  It’s always a puzzle, and I like tinkering.

CIR:  As an editor, what would you like to see more of?

Debra:  Amazing voices.  That answer makes writers want to stab themselves, but we are looking for strong voices.  We’d love to see more suspense, thriller, cozy, humorous romance with a big book feel, dark fantasy and urban fantasy.  We love YA, but older YA and new adult.

CIR:  Do you have any pet peeves when it comes to submissions?

Debra:  Folks that don’t read the guidelines.  That shows they haven’t done their homework.  Don’t submit a cozy mystery to me unless you’ve seen me at a conference and I’ve asked for it.  Otherwise, observe the guidelines on the website, which clearly show which genres I’ll review, and choose the right editor.  When writers can’t follow simple instructions, you do wonder how they could possibly handle a revision.  I’d also say that submitting work you have already self-published is counter-productive.

CIR:  Is there a consistent, common mistake you see made in queries?

Debra:  Writers don’t follow directions.  They assume that they are an “exception” to the publisher’s stated needs.  (i.e. Don’t send us poetry even if you think you have the most awesome poetry ever.  We don’t publish poetry.)  For the writers who do follow the guidelines, they often tend to start the story in the wrong place.  It’s almost as if they need to clear their “writing throat” before they can begin the story.  Or they don’t trust themselves enough to deliver the story and they waste precious page space on boring backstory.

CIR:  This fall, when you join us at the Colorado Gold conference, any thoughts on how to make it fun for you and the nervous writer during pitch meetings?  (Would kittens help?  Or pre-pitch calisthenics for the writers?) 

Debra:  Chocolate.  Although a kitten would be lovely.  Or a puppy I could hold while they are pitching.  Who isn’t happy and receptive while holding a puppy?  Just makes you happy.  But here’s the real scoop:  I’m there because we want to find amazing writers.  All a writer has to do is talk about their story. I want to listen.  So, toss the nerves and remember that no one expects a writer to be brilliant at talking their story.  Editors are happy with writers who know the broad strokes of their plot and their character growth.  Start with that.  There is plenty of time for an editor to ask questions once you give us the meat and bones.

Lucky

CIR:  Speaking of kittens, BelleBooks’ website includes photos of “Pets Who Live with Writers.”  Do you have pets in your household?

Debra:  We’re all pet lovers.  My dog is Sweetie.  A foundling who had 8 puppies under my house during some construction.  She was barely a year old and I defy anyone to help a new momma raise 8 puppies and then give her away!  We weren’t looking for a dog, but, seriously. . .what’s a girl to do?  Her name is Sweetie because I said, “Come here, sweetie.” And “It’s okay, sweetie” so much that she thought it was her name.

CIR:  Would you care to share a few titles of upcoming releases from BelleBooks? 

Debra:  Would I ?  Sure!  I’m very excited about STRANDED a science fiction anthology featuring NYT Bestselling author Anne Bishop.  The first in a new epic fantasy series by Jim Melvin.  In romance we’ve just published Lynn Kerstan’s THE GOLDEN LEOPARD and seven-time RITA winner Barbara Samuel’s amazing THE SLEEPING NIGHT.

CIR:  What are you currently writing?

Debra:  This interview, various back cover copy drafts and a strategic plan review.

CIR:  How did your writing evolve?  Were there specific experiences that made your writing change?

Debra:  Writing evolves because you put butt in chair and do it.  The experience of putting words on a page will change a writer and almost without exception for the better.

CIR:  What inspired you to write GMC?

Debra:  Someone paid me to do it.  Seriously, it never occurred to me that anyone would want to read that book until a publisher began badgering me to create the book.

CIR:  What one piece of advice do you wish you were offered when you first began seeking publication?

Debra:  Writing is hard.  Run.  Can’t run?  Learn.  This is a marathon and not a sprint.  Careers are built.  They don’t magically happen even when it sometimes seems like they do.

CIR:  What do you wish I’d asked you?

Debra:  If I will talk fast.  The answer is yes.  Keep up.

CIR: Now, in accordance with our CIR M.O., I would like to ask an off-track question.  When you were twelve years old, what did you want to be when you grew up?

Debra:  A writer.  I think that’s when I wrote a sequel to GONE WITH THE WIND because that ending sucked out loud.  (I was a lover of satisfying endings even then.)

You can learn more about Debra and her writing on her website.   For additional information about BelleBooks and Bell Bridge Books, including submission guidelines, visit BelleBooks, Bell Bridge Books, or their blog.

Thank you again, Debra!  We look forward to seeing you in September!

Interview conducted by Janet Fogg

Janet is the author of Soliloquy, an award-winning historical romance, and co-author of the military history bestseller, Fogg in the Cockpit.

A Special Message from Susan Brooks, Chairperson for the Colorado Gold Writers Conference

If you are an aspiring writer or even a seasoned published author, one of the best things you can do for yourself to improve your craft and get your name out is attend writers’ conferences.

Rocky Mountain Fiction Writers has been hosting its annual conference, Colorado Gold, for 30 years and this year is no exception. Scheduled for September 7-9 in Denver and considered to be one of the best writers’ conferences in the United States, this very reasonably priced educational and inspirational weekend is an excellent way to network with other writers, pitch your competed manuscript to acquiring editors and agents (pitch appointments are free), and hone your writing skills by attending some of the over 55 workshops offered.

Those nervous about pitching their work to editors and agents can attend the workshop “Making the Perfect Pitch” given by Katharine Sands from the Sarah Jane Freymann Literary Agency. This three-hour workshop will teach you everything you need to know about how to pitch your book with confidence and finesse. Even if you are not ready to pitch your story quite yet, this opportunity to learn this specialized but necessary skill is invaluable to your writing career. Writing is a business, and you need to know how to sell yourself and your book.

One of the hottest master classes to attend this year is “Goal, Motivation, and Conflict” given by Debra Dixon. Debra is a master teacher sought out by many writers all over the country, and her workshops and books are referenced by other authors in many writing how-to books.

New authors can attend “Introduction to Novel Writing” given by Sharon Mignerey. Sharon is the author of multiple books and long-time teacher. This master class is a great way to learn how to take your novel idea and transform it into a great publishable story.

Other master classes include “The Mock Crime Scene” taught by CSI Tom Adair, “Law for the Lone Wolf: Contract and Business Advice for the Self-Represented and/or Self-Published Author” given by practicing literary attorney Susan Spann, “Writing Characters that Live” by RMFW’s very own Carol Berg (and Writer of the Year), and “SCENEWORKS: Writing the Robust Scene” given by Trai Cartwright, a well-known entertainment industry professional.

Registration for Colorado Gold is open through September 7th, however master class registration ends August 15th. You will need to act quickly to take advantage of these specialized educational opportunities. Don’t miss out.

To register for Colorado Gold and to download the online brochure, visit http://www.rmfw.org/conference. Your registration at Colorado Gold includes all regular workshops, Friday night Italian Buffet, continental breakfast on Saturday and Sunday mornings, the Saturday evening banquet (attire is casual to formal), and the Sunday luncheon.

The conference is located at the Denver Renaissance Hotel (I-70 and Quebec). Be sure to mention RMFW when you register at http://www.denverrenaissance.com/ to ensure you receive the discounted rate. Hotel registration includes free parking and Wi-Fi.

If you have any questions you can contact me at conference@rmfw.org. I hope to see you in September at this amazing event.

Susan Brooks
Conference Chairperson
Rocky Mountain Fiction Writers

Writerly Happenings

by Pat Stoltey

Rocky Mountain Fiction Writers Colorado Gold Conference

Have you registered yet?

The 30th anniversary conference is scheduled for September 7-9 in Denver. You can find all of the information on the RMFW website including the list of instructors and agents/editors attending, a full schedule of workshops, and the registration form for the conference, master classes, agent pitch sessions, etc.

Personal Essay and Poetry Contests

The Northern Colorado Writers contest for personal essay/creative nonfiction is wrapping up. The deadline for submissions is Friday, June 15th.

Next up is the poetry contest which runs from July 1st to October 15th.

These contests have a low entry fee, distinguished judges, and award cash prizes. Winners and Honorable Mentions will be published in the annual winners' anthology, Pooled Ink: Celebrating the 2012 NCW Contest Winners (due out December 1, 2012) and receive 1 free copy.

The submission guidelines and information about the judges can be found at the Northern Colorado Writers website. 

Children’s Book Illustrator Presentation at Loveland Library

Dawn Middleton at the Loveland Library tells us Scott Nash will be at the Library June 28th at 2 p.m. to give a presentation.

An accomplished illustrator with a distinctive vibrant style, Scott has illustrated more than 30 children's books. Visiting all the way from Maine, Scott will read from his books, tell stories, demonstrate animations and talk about where ideas hide out. He'll reveal drawing tricks and engage the audience in conversation about where characters come from.



Mystery Writers of America University Comes to Denver

This low-cost day of classes is scheduled for Saturday, August 11, 2012, at The Westin Denver – Downtown.

Instructors include Jess Lourey (After the Idea), Stan Trollip (Dramatic Structure and Plot), Rex Burns (Setting and Description), Laura DiSilverio (Character), Reed Farrel Coleman (Writing as Re-Writing), and Hank Phillippi Ryan (The Writing Life).

Hotel link, class schedule and other information are on the MWA website.  Go directly to the registration form by clicking here.

Make it an Effortless Read

Last year I returned from the Colorado Gold Conference with a head full of inspiration and a heart filled with gratitude for our amazing Colorado writing community.

One of several workshops I attended stood out because it addressed head-on a difficulty I’ve been having with the beginning of my book. Sara Megibow (from the Nelson Literary Agency) taught a workshop entitled: Bang! Zoom! Pow! Those First 30 Pages and Why They are so Important and How to Make Them POP.

I’ve been to many similarly titled workshops and have found most impart the same information. But I figured it couldn’t hurt to have it all reinforced again -- especially in light of the feedback I’ve been receiving about my book, Mu Shu Mac-N-Cheese. It works extremely well except the very beginning.

My query letter is effective; I’m usually asked to send full manuscripts. My voice, I’m told, is courageous and works well with the characters and storyline. I’ve even been told by agents that it is a marketable, commercial novel. So what about the beginning is holding it back from earning representation in this tough market?

I have a lot in my first chapter, clearly too much. Mario Puzo got away with it, and one agent suggested I study the beginning of The Godfather. Puzo detailed the back-story of the various characters who sought the aid of the powerful Godfather. The lesson seemed to be that I needed to give the reader more to latch onto about the motivation of the few characters I introduce in the beginning of the book. I was also advised that my voice was so strong that it “overwhelmed the narrative.” That was more difficult to decipher. My critique groups helped me interpret this. I have a rather unusual way with language sometimes. Maybe it is the poet in me. Maybe it is my twisted sense of metaphor. Maybe I try too hard to have an atypical approach to word play. I think it is all of the above.

Back to Sara’s helpful advice. She explained four things that automatically earn rejections from their agency.

1) Data dump
2) Work not written with genre requirements
3) Awkward dialogue
4) Weak character or voice

Great advice. But none of these seemed to address the dissatisfaction over MY beginning. I’d pretty much pounded out the above common problems working over the years with my critique partners and taking a long detour writing screenplays.

Then Sara talked about what makes a beginning POP. First:

INCITING INCIDENT

She emphasized that the inciting incident shouldn’t be in a prologue, and, in fact, “mainstream fiction shouldn’t even have a prologue.” My book is mainstream women’s fiction and the story takes place twenty years after my Midwest-raised protagonist marries into a traditional and dominating Chinese family. In the PROLOGUE, my protagonist meets her future husband on the dance floor, beginning the dance of their marriage. It’s only one page long. One page. One page! ONE page!!! It sets up the marriage! Right?

It seems I’ve started my book with one of those gnarly, dreaded darlings. And that I should work the information in, as needed, later in the book. Ironically, I taught a workshop at the conference about back-story in its various forms and specifically about writing flashbacks. I warned against flashbacks that come too early. Guess I’ll have to review my own notes.

Chop off my prologue, and luckily I still have a strong inciting incident. That is not the problem. Sara’s last observation about beginnings that POP was less straightforward than items of craft and as elusive as voice.

AN EFFORTLESS READ

We’ve all experienced it. We open a book and force our way through the first few pages, slogging along, debating whether or not to take more of our precious time to unravel a tangle of too many ideas, dense prose, flowery overkill, or a mess of complicated sentences. Hers was not a surprising suggestion. But somehow, the way she stated it became an “AHA!” moment for me. I and my critique partners know my book so well that we didn’t recognize the introduction of too many conflicts, each on the heel of the other, and the story promise with too many angles. The morass of too-tight writing.

I cared too much about getting it right, about dragging the reader in with so many questions to be answered, and not one spare word. I’ve over edited the beginning of Mu Shu Mac-N-Cheese to the point of it being dense compared to the rest of the book that manages to breathe. It wouldn’t be too far off to call the beginning constipated while the rest is…well… smooth moving.

I now have a plan of attack. Not an easy plan, especially for this freelance editor who usually deals with tightening chubby prose. But what in a writing career is easy? I am going to make my entire book breathe.

Make it an effortless read.

Thank you, Sara.

By Karen Albright Lin

Karen is an editor, ghostwriter, pitch coach, speaker and award-winning author of novels, cookbooks, and screenplays. She’s written over a dozen solo and collaborative scripts (with Janet Fogg, Christian Lyons and director Erich Toll); each has garnered international, national and regional recognition.  Find out more at Karen's website.

Originally posted on Sisters of the Quill, a blog shared by Karen Albright Lin, Janet Fogg, Julie Kaewert and Shannon Baker.

Literary Agent Rachelle Gardner Interviewed at Chiseled in Rock

This is a modified version of the interview conducted via e-mail by Pat Stoltey, originally published on May 3, 2011


CIR: One of the agent's who took pitch appointments at Rocky Mountain Fiction Writers Colorado Gold 2011 in Denver is Rachelle Gardner, an agent with WordServe Literary Group, representing both fiction and non-fiction.

She’s looking for mainstream commercial projects for both the Christian and general markets. In non-fiction and memoirs, she looks for authors with established platforms, strong marketing hooks and an understanding of how to use social media. Non-fiction authors must have a book proposal and three sample chapters to be considered. She’s also seeking all kinds of fiction, and authors must have a completed manuscript to be considered.

CIR: Rachelle, thank you for agreeing to this interview on Chiseled in Rock blog. Since CIR is closely related to Rocky Mountain Fiction Writers, and since you’ll be a guest agent at this year’s Colorado Gold Conference in Denver in September, we’re interested in learning more about you. I’ll begin with an off-track question: When you were a kid, what did you want to be when you grew up?

RG: At times I wanted to be a psychologist; other times I wanted to be a screenwriter or movie director.

CIR: How and when did you decide to become a literary agent?

RG: I decided in October of 2007 after several years of being an editor. I felt like being an agent would give me more opportunity to engage with writers on a more long-term basis, helping them not only with their books but with their entire careers.

CIR: Tell us a little about WordServe Literary Group.

RG: We have two agents (Greg Johnson, the founder, and me) along with an administrative assistant (Cathy) and our fiction specialist, Sarah, who reviews incoming submissions and helps me with other fiction-related projects. (Note: since this interview, a new agent, Barbara J. Scott, has joined WordServe.)

CIR: Does your group’s Denver base cause you any problems with access to the New York publishing houses?

RG: Well, we don’t have lunch with editors every day. But we get a great response from editors, whether they’re in New York or not. I think the main thing that matters is if we’re bringing them quality projects or not, and of course that’s what we always try to do.

CIR: How and where do you find most of your clients?

RG: Mainly through referrals from current clients and others in the business; conferences; queries.

CIR: What are your personal and professional expectations when you attend a writers’ conference?

RG: I always hope to be able to help as many writers as possible through both advice and encouragement. I hope to have a good time networking with writers, editors and agents. And if I find a writer I really want to represent, I consider it a bonus.

CIR: What do you find most aggravating at a conference?

RG: I am generally pretty easygoing at conferences and don’t get bugged easily. I know it’s hard for writers sometimes—they may feel nervous and uncomfortable around agents and editors. So I try to go easy on them!

CIR: Do you have any advice for authors who have 8 to 10 minutes during a pitch session to sell you on reading their manuscripts?

RG: Treat it as a conversation, not as a “pitch.” Remember, the agent sitting across from you is a person. Begin as you would any conversation—with an introduction and by putting your project in context. You’ll want to say hi, give your name, etc., and say something like, “I’m writing a paranormal romance targeted at the teen market. It’s about…”

CIR: When you invite an author to send a partial or full manuscript after a query or pitch session, what do you want to see on that first page? What turns you off?

RG: I want to see your best work. What turns me off is obviously bad grammar or typos, or entry level writing craft mistakes.

CIR: As a rule, do you inform an author when you reject a query or submission?

RG: On queries, I try to always respond, but it’s not always possible. Our agency policy states that if you don’t hear from us in 60 days, you can consider it a pass.

CIR: If you’re interested in an author’s manuscript but feel the work needs additional editing, do you provide that service?

RG: I can’t answer that question in a global way; it’s entirely dependent on the situation. There are cases where I believe someone is a really great writer and just needs some help polishing a book before submission, and in many cases, I’ll offer to rep them and then do the necessary editing.

CIR: It was pretty hard to find questions to ask that you haven’t already answered on your excellent blog at Rants & Ramblings: On Life as a Literary Agent. You also have a presence on Twitter and Facebook, and perhaps other social media venues as well. What is the minimum amount of social media exposure you recommend for authors who are ready to submit their work to agents and editors?

RG: For a fiction author, I hope that they at least are familiar with Twitter and Facebook, and maybe have started a blog, even if they haven’t gotten it going yet. Fiction authors need to realize that their platform won’t sell their book, but once they’re repped and especially once they get a contract, they’re going to have to work to help sell their work, so they need to know what this means.

For non-fiction authors, a pretty good sized platform is required. Either they’re well-known in their field, or they are a speaker who speaks in front of large audiences once a month or more, or they’ve got a blog with 50,000 hits a month (this is an arbitrary number).

CIR: Thanks again to Rachelle Gardner for answering our questions. In addition to accepting pitches at the conference on Saturday morning and participating in an agent panel on Sunday morning, Rachelle also conducted a three-hour workshop on Saturday afternoon (September 10th): From Proposal to Publication (and Everything in Between) "An overview of the publishing process, including how agents work, what publishing contracts look like, and what to expect when working with a publisher."

I Found the Gold in Denver

By Pat Stoltey

From Friday morning through Sunday lunch, the Rocky Mountain Fiction Writers Colorado Gold Conference kept me so busy I didn't have time to post updates on Facebook, tweet conference notes on Twitter, or write weekend reports on my own blog. I returned home physically exhausted, mentally drained, and yet creatively energized. I'm so ready to get back to writing and revising and editing that I can hardly bring myself to look at my calendar and my To Do List for fear there are things on there I absolutely must do instead.

On Friday morning, I attended the almost four-hour master class on Contracts and Copyrights: How to Read and Understand a Publishing Deal. This presentation was given by attorney and historical mystery author Susan Spann who is an outstanding (and entertaining) presenter. I won't deny I came away from that session with so much information I may have worn one of those "deer in the headlights" expressions, but I took lots of notes on the excellent handout so I could remember stuff later.

Even simple contracts can trip us up. Those who don't have an agent to represent them in negotiations would be wise to find a qualified attorney to at least perform that review, explain the contract, and point out where the author should ask for changes.

After spending a couple of hours as a volunteer at the registration table, I grabbed a late lunch and headed for a session called Perfecting the Pitch -- Life isn't Just an Elevator Ride by Karen Albright Lin. It never hurts to brush up on technique. For those of you who will be attending a conference soon, remember: (1) don't take an armload of materials with you, (2) keep your plot explanation (beginning with the logline) simple, exciting, and don't complicate it with character names, (3) don't try to memorize enough words to fill your 8-10 minute slot as though you're giving a speech , and (4) have a conversation with the agent or editor including a friendly greeting at the beginning and a thank you at the end.

There were many other great sessions on Saturday and Sunday, as well as the guest speakers, book sale, and meals, but two other workshops stood out for me.

One was the three-hour presentation on Saturday afternoon called From Proposal to Publication (and Everything in Between) from literary agent Rachelle Gardner. Rachelle packs a lot of the information from her presentations in her blog as well.

The second was How to Write That Script from Chantelle Aimee Osman of A Twist of Karma Entertainment LLC. Again, lots of information, an excellent presenter, and a top-notch handout with illustrations.

If you've never been to a writers' conference, you're missing opportunities to educate yourself on all aspects of writing and getting published, to network with writers, editors and agents from all over the country, and to find the support and encouragement we can only get from those who share our passion.

Ten Things I'm Going to Do At Colorado Gold

by Pat Stoltey

By now, all the followers of this blog should know about the Rocky Mountain Fiction Writers Colorado Gold Conference. If you plan to attend, I hope to see you there. If you're not going this year, you'll miss a lot of good stuff. Here's what I'm going to do:

1. Attend the Friday morning master class in Contracts and Copyrights: How to Read and Understand a Publishing Deal taught by practicing attorney Susan Spann

2. Work a two-hour shift at registration in the early afternoon

3. Attend the Novel Idea Follies before dinner

4. Cruise the Friday night book sale as a fan and buy lots of books

5. Pitch my new suspense novel to an agent on Saturday morning

6. Attend as many workshops and panels as I can squeeze into the schedule, especially the agent and editor panels

7. Talk to as many people as possible, make a bunch of new friends, and catch up with old friends

8. Remind members that I write a monthly "What's New from Rocky Mountain Fiction Writers?" post for Chiseled in Rock blog, so they need to let me know about their new releases.

9. Enjoy the much-anticipated speeches from authors Allison Brennan and Bernard Cornwell and our RMFW Writer of the Year, Robin Owens.

10. Hmmm. What did I forget?

Oh, yes. I'll eat...and maybe even drink a little. There's the Italian Buffet on Friday night, and drinks and snacks in the Hospitality Room. I'll attend the awards banquet on Saturday, enjoy three breakfasts in the restaurant (must have my oatmeal and toast), Saturday lunch on our own (most likely at Panera Bread across the road from the hotel), and the Sunday farewell luncheon.

For those attending, what do you look forward to the most?

For those who are not signed up, it's too late to register for the master classes or the Friday afternoon critique workshops, but you can still join us for the rest of the conference. You'll have a great time.

Author Mario Acevedo's Thoughts on Machine Guns, Vampires, and the Writing Life

Interview conducted via e-mail by Pat Stoltey

Mario, thank you so much for consenting to this interview for Chiseled in Rock blog. For those readers who haven’t met or heard of Mario before (and I’m sure there must be one or two), he is a handsome fellow with a dry sense of humor, author of the Felix Gomez vampire mystery series, and currently president of the Rocky Mountain Chapter of Mystery Writers of America.

Your website bio is fascinating, Mario, but our readers can go here to check you out. I’d like to dig a little deeper with my first couple of questions if I may.

Pat: At the time you requested a machine gun for Christmas, what did you plan to do with it?

Mario: Shoot holes in things, what else would you do with a machine gun? However, I didn’t shoot a machine gun until I was 17 and the experience was orgasmastic.

Pat: You flew attack helicopters for the Army. Was flying something you always wanted to do (like shooting machine guns)?

Mario: I was fascinated by flying machines since I can remember. I did become a pilot in the army where I flew Cobras. While I was a good pilot, I wasn’t a great pilot since I had a lousy sense of direction. I kept confusing up and down.

Pat: Let’s talk a little about one of my least favorite subjects: vampires. When did you develop the idea for the Felix Gomez series?

Mario: My big reveal: I’m not much of a vampire fan either. In fact, growing up, I didn’t like watching vampire, zombie, or supernatural movies. The special effects were cheesy and I never found them scary. I also didn’t read vampire novels and Charlaine Harris’ Dead Until Dark was the first vampire book I ever read cover-to-cover. Loved it and learned I could reinvent the fantasy tropes to my liking.

My idea for Felix Gomez began like this. I tried for years to get a novel published and after my sixth manuscript was rejected--a hard-boiled noir story--I decided to write the most ridiculous story I could think of: A detective-vampire investigates an outbreak of nymphomania at Rocky Flats. The concept was different and loony enough to get both an agent’s and editor’s attention.

Pat: Why vampires and werewolves instead of regular old people?

Mario: Nymphos was accepted on the condition that I write a series so I had to become an expert of the supernatural and weird--not a stretch as it turns out.

Pat: Is Felix the protagonist in all of the novels you’ve written since?

Mario: All the published ones. The other protagonists were ordinary guys in over their heads, much like me--minus the goons and gunplay.

Pat: How long did it take to write the first draft of The Nymphos of Rocky Flats, and how many times did you revise it before you made the sale?

Mario: It took me about 2 1/2 years to write Nymphos. I can’t say how many times it was revised because the manuscript was in a state of constant revision as I wrote it. Maybe a gazillion.

Pat: Your bio says you have “six unpublished manuscripts gathering dust” under your bed. Do you plan to revisit any of those early projects, or are they hopeless?

Mario: Hopeless, I’m sure. It’s easier for me to start a new story than rework those valiant if failed crash landings. But the manuscripts do serve a purpose. My pet silverfish find them yummy.

Pat: You tried submitting them to agents or publishers with no luck. Did anyone give you feedback that helped in later projects?

Mario: Ironically, it was when I was first sending queries that I got the most productive feedback. Later on, the replies were more terse: Dear writer. You suck.

Pat: Were your earlier novels mysteries? Who were the characters you developed and why didn’t they work out?

Mario: I was all over the place with my characters. Lots of failed heroes and femme fatales. I guess the stories didn’t work because they stank.

Pat: (Wondering if Mario's first works are really that bad and wishing I could take a peek at one to see...) What's the title and subject of your most recent publication?

Mario: I have a short story, “No Soy Loco,” in the YA anthology, You Don’t Have A Clue, and my graphic novel, Killing the Cobra is available from IDW Publishing. I also have, ‘Cowboy Up” in the collection of essays on writing, An Elevated View.

Pat: What are you working on now?

Mario: A variety of top-secret proposals, that if they succeed, will make me filthy rich and insufferable.

Pat: You partnered with another vampire expert, Jeanne Stein, for the blog the biting edge. Please tell our readers, especially those who don’t love vampires, why they should follow your blog anyway.

Mario: Because we have the most awesome blog in the world. At least when I post. You’re taking chances when Jeanne writes something. (Thinking we need to interview Jeanne and see what she has to say about that...)

Pat: In addition to your other talents, Mario, you’re an artist. Your military paintings are my favorites. Do you paint from photographs or memory?

Mario: My memory is not that good and I’m not that good of a photographer, so by combining the two, I manage to paint a decent image.

Pat: As a combat artist during Desert Storm, did you have the freedom to paint what you wanted, or did the Army give you specific assignments for the Center of Military History?

Mario: I had the freedom to paint what I wanted. But whatever I did, it was going into the Army’s archives to hang with the work of many outstanding artists, so I had to not suck.

Pat: What led you to Rocky Mountain Fiction Writers and how did this organization help you in your writing career?

Mario: An agent said I needed to work on my synopsis. Shortly after that, I found a class for synopsis writing sponsored by RMFW, which I attended. There I met Jim Cole who invited me to attend his critique group. Belonging to RMFW has been a great help and taught me to be wide-eyed about the batshit-crazy publishing business.

Pat: What’s the most important thing you’ve learned about the writing life and the best piece of advice you can give to unpublished writers?

Mario: Read, read, read. Write, write, write. Grow a thick skin and above all, be completely delusional.

Mario, thanks again for being here today.

Thank you. You had great questions and I hope they helped. Happy fanging.

As part of the faculty for RMFW’s Colorado Gold Conference September 9-11, 2011, Mario will team up with Jeanne Stein and Warren Hammond for two workshop sessions, one on Writing Paranormal Worlds and the other on How to Keep Your Story on Track.

Revising That Ugly First Draft

by Pat Stoltey

I'm a little crazy, I guess, because I enjoy the revision phase of novel writing even more than I like the creative phase. Here's how I go about it.

Step One: Sort all the critique pages from my critique group. I have feedback for all but the last three chapters. I put them in page order within chapters, discarding the pages that have no comments on them. Step One is done. The pages now sit to the left of my desktop computer keyboard.

Step Two: Work my way through the novel, page by page, making changes and corrections based on the critique comments that I think will improve the novel while retaining my voice and style.

Step Three: Read the novel from beginning to end from the computer monitor. During this process, I make notes when I see problems with the story arc, back story, characters, or descriptions.

Step Four: Using the notes from Step Three: Fix the problems.

Step Five: Print out the novel and read it again. Make notes and corrections on the pages. Add needed scenes (handwritten) and mark where the insertions go.

Step Six: Enter all of the changes into the manuscript file on the computer.

Step Seven: Read the manuscript aloud from the monitor, making additional changes and corrections as I go.

Step Eight: Do all of the self-editing steps I have as part of my personal routine (and all the new ones I'm learning from Kirt Hickman's Revising Fiction: Making Sense of the Madness). There are ten of my own, including searches for the words I tend to repeat (really, pretty, and back among others), excessive use of adverbs (-ly), and passive verbs (was, were).

Step Nine: Print the novel again and read it aloud from the hard copy. I'm always amazed at how many small errors and typos I find during this process. What I see on my monitor looks very different on paper.

Step Ten: Stop fiddling with the manuscript and get on with queries and submissions (and agent or editor pitches at conferences).

Of course, there's more than one way to skin a cat...or revise a manuscript. If you missed Kirt Hickman's day-long workshop on the process (which I'm told was an outstanding program), check out his book. I would also like to recommend Chris Roerden's Don't Sabotage Your Submission: Save Your Manuscript from Turning Up D.O.A.

An Interview with Rachelle Gardner, Literary Agent

Interview conducted via e-mail by Pat Stoltey

CIR: One of the agent's who will take pitch appointments at Rocky Mountain Fiction Writers Colorado Gold 2011 scheduled for September 9, 10, and 11 in Denver is Rachelle Gardner, an agent with WordServe Literary Group, representing both fiction and non-fiction.

She’s looking for mainstream commercial projects for both the Christian and general markets. In non-fiction and memoirs, she looks for authors with established platforms, strong marketing hooks and an understanding of how to use social media. Non-fiction authors must have a book proposal and three sample chapters to be considered. She’s also seeking all kinds of fiction, and authors must have a completed manuscript to be considered.

CIR: Rachelle, thank you for agreeing to this interview on Chiseled in Rock blog. Since CIR is closely related to Rocky Mountain Fiction Writers, and since you’ll be a guest agent at this year’s Colorado Gold Conference in Denver in September, we’re interested in learning more about you. I’ll begin with an off-track question: When you were a kid, what did you want to be when you grew up?

RG: At times I wanted to be a psychologist; other times I wanted to be a screenwriter or movie director.

CIR: How and when did you decide to become a literary agent?

RG: I decided in October of 2007 after several years of being an editor. I felt like being an agent would give me more opportunity to engage with writers on a more long-term basis, helping them not only with their books but with their entire careers.

CIR: Tell us a little about WordServe Literary Group.

RG: We have two agents (Greg Johnson, the founder, and me) along with an administrative assistant (Cathy) and our fiction specialist, Sarah, who reviews incoming submissions and helps me with other fiction-related projects.

CIR: Does your group’s Denver base cause you any problems with access to the New York publishing houses?

RG: Well, we don’t have lunch with editors every day. But we get a great response from editors, whether they’re in New York or not. I think the main thing that matters is if we’re bringing them quality projects or not, and of course that’s what we always try to do.

CIR: How and where do you find most of your clients?

RG: Mainly through referrals from current clients and others in the business; conferences; queries.

CIR: What are your personal and professional expectations when you attend a writers’ conference?

RG: I always hope to be able to help as many writers as possible through both advice and encouragement. I hope to have a good time networking with writers, editors and agents. And if I find a writer I really want to represent, I consider it a bonus.

CIR: What do you find most aggravating at a conference?

RG: I am generally pretty easygoing at conferences and don’t get bugged easily. I know it’s hard for writers sometimes—they may feel nervous and uncomfortable around agents and editors. So I try to go easy on them!

CIR: Do you have any advice for authors who have 8 to 10 minutes during a pitch session to sell you on reading their manuscripts?

RG: Treat it as a conversation, not as a “pitch.” Remember, the agent sitting across from you is a person. Begin as you would any conversation—with an introduction and by putting your project in context. You’ll want to say hi, give your name, etc., and say something like, “I’m writing a paranormal romance targeted at the teen market. It’s about…”

CIR: When you invite an author to send a partial or full manuscript after a query or pitch session, what do you want to see on that first page? What turns you off?

RG: I want to see your best work. What turns me off is obviously bad grammar or typos, or entry level writing craft mistakes.

CIR: As a rule, do you inform an author when you reject a query or submission?

RG: On queries, I try to always respond, but it’s not always possible. Our agency policy states that if you don’t hear from us in 60 days, you can consider it a pass.

CIR: If you’re interested in an author’s manuscript but feel the work needs additional editing, do you provide that service?

RG: I can’t answer that question in a global way; it’s entirely dependent on the situation. There are cases where I believe someone is a really great writer and just needs some help polishing a book before submission, and in many cases, I’ll offer to rep them and then do the necessary editing.

CIR: It was pretty hard to find questions to ask that you haven’t already answered on your excellent blog at Rants & Ramblings: On Life as a Literary Agent. You also have a presence on Twitter and Facebook, and perhaps other social media venues as well. What is the minimum amount of social media exposure you recommend for authors who are ready to submit their work to agents and editors?

RG: For a fiction author, I hope that they at least are familiar with Twitter and Facebook, and maybe have started a blog, even if they haven’t gotten it going yet. Fiction authors need to realize that their platform won’t sell their book, but once they’re repped and especially once they get a contract, they’re going to have to work to help sell their work, so they need to know what this means.

For non-fiction authors, a pretty good sized platform is required. Either they’re well-known in their field, or they are a speaker who speaks in front of large audiences once a month or more, or they’ve got a blog with 50,000 hits a month (this is an arbitrary number).

CIR: Thanks again to Rachelle Gardner for answering our questions today. In addition to accepting pitches at the conference on Saturday morning and participating in an agent panel on Sunday morning, Rachelle will also conduct a three-hour workshop on Saturday afternoon (September 10th): From Proposal to Publication (and Everything in Between) "An overview of the publishing process, including how agents work, what publishing contracts look like, and what to expect when working with a publisher."