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Michele Gorman Talks Covers

I’ll be the first to admit that I’m an indecisive glutton. In bookshops I stand paralyzed before the walls and tables of delightful tomes. When I see a tray full of cupcakes, I want one of each, please. I risk meltdowns at sample sales, my head spinning at the sight of so many lovely clothes to choose from. In short, I suffer from too-many-optionsitis.

So I’m in big trouble when it comes to designing book covers.

It was lucky for me that when Single in the City (my debut) was published, Penguin UK took care of all the details. My editor asked me for ideas, and I bombarded her with them. Then I waited and wondered and waited some more, until the day I received the cover draft from the designers. The decision was out of my hands. I could love or hate the end result, but I couldn’t influence it. Luckily I loved it.

The process was very different for Single in the City’s sequel, Misfortune Cookie. I was in the driving seat. When I thought about all the decisions I’d have to make, I really wanted to hand the keys over to a designated driver. But there were no volunteers. I was behind the wheel.

For me, publishing independently doesn’t mean doing it on my own. I surround myself with the finest professionals I can. My agent does the content edits. I use a copy editor for line-edits. So it made sense to hire a superb designer for the cover. Nellie Ryan was the genius who illustrated Single in the City’s cover, and she accepted the commission for Misfortune Cookie. Rather than terrify her with a rambling mind dump when she asked for the brief, I enlisted the help of my agent, Caroline to discuss some ideas. We knew that a few things would be critical: setting, subject and tone. This was the brief.

Setting: Hong Kong, including something iconic
Subject: A girl’s figure that reflects the story
Tone: Chick lit/women’s fiction

We gave Nellie our ideas and after several rough sketches and tweaks, this was the result. It was my idea, the Hong Kong cityscape, the table, the cookie and the thoughtful girl.

(This is Figure 1)

It ticked the boxes, and was elegant and beautiful, but a little thought niggled. Misfortune Cookie is a fun book, the kind you take on holiday or read on your commute to take your mind off the real world. It’s a fish-out-of-water adventure in high heels, with a sassy heroine, light and funny.

The cover just didn’t reflect that. So we started to change it. We pinkified it. We shaved down the mountain to highlight the title more clearly (apologies to Hong Kongers for making a molehill out of your mountain).

(This is Figure 2)

It was better, but something still bothered me. It hit me as I scanned the “Customers Who Bought This Item Also Bought” list of books that sits on every book’s Amazon page. I’d forgotten the cardinal rule when selling on Amazon. Book covers have to be clear and eye-catching when very very small. And those covers are teeny. This teeny.

Looking at the books listed with Misfortune Cookie in this section, dear reader, I was struck with envy. Cover envy. Mine didn’t look like all the others. It didn’t sing, “I’m a fun book. Go on, give me a chance.” And it didn’t look anything like it’s sister, Single in the City.

{Insert SITC US cover here} {Insert SITC UK cover here}

So we went back to the drawing board.

I’d made a very common cover design mistake. The cover was too busy. It drew the eye to several parts of the illustration without highlighting any of them clearly. “Don’t be afraid of white space”, someone way cleverer than me once said. “Less is more”, my mother always admonished (usually when assessing my teenage makeup attempts, but the advice applied here too). So I started with white space, and carefully layered in setting and subject. I toyed with three design options: just the girl, girl with cityscape, or girl with cityscape and Star Ferry (an icon in Hong Kong).

I also played with fonts, hundreds of fonts, which nearly killed me (considering my affliction).

(This is Figure 3) (This is Figure 4) (This is Figure 5)

The first font looked a big wonky, and dark because of its bevelled effect. The second was a bit too magic-marker-y, and the third was too skinny, but I liked the flow of that one best. I figured I could probably fatten it up.

The boat was too domineering but I liked the idea, and I also liked the idea of including a tag line (i.e. a snappy one-liner). We just needed to figure out how to get both in there without cluttering things up. We also changed the font on my name to soften it.

(This is Figure 6)

Almost, but still not quite fun enough. So I asked for readers’ opinions, and a few suggested making the cover look more Chinese. Hand-held fans or chopsticks-in-the-hair were out, because they couldn’t be seen clearly in the little thumbnail image. So I tried this.

(This is Figure 7)

And by George, I think we finally got it! I loved the sweep of the tag line that draws your eye in, and the umbrella that caps the figure, making it work really well in the foreground. The cityscape is light enough not to clutter up the middle of the page, and it’s easy to see in a small thumbnail. I fattened up the title font, and the cover perfectly fulfils our brief: Hong Kong-y, girly, chick lit-y fun. I love it. I hope you do too.

It was a long process but it taught me a few very important lessons. First, the cover has to reflect the tone of the book as much as its content. That’s as true of the fonts (which I still have nightmares about) as it is of the illustrations. Second, clutter is as unhealthy for your book cover as it is for your closets. Mom was right: less is more. And third, each cover competes with thousands of others for readers’ attention. It has to say, with a cheeky nod and a wink, “Come on over and have a look”. That’s its purpose, it’s raison d’etre, to give the book a chance to be read. If the cover doesn’t engage and excite curiosity, readers won’t even click on it to see what it’s about, or read the first few chapters for free.

I’d love to know what you think of the cover. Does it make you want to know more, and click Look Inside on the Amazon page to start reading? And how do you sift through the thousands of options out there to choose your next book?

Q&A with Victoria Connelly

1. What is your story about?

My new e-book is called It’s Magic and it’s a collection of 3 novels which were originally published in Germany: Flights of Angels, Unmasking Elena Montella and Three Graces. They’re all romantic comedies with a touch of magic so expect to meet five naughty guardian angels, a magical Venetian mask and an opinionated eighteenth-century ghost!

2. Did you draw inspiration from your personal life?

I did! Flights of Angels was inspired by when my husband was sent to a war zone just six weeks after our wedding. I panicked and truly believed I was going to become a widow and, in the split second that the thought crossed my mind, the writer in me kicked in and I thought, wouldn’t that be a great idea for a book? So, once my husband was safely home, I started writing a book about a young widow who has her own group of tiny guardian angels to take care of her.

Unmasking Elena Montella started with my love for Venice – we were staying there and I really fell in love with the city and became fascinated by the world of mask making and began to wonder if the masks were magical …

Three Graces was inspired by my love of old country houses and I couldn’t stop wondering what it would be like to live in one – a haunted one!

3. When did you know writing was for you?

I’ve always wanted to be a writer and I started my first novel when I was fourteen. I used to take it to school and pass it under the table for my friends to read during Maths lessons which used to get me into trouble with the teacher but I was well and truly hooked by that age.

4. How would you describe your books?

I say that I write ‘romantic comedies’ rather than chick lit as that term has been around a lot longer and it’s the romantic comedy films of Doris Day, Deanna Durbin, Gene Kelly and Marilyn Monroe that inspired me to write.

Don’t look for designer labels, references to popular celebrities or high heels and handbags in my books. They’re usually set in the country and they’re often inhabited by characters who wear Wellies and the occasional mad dog!

5. What is the hardest part of the writing process for you?

The waiting! Everything takes an absolute age from when you wait for feedback from your agent or editor to the length of time publication takes. I also find the physical aspect of writing quite hard as I suffer from RSI and often have to use voice recognition software and dictate my novels onto the computer which is really frustrating as I’m a touch typist and find that a lot quicker.

6. What are your favorite genres to read?

Romantic comedies of course! I love writers like Sophie Kinsella but I adore books from yesteryear too and some of my favourite authors include HE Bates, Miss Read and John Hadfield (who wrote one perfect novel – Love on a Branchline).

I do like the occasional thriller too – something dark and edgy like Scott Mariani’s Ben Hope books or adventures by Douglas Preston and Lincoln Child.

7. What do you want readers to take away from your story?

I hope that my stories make people happy. I don’t attempt to write stories with life-changing messages or stories that will win literary prizes. I just hope I can raise a smile or two and make somebody happy and allow them to escape into another world for a few hours.

8. What is the one thing that you want readers to know about you as an author?

That I absolutely love writing and that it’s a real privilege to be able to connect with other people through my stories. I love hearing what readers think of my stories and I will always respond to messages from them.

9. How important do you think social media is for authors these days?

It’s very important to have a presence online and I have to say that I’m a bit of a fan of Facebook and Twitter. You can find me on both (@VictoriaDarcy on Twitter). These forums are a wonderful to connect with readers and it’s great to give them a shout when your new books come out. Publishers are very happy to encourage this!

10. What would be your advice to aspiring writers?

Never give up! My book, Flights of Angels, had hundreds of rejections from agents and publisher from all over the world and took years to get published but it was then printed in four different editions and made into a film. If I’d given up at any stage, I’d never have had that amazing experience!

Also, love what you do. Really love it! Choose a genre you’re passionate about. Read lots and write lots and LOTS. Learn your craft and be patient. If you are willing to work hard and truly love writing, you can make it happen!

Happily Ever After by Maggie Greene

Happily Ever After

Thanks so much for having me here today!

I hear from a lot of people that they don’t like reading romances because the ending is implied. I’m sure you won’t be surprised to learn that these books end with a happily-ever-after. That’s actually what I love about it. When I pick up a romance, I know that no matter what the characters go through, they are going to wind up together in the end.

To be fair, romance isn’t the only genre this happens in. When you read a mystery, you expect the detective to solve the crime, right? Otherwise it wouldn’t make it a very good story. We like to see good win out over evil.

We also like to see love conquer the world. I strongly believe in the power of love to heal wounds created by the rest of the world. Of course, I also believe that it is important to make the characters work to get there. So you know what you’re getting with my book. Two characters who each have a host of personal problems, who want to be together but are pulled apart by circumstances, but who find a way to overcome those issues and end up together in the end.

Alright, time for the fun part. I’m having a large giveaway as part of my blog tour. Comments on each of the stops will count as an entry in the contest. Winners will be drawn on August 1st andwill receive a gift basket from me complete with some book swag, bath products,and honey. For more details (and chances to enter), you can visit my blog (http://www.authormaggiegreene.com).Please make sure you leave an email address.

Gale Martin On Building A Great Story Around Anecdotes

Building great story around anecdotes
by Gale Martin
Your first sentence can dazzle. Your prose can incite or enrapture. But ultimately, it is your storytelling that is going to keep readers hooked.
How many books have you read that failed to deliver on the promise inherent on the first several chapters? More than a few, I’ll bet. I tend not to give up on a book, even if the middle is soggy and the end falls flat. Having published two novels thus far, I know all about the challenges in telling a book-length story. I prefer to give authors chances to redeem themselves and usually hang in until the last page. But I’m happiest if I’m caught up in the story.
How does a writer tell a good story? In my experience, it’s all about collecting anecdotes.
I write contemporary fiction, so anecdotes work for me. The opening of my new novel GRACE UNEXPECTED (Booktrope Editions 2012), in fact, the entire premise for the book, is built around two anecdotes. First, I traveled to Shaker Village in New Hampshire in 2005, and came away with some impressions I’m predicting many other people did not: while I was inspired by the order and the ingenuity of the Shakers (did you know they invented the clothespin?), I thought it was a shame that generations of women bought into the myth that they couldn’t be the equal of men without sacrificing intimacy with them. Then my smart young professional protagonist in GRACE UNEXPECTED tried on these impressions for size, and they clung to her like a pencil skirt, one size too small.
A few years later my husband and I were detoured off Route 9 near Wilmington, Vermont, onto a two-hour back roads detour trying to make an Easter dinner seating time of 3 p.m. Now, the roads in Pennsylvania may be rutted and potholed. But at least they are paved. It was the height of New England mud season, and the detour sent our rear-wheel drive Camry barreling down unpaved roads for miles and miles. I never thought we’d come out alive and intact—the car and the people inside.
When I began writing GRACE UNEXPECTED in 2007, both these anecdotes surfaced in the opening chapter—the mud road detour combined with the overarching story reflecting Grace’s takeaways from Shaker Village, that whole generations of women denied themselves the privileges of sex and child-bearing in order to fully participate in Shaker society.
As the book progresses, other anecdotes are incorporated, from experiences with college presidents whose idiosyncratic behaviors are suffered by their lowly subordinates to a news story about a museum visitor who defaced a priceless painting when she kissed it, leaving a big fat lip print on its unprotected surface.
How do you tap into anecdotes? Here’s how I do it. At the same time I take part in something—anything, really—I also detach from it—just as if I were standing over myself or having an out-of-body experience. Then, using my mind’s eye, I watch myself take part. Later, I record as many details as I can until I have a full-bodied anecdote.
Do we as writers have to detach from all our life experiences to watch ourselves participating in events and activities for the rest of our lives? In a word, yes. It may sully our enjoyment of things initially, but eventually it makes bona fide storytellers out of us.
Do all books begin with anecdotes? Not all, I’m sure. One of the faculty members where I obtained my graduate degree in creative writing was inspired to write a book from an image that was powerful and robust enough to inspire his storytelling. However, if you want your reader to stay connected, you’d better have all the things readers expect from fiction (clear writing, interesting characters, clean prose) but, foremost, a great story.
If you have other ways of capturing stories for your fiction, I’d love to hear about them. In the meantime, as you embark on your day, think about adding to your anecdote collection!
* * *

Gale Martin’s humorous backstage novel Don Juan in Hankey, PA was published by Booktrope Editions in 2011. Grace Unexpected, contemporary women’s fiction also from Booktrope, was published in July of 2012. She has a master of arts in creative writing from Wilkes University. She has worked in higher education marketing for ten years and lives in Lancaster County, Pennsylvania, a rich source of inspiration for her writing. Her blog “Scrivengale” can be found on her website at http://galemartin.me.
In addition, there are a limited number of print review copies of Grace Unexpected available and numerous ebooks for early readers on a first-come, first-served basis. Simply email galemartin (dot) writer (at) gmail (dot) com to request one.
You can find her at:
Website: http://galemartin.me
Twitter: http://twitter.com/Gale_Martin (@Gale_Martin)
Facebook Fan Page: https://www.facebook.com/GaleMartinAuthor
Email: galemartin (dot) writer (at) gmail (dot) com

Grace Unexpected By Gale Martin Sneak Peek – Chapter 1

-1-
SHAKEN AND STIRRED

I squinted through the muck on the windshield at the lane ahead. Then at the road map outstretched on my lap. I glanced back and forth between them: lane, map, lane, map. “Do all roads lead to mud?”
“That’s three in an hour,” Rae Ann said, white-knuckling the steering wheel. “There ought to be a law against slapping a route number on an old Indian trail.” She flipped on the windshield wipers, but nothing shot out to dissolve the mud. “We’re out of wiper fluid. And we’re lost.”
I had faith in maps. Together with dead shot compass skills, they’d lured me off the main roads onto paths uncharted by most tourists. That’s how I found a postcard-perfect salt lagoon behind a Mexican barrier beach, pure powder slopes in Patagonia, and a mountaintop waterfall in Japan begging for a moonlight tryst.
I pored over the map. “It says if we follow this road for three miles, it intersects with the road to Canterbury.”
“It says that, does it?” Rae Ann asked, her tone telegraphing her confidence in my navigation skills.
“You navigate. I’ll drive,” I offered. “Hop out.”
Rae Ann turned up her nose. “In this muck? These espadrilles are brand new.”
I glanced at her shoes—so clean they squeaked. “You don’t want to ruin those.” I grabbed a roll of paper towels off the back seat and toddled outside the truck. Mud oozed into my K-Swiss, formerly in virgin road-trip condition. I unwound some toweling and attacked the windshield, wiping clean an area the size of a bowling ball. Before climbing in on the driver’s side, I scraped the soles of my now mucked-up sneakers on the running board.
Rae Ann shimmied over to the passenger seat, her belly brimming with baby. “We’re stuck in Mudville, and it’s past lunchtime. My stomach is digesting itself.”
“Tell your stomach to relax. The only thing standing between us and Canterbury is a mud-coated, tree-lined goat path,” I said, flashing on a front-page news story about two female carcasses clad in Bermuda shorts clinging to a red SUV, one in childbirth, the other in midwifery, both fossilized in waves of mud.
“You better not mess up your brother’s truck.”
I clutched the gearstick. “And you better not go into labor.”
I threw the Explorer into drive. For the next four miles, it shuddered through wakes of ruts left by other vehicles, hydroplaning between gullies.
“Truck, Grace!” Rae Ann cried.
As a pickup barreled right at us, I cut the wheels hard, and we careened toward a stand of evergreens. Just before impact, I cranked the wheel to the left, and the truck skidded back onto the lane. When we arrived at the state road, the Explorer stopped shuddering, but Rae Ann hadn’t.
“Everybody okay?” I asked after I caught my breath.
She exhaled and patted her round tummy. “It pays to be a Savage, yes it does. You’d have made your mama proud.”
Gutsy driving wouldn’t have done it for Mom. I couldn’t conceive of anything that would impress my mother until I glanced in Rae Ann’s direction. “Yeah, maybe. If I looked like you.”
Now into her third trimester, my sister-in-law had that glow everyone ascribed to pregnant women. “Won’t she be shocked when I give birth to a ten-pound watermelon!” She pointed off to her right. “Look it. Out there. A double rainbow.”
Perfect parallel bows straddled the New Hampshire countryside. The lower one glowed and was well-defined; the upper was airy, almost translucent, though both sets of endpoints were visible. I’d never seen one up-close-and-personal before. It was the first time I realized their colors were reversed—the outer bow being the mirror image of the inner.
“A sign from on high, darlin’,” Rae Ann said, sounding tickled with herself, “interpreted for you heathens. We’ll be quakin’ with the Shakers in a jiff.”
“After this ride, I’ll see their quake, and I’ll raise them a shake,” I said. “That’s a poker reference, interpreted for you Southern Baptists.”
“You think we’re a bunch of killjoys?” She glared at me over the bridge of her horn-rimmed glasses and snapped her gum. “I’ve played penny poker.”
I blanched, my terror as genuine as a Botox pout. “And you haven’t been excommunicated by church elders?”
“I’ll pretend I didn’t hear that.” She took out a tissue from her purse and blotted her face. “Who knew New Hampshire was this muggy?”
Like tourists to Brigadoon, plumes of mist beckoned us from the road ahead. I plowed through the pea soup for another half a mile and paused at a stop sign. “Which way?”
She waggled her right arm and sucked back a bubble the size of Rhode Island. “Shaker settlement at Canterbury. Turn left.”
As we rounded the corner, rolling hills like mounds of mint frosting came into view. First a mythical mist. Then a double rainbow. Now hills so green we could have inhaled their color. The stage was set. This Canterbury was going to be some kind of magical place.
Visiting Canterbury had been Rae Ann’s idea. An early birthday present. That was Rae for you, always scouring the Internet for wrapped-in-a-bow vacation spots. However, I wasn’t excited about visiting a place where people gave up sex for life, kind of like I once gave up Gummi bears for Lent, but less painful.
“Shaker Village offers ‘renewal of the human spirit’,” Rae Ann had said after I agreed to make the trip. “All that stress from that nasty old job, including that nasty old boss? Z-zzzp!” she said, buzzing my temple with her index finger. “Better than electroshock therapy.”
Not to burst her Bubble Yum, but I had two bad bosses. Anything that allowed me to forget either one of them was worth the trip. For sheer stress relief, I’d prefer caving in the White Mountains. Not Rae, not even in LBP times—Life Before Pregnancy.
She wasn’t much of a tomboy. Not exactly a Southern belle either. Much too practical. But quite the looker nonetheless. My brother, Glen, got transferred to Georgia where pretty girls grow on trees, met Rae Ann, and plucked her, so to speak. Even in her last trimester, though she swore she might be confused for a Beluga whale, she still turned heads with her Snow White countenance and coloring.
Though Shaker Village was hardly my first choice for a vacation spot, if Rae Ann saw it as a cheap ticket to a couple hours of serenity, who was I to complain, considering her swollen ankles and constant heartburn? We’d be home by Saturday, plenty of time for my thirty-fifth birthday celebration with Christian. I had a premonition I’d be getting something, oh, unforgettable from him on Sunday.
By the time Rae Ann and I pulled into the parking lot, we were weary, muddy, mystified, battle-tested, and hankering for food. Our last sustenance had been around nine o’clock. Deep fried chocolate cake stuffed with Twinkies and ice cream in Grafton. Breakfast must have done a number on her blood sugar. “Want to hit the café?” I asked.
“I really want to do the Dwelling House tour. Last one of the day starts in five minutes. I can hang in there. I’ve chewed this gum so long I’m putting flavor back into it.”
Minutes later, we were staring down the most imposing building at Canterbury, the Dwelling House. It towered stories higher than the rest of the settlement, its distinctive L-shape jutting into a colony of rectangular houses with triangle roofs in the same design as the houses of my childhood drawings.
I pointed to a Goliath of a man approaching. “That might be our guide now.”
“Afternoon, folks,” he said brightly. He had a barrel chest and a full head of hair pushing gray. “I assume y’all are here for the Home Tour.”
A Southern expert on the Canterbury settlement? What a disappointment. I had been in New England three days and had yet to hear one yokel declare, “You can’t get they-ah from he-ah.”
“Where y’all from?” People shared their home states, and he yupped his approval. Virginia, Florida, Ohio.
“Pennsylvania,” I called out.
“Georgia,” Rae Ann offered, and the guide tipped his hat to her.
One man from Texas had embarked on the extreme Shaker circuit that summer, having visited his first settlement in Kentucky last week, with plans to travel on to Maine after today’s stop. He must have been an expert compared to me. All I knew was that Shakers made chairs with clean lines, hung them on walls, and never took rolls in the hay.
Our guide ushered fifteen of us up the landing and into a small room on the first floor. “The Shakers were actually Quakers who danced and shook in worship to purge the sins from their body. Since 1792, the Canterbury Shakers committed themselves to making a heaven on earth by practicing common ownership, pacifism, sexual equality, and celibacy.”
Celibacy leads to utopia? Who knew?
“By 1840, the Shakers numbered around 6,000 full members in eighteen major communities in eight states, making them the most successful utopian society in America.”
How could a bunch of people who never had sex possibly know what they’re missing?
The guide was saying the Shaker population at Canterbury swelled between 1793 and 1837.
“Rae,” I whispered. “How do you swell the population in a celibate community?”
“Child adoption and converts. They must’ve corralled some nineteenth-century streetwalkers and said, ‘Go live with those Shakers, or you’re doing time in the clink.’”
The guide indicated some floor models of the Dwelling House under glass, in various stages of expansion, and waved us on into the next room. “All dwelling spaces were divided so that men and women did everything separately. As we head into the hall, we’re going to be Shakers. Brothers, take the right-hand staircase up to the living quarters. Sisters, head to your left.”
All the “Sisters” climbed one flight of steps via separate-but-equal staircases and entered a common sleeping area. A half-dozen twin beds with white coverlets were lined up against white-washed walls. I felt a tightness in my chest and a twinge in my abdomen. “How could grown women live like this? Absolutely no privacy.”
“What’d they need privacy for?” Rae Ann said. “All they did was work, worship, and sleep.”
“Look, Harv,” one of the women in our group said. “All those small beds in a row. Doesn’t it look like a dollhouse?”
More like a nuthouse, I thought.
“Now that you’ve seen their sleeping quarters, let’s talk about Shaker industry,” the guide said. “The Shakers were praised for their culture of work. It was their daily calling. They designed simple furniture with care. Their devotion to the idea of work led to the invention of the circular saw, the clothespin, the flat broom, a wheel-driven washing machine, even fashion. Follow me, folks.”
“The clothespin?” I said, not realizing it had been invented. “I’m impressed.”
The tour group tramped behind the guide into the next room. “To your left are textiles Shakers used to generate wealth. That hooded cape,” he said, pointing to an elegant, floor-length wrap, “was conceived by a pair of sisters who used a train tour to promote sales up and down the East Coast.”
Rae Ann leaned in close and whispered, “Look how much people can get done when they give up sex, Sister Grace.”
But who’d want to make that trade-off? I thought. I’d never given up anything for sex.
The guide cleared his throat and turned to face the group. “In practicing common ownership of goods and equality of the sexes,” he said, “Shaker women had professional opportunities that married ladies from the same time period never had.”
“Even Shaker sisters knew women couldn’t have it all,” Rae Ann said, “long before our generation came to their senses.”
I scoffed. “Don’t give them too much credit. Maybe they were too chicken to venture outside their cozy utopia on earth to try life on their own.”
“Nothing wrong with wanting to be part of a community,” Rae Ann said. “It’s good for you.”
“Any questions, folks?” the guide asked.
A tall lady in front of me raised her hand, and the guide gave her a nod. “Isn’t celibacy another anti-woman stance perpetuated by men who wanted to distance themselves from women’s original sin?”
Don’t know if I’d have had the guts to ask that question in this setting, but her observation sounded reasonable to me. For hundreds of years, women have been blamed for the fall of mankind, incriminating themselves because of what Eve allegedly made Adam do in a mythical garden ages ago.
“I’m not here to change your views, religious or political,” the guide explained. “What I can tell you is that Shaker women were equal to men when it came to religious leadership. Unlike other religions practiced during the same time period, women participated fully in religious life because they were not distracted by childbearing.”
Rae Ann folded her hands across her big tummy, cradling it and the precious cargo inside. “I think I’m going to be somewhat distracted for the next, oh, eighteen or fifty years.”
Wait a minute. So men take us seriously as long as we deny our sexuality? “You don’t have to choose between being a whole person and being a mother.”
“What if I want to be a whole mother?”
I groaned too loudly. People turned around and stared. I lowered my voice. “You can be whatever you want. It’s 2012, not 1912.”
The guide waved us on. “For the last leg of the tour, we’ll head to the Meetinghouse, which was attached to the living quarters,” he explained. “Worship was as much a part of Shaker life as working and eating. Though they’re known for worship, they also wrote thousands of hymns, including a pretty famous one, ‘Simple Gifts’. Y’all know that one?”
People nodded vigorously.
“I love that song,” Rae Ann said, and started humming it.
“Ready, folks?” the guide asked. “There were men’s and women’s entrances into the Meetinghouse, too. I’m counting on y’all to take the proper one. We don’t want to rattle any Shaker ghosts.”
While Rae Ann continued on toward the Meetinghouse, I stopped to view a photographed portrait of a Shaker woman, taken around 1880. She was covered in a shoulder-to-toe charcoal cape dress. Her hair had been pulled off her face into a no-frills bonnet, and the only exposed flesh appeared deathly white. She was a study in pinched propriety down to her last epidermal cell. The guide was saying something about how the few Shakers alive today were cloistered in Maine. The sour Shaker lady locked eyes with me. Was she sneering?
Gallivanting across the back roads of New England had taken more out of me than I expected. And this trip was supposed to be my renewal? The more I learned about these Shakers, the more uncomfortable I became.
While I inspected the face in the photograph, the corners of her mouth turned downward ever so slightly. “Did you see that?” I whirled around, but everyone else had moved on to the Meetinghouse.
She was sneering at me! I glowered back, fanning myself, and gave her a piece of my mind:
You know why you’re all shriveled up? You lived without any earthly pleasures. Your bedroom looked like a sanitarium. I, on the other hand, made my own choices, better choices. And as for that myth that women can only cleanse themselves of their original sin by giving up sex and working ourselves to death, well, I don’t buy it. Women can be sexual creatures and be taken seriously. Go ahead and rattle whatever it is you rattle. I dare you.
I broke free from her icy scowl and followed the others into the Meetinghouse. The scent of mildewed wood overwhelmed my nostrils, and I couldn’t catch my breath. “I need some fresh air.” I hurried past Rae and the rest of the group, stalked through a Meetinghouse door—indifferent to whether it was for men or women—and plopped myself on the stoop outside.
Rae Ann waddled after me. “What’s wrong, darlin’?”
“I think I’ve had enough of Shaker Village for one day.”
“You left through the men’s exit,” she observed. “Shame, shame. You’re going to be haunted by Shaker spirits.”
“Now that you mention it,” I said, “I could go for some spirits. A double something with a splash of anything. Let’s find a watering hole. And a hamburger.”
Rae Ann lifted her purse strap onto her shoulder. “Onward. To find some beef.” She sang, “‘Tis a gift to be simple. ‘Tis a gift to be free. ‘Tis a gift to la, da, dum, de, dum, de, dah.’”

Malena Lott on Summer and Creativity

On Summer and Creativity

by Malena Lott

Each season has its strengths, gifts supplied not only to nature and mankind, but to our outlook on the world around us. Personally, I’m a spring/fall fangirl, but I relish the dark winter nights, curled up by a fire; and summer, with its longer days and sweaty evenings on the deck, watching fireflies flit in the creek as I marvel at the chorus of night sounds growing louder as the sun goes down and my beer bottle empties.

Summer is about imagination and play. It’s the season of vacations and laughter, sunburns and splashing. Summer feeds the creative soul like a ripe watermelon to thirsty children. Morning pages come faster this time of year, so much so I can barely get it all down fast enough. My mind says, “more, more” when I think I have no more time to give, but of course there’s more time because summer days seem endless so I return to the screen again when the shade blankets the table just so or I sit cross legged after dinner with a notebook in hand to scribble the ideas that won’t let me be.

Creative writing isn’t so much about process or productivity as it is about permission to begin and to return to the page. Something “more important” always beckons – a hungry family, dirty laundry, “real” work that pays the bills. But to the creative writer, nothing feel more real than putting words on the page, first releasing them and then revisiting them and forming them into something bigger than they once were, building sentence to paragraph to scene to chapter to story to end.

You gave life to something that began as a blinking cursor. You shared a person’s hurt and healed them. You left something indelible on the hearts and minds of the reader that will last beyond the season. You are a writer.

Create.

Malena Lott s the author of three novels, The Stork Reality, Dating da Vinci and Fixer Upper; two novellas, Life’s a Beach and The Last Resort, several published short stories, including July’s “The Pool Boy,” and also writes young adult under the pen name Lena Brown. Readers can connect with her on Facebook, Twitter, Pinterest and Instagram under“malenalott” and she blogs about mojo and zen at malenalott.com.

Guest Post by Pepper Phillips

A Working Writer…A Day in the Life

When I start my writing day, it generally starts like this:

Pull up my manuscript on the computer.

Pull up my manuscript spreadsheet on the computer so I can check what I am supposed to do next or make notes as things change.

Pull up www.onelook.com on the web so I can check any words that I might need to check the spelling, or if it’s a compound word (my personal bug-a-boo).

Start reading the page where I left off. I also mark down the word count. I use it later to mark my progress sheet.

I’ll check my spreadsheet to see where I am in scene and sequel. Check out Randy Ingermanson’s article entitled ‘Writing the Perfect Scene’ – I use it in my spreadsheet to keep track of the effectiveness of each scene.

I write or if I’m editing, I’m rewriting.

Taking breaks every now and then, I might put on a load of clothes, or eat lunch. I do housework when I need to do some thinking, as it really works for me.

At the end of my writing day, I mark down the ending word count and add the daily word count to my progress sheet.

I save my work to Dropbox, my computer and a flash drive. Ask anyone who writes and has lost their work, they start to save their manuscript in different locations. I have one manuscript that’s locked in a ruined diskette…that so hurts.

When I’m done with my creative process, I start checking my emails, tweeting, and doing some promotion.

I believe that writers need to read as well, so I read, and I also have a craft book, usually in the bathroom that I read while I contemplate life and it’s mysteries.

At the end of the day, I check to see how many copies I might have sold that day and mark the amount on another spreadsheet, so I can keep on top of income and expenses for my accountant for tax season. I find it’s easier to keep up with everything daily than trying to gather it all together at the last minute.

The television is generally on when I write. I can easily tune it out, but it makes it less lonely. The dh was recuperating from minor surgery and was trapped in the house and ambles into my office and asks if I need any help. I glanced at the paragraph I’d just written and said, “Only if you know something about zombies or doppelgangers.” He sat there a moment and then stood, saying, “I guess you don’t need my help.” I killed myself laughing after he left and shared that moment with all my writer friends. Who knew life could be so entertaining!

Guest Post by Deborah Michel

BUT DID IT REALLY HAPPEN?   People often assume that what happens in a novel—especially a first novel—happened to the author in real life. My…

Excerpt: Sticks and Stones by Terri Giuliano Long

Excerpt: “Sticks and Stones: The Changing Politics of the Self-Publishing Stigma”

For better or worse, the days when they were the sole gatekeepers are behind us. Today, rejection by traditional houses says little about a book. “Some wonderful books [are rejected] for various reasons—nothing to do with quality,” says Jenny Bent. A publisher may reject a book because it doesn’t fit into a clear category. A traditional house may also turn down a book if it doesn’t have an obvious audience or if the author has too small a platform or a poor sales track with previous books.

In the old days, determined authors turned to self-publishing—or vanity presses, as they were called—as a last resort. Serious authors, concerned about being black- balled, dared not self-publish. As a result, talented authors like John Kennedy Toole, whose posthumously published masterpiece, A Confederacy of Dunces, won a Pulitzer Prize (1981), went to their grave believing their work did not measure up.

Today, many talented authors choose the self-publishing route and they do it for a variety of reasons. Jackie Collins recently shocked the literary world with her announcement that she planned to self-publish a new, rewritten version of her novel The Bitch. “Times are changing,” Collins said of her decision, “and technology is changing, so I wanted to experiment with this growing trend of self-publishing.”

Industry superstars like New York Times bestselling authors Barbara Freethy and C.J. Lyons use self-publishing platforms to market their out-of-print backlists. Other authors are drawn to self-publishing because of its flexibility, the ability to publish within their own timeframe, for instance—perhaps to leverage topical interest or mark an anniversary. Others authors self-publish out of a desire for artistic control.

Self-publishing can also be a practical way to build an audience. Today, publishers expect authors to have a solid platform. By self-publishing, emerging authors can build the fan base necessary to attract a traditional publisher for their next work. Other authors, long-timers as well as newbies, feel they can make more money on their own. At $2.99 a pop, authors earn nearly $2.00 on every eBook sale. Even at 99¢, with average royalties of 33¢ to 60¢, earnings on a hot-selling book can quickly out-pace the meager advance offered to all but the superstars by a traditional house.

These days—insult-hurling aside—traditional and indie authors are more alike than different. Mindful of their increased scrutiny, self-publishers take full advantage of the myriad professional services available to authors. Indies hire experienced editors to copyedit and proofread. For their cover and interior designs, some work with the same graphic artists who design for the traditional houses. Professionals are available and widely used to covert documents to digital and paperback formats, and POD printing has gotten so good that, to the typical untrained eye, print-on-demand books are virtually indistinguishable from books printed on an offset press.

Literary agent and publishing consultant Joelle Delbourgo, founder and president of Joelle Delbourgo Associates, Inc., formerly a senior publishing executive at Random House and HarperCollins, says some self-publishers go a step further and work with a professional publishing partner, a strategy she recommends. A publishing pro with a track record of success can bring an author to the next level, Delbourgo says.

For a few years, Bethanne Patrick, a publicist and media consultant also known as “The Book Maven,” creator of the global reading community Friday Reads, was skeptical of self-publishing. Through her work in social media, Patrick has read more indie titles and gotten to know writers who’ve chosen to self-publish. More and more indie authors, she’s noticed, seek the advice of freelance editors, publicists, and marketing consultants—and she’s intrigued.

As well-educated and experienced writers—emerging authors who’ve honed their craft as well as established and traditionally published authors—increasingly opt to go the indie route, the bar is rising. As with indie musicians and filmmakers, indie authors bring new life to an evolving industry. Today, readers have access to a wealth of funny, poignant, brilliant voices of talented new authors from around the globe—voices that, just a few years ago, might have been silenced by the old guard.

The opportunity to self-publish—to publish their books their own way—has given both emerging and established authors more freedom than ever before. So, yes, now that readers choose which books to purchase and support, dollars may shift and some traditional authors may be forced to give up a slice of the pie. Change is never easy; inevitably, there are bumps and bruises along the way. But, like or not, indie publishing is here to stay. And the publishing world will be all the richer for it.