The Dreaded Slump

Some people call it writer's block. I call it a slump -- that time when I seem incapable of writing anything new. I might be in the middle of a book or maybe I haven't yet begun a new one. Either way, it can be really depressing to be in that space where I can't seem to write. It happens to me and many other writers, so I have developed a few behaviors to overcome the stagnation. I hope they help anyone else out there who suffers a similar affliction.

1. Put my current WIP on ice and start something new. That something doesn't have to be an epic novel. It can be a short story or a novella. That change can often push me out of a creative rut.

2. Adjust my daily word count goal. Sometimes taking off some of the pressure can help. If my current daily goal is 2,000 words and I'm overwhelmed by the idea of writing 20, I change that daily goal down to 500 words. That little mindset switch can re-energize my creative juices and the decrease in pressure sometimes does the trick. I switch it back up once I have my mojo back. Hey, I figure 500 words is better than no words.

3. Take a breather. Sometimes I allow myself to take a little time off. Life happens. I might have company in town or just lots of things in my mind. I have to tell myself it's okay to take a vacation from the writing as long as I set the parameters of how long that break will last. I try to keep it to a max of a few days.

4. Write with friends. I occasionally go to a cafe with members of my RWA chapter to write. Sure, we spend part of the time catching up with each other, but we also get some writing done. Seeing others working can kick-start my On button.

5. Break up that daily word total into manageable blocks. I allow myself a short email break every 100 words or so. Or I do a 250 word sprint then take a break to get outside or get some chores done.

What about you? Do you sometimes get creatively blocked? Do you have any suggestions for ways out of the dreaded slump.

Book Three in Long and Hard Series!

It's here! The third book is finally out. Crescendo completes the Long and Hard trilogy. Comment here and I will pick one name win the book!

Crescendo

After a painful break-up, concert violinist Chloe Carmichael just wants to be alone. But when she is targeted by a stalker, she’s forced to allow a sexy stranger into her life.

Security expert Wyatt Long is trying to protect Chloe. Staying as close as he dares to the beautiful musician proves difficult when she insists on performing a public concert. When the job becomes personal, he has way more to lose than a client.

Taking Research to the Next Level

I'm just beginning work on a new project -- a series of paranormal romances set in my home state of Florida. If you're familiar with my books, then you know the paranormal genre is new for me.

I have one short story out that deals with a psychic. But Spirit of Seduction  only scratches the supernatural surface.

The new series will go way deeper into several occult topics, the first of which is wiccan magic, or witchcraft.

I took a big step and signed up for a six-week course on basic wicca, which is turning out to be great. I've now attended an authentic wicca Samhain (pronounced sah-ween) ritual. I've also started devouring everything I can get my hands on about witchcraft, magic, casting spells and pagan rituals.

Frankly, the class is so much more interesting than anything I did in my years of collegiate learning. I don't know why I didn't take this step a long time ago. Next on my agenda will be research on the subject of the next book -- either reiki healing, tarot cards or astrology. I haven't worked up the outline yet.

What about you? What's the most extreme step you've taken in the name of research?

Thursday with an Editor - Angela James

Today is the final installment of Thursday with an Editor. Today's guest is industry icon, Angela James, always a fount of great information. Thanks for joining me, Angela.

Apparently I'm the wrap-up crew here at casa de Wynter. Whenever you have a wrap-up post you usually get a highlight of what's come before, but given the number of awesome editorial posts she's managed to snag, I don't think that's possible, so I suggest you go re-read those earlier posts from the last few months. The other thing we usually get with wrap-up posts is some kind of predictions or things to think about as we move forward. Now THAT I can do.

So, without further ado, here's 3 things I want you to think about as we move forward into publishing in 2012.

1) It doesn't have to be self-publishing OR traditional publishing OR digital publishing.

Honestly, there's room for all kinds of publishing. There's no either/or situation here and we should all stop presenting publishing as if there are no shades of grey. That type of thinking doesn't lead to logic-supported arguments. Nor does cult thinking or drinking the kool-aid, so knock it off and let people decide how THEY want to publish, not how you THINK they should publish.

When you choose one of these paths, than I assume it's because you did your research and concluded it was the right path for you to achieve your career plan. I'll hope you didn't do it out of visceral reactions, or because you were told publishers pull the wings off butterflies, or because you think every single self-published book is dreck. Don't do it for those reasons. Do it because what you choose is good business for YOU.

2) If you're self-publishing, and millions of you will in 2012, don't skip all of the steps that go with publishing.

Just because you don't think solid editing and good cover art and excellent formatting and a well-thought-out story aren't important doesn't mean your readers don't. Every time you skip one of those, you damage your brand. And your brand is how you sell books. Don't damage that which makes you money and builds your publishing career. It's foolish.

3) Last, my favorite quote, the one I'll probably have engraved on my grave marker some day: Never, ever forget that there's a difference between CAN publish and SHOULD publish.

Just because you wrote it doesn't mean people should get the opportunity to read it. Remember your brand? Everything you write and publish (whether available for free or for sale) adds or detracts from your brand. Don't foolishly damage what you've worked to build just for the sake of a quick buck, or because you can't bear to write it and never have it seen. Not everything everyone writes is meant to be published. There. I said it. I'm sure most of you actually agree. You just don't think it applies to you.

So there you have it, three things I think authors should keep in mind as we move into 2012. There are a lot more things I think you should keep in mind (always wear clean underwear when you leave the house, realize there's a difference between signing terms of service and a contract, embrace the opportunity for choice as one that's good for an industry, and follow @angelajames on Twitter) but we'll stick with these three highlights for now. There will be plenty more time to dissect publishing, both past and present.

Executive editor of Carina Press, Harlequin’s digital-first imprint, Angela James is a long-time advocate for digital publishing after nearly a decade in the industry. She frequently travels to conferences around the world to meet with authors and readers, and to drag them to the digital dark side. You can find Angela on both Twitter and Facebook.

Sue Grimshaw, Editor for Random House Publishing

It's my pleasure to have Sue Grimshaw here on my blog today for this edition of Thursday with an Editor.


Sue was the romance book buyer for Borders and Waldenbooks stores for more than a decade. As of April this year, Sue is Ballantine Bantam Dell’s Category Specialist & Editor At Large.  At BBD, Sue is working primarily with the digital end of the business thus learning how to ride the waves of the changes that are ongoing of late in the romance industry.  Sue is actively acquiring for BBD’s Loveswept digital imprint relaunched in Fall this year.

1.      

        What does your job entail?

As Category Specialist & Editor At Large for Ballantine Bantam Dell (Loveswept), I report directly to Gina Wachtel, VP Publishing Director/Associate Publisher.  I’m very involved with the social media aspect of Romance At Random.com website; Facebook; Twitter; Tumblr; Google Buzz & Plus communities implementing posts; in general, facilitating daily communications.  As Editor At Large, I acquire, edit, & implement new titles for primarily, the Loveswept digital line.  As you can imagine, I do lots of reading . . . much of what I read are submissions from agents, authors, and even from un-published authors– it is great fun & I could not have wished for a better organization to work for.  I also attend many conferences through-out the country, taking pitches & facilitating workshops usually discussing the industry and its trends, as well as, what readers are looking for.  I guess I’ve become an author liaison of sorts, unbeknownst to me <G> 

I enjoy meeting unpublished authors & hearing about their books . . .then finding that diamond in the rough that you know readers will love & adore.  BECAUSE OF YOU, by Jessica Scott, is our debut for Loveswept (11/2011) & I believe this is a story readers will enjoy – the emotional level is high with a hero to die for; our heroine is strong, confident & caring --- & above all, their romance is sizzling!

2.       How many authors do you edit and how do you choose them?

Depending on the manuscript, I’m reading two to three unpublished authors a week.  I’m working about 4-5 mos out, meaning that if I received a MS today it would take me that long to get back to the author/agent with a response.  I think I’m like most editors & I choose manuscripts based on whether I think they can be a good book or not, but above all, whether I think the reader will enjoy the story.  Having had a bookseller background, I believe it has given me an insight into what readers enjoy.  As I read the manuscripts, I tend to use this knowledge as a benchmark, which is just another tool to help me decide whether or not the story is something we would publish.  On top of all that, Gina is a romance maven – she has an eagle’s eye for what works, so by the time we’ve acquired & edited a story it is golden <G>  I work very closely with Junessa & Angela, two of BBD’s savvy editors, who help me with lines edits and the other details of publishing.

3.       What are the perks of your job? The pitfalls?   

Finding that ‘diamond in the rough’ – finding that debut author & being able to help deliver her story to romance readers everywhere.  The feeling you get from making that happen is the biggest perk for me J 

Pitfalls . . . probably not being able to read everything, or being able to respond with a detailed    critique to help authors with their books.

4. What’s your favorite type of submission? Is there a specific genre you love (more than others) to edit?  I used to have a favorite sub-genre, but now, I’m more about characters . . . their development & journey.  I find I’m reading more contemporary than ever before, but I believe that is because there is more out there.  Similar in opinion to that of many romance readers, it is really all about the characters.  I guess that is why I’ve loved Nora Roberts & her stories for all these years.  Nora nails characters.

5. What do you like to read for pleasure (assuming you have any time left over in your busy schedule)? LOL – lately, my work is my reading pleasure – I love to read new submissions!  However, at some point I’m sure I’ll have to back away & read other things although they still will be in the romance genre.  One of my favorite authors (besides Nora) is Catherine Anderson, I am so looking forward to her next release.  Mary Balogh is another author who never disappoints & I’m behind on her latest books.  And some day I’d like to get back to reading Nelson DeMille – sarcasm through-out which is always laugh out loud great fun.

6. Have you ever written and published any fiction? If not, do you secretly aspire to be a writer?

God no.  I’m not a storyteller – the best authors are storytellers at heart.

7. Are you planning to attend any conferences in the near future?

Yes, I’m heading out to Silicon Valley – CA, RWA chapter meeting this Fall & then have several conferences planned for 2012 including:  RWA; RT & Romcon.

8. What’s the best advice you can give aspiring writers? 

It sounds cliché, but really, write the best book ever!  The book of your heart --- because if you feel what you’re writing the reader will feel it too.

Thursday with an Editor - Theresa Stevens

Please welcome independent editor, Theresa Stevens for today's edition of Thursday with an Editor.

In my career, I’ve been an agent, an in-house acquisitions editor, and a freelance editor. Of these three roles, which do you think gives me the most opportunity to dig into manuscripts and nurture writers? Most people guess wrong, but if you guessed freelance editing, you’re right.

Agents have priorities which allow them to shape some manuscripts and groom some authors, but they also have other demands on their time. They must maintain their networks with authors, with organizations, and perhaps most important, with editors. They must review royalty statements and contracts. They must train staff, read queries and submissions, and (depending on their policies), send out rejections. These are important jobs, things you want your agent to do, but they take away from the time they can spend on development.

Ditto for in-house editors, who function partly as project managers. They must shepherd the manuscript through pre-press, which means coordinating with sales, art, and other departments to create the physical book and get it into the distribution stream. Important tasks? You bet. Nevertheless, these things do cut into the time available for actual editing.

As a freelance editor, I have one job and one goal: making your manuscript as good as it can be. I do that not only by marking up the pages, but by demonstrating techniques which can be incorporated in future manuscripts, too. For example, if I see an issue with dialogue tags, I don’t merely fix the punctuation and edit the tag. I explain in a note why I’m doing that, the difference between a tag and a beat, and when and how to use them. I also did this sort of thing when I was editing in house and agenting, too, but it was not my primary focus. Freelance editing gives me more time and flexibility to focus on the teaching side of the process.

Now, here’s a dirty secret from behind the scenes. Some industry professionals – and no, I won’t tell you which – scorn the notion that they have any responsibility for training or nurturing authors. I’ve heard more than one of them openly mock the idea of “teaching moments,” and the prevailing attitude during these conversations seems to be, “If the writer doesn’t already know these things, why should I hire them in the first place?”

This attitude is both wise and foolish, wise because authors should certainly be writing to a certain competence level before publication, and foolish because no writer ever stops learning. Nor ever should. The curiosity and inventiveness that drive the learning process are key ingredients in the makeup of a career author, the kind who generates book after successful book. Failing to respect and nurture those impulses is a mistake, in my opinion.

Obviously, others disagree. I once had a senior editor at a “Big Six” house tell me that she would never even think to point out to an author when she’s doing something right. Another editor at another traditional press insisted that it was the agent’s job, not the editor’s, to show them how to fix an error. They have their reasons, and I understand those reasons, but I disagree with the result.

So, for me, freelance editing gives me the freedom to focus on the manuscript, and only the manuscript. I don’t have to drop my red pen to scamper off to a staff meeting. I don’t have to wonder whether marketing will want the romantic suspense to be more suspenseful or more romantic this time around. I don’t have to run up sales projections or quibble over contract terms or fret over whether an artist will hold it against me if I request changes to a weak cover. All I have to do is analyze the story and edit the prose. My goal is – because it can be – showing the author how to make the book better. And most days, much as I miss the pace and perks of life in-house, this goal is more than enough to satisfy both me and my clients.

After earning degrees in creative writing and law, Theresa Stevens worked as a literary attorney agent for a boutique firm in Indianapolis where she  represented a range of fiction and nonfiction authors. After a nine-year hiatus from the publishing industry to practice law, Theresa worked as chief executive editor for a highly acclaimed small romance press, and she is currently the Publisher of STAR Guides Publishing, a nonfiction publishing company. Her articles on writing and editing have appeared in numerous publications for writers.

Visit her blog at http://edittorrent.blogspot.com where she and her co-blogger share their knowledge and hardly ever argue about punctuation.

Thursday with an Editor - Kelli Collins

My special guest for today's Thursday with an Editor series is the brilliant and sarcastic Kelli Collins, Editor-in-Chief of Ellora's Cave Publishing, Inc.

1. Did you always want to be editor-in-chief for a publisher of erotic books?

Can’t say it ever crossed my mind. In school, I leaned toward science and mathematics, but I was also a rapacious reader, never went anywhere without books. My careers ended up following that path organically and, I have to admit, rather effortlessly.

2. How do your husband and family feel about your job?

They don’t feel any particular way about it. It’s what I do, not who I am, and they get that. I certainly don’t hide it, nor do I edit under a pen name (many do and that’s fine; it’s a highly personal decision). The hubs enjoys my wackier author stories. And owing to the size of my family (17 kids; hard to keep track of all those careers!), I suspect some of them probably think I’m still working in a bookstore in Florida (2 states and several jobs ago).  :)

3. What is your educational and career background?

I relocated from Michigan to Florida halfway through a finance degree. As much as I love math, I ultimately didn’t love it enough to make it a career. While living in Tampa, I charmed my way into a journalist job at a chain of alt-weeklies. (Note: I have the most amazing job luck.) I really had nothing to recommend me but a sparkling personality (*smirk*) and some natural writing talent. Ultimately, that was enough. I had worked my way up to associate editor when, in 2004, I edited a cover story about a little e-book company owned by Tina Engler…  It was inspiring, to say the very least. The next thing I knew, I was freelancing for EC. In February of 2009, I accepted the Editor-in-Chief position.

4. How many authors do you edit yourself and how do you choose them?

Technically I have 59 authors in my stable, but their writing schedules are such that I’m working on projects for perhaps a third of them or less at any given time (barring those rare times when they submit en masse; an evil plot to make me go mental, I’m sure). And I use several criteria to choose authors, all important to me, but item #1 is imagination. I can explain technical stuff; I can teach grammar and structure and the particulars of characterization, world-building, etc. I can give authors a lot of tools, but I can’t give them an imagination. If a story is unique and inspiring, if I fall in love with the characters, I’ll do what it takes to help an author translate her/his vision to the page.

5. How many editors do you manage?

I’m personally responsible for talking 14 content editors and 9 copy editors off the occasional ledge.  ;-)  The publisher, Raelene Gorlinsky, edits a small group of authors as well. We also employ 2 acquisitions editors, who work more closely with the COO.

6. What are the perks of your job? The pitfalls? (It’s okay to dish, we won’t rat you out to your boss ;-)

Great conversation is high on the list. Lol! Both in the office and with authors. I go to several conferences each year, which are a blast (I love just hanging with and meeting authors, EC’s and others). And I’ve never worked at a more fun office; we have some seriously funny people at HQ (CEO Patty Marks being the funniest of all), which is important to me. If I can’t laugh, I die. The company is also extremely generous. We all know it’s impossible to please all people, all the time. But EC really does do everything within its power to keep the authors happy. I’ve also witnessed truly extraordinary kindnesses during my time here, the sort of behind-the-scene things you’ll certainly never read about in the blogosphere. As for pitfalls…reading about sex for 7 years can make you jaded.  :)  It’s a rare day when an author surprises me with his/her sex scenes. And because of the digital nature of the job, the potential to overwork is high. I’m at home, relaxing, playing on my laptop…why NOT edit some more? I have to force myself to turn off my computer most evenings.

7. What do you like to read for pleasure (assuming you have any time left in your busy schedule)?

I rarely ever have time, but when I do…horror, suspense and a wide array of nonfiction.

8. Have you ever written and published any fiction? If not, do you secretly aspire to be a writer?

God no. And I could if I wished; EC has no rule against editors writing. A long time ago, I thought I might one day publish something, have even started a few projects over the years. But despite that aforementioned modest writing talent, I simply have no love for it. I can happily edit for 12 hours but I can’t force myself to write for 20 minutes. Editing is what I’m crazy-time passionate about, so I don’t push it. I know too many people who aren’t even doing something they like, let alone lucky enough to do what they love.

9. What’s the best advice you can give aspiring writers planning to pitch to you at a conference?

I don’t bite. So take a few deep breaths and relax. I feel just wretched when someone is so nervous during a pitch that they can’t speak. And here’s the thing about that—I’m really no big shot. I don’t get my jollies by intimidating authors. And I truly believe I can’t edit effectively, certainly not with the author’s best interest in mind, if I let my ego go unchecked. I’m not in this for worldwide editorial domination, don’t treat bestsellers differently than I would an unpublished author, and have no interest in popularity contests. I never want an author to feel as if I hold the fate of her/his career in my hands—just one particular book’s fate at EC.  The worst I can say is, “No thank you”, and if I do, I wholeheartedly encourage authors to try again.

10. Chocolate, vanilla or something entirely different?

Which day? Which hour? You know what they say about variety…  ;-)