Week 16:

Here I sit, cobwebs filling my mind, as I wait. Never was good at waiting. I almost will gladly accept another “no,” rather than wait to hear a “yes.” But let me tell you about my recent weekend conference where I heard a wonderful author who inspired me so much, I couldn’t wait to rush right out and buy some of her books. The line to get her autograph stretched all across that conference hall and out the door. I should have done what many others did- buy the book and get the autograph later. But I didn’t. For 2 days I tried. Finally on last day, I had slim pickings, but I did get a quick chat with the author. Why is it every author seems to live the dream life and I don’t? Oh yeah…I haven’t sold anything, yet. Oh yeah, I’m still waiting to hear back.  And so I wait…

Week 15

Did the editor receive my submission or did it get gobbled up as spam? Did she forget ever expressing interest? Maybe this time it didn’t even make it to her desk. Maybe an intern took one look and decided it wasn’t what they were looking for. This is a game we all play when it comes to submissions. You’re never really sure your submission makes it to the destination until you hear back, sometimes weeks/months later. So in the meantime, we wait…

Or, we take this opportunity to start a new project or revisit an old one. A good way to pick up an old story is to read over the outline or read through what you’ve already written. Chances are, the characters will step up and step in. Sometimes, they’ll follow along right where you left them, but other times, they’ll leap off in a new direction. Either way, you’re writing. And that’s the best way to manage your time while playing the waiting game.

Week 14 - The End or The Beginning-depends on how you look at it:

I’ve finally come to the end of the MOUNTAIN LAUREL rewrite. I’ve proofed until I’m blue in the face (now where did that saying come from? I’ll have to ask “Mama.” If you read the story, you’ll understand.)

Every word, every sensory notation, every visual scene has been a labor of love. But it’s time to put it to bed, once and for all. I’m not saying I don’t have another rewrite in me. I’m just saying, my creative juices need freed to roam elsewhere.

At any rate, it has been sent to the editor. Now, we wait.

Week 13:

The sunshine is pouring in my window and my happy feet are tapping as I type this. I’ve printed a hard copy of MOUNTAIN LAUREL and I’m slowly reading through it one last time. So far, I’ve deleted some fluff, but no major overhauls. I’m thinking the story is in pretty good shape. Am I a good judge at this point or is it wishful thinking? We’ll see what the Editor thinks. My plan is to whisk this latest version off by end of the week. Fingers crossed!

Week 11:

Well, the first complete edit of the 100th version of MOUNTAIN LAUREL is finished. Okay, maybe not 100 versions, but it sure feels like that. Here are some things I learned in the process:

1. Understand your market. My book is targeted toward pre- teens and teens. I want them to get excited about life in our area long ago. In order to present my story in believable terms, first I had to do some homework.
2. Understand the setting. Initially, my story started out about my parents and stories that had been passed down through my family. I knew the area where they grew up, so I started my search there. I read Autumn Winifred Oliver Does Things Different by Kristin O'Donnell Tubb after I’d finished my entire story. There were few similarities, but the voice felt the same to me. I’ve lived in this area my entire life, with a couple of excursions for a short time, and I understand the history. I read many articles on the Internet and poured over glorious picture books at the library that captured the splendor of the Smoky Mountains. Then, I’ve traveled extensively throughout the region, forming my own thoughts and impressions. All of this is key when writing historical fiction.

3. Let the story evolve. This was probably my biggest eye-opener. For ten years, I kept my story in a box. My characters couldn’t grow or change a great deal because the stories were from my parents and about my parents. At the suggestion of an editor, I changed everything. I removed all references to towns, people and most actual stories. A few of the stronger ones, I kept (in some form); but, for the most part, the overall story is true fiction. I realized writers used this technique every day. Maybe something or someone from their past influences their work, but the successful ones allow their stories to take wings and fly. So in order for the story to evolve, give it wings. Let it fly.

Week 10:

This has been a crazy week at work. Yes, some of us (those of us who are ASPIRING writers) have real jobs—totally unrelated to writing fiction. When the real world comes calling, very little writing happens—or that’s how it is for me. Inspiration and creativity don’t have on & off switches. I think I can honestly say, though, my current WIP never totally leaves my mind. Even when I’m not writing, I’m working on the plot or a conversation or a twist. It’s always good to have pen & paper handy. Ideas need to be written down, because sometimes, they go as quickly as they come. Just writing down bullet points can keep the thought alive. Later on, I can flesh out the who, why, when and how; but without that initial idea, I often spend precious time trying to recreate it.

My challenge this week: My writing buddy, Nancy, gave me some great tips on my last chapter. She said I needed to use more sensory: taste, smell, feel, etc. What a great opportunity to bring the Smoky Mountains alive! Instead of only telling how something looks, I can paint pictures about the gauzy mist that often drifts down to the treetops. I can feel the sting of the frosty dew on the tender green grass. I can smell the distinct odor of wild onions that lingers on your hands when you tug a few of the early sprigs from the thawing ground. Thanks, Nancy!

Week 9:

I’ve come to realize if something doesn’t seem right, it probably isn’t. I just finished a rewrite of one chapter; which, I now know, didn’t move the story forward. That knowledge is hard to come by for the writer, but so critical to the editor’s eye.


Deleting back-story left me with a tighter chapter, but it’s difficult when the characters are familiar and the incidents mean so much to you, (hence, the exercise from Week 8 is so critical!)

Here are three questions every writer must ask:

1. Does this chapter move the story forward?

2. Is this chapter important enough to keep?

3. Does this chapter make me want to turn the page?

If you can answer “yes,” to all three questions, you’ve got a keeper. If not, it’s back to the drawing board…or in this case, BIC.