Stop. Sit in your chair. Open a word doc (or pull out pen and paper) and Begin

We not only have holiday company for a few days at the little log house at Killian Knob, but I am up against a deadline, or two! The post below is a repeat post from 2009 but bears repeating. And it applies to more than just writing!

As for me, I am right now doing some last minute edits on the final Graces novel in the Graces Trilogy. The contract is signed. A date of March/April is planned for its release, and as well, Bellebooks/Bell Bridge Books is re-doing Secret Graces's cover so that all three Graces Sagas bookcovers are similar, so they look like a trilogy (I had a lot of mixed letters/comments on the original cover for SG-some hated/some loved). I can't wait to see what SG and the third Graces novel covers will look like - I still become excited; I still am giddy about it all.

And as well, Rose & Thorn will go live January 15 - we are busy preparing the winter issue. My New Years Holiday will be busy, but in a good kind of way.

So now -

What someone wrote in a comment one day: “You know all that is what kind of halts me in writing. It just overwhelms me and then I block. I like blogging because I have the feel of freely writing. I guess it is a bit of a quirk.”

Never never never never never never never never never never never never never never never NEVER NEVER NEVER let anything stop you from writing if this is what you want to do and you are ready to discipline yourself to it—no one else on this earth or beyond should stand in your way: no advice from well-meaning writers, no rules, no nuttin’.

 Trust me when I say that if you really want to write a novel, or stories, then you must practice your craft and the only way to practice is to just sit down and write. As you practice, you will figure out what works for you, what your “voice” is, what your “tics” are, what your weaknesses and strengths are, what delights you and urges you on and what frustrates you and makes you want to stop writing. You will find out your own personal style of writing in both how you write and what you write.

 But listen! If you are happy writing blog posts, what is wrong with that? If you write a successful blog and people come to your site and leave happy interested comments, are you not a success? Are you not writing for an audience who loves coming by and seeing what you have written?

 When I began writing Tender Graces, I didn’t have a clue what I was doing; I didn’t even know how to write dialogue! But I had desire. I had discipline. I had want. I just wrote and wrote and wrote and wrote and things began to come clear as to my own style and voice and what made me feel comfortable. I wrote 200,000 words and most of those had to be trashed or re-cast or fiddle-dee-deed, but, boy did I have fun, and boy did I learn much about what kind of writer I’d be. I was writing for an audience of one: Me. That is free-ing, let me tell you!

 Don’t let the “rules” or advice of others stop you or scare you or make you feel as if you are somehow lacking if you don’t write in a certain way—just write and in the writing find out who you are, what kind of writer you are, what you love to write, and how you will write. I can’t stress this enough. Find what makes you happy and do it.

 If the writing feels strained and you want to back away from it, then find out what is hindering you: Are you writing for someone else? Are you listening to too many writers (like me!) give advice and it confuses you? Are you straining towards something that isn’t meant for you?

 Stop. Sit in your chair. Open a word doc (or pull out pen and paper) and Begin. Just have some fun, see what comes out. Who cares if you have so-just-very-little; who cares if there are many adverbs and present participles and dangling participles and similes and blah blah blah blah—how will you know what you want, or where you want to go, or how far you will take things, until you sit down and begin? How will you know what makes you happy until you write it without restraint?

I had to get to a certain point in my writing before the advice I read made sense –Hear that: I had to know how to sit down and write and find out what kind of writer I’d be before all the “rules” began to make sense, and only then could I use them, manipulate them, have fun with them—and I’m still having fun, and I’m still learning my craft—there is always room for growth, never become complacent even if you are a best-seller.

You all would laugh your arses off if you could see some of my first attempts at writing stories. So what? I laugh too! Haw! But I also see how far I’ve come, how much I’ve learned and how much more I can learn.  Lawd, even some of the works I've had published I want to go in and change the heck out of them!

Sit. Breathe. Tune out the voices. Have fun. And, write how and what you want, and where and for whom you want. Be sincere.

Dig it out from the you that is uniquely you.

See y'all Friday for Links Day! Hope you are having a wonderful holiday.

A spring weekend? Hike to Secret Ancient Whale Back Rock! And SWEETIE ARC copies . . .

not whale back but another ancient secret place

This weekend is supposed to be warmer than we've had in . . . I don't remember; sometime in fall? It may heave up to 50 degrees. If so, I'm going to hike up to the secret place where Whale Back Rock is and do a Sweetie reading right there. If you've read Sweetie, you recognize Whale Back Rock - it makes several appearances, and is based on a real boulder. It takes at least an hour to get there, if I remember right - been a while since I've hiked up there. It's serene and lovely and ancient and undeveloped. I hope it stays that way. If something "big" ever happened with my books, I'd buy up as much land as I could to protect my Killian Knob and surrounding mountain area to protect them from further development.

Someone's comment reminded me to say that I'm going to record the reading at Whale Back, so people can watch/listen/see :-D.

My musician brother Michael has made me some music - his interpretation of Bluegrass/Celtic music (he plays rock). It's a contemporary take and even has Fionadala's hoof beats in it! He named it "The Saga of Virginia Kate" (The Graces Novels). I put a sample draft video with his music on my FB page, and hope to have a trailer or some kind of video made from it soon that I can post here. If you want to hear it, just ask and I"ll send you the link, or go to my FB page. My other musician brother, Johnny (who plays jazz/blues), is creating his interpretation and I'll be using it for videos as well. So exciting! I have gifted brothers.

Okay: I have some ARC copies of SWEETIE that BB sent me to use as I wish! An ARC is Advance Review Copy; it was also my Galley Proof - the galley proof is what my publisher's send to me to read for One Last Look before it is published -that's the last opportunity I have to read for errors. As well, those copies are what are sent to reviewers, because they are printed in advance of the actual publication date and are printed more inexpensively (though it's hard to tell really). Whomever gets one of these copies knows that it usually will contain errors. At this point, however, there aren't changes to the story, only nits and typos and last minute things, like for example, in the Sweetie ARC a name is wrong towards the end (has Billy instead of TJ), and et cetera.

So, if you review books, contact me and I'll send you one. If you don't review books but have always wanted to, then go ahead and contact me, or, place your request with your email in the comments section. Of course, if you hate it, pretend I didn't send it to you *LAUGHING* okay, I'm kidding *laugh* I'll give them away until they are gone.

Now, y'all go have a great day and a wonderful weekend!

Land of a Thousand Dance Moves

When GMR was out of town, I decided to clean the house so only my mess would be there and not his...huhn. But before I picked up rag, vacuum, sponge, I slipped into the player a mix of CD’s labeled “Fun Music.” It’s an eclectic blend that GMR doesn’t enjoy so much—he loves his jazz and even sometimes "show tunes," and the like, and I like some of that (and not some of that), but there are times I am bored with Jazz, bored of what I also deem as the “Elevator Music” he listens to in the car when he’s not listening to jazz. My main requirement for the music’s enjoyment, which GMR does not enjoy, is to play it very loud. How else can I experience it properly? It’s the same way in my car or when I am running on the treadmill—I must turn it up to obtain maximum pleasure from all the thumps and fwumps the music offers. The beat has to pulse in my veins so the blood is racing willy nilly, make my marrow boil, cause my bones to rattle, jitter my ear drums.



I push “Random.” And Wait! The first song happens to be one of my all time favorites: Wilson Pickett’s “Land of a Thousand Dances.” I've told GMR when I die, go head and play that song so that my ghost will feel happy. One simply cannot be still when Thousand Dances is playing. I shake, I shimmy, I rotate, I want to watusi, alligator, and mash potato as the song instructs, but I don’t know what those dances are (and I vow right then and there to learn those moves). I do my own wild jittery dance, laughing to beat the band, “Na na-na-na-na na-na-na-na-na-na-na-na-na-na na-na-na-na.”


Once Dances is over, I begin my wiping and dusting…until! Aretha Franklin’s “Respect” blares from the speakers. Well, how can any woman clean house during Respect? It's just too too . . . ironic! I pretend I am in a karaoke bar with an audience. I point, I pose, I sing out: “R-E-S-P-E-C-T, Find out what it means to me, R-E-S-P-E-C-T, Take care, TCB,” and then I gyrate to, “Oh, sock it to me, sock it to me, sock it to me, sock it to me.”

And then it’s back to cleaning. La la la tee dah (and why on commercials is it always the woman cleaning up and doing the laundry? Even when the guy makes the mess? It's 2010, y'all! Still, commercials use the woman - - well, GMR cooks, cleans, and does his own laundry, so commercial land, what's up with that? huhn, just saying!).


Big Bad Voodoo Daddy shouts “King of Swing!” right as I’m about to vacuum. Well, one can’t vacuum during Big Bad Voodoo Daddy—“When you feel your bones a shakin, and your temperature is risen… .” I do a quieter, but no less energetic, cleaning job until one of my least favorite songs comes on—it is a woman’s strange rendition of “Girl from Ipanema,” except she’s singing it as “the Boy from Ipanema” . . . bleah . . . it doesn’t have the same charm--time to vacuum to drown out her voice.


The music helps the time go by swiftly when I’m cleaning, driving, running, or maybe just goofing off.


In fact, the very first introductory lines to TG came from listening to Angels of Venice's "Lionheart" while driving with a "Natural Wonders" CD blasting. I could picture VK riding up her mountain, hair flying, hooves thundering; I saw her jump of Fionadala's back, holding her momma's ashes; saw her turn turn turn spilling the ashes . . . It was such a concrete real beautiful image, those words formed and I added them to the manuscript almost as a P.S. right before mailing off the query that brought my contract with Bellebooks.


Music has inspired me many times in my writing life, even if I can't or don't listen to it while writing. But cleaning house: yeah. Driving: definitely. Running: a must.


I bow to you Musicians: thank you all—I blow to you a kiss, a shimmy, a bust-a-hip move...Watch me work, now!


What's music for you?
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(Jacqueline Cook's SUNRISE is still available for give away - see post below. I do like to support other authors and their works, even outside of my genre. This is a Bellebooks author and of course I want to support my publisher's authors! I'll keep it on give away one more day and then if no one claims it, I'll donate it to the library.)

Kill yer Darlins; kill yer darlins; kill yer darlins, Clementine . . .

I was round to Nathan Bransford’s blog today, and he mentioned the “kill your darlings” phrase that has been attributed to authors, but I am not really sure who first came up with that gem.



I’ve killed me some darlin's in my time, let me tell you what! However, I do remember a time when I didn’t know just what that meant—I mean, I knew in theory kind of sort of, but in reality it only confused me. I could see the obvious phrases or words that could come out, but “Darlings?” What the heck is a Darling? I often thought, and would tear my clothes asunder.


How would I know a darling to be able to kill it?



That, my friends, is the burning question that I'm afraid cannot be answered by any writer giving advice, much as we may try. This, I believe, is one of those “Unteachable Things” that writers really must figure out on their own, in their own way. They must have their AHA moment(s) and then the mists lift and things become clear—or not, and then it’s a whole lot of guessing or hoping or experimenting or jumping up and down on our manuscripts and screaming and then running nekkid down the street pulling out our hair.

However, it does become easier. Things do become clear. The "Kill Your Darlings" begins to make sense to you - with practicing your craft. With writing and writing and re-writing and re-writing. It happens more often with second books than with first books, and even more with third books and beyond. The Delete Key becomes our best friend. Why? I dunno; well, I do, but that's a whole nuther bunches of words and this will be too long as it is.


Knowing every Darlin' to Kill verses Prose That Should Stay is, well, at times subjective, and at other times necessary, at some times clear and sweet, and at other times we run down the street nekkid screaming and pulling out our hair.


Have you ever watched deleted scenes in a movie and thought, “Oh geez, so glad they took that out!” But of course we are seeing the deleted scenes in the context of what we’ve just watched. Imagine if those deleted scenes were still in the movie—some of them may bring out a “why did they put that in there?” or “I’m bored right now;” and then others may fit right in without a glitch. But one thing is for certain, most all of the time the deleted scenes are not missed as we watch the final movie-product. It isn’t as if we are sitting there saying, “Something is missing here, I wonder if they deleted a scene?” Then again, there may be times we say, “Wait, something is missing here . . .” ah, isn’t it an ever-moving vague wavery line made of pencil that can be erased and replaced, erased and replaced, and even misplaced?


We have to use our own judgment and instincts to kill our darlin’s - unless you want to trust someone else to kill them for you . . . someone who can be cold and impersonal and . . . well, Word Murderous. I believe I have finally become Word Murderous with my manuscripts, and even in my murderous state, I am sure there are darlin's I leave, because, well, I wanna that's why.


I’ve said it before: there is no magic. There is only the writing and tweaking and rewriting and editing and hoping and dreaming and doing the best we can.


How many times have you written something you thought was GOLDEN plucked straight from the GOLDEN tree of GOLDEN words, and then when you sent your work out into the world with glee, no one mentions that GOLDEN part--what? they didn't notice your GOLDEN words! Heathens! Blasphemers! Cretins!--, but instead, they mention some other part you hadn’t even paid attention to, and in fact, you almost deleted that scene because it seemed so, well, NOT GOLDEN. We writers aren’t always the best judge of what a reader will respond to and love. That's reassuring while darling killing, isn't it? huhn.


Killing our Darlings can be one of the most frustrating or scary exercises in our writing, but it can deliver our prose to a higher level of "oh, hey . .  ." Friends, all we can do is practice our craft, practice practice practice practice, use our best instincts, did I say practice?, and when it's all said and The End'ed, hope for the best.


What do you have to say about Killing your Darlings?

Bellebooks & Literary Fiction

Sometimes just taking a chance works. Sometimes luck is in your favor. Of course, I recognize that with "luck" there has to be other factors, like, writing a good book!, but, timing plays such a role in this novel to publishing business.

The evening I was sitting around wondering what I wanted to do with my manuscript, I fiddled with google, typed in "Southern Publishers" and that's when Bellebooks "Southern Fried Publishers" popped up. I thought, "Hmmm . . ." I had queried a couple of agents, but I really didn’t know what I wanted or how my dreams would be realized, or where I’d go or do or be as regards to my work. In other words: I was pretty open to where the universe would lead me as an author whether that be by agent or by me finding an independent/small press. The only thing I didn’t want to do was self-publish—and not because I think self-published books are “bad,” but I, personally, just didn’t want to deal with all the ins and outs of publication—I wanted an advance, even if tiny or token, and I wanted at least industry standard royalties, and I wanted a traditional publisher.

I looked at Bellebooks’s submissions guidelines and thought, “I don’t think my book fits that.” But, since I was right on the edges of fitting; since there was a question of whether maybe perhaps I fit, and since they were looking for newer works on their imprint Bell Bridge Books, I thought, “What the heck; I’ll send a query.” I did; they responded and asked for the entire manuscript. I sent it; sat on pins and needles, and not long after that, I had a contract. Boom Bam! It happened fast. I was elated. I have a great respect for these women of Bellebooks - - strong southern women. My editor/publicist Deb Smith is a dream to work with, and the President, Deb Dixon, is as well. It's truly been a positive and wonderful experience.

What I didn’t know was how I was kind of an experiment, or you may say “a big risk.” Up to that point, Bellebooks wasn’t publishing my kind of fiction—literary fiction, or "women's literary" whatever title you want to place upon it (for men have loved TG, too!). But as over the last year and a half Tender Graces has shown strong, and continues to do well, and then the response to Secret Graces also has been strong, Bellebooks decided to open their doors to more literary fiction. (I wasn’t alone in this experiment—there were at least two other authors with literary fiction, or women's lit, that Bellebooks/Bell Bridge Books took on, and their books are doing well, too!)

Here’s the twitter feed from @bellebooks: Bellebooks Bell Bridge will accept proposals for literary fiction starting Nov. 1. See books of Kat Magendie for example http://www.bellbridgebooks.com/

I felt ‘proud’ to see my books as examples of what Bellebooks is looking for! *big arse grin*

So, beginning November 1, they will open their doors to literary fiction. I can tell you that they’ve been wonderful to work with. I feel incredibly lucky, and very happy that whatever Universe Hands pushed me that evening, they did so at the right time.

What if publishing your book was like accepting and working for any other job?

If we were to think about our writing life, and publishing life, as a Job, we may consider things quite differently. You interview and you then sit by the phone and wait for it to ring, sweating, hoping. Phone rings—you didn’t get the job. That happens again, and again, until finally that phone rings and the answer is Yes! The job is yours! You put on your work clothes and—

My advance will be six figures—I’m in the money!

You accept the job and they offer you some “upfront” money to come work with them. That upfront money will take care of expenses and such until you show them how successful you will be and how much money you will make them, or how much output you provide to make yourself a worthwhile risk. They’ll hold back your salary until you work enough to make up that upfront money. If you work for a huge company and they have reason to believe you’ll make them lots of moola, your advance could be Big. But, if like most of us, you are a bit more of a risk, advances aren’t going to be big, and some “companies” do not pay advances at all.

I receive small advances on my books and they are manageable enough to pay back quickly. You have to “pay back” that advance—meaning, you have to sell enough books to cover the advance before you begin making royalties. Dream big, but know the realities.

I’m going to buy a car and a house and ten gallons of gelato from my trip to Italy.

Better check your salary again! Whether big business or small, the money earned has to go many different places. Imagine Bill’s Tools & Supplies. Bill the owner hires you to make tools, and when you make those tools, he sells them. From that money, he has to pay rent or mortgage on his building, utilities and other expenses; he has to pay taxes, insurance; he has to buy inventory; he has to pay all of his employees; he has to pay himself. If you provide Bill with a service, you are only a part of the entire operation of who has to be paid. The money has to be spread around to keep the business afloat.

So, your book is published (and I’m talking print here, not e-book). Everyone involved receives their cut. Industry standard royalties are anywhere from 6 to 15 percent—the low end for paperback and higher end for hardcover. So, let’s suppose you get 10% royalty on each book you sell, and your book sells for $15.00 (and SELLS for that, not is priced at that; there is a difference. After any discounts are taken, the final price is what your royalties are based on).

Ten percent of $15.00 = $1.50 per book. (If you have an agent, take 15% from that $1.50 and you get less than that).

Takes a whole lotta books to make a living off that, doesn’t it? Imagine working for $1.50 an hour—can you make a living on $1.50 an hour? Not likely. And it’s unlikely you are selling a book an hour every day for 8 hours a day, five days a week, but, even if you sell twice that seven days a week, that’s still not enough to go yacht shopping by any stretch.

(E-books do offer better royalties, simply because there is less overhead.)

Be realistic about your salary. Royalties can be really good one month and not so good another month. You have to factor in expenses, too. Again, dream big, but temper it with the realities of just how difficult it is to make a good living being an author.


My book will be reviewed by: Magazines, Oprah’s Book Club, New York Times Books, Publishers Weekly, et cetera.

You’ve been working hard. You’ve put in your time and then some. You walk by The Big Boss’s office every so often, showing him/her your determined face, your sincere attitude, the nights you’ve stayed late, the weekends you’ve worked. You’ve gone to meetings. You’ve put out good work. You’ve done everything you can think of to be noticed by The Big Boss. And, well, he/she just doesn’t notice you. He/She has so many other employees who are doing the same thing, and some of them are backed by supporters or agents who are able to slip into Big Boss’s office and put in a good word or, some other employee just happens to be in the elevator with The Big Boss when she/he’s in a good mood, or when he/she just happens to be looking for that particular person’s smile or nod or look or good morning. Or somehow, an employee has some buzz going on a project he did.

There’s a lot of competition for space out there. And many times, the Big 6 published authors garner the most attention. Next are authors who’ve already had best sellers, or are gaining attention for some other reason, et cetera. It’s a saturated business. It’s a tough business. The Big Boss is busy, and important, and frankly, doesn’t have time to get to know every little employee out there—no matter how sincere or hardworking, and even, no matter how lovely your work is.

My book will be in many bookstores across the land.

Your proposal is done. You’ve worked hard on the Slim Slam Piddly Lam account. It’s all done up in a nice folder, and you are proud of it. Now time to get it to the right hands. There’s two-hundred offices in the building; heck, if you could get even one-hundred or so Boss Peoples to look at your proposal, even that would be great; better to have all two-hundred, but, you’ll settle for half. You take your shiny proposal for the Slim Slam Piddly Lam account and make a hundred-fifty copies. You put them on your desk and wait. One person comes by—it’s Ms. Office Fifteen. She’s been a casual acquaintance and you bought her coffee. She takes a proposal, then because she likes you, she takes three more. You are so happy! Four proposals! The other hundred-forty-six sit. So you make the rounds of a few offices: “Will you take my Slim Slamp Piddly Lam account proposal?” And a couple take one, but it ends up under a big stack of other proposals.

Some shake their heads no. They have enough proposals, no more space. You realize you just don’t have time to go to all hundred-forty-six offices, so you place your Slim Slam Piddly Lam account proposals on your desk, again, and hope word will get around. Your supervisor who works with you on accounts is helping, too, taking half of those proposals and sending out word, newsletters, samples, et cetera. A few more proposals are placed, but, nowhere near what you thought.

The truth is: sometimes you and your publishers (agent/editors/publicists, whomever) have to practically beg a bookstore to stock your book—even if you are traditionally published by a viable press. Bookstores have limited space and they’re going to stock the “bigger names” –that means bigger in publishers and in authors.

Sadly but true, you can be a champion of brick and mortar bookstores, but when you approach them, they may or may not care. They may or may not stock your book. They may stock one just to be nice. Since you can’t conceivably contact every bookstore there is, there’s no way to get your book noticed by many bookstores—for them, it’s about their budget and sentimentality usually goes one way: The author may be sentimental about having their books in brick and mortar bookstores but the sentimentality is often not returned—it’s a hard cold world out there in this book business. Make friends with your local bookstore owners and you probably will have success there, at least.


Once I have one book published, I am assured to have more published.

You landed the Shots a Lot account! Oh Happy Day! Surely now the next couple of accounts will be Yours! You can kick back and relax now. Or . . . not.

With each book, you (or if you have an agent, the agent) still need to convince your publisher/publishing editor to take on your book. Even if the last book was successful. Now, granted, if you’ve had success with your first book or books, the chances are higher; however, you still need to present the book and have it approved.

This means: just as with the first time, you’ll write your novel without knowing whether you will have it published and without knowing whether all your work will be realized in print. You write regardless of the outcome. You write never knowing where it will take you, or if you will be published, if you will ever make a dime, or if you will only make a dime.


How many jobs would you take knowing these kinds of odds? How many jobs would you take making an unknown salary? How many jobs would you take where you could work your arse off for weeks, months, a year, or more, and Maybe MAYBE get paid, and maybe not? Would you take that job?

You have to love this business and have a crazy amount of faith and hope and daring.

 I want this job—do you?

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Guest Today & Books Give Away

Today my guest is Adnan Mahmutovic. He is on blog tour for his new release "Thinner than a Hair."

I first met Adnan years back when I worked as a senior editor at the Rose & Thorn, before Angie and I became co-publishing editors. He wrote, and I edited, a beautiful story, "Integration Under the Midnight Sun," that captured my imagination as well as my respect for his literary gifts in writing and poetry (and he now has made a short film). Adnan lives in Sweden, so we have never met face-to-face, but I consider him to be one of my most trusted and valued friends and colleagues. It's only a matter of time before he is discovered for the talented author/poet/filmmaker he is.


I should now call him Dr. Mahmutovic! I will have to get used to that!


A little more about Dr. Adnan Mahmutovic: Adnan Mahmutović (1974-) is a Bosnian Swede, a homely exile who teaches immigrant literature at Stockholm University in daytime, and works with people with mental disorders at night.

Adnan left Bosnia and settled in Sweden in 1993. He has worked with people with different kinds of disabilities for thirteen years. In May 2010, he took his PhD in English literature at Stockholm University where he teaches a course on Love and its discontents.

I invite you to get to know Adnan. Look around his website. Read his book: be forwarned--they are intense and pull no punches!

Today I'm giving away three books as a package: Adnan's new release Thinner than a Hair, and a bonus copy of his first collection "Refuge," and as well, I am giving away a copy of my book Secret Graces ---all three books together as one give away.

To win all three books, here is what you must be the First Person to do in the comments section -- in one comment tell me:

Go to Adnan's website and tell me what is the name of his other book of fiction (hint: there is a tab called "books" on his homepage) AND go to my website and tell me what "old mountain song" lyrics I have included as part of the excerpt from the SWEETIE novel (hint: there is a SWEETIE tab on my home page)

Good Luck! First person to give me the correct answers in one comment wins all three books!

UPDATE: Hi y'all - Marisa Birns is the winner of the books so CONGRATS Marisa!