Are You Ready To Publish?

The world of publishing is changing. And you know this unless you just awoke from a long 10 year nap.

There are more options available to writers today than ever before. 

The e-publishing entrepreneurs have changed the way we see book publishing. 

Writers around the world rejoice. Authors with no platform, or with a stack of rejections can publish their books on their own.

Long time authors holding rights revisions can now do something affordable and effective to revitalize their out-of-print books.

And the publishers can do the same. There's new life to backlists. I recently had a four year old title, The Wedding Dress, hit the New York Times Bestseller list.

If you're not published yet, traditionally or independently, you have all kinds of options. But you must ask yourself, "Am I ready?"

Just because you can be published doesn't mean you should be published.

I know, I know, it's so hard to wait when you've been working on a book for months or perhaps years. 

You've edited that thing to death and your crit partners have read ad nauseam and refuse to read it “one more time.” 

You are ready to get your book out there. After all, you love your story. It’s your baby. But traditional publishers have failed to see it’s merits. So, you sneak over to Amazon's CreateSpace and think, "Hmm.. I could just publish it myself."

I love your entrepreneurial thinking. Going outside the box and finding a way to tell your story is key to being a great author. 

I did something similar back in ’02 when I sold my little romance, This Time, to an e-publisher. No one had ever heard of a Nook or Kindle back then but I thought, “Even if one person reads it and enjoys it, one person outside my circle of friends, then it’s worth it.” 

While it’s a sweet story, it’s not my best writing. It was only the second book I’d ever written. I’ve learned so much since then.

There are more things to consider about writing than “being published.” Or that the publishers just don’t “get” or like your story.

Publishers have to consider their market. They must give something to the sales team that they can pitch to a bookseller in a few short minutes. If that.

Publishers have to consider their own business goals and brands. Your story might be fantastic in every way but not a product that fits the vision and goals of a publisher. 

There are times I’m not sure I can come up with a high concept, pitchable story idea that will fire-up a sales team. So I consult with my writing partner, my agent, my editor and on occasion, my dog. She’s a good listener.

For every indie success story such as J. A. Konrath and Amanda Hocking there are a hundred Noname Jones and WhoAreYou Smith with books languishing in e-publishing la-la land.

Indie books, above all books, it could be argued, need to be a cut above. Why? Because the competition to be seen is incredible. 

If you are considering independent publishing, or even going with a small publishing house, consider these things:

1. Rewrite your book. Serious. Don’t just edit and “fix.” Rewrite. Books need to be crafted. And they are not written, they are rewritten. Fork out the money for a substantive edit. Then for a line edit. What’s the difference? A substantive edit is also called a macro edit. It’s a wide review of the story and characters from a trained eye to see if all the components work. You need more than advance readers in order to craft a good story. Readers often don’t have a critical eye. They overlook inconsistencies. They don’t understand craft. A skilled editor can help with characterization, plot, symbols and metaphors. But again, a macro edit is a sweeping, top-down view of your story.  I once worked with a private client who’d been through many professional “editors.” While they helped her with grammar and perhaps some minor elements of the story, they provided no services to her with story crafting. Her story and premise were riddled with holes. So find someone to help you craft your book. 
2. Hire a good line editor. Also called a micro editor. I love line editors. They really get into the “weeds” of the story. They focus on sentences and words where a substantive editor focuses on scenes, chapters, story and characters. Line editors can really help shore up a story and fine tune minute details.
3. Hire a good cover artist. Unless you’re a skilled artist, don’t try to do the cover yourself.   I hate when I see a poor quality cover on an indie book. It makes me not want to read it. There are a lot of skilled artist who will create a cover for a reasonable price. Also, research components of a good cover. Writers usually want way too much detail. But covers are really visual concepts of what the story is about. Covers should convey a feeling. It’s true, books are judged by the cover.
4. Pricing. The free verses cheap debate. Should authors give their work away for free? Aren’t we worthy to be paid for our labor? But free often gets the consumer’s attention. But so does cheap. Latest news I’ve heard is $.99 and $1.99 are fair and solid prices for new indie authors. But do your research. 
5. Build your tribe and social media platforms. Build relationships with other writers, with readers, with publishers. Be a friend. Be a fan. Be a supporter. Talk about others as much as you talk about yourself. I know when readers or other writers shout out to their social media venues about my books, I’m more than happy to do it for them in return. If I like a book, I post about it. I write a good review. Get involved in the writing community. Networking is the key to just about everything. Publishing, especially indie publishing, is no exception.
6. Set aside at least $1,000 to $3,000 for promotion. You just have to do it. Network with indie authors who have experience with promotion. Consider Book Bub and other indie promotional sites.
7. Pray. Be patient. Trust the Lord’s timing is perfect for you.

I hope these help to help. Remember, no book on Amazon or Barnes & Noble is better than a bad book. :)

*** 

New York Times, USA Today and Wall Street Journal bestselling author Rachel Hauck lives in sunny central Florida.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time eight years ago.

Rachel serves on the Executive Board for American Christian Fiction Writers. She is a mentor and book therapist at My Book Therapy, a conference speaker and worship leader.

Rachel writes from her two-story tower in an exceedingly more comfy chair. She is a huge Buckeyes football fan.

Here latest novel, The Wedding Chapel landed on Booklist's Top Ten Inspirationals for 2015.

Visit her web site: www.rachelhauck.com.

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Crafting The First Line of Your Novel

By Rachel Hauck

There are times we don't want to craft a novel. We just want to write one and be done with it.

But those books are closet books no one wants to buy or read. Those are the books that draw rejection slips. 

Books are crafted. They have to be thought out, at some level, and orchestrated to some glorious, perfect end.

Books must be a continual flow of the story with daring obstacles that knock the protagonist off course, that challenge is resolve to get to the bottom of the story problem.

In the midst of the story there are overarching themes and questions. The infamous "story question" is the rudder to you vessel.

Will the heroine achieve her dream to star on stage and screen?

Can true love last through the decades? Or will it fade away?

Can one wedding dress be worn by four women and never fade, wear out or need to be altered?

There are other questions I ask as I'm writing:

What can the protagonist do in the end she couldn't do in the beginning? 

What does she want? 

What is this book about? 

Why? I ask "Why?" a lot. When ever I make a declarative statement I follow with a why to get to the deeper meaning.

But all of these MUST be asked and answered in some form to really craft the best possible opening line.

The opening line must indicate some truth, problem or question about the story. It must set the hook, draw the reader into the story.

Far too often I read opening lines that are merely a physical action to begin the opening scene. 

"Judy waved to her neighbor as she walked into the house." 

Okay... unless she's in garden wars with the neighbor and the next line is, "She dreamed of haunting that woman on a dark and stormy night," waving to the neighbor isn't all that engaging.

It doesn't draw me into the question, the emotion of the story.

Let's look at Judy in the midst of a yard war with her neighbor.

"Judy waved to that crazy Linda as she made her way inside the house. If that woman stepped one foot in her yard this gardening season, she'd haunt her like a ghost."

Now we get a sense that something has gone on between the two women. And frankly, I'm a bit intrigued. What's going on? 

Opening lines must set the emotion and feel for our books. 

From Conversations with a Book Therapist, Susan May Warren offers this advice:

A Voice. I don’t love starting with Dialogue, because we don’t know who is talking, but sometimes it can be effective in first person.

For example, “Call me Ishmael.” (Moby Dick), or maybe something from contemporary literature, “If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into if, if you want to know the truth.” (The Catcher in the Rye, J.D. Salinger).

This works because we are immediately introduced to the character and get into their head. Ultimately, we are wooed by their personality.

Rachel Here: I'm not a fan of opening in dialog either, but I opened Once Upon A Prince with, "What did you say?" because I felt like it drew the reader in to the same question as the heroine. "Yea, what did you say?"

Author great Gabriel Garcia Marquez said this about the first line:

“One of the most difficult things is the first paragraph.. in the first paragraph, you solve most of the problems with your book. The theme is defined, the style, the tone. At least in my case, the paragraph is a kind of sample of what the rest of the book is going to be."  Gabriel Garcia Marquez…1992 Nobel Prize for Literature (100 years of solitude).  Sold over 10 million copies.

Persona. Start your story with the description of someone iconic. Someone that stands out in our minds.

“There once was a boy name Eustace Clarence Scrubb and he almost deserved it.” (The Voyage of the Dawn Treader, C. S. Lewis.)

RH: Isn't that a great line?!

Or, “Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.” (Gone with the Wind, Margaret Mitchell).

Note that both these voices are omniscient, but you could build a strong character introduction through the voice of a POV character.

Consider the opening to John Irving’s, A Prayer for Owen Meany. “I am doomed to remember a boy with a wrecked voice – not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother’s death, but because he is the reason I believe in God.”

If the character will have a profound impact on your story or your POV character, perhaps start with a snapshot of that character.

Reminiscing.  Many coming of age stories start with a step into the past, some statement that sums up where the character finds themselves today.

Susie did this in Everything’s Coming up Josey. “It’s important to acknowledge that Chase was right and if it weren’t for him I might have never found my answers.”

Basically, it’s a summary of the past, spoken from the present. And the rest of the book is about proving or revealing the impact of this reminiscence.

Here’s one from The Great Gatsby, F. Scott Fitzgerald. “In my younger and my more vulnerable years my father gave some advice that I’ve been turning over in my mind ever since.”

A Statement. I like to start stories with a sort of starting place. A statement of opinion or fear or hope.

Jane Austen does this in Pride and Prejudice, “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.”

When you make a statement, you are setting up the story question in a novel. You’ll spend the rest of the book making a comment about or proving your statement.

 I did this in How To Catch A Prince. My opening line, "With each passing day, she remembered she had a secret," set the stage for a huge secret the heroine harbored in her heart.

Secrets always draw us in, don't they? What is the secret! We want to know. 

In Princess Ever After, my opening line was a statement and it indicated exactly what I wanted the reader to know about my heroine at the beginning of the story:

"She'd found bliss. Perhaps even true love. Behind the wheel of a '71 Dodge Challenger restored to slant-6 perfection."

This line says my heroine wants for nothing. She's found her passion, her life's goal. Why would she need anything else. Why would she want to go anywhere else? 

Well, the story is about challenging that very same opening line!

Let your opening line set the tone of your book. It should grab hold of the theme, the want, the story question in some way. 

Change up the way you do it now.

Instead, open with what they are thinking, feeling, experiencing. 

I've bought books based on the opening line. And rarely am I disappointed. 

Here are a few first lines from some award winning authors:

"She’d come 3000 miles to burn to death." by Susan May Warren

Susie says, "I like this because we are immediately worried, but also, wonder what she’s doing there.  It makes the reader want more." From Where There’s Smoke—out in June. 

"Gabe Talmadge felt the backside of his navel rubbing against his spine. An interesting sensation, he thought before losing consciousness." by Robin Lee Hatcher.

Robin says, "I think it works because the reader knows in a few words that Gabe is in desperate circumstances. I love it for that same reason." From The Shepherd’s Voice (winner of the RITA Award) 

"The Kansas sky matched Piper Kendall’s mood—gray and stormy." by Deborah Raney.
Deb says, "We learn where the story is set, what the day is like, how the character feels, and I think we also learn a little about her just by hearing her unusual name." From a work in progress, Going Once, Going Twice.

"Annabelle Grayson McCutchens stared at the dying man beside her and wished, as she had the day she married him, that she loved her husband more." by Tamera Alexander.
Tammy says, "It encapsulates the heroine’s dire circumstance and her most urgent regret in that moment." From her novel Revealed.

"When it comes to burning bridges, I am the Queen of Kerosene." by Julie Lessman
Julie says, "I like it because I think it's somewhat funny and pretty much sets the tone for the rest the book as far as being a story about forgiveness." From Isle of Hope

"There was a time in Africa the people could fly." by Sue Monk Kidd 
Great opening—sparks interest and makes you want to read on to see how the author answers that unspoken question. From Invention of Wings.

It was a bright cold day in April, and the clocks were striking thirteen.
—George Orwell, 1984

I write this sitting in the kitchen sink.
—Dodie Smith, I Capture the Castle

The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting. —Stephen Crane, The Red Badge of Courage (1895)

*** 

New York Times, USA Today and Wall Street Journal bestselling author Rachel Hauck lives in sunny central Florida.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time eight years ago.

Rachel serves on the Executive Board for American Christian Fiction Writers. She is a mentor and book therapist at My Book Therapy, a conference speaker and worship leader.

Rachel writes from her two-story tower in an exceedingly more comfy chair. She is a huge Buckeyes football fan.

Here latest novel, The Wedding Chapel landed on Booklist's Top Ten Inspirationals for 2015.

Visit her web site: www.rachelhauck.com.

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Making Up Your Own Country

By Rachel Hauck

A few years ago when I set out to write about royal romances, I knew I would have to develop my own kingdoms, much like Meg Cabot's Genovia, and develop my own royal families and customs.

If you think making up people is hard, try a country! I know the spec writers are used to this but it was a exercise in diligence for this romance writer.

Choosing A Name

First, I had to come up with a name. Seemingly simple on the surface but as I mulled over different titles and googled them, I discovered it wasn't so easy.

Some names I liked were in the Urban dictionary with derogatory meanings. Others were technical terms. Or actual gaming worlds.

Go figure the gaming world would have the best kingdom names.

I decided to choose a name that sounded like the kind of kingdom I wanted. Could I use to describe the people, the geography, the royal family?

I chose the name Brighton for my first kingdom.

I used a headline for the brothers-prince: The Future Looks Bright For The Princes Of Brighton.

Ah, clever right. Yea... ;p

However I didn't thoroughly research Brighton. I knew it was a city in England but didn't really take it into account. And I should have. The name does work and it felt right to me, but a few of my English readers didn't care for the reference.

My second country was the Grand Duchy of Hessenberg. I wanted a duchy because it added a different texture and flavor to the stories. I also wanted a more Germanic sounding name.

In my research of European duchies, I discovered many were once mighty nations like Normandy, Tuscany and Saxony, but over the centuries were absorbed into larger nations like France, Italy and Germany.

What if my duchy faced a similar peril? The story thread for my second novel was born.

Culture

Once I came up with names, I had to figure out the culture. For the sake of simplicity, I gave them both a British culture. The language was English and the money in pounds.

Research revealed various traditions and customs and laws among European royals, so I was able to develop my own royal protocol that felt authentic.

After World War 1 many of the European royal houses collapsed. Russia, France, Italy, Germany so I used that to cause problems for Hessenberg.

I decided both were rich in art and film, ancient feeling nations with a long history. A long history does impact the culture. The people come from something. They've endured trials, and dark times as well as light and success.

Location

Next I had to decide where to put my little kingdoms. Since I initially wanted a German influence in Hessenberg, I decided to put both nations in the North Sea.

There's not much there but oil rigs and shipping lanes but what a great opportunity to create natural resources for my country.

Economy

So when creating fictional worlds or cities, be sure to consider location and what resources aid or harm the economy.

I decided both nations had a wealthy of natural resources like minerals and gems. Oil and gas. Shipping also played a part in their economy, as well as tourism.

Geography

Since they are island nations, I gave them rich coast lines and gorgeous beaches. Lots of tourism to go along with it.

I also made them mountainous so the characters could have a bird's eye view of the ocean. I just loved the idea of the heroine standing on top of a mountain and looking down over an enclosed bay.

To anchor the characters, I created a capital city in each country and of course, a royal palace. Or two.

The cities I imagined to be "old world" European and tried to create a Dickenesque kind of charm and feel.

I did a lot of research on European architecture, trying to blend British, German and Russia styles.

I came up with business, street names, all the things one would do if making up a city in an familiar American setting.

In the first book, Once Upon A Prince, the hero, Prince Nathaniel II (the second) kept referring to his home as Brighton. As if it was one big city.

Then I realized I needed to be much more specific. He needed a city. A palace. A street. An apartment. An office.

So in developing a new world, start wide and zero in, smaller and smaller until you see the pattern in the royal wallpaper.

History

The history path was a bit humorous. Because I didn't know all of the history myself, the characters spoke to each other as if it was a brand new to them too.

"Hey, listen to this new information. You know my country Brighton, in the North Sea, by England?"

Ha! Pretty sloppy.

While rewriting, I changed the dialog so it sounded as if my American heroine studied Brighton Kingdom history in school.

When the prince referenced an historical point, she'd respond, "The Entail of 1914? I remember it from history. What about it?"

I also had to weave my royal family in with the rest of the royal families of Europe. King George IV, Czar Nicholas II and Kaiser Wilhelm II were first cousins. Grandsons of Queen Victoria.

Could my House of Stratton be her descendants as well?

Since there was a 1914 time/storyline, I decided Prince Nathaniel's great grandfather was a cousin of George, Nicholas and Wilhelm.

But I had to go beyond 1914. How old was the nation? What was it before Brighton? Was it once a part of Britain?

I decided Brighton was a serf kingdom for England until 1550s when the first king, King Stephen, freed the people from Henry VIII.

With that in view, I had to decided what kind of people lived on the island then and what kind of descendants they created.

That's when the story started to feel more real to me. And when the story feels real to me, it will feel real to the reader.

Same will happen with you. Make sure you know your world. It won't happen on the first draft but as you write, things will begin to pop. Holes will be revealed.

There you have it. A few tips for creating your own country.

Go write something brilliant.

***

USA Today Bestselling author Rachel Hauck lives in sunny central Florida with her husband and ornery pets.

She also co-authored the critically acclaimed Songbird Novels with platinum selling country music artist Sara Evans. Their novel Softly and Tenderly, was one of Booklists 2011 Top Ten Inspirationals.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time eight years ago.

She’s the author of RITA and Christy nominated books. 

Rachel serves on the Executive Board for American Christian Fiction Writers. She is a mentor and book therapist at My Book Therapy, a conference speaker and worship leader.

Rachel writes from her two-story tower in an exceedingly more comfy chair. She is a huge Buckeyes football fan.

Visit her web site: www.rachelhauck.com.

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Who's the Boss by DiAnn Mills

by DiAnn Mills @DiAnnMills

Every time I begin a new writing project, I panic. Can I do this again? Do I have the necessary skills to carry another

book through to completion? Will my readers like the characters? Is my plot credible with enough twists and turns to keep the reader guessing? Will my critique buds keep me accountable?

Then I remember who’s my Boss.

I bet many of you thought writing would be free of the worries and hassles of a boss. No clocking in. No staying late and arriving early. Then you discovered all the demands made on your time and effort: publishers, agents, editors, copy editors, publicists, critique partners, readers, social media, and family responsibilities. But did you stop to consider your real Boss?

Stress . . . Deadlines . . . Beat the clock

The One who called you into the writing ministry?

If you’ll think back to the time when writing began as a dream, the urge and passion to communicate through the written word became so powerful that you didn’t know what to do with it.

It was power.

It was passion.

It was alive.

It was undeniable.

A realization began to grow deep inside you that this newfound urgency came from outside the realm of your own being. Writing had become a calling from God, and you had a responsibility to learn the craft.

With the understanding that God purposed you to write, I can assume He didn’t include a timetable as to when you’d be published. If He did, please forward me that e-mail.
I can also assume the techniques and tools of the craft weren’t immediately drop-shipped into your brain. If so, I want that e-mail too.

This wild, sweet gift of writing is a lot like the road David walked in the Bible. He discovered his Boss at a young age, and he clung to Him all the days of his life. 

David didn’t take the throne immediately. He had much to learn.

David had to learn how to be a king.

David battled lions and bears to build strength, courage, and endurance.

David’s family probably didn’t understand who he was or what he was attempting to accomplish.

David fought Goliath - the world of publishing - by using his skills and trusting in God.

David faced rejection from Saul, his wife Mikel, and those he thought were his friends, and family.

David made mistakes and had to ask for forgiveness.

David never gave up. He had hope, which means he waited for the Lord to fulfill His promises. What about you? Where is your hope and commitment?

We use our words to entertain, inspire, and teach. That’s what God wants for His writers. Like David we can dream, learn, obey, and reach our purpose.

So I ask you, who is your Boss?

A finished book is a read book

      

DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels.

Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards; and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.

DiAnn is a founding board member of the American Christian Fiction Writers; the 2015 president of the Romance Writers of America’s Faith, Hope, & Love chapter; a member of Advanced Writers and Speakers Association, and International Thriller Writers. She speaks to various groups and teaches writing workshops around the country. She and her husband live in sunny Houston, Texas.

DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at www.diannmills.com.

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Don't Start Your Story Unless You Know These 5 Things

What? Five things?

"Rachel, I'm a pantser, I don't like to plan."

I hear you! I'm not asking you to plan. I'm asking you to know 5 things

Even for the plotters, these 5 Things will make a difference in your story. 

So let's get to it.

A story has to be about someone ordinary doing something extraordinary. 

I can't design scenes, develop characters or even answer, "What's the story about?" without knowing WHO I'm dealing with -- internally.

I design my character with these 5 critical elements:

Dark wound of the past.
The Lie he believes.
The greatest fear.
The secret desire.
What can they do in the end they couldn't do in the beginning?

Once I know the answer to these five elements, I can answer, "What's the story about?"

Granted, these elements are fluid. They should adjust and deepen as you write BUT putting these stepping stones in place before you write the first line will aid help your journey.

Think of it like this: You're going to at least look at the road map before pulling out of the drive.

There's still plenty of time to take a side road and veer off the beaten path to keep things interesting.

But knowing the wound --> lie --> fear will keep you focused. 

We use this structure over on My Book Therapy to help struggling authors get to the next level.

Let's break it down a bit:

The Dark Wound. Something from the past that will be dealt with and healed during the story. The epiphany derives from this dark wound. Be specific. If your protagonist grew up in a rough household, design an event that told him, "Life is hard and love is not worth it." 

The dark wound forms a Lie. This is the lie the protagonist believes about himself, God, others. The more detailed the better. And the more personal, the better. If the protagonist dark wound is his parents harrowing divorce, then the lie he believes is that marriage doesn't work, love is painful and not worth the effort. Even more specific, our hero might have been told that when he was born the family fell apart. He was one kid too many. So he believes he's not wanted. 

See how it works?

On to the fear. 

Growing up our hero's lie becomes a Fear. He fears he'll never be wanted. That whatever he touches is destroyed. The more specific you are about the wound, the more specific you can be about the lie and fear. But remember almost all fears come from the lies we believe. 

Your story is about overcoming the fear, replacing the lie with truth and healing the dark wound. 

What makes the protagonist face these issues? What gives him the courage. 

The Secret Desire. This desire contrast the fear.  It tells the hero, "I am worth something. I'm really good at teaching. I'd be a great teacher. I can help kids." Or, "Love is worth pursuing." 

The secret desire is always about overcoming the fear. The desire cannot be separate from the wound --> lie --> fear equation. 

Once I have this sketched out, I asked, "So, what will he be able to do in the end he couldn't do int he beginning?"

Perhaps forgive his parents. Maybe quit his job and go back to school. Fall in love. Whatever the case, it must come from healing the wound, embracing truth and conquering fear! 

This becomes my story spine to which the plot and all other aspects will connect. If the plot or story lines are not ultimately about healing the protagonist and getting them to a grand epiphany, I realign where I'm going.

The scenes in the middle of the book are about confronting the lie, facing the fear, and eventually winning. ;) 

Stories are about a slice of life where the protagonist is launched on a specific journey by external events that reach the internal fears and dreams. 

Make sense? 

From the movie, The Patriot:

Benjamin Martin's dark wound is his past war crimes. His fear is going to war again. When war comes to his front yard, and takes his sons, must decide if he’s going to fight. But the lie he believes is that he's barbaric  not honorable. If he goes to war, will it be Ft. Wilderness all over again? 

But when Gabriel is taken, Benjamin must fight. He must retrieve his son. Protecting his family is his desire... I think how intently he feels about them is somewhat of a secret desire. I also think he wants to redeem himself in his own mind about the kind of man he is.

He's launched on the journey of healing -- the inciting incident -- when he goes after his son. 

What can he do in the end he couldn't do in the beginning? Fight with honor. Believe in himself. 

Now, go write something brilliant! 

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Overcoming the Fear Factor: Finding the Right Agent by DiAnn Mills

By DiAnn Mills

Overcoming the Fear Factor: Finding the Right Agent

Your story is in final form. In your opinion, it’s the best you’ve ever written, and you’re filled with confidence. The suggestions, edits, and marketing plan are in place. Your proposal reads like an NYT writer.

But you don’t have an agent.

An agent? Can't be that scary.

My agent, Janet K. Grant of Books and Such Literary Agency, says this about an agent. “Writers write books. Publishers publish them. But publishers have a big sea of writers to draw from, and someone needs to serve as your swim instructor, telling you who are the sharks and who are the dolphins, and helping you to determine which you want to swim with. That someone is your agent.” I don’t know about you, but swimming with sharks is not my idea of a career builder.

Sometimes agents terrify us. We think they are the one factor that will get us published, when the truth is a quality manuscript is your best advocate. 

 So what does an agent do for a writer?

Stand up! Sit down! Write! Write! Write!

1. Submit your writing project to the proper editor.
2. Follow-up with editors.
3. Negotiate a contract. This is where your agent is worth his/her weight in gold. We writers are creative and usually not comfortable in talking contract terms.
4. Update you with industry trends and changes.
5. Interpret and communicate royalty statements.
6. Be your best cheerleader for the life of your partnership.
7. Advise you in every facet of your writing career.

Your job is to submit a polished manuscript, properly edited, and in the requested format of the agent. Even if you’ve met the agent, make sure you have the correct spelling and address of the person.

And if you’re rejected, consider it redirection. Do your best to find out why the agent declined representation and make changes before submitting again.

Keep perfecting your craft.

Never stop learning.

Never give up on yourself.

Where do you find an agent? Listings are in The Writer’s Market Guide or The Christian Writer’s Market Guide. There you find their submission guidelines and what they are looking for. Stick to them. Sometimes a recommendation from another writer is helpful. But the best way to meet a potential agent is face-to-face. Attending conferences and workshops where agents are present puts you in the spotlight. Polish your pitch, practice, and present it to a perspective agent. It doesn’t end with a single meeting.

Where do I sign up for the T-shirt?

Tips for Finding the Right Agent
1.The right agent is highly recommended by writers and publishers.
2. The right agent is well respected in the industry.
3. The right agent represents your genre.
4. The right agent conducts career counseling and makes recommendations, sometimes tough ones.
5. The right agent reads every word of your manuscript.
6. The right agent is an amazing editor.
7. The right agent must love, not like, your manuscript.
8. The right agent attends major writing conferences and often leads workshops.
9. The right agent submits timely reports on the status of your manuscripts.
10. The right agent is a partner in your writing career, a prayer warrior,  an asset to your life.

Now what’s stopping you? 

DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She currently has more than sixty books published. Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards; and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. 
DiAnn is a founding board member of the American Christian Fiction Writers; the 2014 president of the Romance Writers of America’s Faith, Hope, & Love chapter; and a member of Inspirational Writers Alive, Advanced Writers and Speakers Association, and International Thriller Writers.  She speaks to various groups and teaches writing workshops around the country. DiAnn is also a craftsman mentor for the Jerry B. Jenkins
Christian Writers Guild. She and her husband live in sunny Houston, Texas. Visit her website at www.diannmills.com
Facebook - www.facebook.com/DiAnnMills
Twitter - @DiAnnMills
Pinterest - www.pinterest.com/DiAnnMills 
Goodreads - www.goodreads.com/DiAnnMills

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