Out of the Cauldron: Paranormal Chick-Lit Urban Fantasy

As I work on the next book in my Kismet Knight, Vampire Psychologist series, I'm still searching for a good definition of what I write. So, let me put these bits into the cauldron and see what bubbles up: paranormal (vampire), chick-lit-ish (hopefully clever tone in first person), urban fantasy (because it's contemporary and takes place in a city), with romance, mystery and sexual elements. I think I'll just let that simmer for a while.

A New Urban Fantasy

A new email friend of mine -- who is also represented by my agent -- has an intriguing-sounding urban fantasy coming out in October, 2006. Be on the lookout for "Greywalker," a detective series with a supernatural twist, from author Kat Richardson. You can check out her website and read an excerpt at: www.katrichardson.com

First Sale Stories: Kelley Armstrong, "Broken," "Bitten," "Stolen," "Dimestore Magic," "Industrial Magic," "Haunted"

Lynda: What is the name of your book?

Kelley: Broken was my next one, so that's the one I'll discuss--being the one I remember the best (getting old, short memory and all that).

Lynda: When will it be published?

Kelley: It'll be out May 1, 2006.

Lynda: Which publishing house?

Kelley: In the US, it's Bantam Spectra (Random House in Canada, Warner Orbit in the UK).

Lynda: What's it about?

Kelley: The blurb I use is: " When half-demon Xavier calls in the favour Elena owes him, it seems easy enough, steal Jack the Ripper's 'From Hell' letter away from a Toronto collector who had himself stolen it from the Ripper evidence boxes. But nothing in the supernatural world is ever as simple as it seems. Elena accidentally triggers a spell placed on the letter, and opens a dimensional portal into Victorian London, releasing zombies, disease, and maybe a notorious serial killer himself." Yeah, I'm not great at "jacket blurbing" my own stuff. The publishers do a better job!

Lynda: What was the inspiration for the book?

Kelley: I knew I wanted to return to my first characters--my werewolves--and my basic plot concept was that my protagonist, Elena, had to return a favour she owed from the series' second book--a favour owed to a half-demon con artist. At the time, I was reading something on Jack the Ripper and the missing From Hell letter and thought "what if that letter really was 'from Hell'." That's not the way the main concept turned out, but it was the inspiration.

Lynda: Is it part of a series?

Kelley: Yes, this is book 6 of my Otherworld series.

Lynda: What do you like most about your main characters?

Kelley: This group of primary characters--my werewolves--are from my first two published novels, so I have a soft spot for them. Werewolves in general are my favourite supernatural type, and I had a blast creating my own "version." Returning to these characters after a three book absence was like visiting old friends.

Lynda: What's your favorite aspect of your book?

Kelley: The characters are always my favourite aspect. Plots can change, but I love working with characters, exploring them and developing them. The plot is the theme park that I put them in, and let them play.

Lynda: How long have you been writing fiction?

Kelley: Since I was old enough to write--and I've been telling stories longer than that.

Lynda: Is this your first paranormal manuscript?

Kelley: This series was my first dip into "paranormal suspense". In my teens, I wrote horror--so I did write werewolves, ghosts, vampires etc, but from a horror angle. When I hit my twenties, I shifted into thrillers--crime, mystery, adventure, suspense. With this series, I found the perfect blend of the two.

Lynda: Is paranormal your main focus?

Kelley: It is. I have a second series starting in late 2006 that'll be non-paranormal suspense, but this remains my main focus. I'm branching out, but not looking to make a complete leap. I'd miss the fantasy elements of paranormals too much!

Lynda: What attracts you about your paranormal characters?

Kelley: I write a variety of supernaturals, and what attracts me to them in general is the opportunity to be creative within a pre-existing framework. When I say "werewolves" most people (well, other than my grandmother) have a general idea what I'm talking about. I can then use that notion and cherry pick from the mythology already out there to come up with my own version. I have much more creative leeway than if I wrote, say, legal thrillers. Yet these creatures are still familiar enough that they don't scare off non-fantasy readers.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Kelley: The ones I'm doing now are under contract--I'm contracted up to book 10 with my Otherworld series. So I'll answer this for my first published novel instead. That one took me years to write--I was working full time, raising a family, writing other projects etc--but it was a long haul with an abrupt end. An instructor read it, and recommended it to an agent. I sent it to her. Two weeks later I had an agent. Six week later I had contracts. I know how rare that is (and how fortunate I was) so I'm always quick to say that this wasn't my first novel. I'd tried the querying route with other books and never got back more than a form rejection. When people hear that I sold my first novel so quickly, they have this image of someone waking up one day and saying "Hmmm, maybe I'll write a novel," jotting it down and immediately getting published. Wasn't like that. I had my share of practice novels and rejections!

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Kelley: Many times. It's insanely frustrating when a writer gets lots of encouragement--from instructors, fellow writers, contest wins etc--but every query letter is met with a "not for us" form rejection. There were many times when I was convinced that everyone who encouraged me was just being nice and couldn't bring themselves to tell me my writing sucked. I had plenty of "that's it--I'm burning the manuscript" moments...during which my husband was always kind enough to not mention the fact that I had computer backups.

Lynda: Did you have an agent when you sold your book?

Kelley: Yep. For me, my agent is a godsend. I'm clueless when it comes to the business end of writing, and I couldn't sell something to save my life. I used to get people coming up to me at signings trying to get me to sell them on my book, and I'd just write down the title and tell them to check it out at the library instead if they were interested.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Kelley: I always say that it really depends on two things: the writer and the genre. In a genre like this, if you're going for the big houses, you're probably going to need an agent just to get past the doorkeepers, so the question is moot. If you have the option of going it alone, it depends on your personality. If you enjoy the business side and the selling side, then perhaps you'd like to maintain that level of control (and save yourself the 15%). For someone like me, though, I consider 15% a bargain for what my agent provides.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Kelley: Yep, it was nice. Hardly "hey honey, here's a Porsche for Christmas" nice, but by the time I sold my second book, I was able to take the big plunge and write full-time. So long as I make enough to continue writing, I'm happy.

Lynda: What was the process of revisions/rewrites like?

Kelley: With my first book, what I remember best is that the revisions weren't nearly as bad as I'd feared. I'd heard horror stories of editors asking for wholesale changes that completely altered the "feel" of the book, and none of that happened (or has ever happened since). One thing I'd been told, repeatedly, was that--being Canadian--I should expect an editor to insist I make my protagonist American and relocate the parts that take place in Canada. Never happened. Wasn't even an issue. The revisions that I made were all suggestions that I agreed with--either mistakes I'd made or things that, when mentioned, I thought "now why didn't I see that?"

Lynda: If you had an agent, did she/he suggest changes?

Kelley: Yes, and therein lies a tale of extreme embarrassment. The original version of my first novel had large sections set in England. This was a really amateurish mistake on my part. Somehow, I thought that setting it in England would make it more exotic. The fact that I'd never been there...well, that was a minor sticking point. My agent is a transplanted Londoner. So I'm on the phone with her, discussing changes, and she brings up one major problem. "It's set in England." she says, in this crisp British accent, then pauses. "You've never been to England, have you?" I feel like an idiot now, wondering what I was thinking, when I knew full well the old "write what you know" adage. But as a pre-published writer, you're desperate for things that will somehow make your novel stand out.

Lynda: Were the changes something you could live with?

Kelley: Yes. I've never been asked by anyone to make a change I couldn't live with. Even the ones that I disagree with--and don't change--have never been anything I'd have refused to do if pushed. But no one has ever pushed.

Lynda: What was it like, working with the editor at your publishing house?

Kelley: I currently have three editors, because I'm at different houses in the US, Canada and UK. All three editors are great, each with her own strengths.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Kelley: No words of wisdom, I'm afraid. Everyone has their own way of approaching the various aspects of the writing process. What I've found works for me, to keep me out of the endless editing cycle, is a couple of things. First, I usually write the whole thing before I edit. If I decide partway through to make a change, I mark it down and keep going rather than revising it on the spot. Otherwise, I start editing...and stop writing. I also save every version before I edit and every scene I delete. I find it's easier for me to make changes when I know I still have that original or deleted bit, should I change my mind and want it back.

Lynda: Were there any surprises for you about the contract you signed?

Kelley: No. The surprises came with the movie rights contract, which was very funny--laying out how much I'd get for action figures, live musical versions etc.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Kelley: Like many new authors, I laboured under the delusion that all I had to do was get the book published, and it would sell itself. My publishers do their bit, but I don't feel I can just say "good enough" and leave it at that. I let them handle advertising, sending out review copies, setting up interviews/signings etc. From my end, I do a few things. One is just making myself available when I'm approached for anything that would be good promotion. Another is my extensive website--I'm a former programmer, so that's easy for me.

Lynda: Did you have input about your cover?

Kelley: Not with the first few. With my first book, I made a comment about the word "spunky" in the jacket copy and, thankfully, got it removed. Since then I've found that if I comment on wording or images, it's addressed and usually changed, but I rarely comment. I consider covers and jacket blurbs a marketing thing, and leave it to the experts.

Lynda: Have you done any events or book signings? If so, what was that like?

Kelley: Done plenty. My first signing? In a local mall...during the Santa Claus parade. The mall was empty. I made two pity sales. The worst thing about signings is when I'm plopped at a table in a mall entrance and people avert their eyes as they pass, as if fearing I'm going to snag them and give them a sales pitch. I feel like I should have a "starving author--please donate" cup in front of me. What I do now is encourage local readers to pop by and chat. If I look busy, people seem more likely to stop...or at least make eye contact.

Lynda: If you could go back and do something differently, what would that be?

Kelley: First book? Too much. Every book, too much. If I had my way, I'd be endlessly tweaking. I've said that the worst punishment I could imagine would be having to listen to the audio version of my first book. I'd be cringing, hearing everything I'd love to rewrite.

Lynda: What would you do exactly the same way?

Kelley: Honestly, while I'd love the chance to tweak my past books, I think if I was seriously given that chance, I'd say to leave them as is. Whatever mistakes I made, they're part of my development and learning as a writer. Weird answer I know--"I'd like to change a lot...but I'd probably end up leaving it the same"!

Lynda: What's your next manuscript about?

Kelley: Right now, I'm doing final edits on my first crime thriller "Exit Strategy." The publisher's "log line" for the series is: An ex-cop turned ethical hitwoman. Not sure any professional killer can be considered ethical, but that's as good a description as any.

Lynda: What's the one book you absolutely must write?

Kelley: I have one planned that I'm looking forward to...but if I said why, I'd be giving away a major spoiler, so I need to keep my mouth shut!

Lynda: What advice are you willing to give to all the pre-published writers out there?

Kelley: Write the story you want to tell. Marketability, originality, it's certainly a factor, but too many writers let it become their main criteria when picking a story idea. Worry instead about writing the story that drives you, the one that holds your interest and your passion. Markets come and go and if you write "to the market," it's liable to have dried up by the time you're done your book. As for originality, once you finally find something no one else has done, you're liable to get halfway through and see a similar basic concept hit the bookstands. Your voice and your handling of that story will be unique. If you want to entertain readers, make sure the book entertains you first!
www.kelleyarmstrong.com

First Sale Stories: Carrie Vaughn, "Kitty and the Midnight Hour," "Kitty Goes to Washington"

Lynda: What is the name of your book?

Carrie: Kitty and The Midnight Hour (and Kitty Goes to Washington).

Lynda: When was it published (or when will it be published)?

Carrie: Kitty and the Midnight Hour: November, 2005. Kitty Goes to Washington: July, 2006.

Lynda:Which publishing house?

Carrie: Warner

Lynda: What's it about?

Carrie: Kitty is a werewolf who starts a talk radio advice show dedicated to the supernatural.

Lynda: What was the inspiration for the book?

Carrie: I wanted to take the "what if werewolves/vampires/etc. really existed in the real world?" one step further. Maybe even make it a little more mundane, because I saw a lot of potential that other writers weren't taking advantage of: there would be a talk radio show. Not to mention reality TV. And faith healers, Senate hearings, tell-all memoirs, and so on. Scraping the bottom of the barrel of pop culture, as it were, with tongue firmly in cheek, while still telling a good story. I made Kitty a werewolf because I thought there was a lot of room to explore and add to the idea of werewolves, while I couldn't really add anything to vampires.

Lynda: Is it part of a series?

Carrie: Yes. Book 2 is out in July, and I've just agreed to a contract for Books 3 and 4.

Lynda: What do you like most about your main characters?

Carrie: Kitty's not perfect, she's not aggressive--she works against expectations in that she's not a dominant wolf. She's really just trying to do her own thing, live her own life, and these adventures keep getting in the way. I'm a fan of "ordinary" heroes.

Lynda: What's your favorite aspect of your book?

Carrie: I like the radio show scenes, the callers who call in with their problems. I like seeing how wacky I can get and still be taken seriously. I also like it when Kitty mouths off.

Lynda: How long have you been writing fiction?

Carrie: "My whole life" is the short answer. I have a copy somewhere of "Sally the Horse," a story I wrote when I was 8. I've been regularly selling short fiction since 1999.

Lynda: Is this your first paranormal manuscript?

Carrie: Book length, yes. Kitty started out as a short story.

Lynda: Is paranormal your main focus?

Carrie: No--at least, it wasn't before I agreed to write 4 novels about a werewolf! Most of my writing is all over the map. I have a couple of stand alone novels I'm working on selling as well. I tend to write more fantasy--contemporary/urban, and traditional.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Carrie: A year and a half. In that time, I left one agent and found a second, which contributed to the length of time. My second agent sold the novel about six months after I signed with him.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Carrie: When I left the first agent and before I found the second one. I felt like I'd gone back to square one. I'd also gone for almost a year without selling a short story at that time. There was a lot of despair happening over the whole business at that time.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Carrie: Try both. Really, though, having an agent speeds up the whole process immensely, so it's definitely worth having one. My advice: focus on finishing the manuscript and making it the best that you can, shop it around to agents, and in the meantime immediately start writing a new novel.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Carrie: A got a slightly above average advance. The "slightly above" was almost entirely due to my agent's negotiations--which also makes an agent worth having. A good one will pay for itself.

Lynda: What was the process of revisions/rewrites like?

Carrie: It went in stages. My agent suggested changes. Then after we sold the book, 7 months or so later, my editor suggested changes (pages and pages worth of comments!) The process can take months, which for me anyway means reading the novel over and over again. You can expect to be living with your manuscript for a long, long time…so you'd better love what you're writing. The nice thing is, my editor's comments were all extremely helpful and made the book better. The second book went directly to my editor, so it had one less round of revisions, but that also meant my editor had a lot more comments.

Lynda: Were the changes something you could live with?

Carrie: Yes. Revision is a big part of my writing process since I tend to write my first drafts very quickly, so most of my work benefits from going over it, tweaking, reorganizing, and beefing it all up.

Lynda: What was it like, working with the editor at your publishing house?

Carrie: Fantastic. I'm very lucky in that my editor "gets it:" what the character is about, what I'm trying to do, and the best way to bring all that out. I've appreciated almost all her suggestions.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Carrie: Revision is a skill that must be learned right along with characterization, plot, etc. Something to keep in mind: when somebody suggests a change, or an alternate way of telling the story that you don't like, look at what prompted the comment. It may indicate a real problem in the story. You don't have to take someone's specific advice or solution about fixing the problem, but you should make an effort to identify what the problem really is, and what you'd like to do to solve it. Many times I'll take a suggestion not as a command for "this is what you should do," but "this is someone's reaction to the story and I need to figure out what prompted the negative reaction." I hope that makes sense.

Lynda: Were there any surprises for you about the contract you signed?

Carrie: Not really, except that they tend to be very tedious, which wasn't a surprise. A good agent will explain all the nuts and bolts to you.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Carrie: I got lots of help. I’m very lucky in that Warner decided to push the book in a really big way, so they did a lot of publicity for it. I also have very enthusiastic friends!

Lynda: Did you have input about your cover?

Carrie: A little. My editor and I talked about it, and she passed along some of my suggestions. The ribbon at the end of Kitty's braid was my idea. Also, I wanted Kitty to be smiling since the women on these covers usually look so grim, and Kitty isn't like that.

Lynda: Have you done any events or book signings? If so, what was that like?

Carrie: A few. Small, but enthusiastic. I'm a regular at some of the local science fiction conventions.

Lynda: If you could go back and do something differently, what would that be?

Carrie: Not gone with the first agent? I'm pretty happy with where I am, and strangely enough, if I'd sold the book sooner, the timing might not have been right for me to have landed with the publisher and editor that I did, or for the book to have had the success that it has. So I don't think I'd actually change anything.

Lynda: What would you do exactly the same way?

Carrie: Write what I want, the way that I want. I didn't try to tailor this to the paranormal market, and I think that helped it stand out from the crowd when it came time to sell it.

Lynda: What's your next manuscript about?

Carrie: In Kitty's world, the paranormal is just starting to gain public recognition. The U.S. Senate holds hearings, and subpoenas Kitty to testify. She gets thrown into the deep end of Washington D.C. supernatural politics.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Carrie: Persistence really does pay off, with one caveat: your writing must always be improving. Challenge yourself, aim high, read a lot. Try new things: a different p.o.v., a different setting, whatever. Develop your voice. This is why I like short stories, they're a good way to experiment and find your voice.

www.carrievaughn.com

First Sale Stories: Kerrelyn Sparks, "How to Marry a Millionaire Vampire"

Lynda: What is the name of your first book?

Kerrelyn: In the Paranormal Universe, my first book is How to Marry a Millionaire Vampire. In the normal universe, which I have apparently left for good, my first book was a historical romance titled For Love or Country.

Lynda: When was it published?

Kerrelyn: How to Marry a Millionaire Vampire zoomed out of the bat cave in August, 2005, and it’s still on the move (in other words, it’s still selling, and that makes me very happy!).

Lynda: Which publishing house?

Kerrelyn: HarperCollins, otherwise known as Avon Books.

Lynda: What's it about?

Kerrelyn: A millionaire vampire! And the mortal woman who captures his heart and fixes his fang. Yes, she’s a dentist, and the poor guy loses a fang one night biting something he shouldn’t have. If she fixes his fangs, will he use them on her?

Lynda: What was the inspiration for the book?

Kerrelyn: I was thinking about embarrassing situations, and I thought it would be really awful (and funny) if a vamp lost a fang and ended up a lopsided eater for all eternity. Oh, the shame! Oh, what fun! And the book was off and running…

Lynda: Is it part of a series?

Kerrelyn: Yes! The next one is Vamps and the City which releases April 25, 2006. A novella in a Christmas anthology follows in November 2006. At this time, the novella is titled A Very Vampy Christmas.

Lynda: What do you like most about your main characters?

Kerrelyn: That even though they are creatures of the night, they’re still so human. Even a vampire can have a bad day, or night, that is. And even a vampire needs to be loved.

Lynda: What's your favorite aspect of your book?

Kerrelyn: Vampires are so much FUN!!! They get to do everything our mothers told us not to do—stay up all night partying, sleep all day, and play with their food!

Lynda: How long have you been writing fiction?

Kerrelyn: I started writing in 1998.

Lynda: Is this your first paranormal manuscript?

Kerrelyn: How to Marry a Millionaire Vampire was my first completed paranormal manuscript. I had other ideas started, but when the Millionaire Vampire came along, he demanded all my attention. What a guy .

Lynda: Is paranormal your main focus?

Kerrelyn: Yes! Normal is just too normal, you know!

Lynda: What attracts you about vampires?

Kerrelyn: They are the ultimate Bad Boys, oh so sexy and naughty. Who can resist them?

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Kerrelyn: Well, here’s a little lesson in the importance of being marketable. I had several completed manuscripts of American-set historical romances sitting on editors’ desks for a year, and I was still waiting for a reply. (American-set historicals are not selling right now). Meanwhile, I wrote a proposal (three chapters and a synopsis) for How to Marry a Millionaire Vampire, and within a week of it being sent out, I received several offers from major publishing houses. My agent was having a field day! I was a nervous wreck. After a few days of bidding wars, the book went to Avon in a pre-empt.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Kerrelyn: Yes, I went through several hard years. I sold my first book, a historical romance in 2000. It took two years for it to get published, and in that time, my editor quit, and the publisher decided to totally ditch their historical romance line. So, in 2002, when my first book made its debut, my career was already in a nose dive. My agent gave up on me, and I thought my career was over before it had barely begun. But I persevered and found a new agent who totally believes in me. Bless her! Still, we had trouble selling my historicals, and I realized it was time to re-invent myself. And boy, am I glad I did! I am having so much fun writing paranormal comedy. I can’t imagine doing anything else now.

Lynda: Did you have an agent when you sold your book?

Kerrelyn: Yes, my agent is the totally fabulous Michelle Grajkowski of Three Seas.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Kerrelyn: Finding an agent is very hard, about as hard as finding a publisher. You need to be really ready, and I recommend having some great-sounding credentials in your query letter, for instance your manuscript won first place in several contests.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Kerrelyn: I’m slowly getting there. The trick with advances is that you want a nice one, but you also want one that you can actually earn. If you fail to earn back your advance a few times, you’ll probably be dropped by that publisher.

Lynda: What was the process of revisions/rewrites like?

Kerrelyn: Painful. Tedious. But also a valuable learning experience when you have a great editor.

Lynda: If you had an agent, did she/he suggest changes?

Kerrelyn: No. Michelle never does any editing on my work, and that’s the way we both like it. I have a wonderfully supportive and vicious critique group, and by the time a manuscript survives their scrutiny, it’s in really good shape.

Lynda: What was it like, working with the editor at your publishing house?

Kerrelyn: I’ve learned a great deal from Erika Tsang. She’s very smart and supportive.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Kerrelyn: Your book will be a better one for it, so grit your teeth and do it.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Kerrelyn: Avon is giving me a lot of support. For instance, they hosted the Bloody Mary Brunch last year at the Romantic Times Convention, and asked me and Kim Harrison to be the guest authors. They provided me with 400 ARCs to sign, and they fed all the people who came. It was fantastic! I also do a lot of promotion on my own.

Lynda: Did you have input about your cover?

Kerrelyn: Avon always asks for my input, but they go with their own ideas, which is okay because they are the experts at marketing, not me.

Lynda: Have you done any events or book signings? If so, what was that like?

Kerrelyn: Booksignings can be awesome, like the 350 books I signed at RT in two hours. Or they can be boring and lame, without a single book sold. But I’m always happy to get to know the booksellers, so I never count them as a loss.

Lynda: If you could go back and do something differently, what would that be?

Kerrelyn: I would have switched to paranormal more quickly.

Lynda: What's your next manuscript about?

Kerrelyn: I’m starting the third full-length book in my vampire series. It’s called Vampires in Kilts.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Kerrelyn: Believe in yourself. Never give up. No writing, even if it’s rejected, is a loss of your time and effort. It’s all part of the learning curve, and it taught you things you needed to know. Never give up. Join a writing community like RWA so you can enjoy the support and camaraderie of other writers. Keep writing and learning. Never give up. I have some writing tips on my website at the imaginary writing school of Wannamarry U. Website is www.kerrelynsparks.com Best wishes for everyone’s success!

First Sale Stories: Margaret Carter, "Shadow of the Beast"

Lynda: Tell us about your first book experience.

Margaret: My first book was a paperback anthology of vampire stories from the early nineteenth century on, Curse of the Undead, published by Fawcett in 1970. I was completely naïve about the publishing world then (age 22). About all I knew was that manuscripts had to be typed and double-spaced. It was much easier for an unknown to get published then, I suppose, and definitely easier to sell anthologies. My first nonfiction book (literary criticism) was Shadow of a Shade: Vampirism in Literature, published in 1975. I wasn't much less naïve then; I signed a contract with the first non-subsidy house that would take me, and the result was disastrous. Rather than talk about either of these experiences, I'm going to apply the questions to the sale of my first novel, since in a way I started over afresh when I began getting book-length fiction published. The one advantage I had over many pre-published writers of fiction was that I did have a track record of sorts in nonfiction related to the genre of my novels. Also, I'd published a handful of short stories in fanzines and anthologies. Having a "resume" to present along with a book query does help with getting an editor to look at a partial or a manuscript. My first novel was Shadow of the Beast, a werewolf tale.

Lynda: When was that novel published?

Margaret: 1998.

Lynda: Which publishing house?

Margaret: Design Image Group, a small press founded specifically to publish traditional horror fiction in trade paperback format. They later branched into mystery and stopped publishing a couple of years ago.

Lynda: What's it about?

Margaret: A young woman whose twin brother and kid sister are killed by "feral dogs," after which she begins to suffer strange nightmares and bizarre sleepwalking episodes. It turns out that she (like her dead brother) has inherited lycanthropy from their long-lost father. The heroine has the same job I do, proofreading for the Maryland General Assembly. Putting the local setting and personal experience into the story was fun.

Lynda: What was the inspiration for the book?

Margaret: It began as a very short story in which the heroine, Jenny, comes home, finds her sister dead, blacks out, wakes up to find her brother dead too, and finally sees herself in the mirror changing into a wolf. Since I've always been attracted to the "Ugly Duckling" theme - the misfit with traits that appear to be negative but ultimately turn out to have a positive side - I decided this vignette could become a novel about Jenny's discovery and exploration of her true nature.

Lynda: Is it part of a series?

Margaret: No, but the heroine's psychiatrist is a major character from my vampire series. The psychiatrist, Dr. Britt Logan, appears in Dark Changeling and Child of Twilight.

Lynda: What do you like most about your main characters?

Margaret: I like Jenny's determination to find out the truth about herself and her background.

Lynda: What's your favorite aspect of your book?

Margaret: The "Ugly Duckling" motif mentioned above. I find that I keep returning to this theme; it's central to my first vampire novel, Dark Changeling. I believe many, if not most, SF and fantasy fans grow up feeling we belong somewhere else and don't quite fit in with "normal" people.

Lynda: How long have you been writing fiction?

Margaret: Since I was thirteen. My first completed story was a romance between a man and a ghost.

Lynda: Is this your first paranormal manuscript?

Margaret: No, I finished a couple of novels before writing Dark Changeling, the first book I thought good enough to try submitting, and I wrote two or three other vampire novels before starting Shadow of the Beast. They've all since been published.

Lynda: Is paranormal your main focus?

Margaret: Yes. I started out thinking of myself as a horror writer. Although I do write some pure horror, my main interest is in the relationships between human and nonhuman beings, so focusing on paranormal romance comes naturally.

Lynda: What attracts you about vampires (or whatever persuasion your paranormal characters might be)?

Margaret: They look human but aren't, quite. They have a skewed view on the human condition. I'm especially enthralled with vampires, but werewolves and other shapeshifters have the same appeal. In fact, I find the same attraction in these creatures that I find in Mr. Spock of Star Trek. That is why I prefer not to see a vampire or werewolf "cured." Touching the mind of an alien is, for me, the main appeal of this kind of fiction.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Margaret: I don't remember for sure. Around four years, give or take. My then-agent suggested I make the heroine, Jenny, a "female Roger" (the protagonist of Dark Changeling), which she sort of is, in the sense that both are misfits looking for the truth about the not-quite-human facets of themselves. After I broke up with the agent, I didn't do any submissions on my own until, as a member of the Horror Writers' Association, I read in their newsletter the call for submissions from Design Image. I'd also seen mention of this new small press on the Internet, and I got in touch with them initially through e-mail. Really, without the Internet I probably wouldn't be published anywhere near the extent I am today. It turned out that the senior editor at Design Image knew me from the distant past! He had edited a very elegant vampire fiction zine for about three issues and published a couple of my stories. So he was predisposed to want to publish a novel by me. Unfortunately, he turned down Shadow of the Beast. Next I sent the true "book of my heart," Dark Changeling. He rejected that, too, but then came back with a surprising offer to publish Shadow of the Beast after all. He wanted a lot of changes, but I was so excited about getting my first novel published by this high-quality press that the prospect of revising wasn't so painful as it could have been.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Margaret: After that initial rejection from Design Image.

Lynda: Did you have an agent when you sold your book?

Margaret: No, I'd had one who'd tried to sell this book and others, but without success. We finally parted amicably.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Margaret: It's fine to send partials or manuscripts (depending on what the particular publisher wants) to publishers whose guidelines allow non-agented submissions. That said, it's certainly a lot easier to attract favorable editorial attention with an agent. Those slush piles, I've heard, get awfully high and deep. Still, I sold my first mass market novel, Embracing Darkness (Silhouette Intimate Moments, March 2005), to a major publisher without an agent, so it can be done.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Margaret: Yes, surprisingly good for a small press (although it wouldn't look like much to a multipublished author with a major mass market company).

Lynda: What was the process of revisions/rewrites like?

Margaret: The editor wanted lots of scenes cut. Being rather timid about offending him, I incorporated almost all of his suggestions, which ended up transforming a 90,000-word book into a novel of category length. On the whole, the cuts made the story more compact and fast-moving, which the editor was aiming at and which is generally a good thing.

Lynda: Were the changes something you could live with?

Margaret: Mostly. The very few things I thought wouldn't work, I didn't change. The ones that the editor absolutely insisted on were okay with me.

Lynda: What was it like, working with the editor at your publishing house?

Margaret: He was wonderful, never mincing words about the changes he thought necessary but still always encouraging. The personal attention was great. You don't often get that to such an extent from a large publisher.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Margaret: Consider all the revision requests carefully rather than being overly defensive about your words as written. But if you believe a certain element is essential to the core vision of your story, stand up for your principles. There is almost always a way to negotiate a viable compromise with the editor.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Margaret: Design Image was mainly a marketing company; the fiction publishing division was an offshoot, a labor of love for the editor. So they had a highly organized marketing plan. They placed lots of ads in genre magazines, sent out many review copies, supplied very attractive publicity materials, and in general did all the work of promoting their line with obvious expertise.

Lynda: Did you have input about your cover?

Margaret: Yes, that was one delightful surprise in working with a small press. They sent me two possible covers for my opinion, and they used the one I preferred.

Lynda: Have you done any events or book signings? If so, what was that like?

Margaret: I did a reading and signing at our local Barnes and Noble. I had good attendance because many people from the office where I work attended. They all seemed to think it was a lot of fun to hear me read a scary incident set in a location so familiar to all of us. One lady remarked that the scene took place only a few blocks from her house.

Lynda: If you could go back and do something differently, what would that be?

Margaret: I wouldn't cut the final chapter so drastically; the review in Locus praised the book otherwise but thought that scene was too abrupt. And in fact, when the novel was re-released by Amber Quill Press, I restored some of that material.

Lynda: What would you do exactly the same way?

Margaret: Sign the contract with Design Image. They were a wonderful publishing company.

Lynda: What's your next manuscript about?

Margaret: I'm working on a quasi-Lovecraftian "secret baby" romance. The baby was sired by a an entity from another dimension, possessing the hero in an arcane ceremony. Now, having been separated ever since that night, the hero and heroine are getting back together when the child is about four years old.

Lynda: What's the one book you absolutely must write?

Margaret: Someday I think I'll have to do a sequel to Shadow of the Beast. Jenny's life with her very tolerant lover/husband can't possibly go as smoothly as the book's final scene implies.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Margaret: Read widely, both inside and outside your genre. Find a solid critique partner. Never give up.
www.margaretlcarter.com

First Sale Stories: Kari Thomas, "Temptation Unleashed"

Lynda: What is the name of your first book?

Kari: Temptation Unleashed. I went through several titles before this one, and it seems to say it all about the story itself.

Lynda: When was it published (or when will it be published)?

Kari: It's due out in July, 2006. I'm really excited and wish it could be available sooner!

Lynda: Which publishing house?

Kari: Triskelion Publishing.

Lynda: What's it about?

Kari: My heroine is a modern day witch. Her mentally ill sister killed herself and her husband in a murderous ritual. They left behind a baby girl. The sister's spirit is now restless and begging her sister (the heroine) to gain custody of the child in order to protect her from danger. The heroine finds herself against very strong obstacles with her inlaws. Unknown to her, they are shapeshifters (her sister's husband was a brother of this family) and so is the niece. They'll do anything to protect the little girl and keep their secret heritage from the heroine and the rest of the world. But, meanwhile, an Evil has stepped up his plans to destroy the family and the heroine must find a way to help them fight this sorcerer.

Lynda: What was the inspiration for the book?

Kari: I love all stories paranormal, and since I'm a member of RWA (Romance Writers of America), I mixed this love with my love of romance. It just seemed to fall in place from there. There are a lot of vampire romances out there now, and so shapeshifters are slowly being recognized as sexy heroes too.

Lynda: Is it part of a series?

Kari: It wasn't meant to be. But my publisher keeps asking for the sequel! Im in the middle of writing another book which will mention these characters --- very briefly --- but they won't play a part in this series.

Lynda: What do you like most about your main characters?

Kari: The heroine is fragile but strong and the hero is all alpha male.

Lynda: What's your favorite aspect of your book?

Kari: Actually, the romance between heroine and hero. I loved bringing together these two opposites and against all obstacles they were facing. It made the sexual tension between them really strong.

Lynda: How long have you been writing fiction?

Kari: Years! But it took me one full year of writing, editing, rewriting, of this one book before I finally submitted it for publishing.

Lynda: Is this your first paranormal manuscript?

Kari: Yes. I also co-wrote a fantasy-romance with a writer friend. It's still looking for a publishing home.

Lynda: Is paranormal your main focus?

Kari: Yes. I love this aspect in fiction, and nonfiction too. It broadens your whole idea of what's "out there" and keeps a reader thinking of the possibilities.

Lynda: What attracts you about your paranormal characters?

Kari: Love them vampires, but I have to admit I love shapeshifters better. There's something sexy about a guy who has to fight his animal instincts all the time! Vampires are sexy too, but the thought of having to "convert" to one to be with the one you love, isn't an idea I'd like......I can't stand the thought of having to give up great foods like chocolate!

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Kari: Actually, I was so surprised. I finished it at the end of Dec., 2005, submitted it to the publisher on Jan. 9 and received an acceptance/contract two weeks later!

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Kari: Unfortunately all writers go through that stage --- and more times than they'd like. I went through it several times and was ready to throw the whole manuscript away. I'm too much of a perfectionist and kept convincing myself that it wasn't comparably good enough with other books out there. But, I was blessed to have a wonderful writers group supporting me, and a heaven-sent writer friend, LoAnna, who kept me encouraged and going forward.

Lynda: Did you have an agent when you sold your book?

Kari: No. I took the chance to try first without one. Thank goodness it worked!

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Kari: I've heard so many pros and cons on this subject, so it's hard to choose. It worked out great for me without one, but I've heard that it's best to have that agent out there on your side, and you'll have better luck. I would suggest to any pre-pubbed writers that they check out the agents first, then go from there.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Kari: Not yet!

Lynda: What was the process of revisions/rewrites like?

Kari: Argh! It was harder than writing the actual story! As a writer, you learn to get that first draft written --- fast and furious --- while inspired. Don't worry about editing/etc. until the story is finished. Then, the fun (not!) starts!

Lynda: Did your editor suggest changes you could live with?

Kari: Definitely. I feel the editor knows what she's talking about and I trust this.

Lynda: What was it like, working with the editor at your publishing house?

Kari: I learned a lot.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Kari: Don't sweat them! Write that story, then set it aside for awhile. Leaving it for any length of time allows you to then see the work with fresh eyes and edits/revisions come much easier.

Lynda: Were there any surprises for you about the contract you signed?

Kari: I was happy to see that Triskelion sends books out to reviewers on a regular basis.

Lynda: Did you have input about your cover?

Kari: Yes. Triskelion gave me a sheet to fill out, with preferences.

Lynda: If you could go back and do something differently, what would that be?

Kari: Hmmm... I've always loved interior decorating.

Lynda: What would you do exactly the same way?

Kari: Join RWA and my local writers group. They've been the most helpful, and the friendships are priceless.

Lynda: What's your next manuscript about?

Kari: Another set of witches and shapeshifters. One set is 3 sisters and a brother (the witches), and one set is 3 brothers and a sister (the shapeshifters). They're mortal enemies but must work together to stop an enemy from the past destroy the world.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Kari: Write. Write. Write. Rejections are nothing more than pieces of paper. And never give up on a dream. I really think its beneficial for pre-pubbed writers to join writers groups, or at least get a writer friend. My writer friend, LoAnna, inspired me, encouraged me, nagged me , pushed me, and refused to let me give up. That's priceless to someone who is faced with doubts. And writers need to remember to READ, also. Know your competition, know the publishing industry, and be prepared to give them what they want. I'm so honored to be able to share my thoughts here. I hope some writer out there benefits a little.
www.geocities.com/authorkari

First Sale Stories: Susan Squires, "Sacrament," "Danegeld," "The Companion," "The Hunger"

Lynda: Susan, would you like to tell us about your first sale experience?

Susan: I'd love to. The book I sold first was called Danegeld. It was the second book I'd written (the first was Sacrament, 275,000 words and totally unpublish-able at that point). I had been working on it for four years. I wrote it and then worked it over, learning how to self-edit in a Master's Class for writing at the UCLA extension program. I know--that's way too long to work on a book, but I just wasn't very good at this stuff back then.

I got an agent for it through the "read and critique program" at the San Diego Writer's conference. I thought I had it made when I got an agent. But she couldn't sell it. Seven houses turned it down. Do you think it might have been because it had a male rape before page fifty? Hmmm....

I went on to write another book (published as Body Electric), but I liked Danegeld and didn't want to give up on it. So I joined Romance Writers of America and started entering contests with it. I called it "my summer of contests." I set a budget, and entered contests that allowed me to submit fifty pages. That allowed me to get the male rape in--after all, I wanted to see if that was the problem or not. It won eleven contests that summer, and was requested by two editors at Dorchester.

I got the call in late November. I was at work, and I thought the guy on the phone was a salesman. I didn't recognize his name. I wasn't even polite! Suddenly I realized he'd just said he wanted to buy my book. I took a breath, asked if I could start over, thanked him, and gave him my agent's name. Then I closed the office door and leaped and screamed. That was Chris Keesler, and I loved working for him. He bought Sacrament (which I cut in half and re-wrote), Body Electric, and two others sight unseen. By the time Danegeld won the Golden Heart that year, it was just about to come out on the shelves. I've since gone on to two three-book contracts with Jennifer Enderlin at St.Martin's Press, but I'll never forget the long road to publication for Danegeld and how happy I was to get that call. What can I say? It's all about learning the craft and hanging in there.

www.susansquires.com

First Sale Stories: Marta Acosta, "Happy Hour at Casa Dracula"

Lynda: What is the name of your first book?

Marta: My book is titled Happy Hour at Casa Dracula.

Lynda: When was it published (or when will it be published)?

Marta: Simon & Schuster's Pocket Books is releasing the book on July 4, 2006, so I'll be shooting off firecrackers.

Lynda: What's it about?

Marta: Happy Hour at Casa Dracula is a comic novel about a young woman who desperately yearns to be taken seriously as a writer, a human being, and a girlfriend. Milagro De Los Santos attended a Fancy University, F.U., but she's a misfit in the corporate world, can't support herself with her writing, and thinks there are rats in the walls of her apartment. She attends a book reading by an ex-boyfriend, and her plans to network go seriously astray when she meets a rather fabulous man. During a romantic tussle with the man, there is an inadvertent exchange of blood and Milagro becomes very ill. What's worse is that her ex, now a member of an extremist organization, is trying to kidnap her, claiming that she's been infected with vampirism. Milagro has to hide out with the fabulous man's snobby family in the country.

Lynda: What was the inspiration for the book?

Marta: I was inspired by my love of comic novels, 19th century writers, and paranormal stories. It was also important to me to have a Latina protagonist who didn't fit the stereotype, who reflected some of the diversity of the Latino population. I threw everything in a blender and pressed the "frappe" button, because that's what I do with margaritas and they turn out great.

Lynda: Is it part of a series?

Marta: Is two a series? I'm working on a second novel wherein Milagro once again tries to improve her life.

Lynda: What do you like most about your main characters?

Marta: I like Milagro most because she's brave, funny and well-intentioned, if occasionally inexperienced and clueless. She does believe in right and wrong and wants to do the right thing, but feels a bit lost in the world. My other favorite character is Edna, an older, very sophisticated and very snobby vampire, who entertains herself by insulting Milagro. There are a couple of decadent, old-school vamps who come visiting and cause problems.

Lynda: What's your favorite aspect of your book?

Marta: My favorite aspect of my book is that it sold. I see it in a whole new light. I want to be its best friend and go to movies with it.

Lynda: How long have you been writing fiction?

Marta: I've been writing stories ever since I first picked up a Ticonderoga pencil in my grubby little hand. Which is not to say that I've been writing fiction continuously. I've taken years off from fiction, but writing is something I've always done rather compulsively. I'm also a freelance writer and I write articles about gardening, satire, home and design stuff.

Lynda: Is this your first paranormal manuscript?

Marta: It is.

Lynda: Is paranormal your main focus?

Marta: No, humor is probably my main focus, but I really enjoy having a paranormal element to my stories.

Lynda: What attracts you about vampires?

Marta: I'm not fixated on any specific paranormal creature, but I love the idea that there's more out there. There's a reason people seek out these stories about "others." I've always been drawn to movies, television and books where the characters try to behave in a rational way in the face of something they don't comprehend.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Marta: I honestly don't remember. I queried agents and got a few fast responses to see the book, a few declines, and a few agents who never responded. My agent wanted a rewrite, so I had to do that. My editor at Simon & Schuster wanted to see another rewrite before making a decision and before I'd finished that, two other publishers bid on the book, and then Simon & Schuster bid on the rewrite. I decided to go with Simon & Schuster because I really like and trust my editor, Maggie Crawford, who helped me improve the book. The whole process takes much longer than you imagine.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Marta: No. You don't give up. You just keep going. You'll always be rejected; if you can't handle that, then this business is not for you. You can't take it personally. I generally don't say that something was "rejected," I say that someone "declined" it, which is more accurate. If there is some commonality in the reasons that your manuscript was declined, you try to learn from that. It is a business and there are some extremely talented writers who just aren't marketable.

Lynda: Who is your agent?

Marta: My agent is Julie Castiglia of the Castiglia Literary Agency.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Marta: I suggest finding an agent you can trust. The business is so confusing to an outsider that you need a pro to guide you and get you a better deal.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Marta: There was a small bidding war for my novel, and my agent negotiated an advance that made me very happy. I've since learned that I was very lucky to get such a generous advance. I've also learned that a very large advance can actually be a detriment to a new writer. If that writer doesn't sell enough to earn back the large advance, he or she will be seen as a failure no matter how well the book did. So it might be better to accept a smaller advance, earn back the money and prove that you're a marketable writer.

Lynda: What was the process of revisions/rewrites like?

Marta: It was like taking an all-white puzzle and trying to put it back together again to make a different picture: there were a lot of details to try to keep in place. But I loved my editor's suggestions and believe she helped me really improve the structure of the novel.

Lynda: Your agent suggested changes?

Marta: Yes, I did an initial rewrite for my agent. My novel was initially more leisurely.

Lynda: Were the changes something you could live with?

Marta: I fought for a few funny lines, but I believe that most writing can be improved, so I don't resent suggestions. If you're writing for yourself, do whatever you want, but when you are writing for the public, you shouldn't take offense at advice from professionals. You don't have to agree with absolutely every change that's suggested, but you should consider the changes as dispassionately as possible and then make up your mind.

Lynda: What was it like, working with the editor at your publishing house?

Marta: My editor is Maggie Crawford and she has a mind like a steel trap. It amazes me the way she can keep track of all the details and plot lines of a novel and suggest ways to consolidate scenes, eliminate repetitive dialogue, and improve themes. I am lucky to have her and think she is way fab.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Marta: Find a trusted reader. It's a waste of time to revise your manuscript at the whim of just anyone with an opinion. It is well worth the time to take the advice of someone who knows what you're trying to achieve and can help guide you. Great writers have willingly revised their work in order to improve it, so don't be a big baby and whine if someone has valid suggestions.

Lynda: Were there any surprises for you about the contract you signed?

Marta: Yes, the clause where I gave them my first-born child. They sent him back after a week and amended the contract.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Marta: I'm working with a publicist at Simon & Schuster, but I've worked as a publicist before, so I'm trying to do whatever I can to collaborate.

Lynda: Did you have input about your cover?

Marta: I did. I said, "I don't want to see any dancing chiles on the cover." I wanted a really arty cover that probably would have appealed to about four people. Even bestselling authors don't have a lot of say on covers. I know because I talked to one.

Lynda: Have you done any events or book signings? If so, what was that like?

Marta: Not yet. I'm horrified at the idea of having to do this.

Lynda: If you could go back and do something differently, what would that be?

Marta: I would be born to wealthy parents, live off my trust fund, and write haikus. So instead of writing hundreds of pages, I'd only have to write: fun girl with vampires/seeks country enlightenment/and escape from ex. That would be a lot easier.

Lynda: What would you do exactly the same way?

Marta: Be persistent.

Lynda: What's your next manuscript about?

Marta: My character, Milagro, sells a nutty screenplay about a chupacabra, the goat-killing flying money of Latin American myth, and goes on location to the desert. She stays in a town called La Basura ("the garbage"), and starts noticing very odd things happening with the townspeople and in the desert.

Lynda: What's the one book you absolutely must write?

Marta: There is no one book I must write. As long as I'm writing and getting paid for it, I'm a happy camper.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Marta: Make sure that you actually have the skill to be a writer. This sounds silly, but just as there are people who think they can sing, there are people who think they can write. I love to sing, but I'm completely tone-deaf. Hone your technical skills, write articles, columns, newsletters, anything that makes you more at ease with the actual process of writing for an audience.
www.martaacosta.com

First Sale Stories: Vivi Anna, "Hell Kat"

Lynda: What is the name of your book?

Vivi: Hell Kat.

Lynda: When was it published (or when will it be published)?

Vivi: It's coming to a bookstore near you, April, 2006.

Lynda: Which publishing house?

Vivi: Kensington Books' new line, Aphrodisia.

Lynda: What's it about?

Vivi: Dark Dwellers, a breed of vampire-like humans that thirst for blood and shun the light, wait for the duo in the black of Vanquished City. The leader, Baruch, dreams of Kat and he will stop at nothing to possess her.

Lynda: What was the inspiration for the book?

Vivi: Angelina Jolie with an eye-patch on a motorcycle.

Lynda: Is it part of a series?

Vivi: Yes, the sequel Inferno comes out around November.

Lynda: What do you like most about your main characters?

Vivi: That they both are strong, independent people that can kick-ass and ride motorcycles.

Lynda: What's your favorite aspect of your book?

Vivi: The action-adventure.

Lynda: How long have you been writing fiction?

Vivi: About six years. I tried screenplays for the first two years. Didn’t pan out…yet!

Lynda: Is this your first paranormal manuscript?

Vivi: No, I think the first full paranormal manuscript I wrote was Blood Red.

Lynda: Is paranormal your main focus?

Vivi: Yes, I love it. I have two other writing personas, one writes paranormal too, and the other romantic/fantasy.

Lynda: What attracts you about vampires?

Vivi: I like the dark aspects of human nature. I like that a man or woman who is not necessarily morally right in some people’s eyes, can still be a hero. That not all heros have shiny knightly armor and ride horses.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Vivi: I wrote Hell Kat in five months, sold it to an epublisher the next month. Then eight months later sold it to a big NY house.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Vivi: I never give up. EVER. The lowest point for me is always right before I finish. It’s a very painful process for me, for two reasons. One, I always doubt myself toward the end, that I’m not a good writer etc, and second, I’m always lost on what to start on next.

Lynda: Did you have an agent when you sold your book?

Vivi: Yes, I got him July 7. I got the book deal July 12.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Vivi: I think you can do both at the same time. And I know a lot of authors that do that. When they get an inkling that a publisher wants to buy, that just gives the writer an advantage of getting an agent. Most agents will take you on, if you already have a deal brewing.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Vivi: Let’s say I got enough money to pay off some bills, buy myself something really sweet, and fund my trip to Atlanta for RWA nationals.

Lynda: What was the process of revisions/rewrites like?

Vivi: There wasn’t one. LOL, Kensington was so eager to get this new line out, that they did the edits and got it printed.

Lynda: Did your agent suggest changes?

Vivi: No. My agent is a salesman. That’s his job to sell my book. My job is to make sure I have the best possible product for him to sell. That’s his process and I like it that way.

Lynda: Were there any surprises for you about the contract you signed?

Vivi: Yes, a few. I won’t discuss them personally. But for new authors, READ the contract top to bottom twice. If there are things in there you don’t understand, ask, if those things bother you, ask again what they really mean. If you don’t think you can live with them, ask for them to be omitted or amended. EVERYTHING can be negotiated.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Vivi: No. None. Kensington did do a few layouts in RT magazine for the launch of the new line, so that’s great. But individually no. I’ve had to do everything. Out of pocket money. Advice to new authors, be prepared to spend some money on promotion. You want your first book to sell well, so that next contract will come with a bigger pay check. Get out there and learn to promote yourself shamelessly.

Lynda: Did you have input about your cover?

Vivi: No. At big pubs, you won’t have much or any say. Thankfully, they did an awesome job for my Hell Kat cover. I was dreading that it would come out looking like. But they decided to go a completely different route for me and my book. They wanted to market to the twenty-something romance reader. That’s why my cover looks like a MANGA graphic novel! Very cool!!

Lynda: Have you done any events or book signings? If so, what was that like?

Vivi: Not yet. But I have a planned book launch in April in my hometown.

Lynda: If you could go back and do something differently, what would that be?

Vivi: Negotiate on my option clause so I don’t have my hands tied so tightly. And work my ass off to finish my second book way before deadline.

Lynda: What's your next manuscript about?

Vivi: The sequel to Hell Kat, called Inferno. It’s almost done, then it’s on to Quick Silver that has recently been contracted to Avon. Quick Silver is about a courier who breaks her number one rule, don’t look in the package!
Lynda: What's the one book you absolutely must write?

Vivi: Because I have two other writing personas, there are three books that I absolutely must write. Venom, Of Blood and Bones, and Shin Temple Warriors.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Vivi: Write every day, discipline yourself. Find a group of peers to share your triumphs and your failures. Find a critique partner that nurtures your gifts. Remember that rejection is part of the process. Never give up on your dream.

http://viviannasblogs.blogspot.com

First Sale Stories: Lori Handeland, "D.J.'s Angel," "Blue Moon," "Hunter's Moon," "Dark Moon," "Crescent Moon"

Lynda: What are the names of your books?

Lori: D.J.'s Angel was the first paranormal book I wrote. Blue Moon is the first paranormal in the Nightcreature series. Crescent Moon is the first book in the trilogy set in New Orleans.

Lynda: When were they published?

Lori: D.J.'s Angel came out in September, 1995; Blue Moon, October, 2004. Crescent Moon will arrive February 7, 2006.

Lynda: What are the books about?

Lori: D.J.'s Angel is a guardian angel story about a flaky angel who watches over a tough cop. Blue Moon is the first of a trilogy set in northern Wisconsin. The heroine, a no-nonsense small town cop, is confronted by werewolves run amuk. She must solve the mystery with the help of a gorgeous Native American professor. Crescent Moon is about werewolves, werewolf hunters, zombies and New Orleans.

Lynda: What was your inspiration?

Lori: I got the idea for D.J.'s Angel by wondering what it would be like to pair a woman who doesn't believe in love with a man who believes too much, and throwing in a little paranormal help. I'm not really sure where Blue Moon came from. I'd wanted to write another werewolf book since I'd written my first, Full Moon Dreams, in 1996. I was also interested in writing a book in the first person. Blue Moon was the result. Crescent Moon came out of a conversation with my editor and a trip to the Crescent City.

Lynda: What do you like most about your main characters?

Lori: I enjoyed the contrast of the character types in D.J.'s Angel. In Blue Moon, I really liked Jessie as a person. She was smart, tough and funny. She said all the great lines I think and never voice. And she got to fall in love with Will Cadotte, who is very, very hot. In Crescent Moon, the characters are adventurous, fearless, intelligent and interesting.

Lynda: What's your favorite aspect of your books?

Lori: I always look back with fondness on D.J.'s Angel as being the first book I wrote that had a lot of humor. I love Blue Moon because it's sexy, funny and scary.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Lori: For D.J.'s Angel, I sold the book on a one-page synopsis; Blue Moon was sold on 3 chapters and a synopsis. They both sold in a few months.

Lynda: How long have you been writing fiction?

Lori: 15 years.

Lynda: How many paranormals have you written?

Lori: Crescent Moon will be my 30th published novel, with five more in production. I've written probably 10 paranormals.

Lynda: Is paranormal your main focus?

Lori: It is now.

Lynda: What attracts you about your paranormal characters?

Lori: I've always been fascinated by wolves and the idea of becoming a beautiful wild creature for just one night.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you?

Lori: Right before I sold my first book, everything had been rejected. I wasn't aware my agent has sent the manuscript to one other house. She'd forgotten about it, too. And they bought it.

Lynda: Was there a time you almost gave up?

Lori: Many times--both before and after I was published.

Lynda: Did you have an agent when you sold your book?

Lori: Yes.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Lori: That depends on what you write and which house you wish to sell to. Some don't accept manuscripts without an agent, some do. I've never enjoyed that aspect of writing, so I've always had an agent.

Lynda: What was the process of revisions/rewrites like?

Lori: Sometimes difficult, sometimes easy. Depends on the book and the editor. I've never minded revisions because it's easier for me to fix what's already there rather than create something from a blank page.

Lynda: Did your agent suggest changes?

Lori: I've had 4 agents. Some want changes, some don't. Depends on the book, the agent and where you'll be sending it.

Lynda: What was it like, working with the editor at your publishing house?

Lori: My editor is the best. We work together wonderfully. I can't think of anyone I'd rather have publishing my work.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Lori: Do them. Sometimes editors just want to see if you can, or how easy you are to work with. This is a business, we're creating a product. Our job is to write it, the editors job it to edit. Let them do their job so we can continue to do ours.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Lori: St. Martin's does some marketing, I do the rest. I also have a personal publicist who helps.

Lynda: Did you have input about your cover?

Lori: I do now. I didn't in the beginning.

Lynda: Have you done any events or book signings? If so, what was that like?

Lori: I've done a few. Some are good, some are bad. I always enjoy meeting and talking with readers.

Lynda: If you could go back and do something differently, what would that be?

Lori: I would probably have stuck to one genre in the beginning rather than writing all over the place just to help fill my publishers slots. It helps to build a following in one thing before moving on to something else.

Lynda: What would you do exactly the same way?

Lori: Keep writing. All the time, no matter what. Eventually you sell and then you have a lot of books done. You also learn something with every book, so even if they don't sell, no time writing is wasted.

Lynda: Tell us a little about your next book.

Lori: My next manuscript is the second in the New Orleans trilogy of Nightcreature novels, Midnight Moon. It takes place mostly in Haiti. A very spooky place. In it we'll meet a brand new Nightcreature.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Lori: Don't give up. The only way to fail is to quit.

www.lorihandeland.com

First Sale Stories: Mario Acevedo, "The Nymphos of Rocky Flats"

Lynda: What is the name of your book?

Mario: The Nymphos of Rocky Flats

Lynda: When was it published (or when will it be published)?

Mario: It’s out of the crypt March 14, 2006.

Lynda: Which publishing house?

Mario: The Rayo imprint of HarperCollins.

Lynda: What's it about?

Mario: Felix Gomez goes to Iraq a soldier. He comes back a vampire. He needs a job to pay bills so he works as a private detective specializing in tough cases. An old friend hires him to investigate an outbreak of Nymphomania at the Rocky Flats Nuclear Weapons Plant.

Lynda: What was the inspiration for the book?

Mario: I worked at Rocky Flats and somebody had to write an exposé. This next part is true. I had to submit my novel for review by the US Department of Energy, making Nymphos the first and only vampire book to be declassified by the Federal government. So tax money that should’ve been used to catch Osama bin Laden was instead spent to make sure you didn’t learn too much about vampires.

Lynda: Is it part of a series?

Mario: I’m under contract for a three-book series.

Lynda: What do you like most about your main characters?

Mario: Felix is taller than I am and has more hair.

Lynda: What's your favorite aspect of your book?

Mario: It retails for $13.95 and is therefore more affordable than an iPod or cable TV. Plus it’s in trade paperback so people will think you’re reading high-minded literature.

Lynda: How long have you been writing fiction?

Mario: I’ve been telling lies all my life but writing them down? From first draft of my original sucky attempt at a novel to selling this book took seventeen years.

Lynda: Is this your first paranormal manuscript?

Mario: Yes.

Lynda: Is paranormal your main focus?

Mario: For any novel to work, you have to focus on a good story. Since these are vampire novels I had to address the details of the fantasy/paranormal world I created and then make fun of everything.

Lynda: What attracts you about vampires (or whatever persuasion your paranormal characters might be)?

Mario: I didn’t start to write a vampire novel. I simply began with the most ridiculous premise I could think of--a vampire detective investigating an outbreak of nymphomania at a nuclear weapons plant and went from there.

Lynda: How long did it take to sell your book, from the time you finished your manuscript?

Mario: About a year.

Lynda: Thinking about the notion of "It's always darkest before the dawn," what was the lowest point in the process for you? Was there a time you almost gave up?

Mario: No, I’m in denial about most aspects of my life.

Lynda: Did you have an agent when you sold your book?

Mario: Yes.

Lynda: Do you recommend that a pre-published writer focus on finding an agent first, or do you think it's OK to submit directly to the publisher?

Mario: I’d look for an agent first. It’s not an easy process. I’ve collected enough rejection letters to use as ballast for a tug boat.

Lynda: You don't have to mention numbers, but did you get a nice advance?

Mario: I still have a day job.

Lynda: What was the process of revisions/rewrites like?

Mario: Very straight forward.

Lynda: Did your agent suggest changes?

Mario: A few. All good ones.

Lynda: What was it like, working with the editor at your publishing house?

Mario: It was a good experience learning from a professional in the writing business.

Lynda: Do you have any words of wisdom for us about revisions/rewriting, etc.?

Mario: Don’t fall in love with your words. Even if you have a sterling-silver line of prose, if it drags the story, pitch it. Phrases are like Doritos. You’ll make more. I have a file of my absolutely favorite lines waiting for the perfect time to get recycled. And guess what? I’ve never used them.

Lynda: Were there any surprises for you about the contract you signed?

Mario: Only that it was for me.

Lynda: Do you get a lot of help with marketing your book, or do you have to do most of it yourself?

Mario: The book’s not out yet and there’s some behind the scenes stuff going on. I’m sending letters and postcards introducing myself to bookstores.

Lynda: Did you have input about your cover?

Mario: No. It’s a marketing decision.

Lynda: Have you done any events or book signings? If so, what was that like?

Mario: I haven’t yet done a signing. Right now, speaking at events such as conferences and workshops is a head rush. I haven’t been in front of so many people unless there were chasing me and throwing rocks.

Lynda: If you could go back and do something differently, what would that be?

Mario: Find a like-minded group of writers sooner.

Lynda: What would you do exactly the same way?

Mario: Join Rocky Mountain Fiction Writers and my critique group.

Lynda: What's your next manuscript about?

Mario: My hero, Felix Gomez, is hired to investigate the murder of a porn star in the San Fernando Valley. The title is X-Rated Bloodsuckers.

Lynda: What advice are you willing to give to all the pre-published writers out there?

Mario: Have faith. Keep writing and improving. Writing a novel is like running a marathon through a swamp with a horde of spider-faced bill-collectors after you.

I'm having a book launch party: 7:30 p.m., March 23, 2006, Tattered Cover Book Store, LoDo, 1628 16th St, Denver, CO 80202.

www.marioacevedo.com