An Interview with Author, Brian C. Conley

A few years ago, the Northwest Arkansas Writers Workshop was lucky enough to have Brian C.Conley as an attending member. Each week, we looked forward to hearing the voices of the characters in his novel, The Neighborhood. So much so, many of us refused to believe him when he told us he and his family were moving away from Arkansas. Unfortunately, no amount of creative reasoning, even by a group of writers, could make him stay. He remains an honorary member, and thankfully, social media lets us keep in touch and follow his successes.

I hope you enjoy getting to know about Brian and his writing.

1) As writers, we often find certain characteristics in books that make them memorable. What makes you most enjoy reading a book – writing style, voice, sense of place, the story or something else? How have you incorporated that characteristic into your writing?

I guess my only barometer for total enjoyment is whether or not I'm thinking about the book a week or more after I'm done reading it, regardless of style, voice, etc. But there are characteristics I've lifted from certain authors: Chuck Palauniuk's style, James Patterson's brevity, John Steinbeck, Guy Johnson and Elliot Perlman's scope in dealing with multi-character stories, and Edwidge Danticat's soulfulness. I think my humor's more influenced by television, though. Elmore Leonard once said something that's always stuck with me: "Leave out all the parts you tend to skip when you're reading." That advice has influenced my writing more than anything else.

2) What are the similarities and what are the differences in your first novel, Stay and your second novel, The Neighborhood?

I would say the only similarity between the two is that they were written by the same guy. They differ in tone, style, subject matter, theme, setting, length, maturity and skill levels of "the same guy", and the cover art (one's in color, the other's black & white).
 

3) Is there a message you wanted readers to carry with them long after they finished reading each?

There's no message with The Neighborhood; my only hope is that readers enjoy the book and tell others about it. Make it a book club selection and whatnot. As far as Stay is concerned, I just wanted to show that even though men are not wired or raised to show our emotions in relationships, we do have them. And that some of our most hateful actions can come from a loving place, we just don't always know what to do with those loving emotions, especially if they make us feel like a girl.
 

4) You describe Stay as: "Told in Anthony’s words to the new woman in his life, follow the story of a young man trying to do what few men attempt: To explain to his woman why he is the way he is."

This book would be a great book club selection. What are two questions you would want a book club to discuss about Stay?

1. Did you make it past the first half?
2. By the end, did you understand the point of the first half?

I believe Stay has been unfairly judged as "raunchy", "smut", and so on, though mostly by those with delicate sensibilities like my godmother and church-going friends. True, the first half is racy, but it evolves into a genuine love story because the main character evolves from a man whose only interest in women were sexual to a man who can't fight the emotional pull the love interest had on him. Being that the story was told in his words, I had to be true to what he thought and felt.
 

5)  One of my favorite quotes on writing is by Madeleine L’Engle: “When I’m writing, I’m listening.” So, I was particularly interested in what you said on your Amazon author page:

          Long aware of his talents, his beloved parents, in an attempt to lend some direction to their wayward son (and perhaps to prevent him from moving back in with them), enrolled Conley in a creative writing class at Rice University. He was, as they say, a hit. 

          Since then, the prolific writer has gone on to publish one short story (Voices Volume II Anthology), and two novels - Stay and The Neighborhood.

            He lives in North Dallas with his wife, two children, and thousands of voices in his head.

What have you found to be the best way to “listen” to those voices in your head?

Just to let them talk. It's the same way I've learned to listen to the voices in my house. (Just to be clear, I'm talking about my wife and children, not ghosts.)
 

6) My most challenging character in Broken Dolls was Terrence, a black teenager. Not only was he outside of my race, he was outside of my gender. As you know, I struggled with his voice. Since then, I have been intrigued by the question of whether or not a person can (or should) write outside of his/her race or gender. (Click here to see my post, “Color of a Voice.") What are your thoughts?

I remember you having that issue. My issue with helping you was that even though I was once a black teenager, I wasn't alive during the time in which your story was set, so I had no idea how a black teenager spoke during WWII.

I think a writer can and should write outside of his/her race or gender. The problem is when the effort devolves into caricature and stereotype. I have two white characters in The Neighborhood. Neither speak alike because I never concerned myself with how white people speak, but with how these two people speak.

You can't say, "My character speaks this way because (random racial group) people speak this way. But I will admit that non-white writers may have an advantage (sad as it may be)in writing white characters because of the multitude of personalities shown in the media, whereas non-whites are not shown in nearly as many variations. My advice to white writers seeking to write about non-white characters is to read books and magazines written by and for your character's ethnic group. Watch their tv shows. You'll learn that one size (or voice) does not fit all.

7) What’s next for Brian C. Conley?

I'm currently developing a sitcom pilot, a dramatic series adapted from one of my favorite novels, two comedic memoirs, and a psycho-sexual novel and screenplay tie-in. It's those damn voices fault! Whichever voice speaks the loudest and has the best story gets first dibs.

Brian, thank you for sharing some of your thoughts on my blog. On a personal note, I most appreciate your insights on writing outside of one's race. Like you said, "The problem is when the effort devolves into caricature and stereotype." For someone unfamiliar with the nuances of an ethnic group, "getting it right" without crossing the line is a big challenge. I've followed your suggestion to read books "written by and for your character's ethnic group," and that has helped a lot.

By the way, the Northwest Arkansas Writers still miss your reading and critique!

Enter a comment by Wednesday, February 15

for a chance to win an autographed copy of THE NEIGHBORHOOD!

To follow Brian:

Facebook:
https://www.facebook.com/bcconley

To purchase Stay:
http://www.amazon.com/Stay-Brian-Conley/dp/0595442447/ref=sr_1_2?ie=UTF8&qid=1328061290&sr=8-2

To purchase The Neighborhood:
http://www.amazon.com/Neighborhood-Brian-C-Conley/dp/1606530380/ref=sr_1_1?ie=UTF8&qid=1328061290&sr=8-1

An Interview with Author, K.D. McCrite

I first met K.D. McCrite when she offered to critique the manuscripts of five lucky Ozarks Writers League members. I submitted the first chapter of Broken Dolls, and met with her one-on-one for a detailed critique. I remember being impressed, not only with the comprehensive and thoughtful review she gave me, but also that she volunteered her time to help new writers to become the best they can be.

In the year and a half since then, I've seen many instances where she has offered her advice and support to writers, all while being prolific at both writing and marketing.

After enough wondering "How does she do it?" I decided to interview her to see if I could discover her secret. I hope you discover it too!

Q. With all of the time authors must spend promoting themselves and their books via social media, how do you balance your promotion time with your writing time? Do you have a structured schedule? What forms of promotion do you find most useful?

These are tough questions. I don't have a balance right now, but I'm trying to figure one out.The first few weeks after a book comes out can be hectic, with invitations to speak, to sign books, to attend parties.

In spite of all the hype and chatter I hear, I'm still not completely convinced social media actually is the great "be-all" marketing tool we're told it is. Does Twitter really help you sell more books? Do people actually follow the multitude of hash tags and links, looking for good books? Does blogging entice readers to want to read your books, or is it vice versa? Would time spent promoting yourself be better served at your desk, writing the best story you possibly can?

Maybe I'm just old school, but I continue to believe word of mouth is superior to all marketing tools. It creates best sellers.  If you like my book, for goodness sake, tell someone about it! And in that case, Twitter and Facebook, et al is an invaluable resource. 

Q. K.D., in your book, In Front of God and Everybody, you created a series of funny, “relatable” characters. But my favorite, of course, is April Grace, your teenage main character. Who was the inspiration for April Grace? How is she different and how is she the same from that person?

Much of April Grace is based on my younger daughter, Joy, who as a child had a big heart, but often spoke before she thought. And my older daughter, Holly, could come up with some of the funniest observations about people and events.

April Grace is also a little bit based on my own inner sassy self and what I've thought, felt and seen through the years.  I would hope all three of us can keep our feet out of our mouths better than April Grace does!


Click here to read an excerpt.

Q. Can you describe what your writing path has been? For instance, did you start with short stories? Contests?

As a young girl, I wrote stories. Lots of stories. But, as an adult, when I started writing with serious, professional intent, I jumped right in with writing novels, because I wanted to write books not stories. That's a hard way to go, and it's the slow way to see your work in print. When I finally began doing articles and short stories and seeing them published, it helped to build my confidence. Plus, when I wrote queries or pitched ideas to book editors, I had some credits behind me. 

Q. What three things have you learned in your writing career that you wish you would have known from the start?

1) I wish I'd known my early works were not golden and that I needed a LOT of practice and learning.

2) I wish I'd known it's better to start small and work my way forward. I'd have written and submitted more articles and short stories sooner to get my feet wet, rather than starting out by novel writing.

3) I wish I'd known you can't write your true voice if you're worried about offending someone.


Q. Arthur Golden, author of Memoirs of a Geisha, says his greatest “writer-sin” is debilitating perfection. What would you say is your greatest “writer-sin” and what do you do for redemption?

Seeing a story in absolutely everything, no matter where I am or who I'm with can be a great transgression.  (It was murderously tough in school to pay attention when my head was spinning stories.)

Today, I had lunch with a lovely friend, and was completely distracted by an unrelated event going on outside in the parking lot. I immediately began to build a story around what I saw. It was rather hard to pull myself back into the real world and listen to my friend's comment.

I drive my long-suffering husband crazy with my excess imagination. To redeem myself, I apologize, apologize, apologize. Those who know and love me, understand and forgive.


Q. What's next?


Cliques, Hicks and Ugly Sticks, the sequel to In Front of God and Everybody, will be out December 6. However, it can be pre-ordered on Amazon now! (Click here to pre-order.)


Also, I'm excited about two new books that will be coming out under the name Sidney Archer. (That's a combo of my grandfather's first name and my grandmother's last name.) These are both dark, serious novels for adults, nothing like the funny, light reads of Confessions of April Grace. The first book, Redemption, will be out in December of 2012, and Whited Sepulchres will be out February 2013. (To read more about these books, click here.)

See what I mean? K.D. is downright prolific! After interviewing her, I see there is no magic solution to it -- though I expect her "writer-sin" of seeing a story in everything is actually a gift. But, there's no doubt that her greatest gift is her ability to just SIT DOWN AND WRITE!


Thank you for your insights, K.D., and best wishes for continued writing success!

K.D. has a great book trailer for In Front of God and Everybody. Have a look:

You TOO can be Facebook friends with April Grace:
http://www.facebook.com/AprilGraceReilly

And you can "like" the real K.D. McCrite, too! Here's her Author Page on Facebook:
http://www.facebook.com/K.D.McCrite

If you don't find K.D. sitting on her porch writing in front of a fan, you can find her in these places:
http://kdmccrite.com/
http://sweettea.kdmccrite.com/

Leave a comment by Wednesday, November 16 to be entered in a drawing for an autographed copy of

In Front of God and Everybody!

Hog Jowls and Caviar: An Interview with Author, Pamela Foster

I still remember first listening to Pamela Foster read Redneck Goddess at the Northwest Arkansas Writers Workshop. Let's see. How can I best phrase how I felt, listening to her story? Have you ever felt tension and longing as you watched a performer, artist or athlete struggle through a performance? And then comes another  performer, so completely competent that you are able to let down, relax and enjoy the show? Well, Pamela is that second performer, and that's how I feel every time I hear or read something that she has written. She is a master of combining humor with elegant prose - thus the title of this interview, Hog Jowls and Caviar, taken straight from her book, Redneck Goddess, released earlier this year and now available on Amazon.

I hope you enjoy getting to know Pamela as much as I have. I know you'll see some of the magic of her writing in her words below.

Q. What first influenced you to write?

As a kid, I lived mostly in my head. I used to stay up half the night, lying in bed, living life as a pioneer woman or as a cowgirl or--and this scenario crossed over into erotica as the estrogen kicked in--as the slave of a gladiator. When I was eleven I was diagnosed with scoliosis. What followed was three years of body casts, surgeries and about eight months in bed. This is when I began to write. The ability to create a world that I could drop into and disappear was honed during that time.

Q. In Redneck Goddess, you've created characters (Goo Goo, Julio, Aunt Ruth,) that readers will be completely drawn into, and places, (Noisy Creek) that live in our imaginations. What do you think is most important in a story: characters, sense of place or something else?

Well, first of all, thank you. Nothing makes an author happier than knowing a reader has fallen into the world she created. I think being your character, each character, as you write is critical. I've never acted, but I imagine it's very similiar to what an actor does to get into a part.

Generally, I know what scene I want to write, what information I'm trying to convey to the reader. But, once the words start to flow from my fingertips to the screen, the characters themselves know what to do, how to react. Many times I'll begin a chapter with one thing in mind, only to have a character balk at the words or actions I envisioned. I always listen to my characters. The process is similar to what preachers call 'getting out of the way and letting the spirit flow through you.' If the people in the story are not real, no matter what else you get right, no one is going to be inspired to keep reading. I see sense of place as part of the development of the characters, because the reader, and the writer, is seeing, smelling, touching, hearing, tasting the world through these characters. A grumpy, negative character is going to experience a day in the woods much differently than a joyful person. Every word has to match the mood and personality of the character living it.

I use the weather as a character in my books. Growing up in the Pacific Northwest in the fog and rain and wind, this is easy to see and to feel. I'll fess up to the truth here. I did this automatically, with no thought whatsoever.  But, once it was pointed out to me, I have honed the skill, employed the art more and, I think, better. The use of weather as a living-thing is in Redneck Goddess, but in Bigfoot Blues, it's much more intense, much more an integral part of the book.

Having said all this, to me, voice is the most important quality of a book. It's hard to define, but like they say about pornography, we all know it when we see it. Voice is the difference between the authentic and the fake. It's partly a product of the writer being comfortable in their own words and partly about being honest.

Q.You have created such beautiful, "ah"-inspiring prose in much of your writing. How do you write? do you create a "shitty" first draft (in the words of Anne Lamott) or do you perfect as you go? 

Actually, my first drafts are often longer, with more description, more detail and more mood setting than the final edited version of the book.  This happens especially in the first few chapters, because I'm still dropping into the bodies of the characters.  Still getting inside their heads and finding the experiences that make them who they are. Once I've gotten that solid, then there are really very few changes in the writing.  Line editing.  Misspelled words or, my nemesis - the incorrect use of dashes or hyphens.

Q. Any writing quirks you'd like to share? What's the best piece of writing advice you've gotten? 

Quirks, huh?  Well, let's see. I know Jan, that you've talked and written about interviewing your characters and I've heard the beautiful results of those interviews.  Ruth Burkett Weeks says the characters speak through her.  I may be misquoting Ruth, but I think that's the general idea and certainly the process works for Ruth. Her characters could not be more real.

For me, the characters live in a world and I simply step into that world. I don't mean to get all supernatural here and I don't necessarily mean other dimensions or parallel universes.  Though I'm not ruling that out either.

The best piece of advice I've received. That's tough. Velda Brotherton and Dusty Richards and everyone at the  Northwest Arkansas Writers Workshop have helped me improve my writing.  That's a given. But I think the most beneficial thing ever said to me about my writing came from my husband.  When I was lamenting, pissing and moaning about yet another rejection letter, he said simply, "If you don't believe in yourself, nobody else is gonna believe in you either." For me, the writing is as easy as breathing and darn near as important for my survival.  It's the self-promotion and marketing and walking past fifty rejections to get to the one glorious acceptance -- that's the difficult part of being an author.

Q. If you could only write one more thing in your life, what would you write about?

Ah. A trick question.

The Buddha taught that we can never enter the same river twice. To me that means that everything changes.  No two moments are the same. The creative river in my head holds thousands of possibilities.  The choice of which one to focus on and spend months clarifiying, changes from day to day.

At the moment I'm concentrating on the sequel to Bigfoot Blues, tentatively titled Loony Ticks. Once that's completed, I'll dip back into the creative river and see what hits me in the head and gets my attention.

Visit Pamela at:

Author Pamela Foster Website

Pamela Foster Secrets and Vices

Contact Pamela at:

pamelafoster2011@gmail.com

Happy Hour with Nobu

In writing Broken Dreams, the sequel to Broken Dolls, most of my characters have readily begun to tell me their stories—all except Nobu. Though I’ve perched at my computer countless hours trying to claw out his first chapter, after several writes and re-writes only two lonely paragraphs dangle on that big, white screen.


Staring at the hungry page, I’ve asked, “Nobu, why won’t you talk to me? What are you hiding?”

Then, it occurred to me. Interview him. Even better, invite him to happy hour. Pour him some sake. Re-establish some trust. Maybe that will get him to open up.

So in my mind, I invite Nobu to sit beside me in a place not filled with the usual noise of a happy hour—loud music, the chatter of people trying to be heard above everyone else. In my imaginary meeting place created especially to make Nobu comfortable, the only sound I hear is water trickling over rocks in the lush, green atrium near where we sit.

He is tall for a Japanese man, his height more pronounced because he is thin. His clothes are a little too neat and pressed, almost as if he just removed them from their packaging. In his dark eyes, I interpret a variety of emotions. Wisdom, some unwanted, perhaps. A little sadness, some resentment, definitely guarded. But, they also ask for a trusted place to hide.

I pour some sake into a tiny cup. “Thank you for joining me,” I say and hand him the warm drink. “What have you been doing in the decade since Broken Dolls?”

He draws a deep breath and stares at the waterfall. “When I left Tule Lake [internment camp] in 1945, I returned to California.” His gaze darts back to me. “Papa and Sachi remained in Arkansas. My decision to return to California created a bit of a rift in my family. As you might imagine, Papa wanted me in Arkansas with him.” He blows into the cup, then sips. “But I refused to run away from what we left behind in California – racism, fear.” Another sip. “Though we had nothing left to return to, I wanted to prove I could move beyond what we had been through during World War II.”

“Prove to whom?”

“I don’t know. Maybe only myself. Fortunately, my brother, Taro, felt the same way when he returned from the war.” He smiles his first smile. “He and I started a nursery together. In the past decade, we’ve made Kimura Brothers Nursery one of the largest in northern California.”

I want to dig deeper. Casually sipping my own sake, I proceed slowly so as not to alarm him. “How is your relationship with your family now? How do you and Taro get along in the business?”

His eyebrows rise slightly and he swirls the sake in his cup. “Since my nephew, Michael, was born four years ago, I find myself wanting to re-establish a connection with my family. He is so much like Sachi was as a child – inquisitive, full of energy and well, spunky. Sachi, Michael and Papa have come to visit Taro and me several times in the last few years, and I have gone to visit them in Arkansas once. I find it amazing how a child can change one’s perspective. Michael has no worries about the future, of how he appears to others. He enjoys each little moment without consideration of the past or future. I could learn much from him.” He quiets.

“And you and Taro?”

“Oh, we get along fine. But sometimes I feel like there is an invisible wall between us. We never talk about the war years, though they had a huge impact on me. And I know fighting as a Japanese American in the war had its effect on Taro. How could it not, with his family interned in America as possible spies while he risked his life in Europe? I often see a faraway look in his eyes. In the times we are quiet, when no words pass between us, his eyes speak a thousand things. Things so terrible, so angry, I am afraid to ask.” He gulps down the last of his sake.

I hold the bottle toward him. “More?”

He nods and pushes his cup toward me.

As I pour, I ask, “What about your mother?”

His eyes widen and he jerks out of his seat, turns away and runs his hand through his hair.

I’ve hit a nerve. I blow on my cup and wait.

The silence is thick and threatens to become impenetrable if one of us doesn’t speak soon. I decide not to take the chance. “Nobu? Is it something you can talk about?”

Without turning to face me, he begins to talk, so softly I have to lean forward to hear. “A letter.” He returns to the table for his drink, then turns away again.

“A letter? What letter?” My heart is beating fast and I am afraid of losing my grasp as I reel in what feels like a very big fish.

He inhales, long and deep. “When we were sent to Arkansas, Mama gave some of our belongings to friends for safekeeping until we returned. As you know, after Mama was released from Rohwer, she returned to Hiroshima to find her parents.” He picks up a pebble from the garden and turns it in his hand before tossing it into the waterfall.

I hold my breath, afraid the slightest motion will shatter his fragile momentum.

“When I returned to California, our friends asked if I was ready for them to return our family items. It was all we had left, so of course, I said ‘yes.’”

“So,” I whisper, “you found a letter there?”

“Yes. In a Bible.”

“A Bible? But . . . you and your family are Buddhist, aren’t you?”

“Yes. That’s why I was surprised to see a Bible. I opened it, and there was an inscription inside. ‘To Sumiko. Always, Hideo.’ Who in the world is Hideo, I thought. So I flipped the pages, searching for something, anything that might tell me who he was . . .” His voice begins to tremble. “. . . and found a letter . . . from Hideo . . .folded up inside.”

My brain begs me to ask what the letter said, but my heart aches for Nobu.

At last, he faces me, his eyes glistening. “It is yet another brick in the wall that stands between Taro and me—between my whole family and me. I know a secret that would destroy us.”

What is it?

“In the letter, Hideo asked about his son. His son . . .Taro.”

Taro is Hideo’s son?

I struggle not to gasp and instead, gulp my now-lukewarm sake. “Oh, Nobu. I’m sorry. Do you think you will tell Taro one day?”

“Perhaps.”

I’m speechless. But I want to end my interview on a better note. After all, I hope that Nobu and I can meet again to talk more. I decide to close with a question I’ve asked others. “Is there anything you’d like to answer that I haven’t asked?”

He flashes a broad, wise smile and for the first time, I see how handsome he is. “Yes. Of course,” he replies. “Like many of the characters you have created, I know that I am a part of you. You should have asked me, ‘What part of you was created from me?’”

An interesting question. “Okay, Nobu. What part of you was created from me?” I am a little afraid of his answer.

He straightens and I can tell he's shaken off the sadness of his last answer. “The writer. As with you, I write in my journal those thoughts and feelings I am afraid to share. Perhaps because I don’t want to cause someone pain, or perhaps I don’t want to anger them. Anyway, as you know, I often decide it best to keep such feelings to myself. Still there is a part of me many do not know. Maybe one day, after I am gone, someone will find my journals and will know who I really am inside.”

I shake the bottle of sake to see if there is anything left. When I find it empty, I open my eyes.

Nobu is gone. Though I still see the same two paragraphs on the page, I now know the story he will tell in Broken Dreams, even if it is only through his journals.

An Interview with Duke Pennell, Editor

"I'm learning more from this [editing] than any creative writing class, so keep up with the criticisms . . . your work makes my work better."

                                    --Dan Chamberlain

                                  "The Long Shooters"

The above testimonial on Duke Pennell's editing about sums it up. I first met Duke at the Northwest Arkansas Writers critique group, and I can say first hand that his critique has helped to improve my writing.

Duke has a wide range of editing experience. He is the founder and editor of the online e-zine Frontier Tales, a website for "Westerns and other stories that deal with the raw edge, where civilization crashes into the frontier."

He is also an editor for an independent publisher and provides freelance editing services.

Recently, I sat down with him to ask some questions about the editing process and what he's up to next:

JAN: What are the three most common mistakes you encounter in a manuscript?

DUKE: 1) Point of View. Point of View is so easy to get wrong. You know what you intend but, by the time it’s on paper, what was clear in your mind has become confusing to your reader. Unfortunately, when you re-read it, you still see what you meant, not what is there.

             2) Logic. Every story has a structure and an internal environment. Everything within the story must be consistent with that environment. It’s not fair to say “. . . and then some magic happened!” and expect the reader to go along with it.

            3) Author Intrusion. Almost every story has a message. Usually, the lead characters show us that message by what happens to them and their reactions. Sometimes, though, you’ll see words—lines, paragraphs, even pages—that are “background” information, put there by the author to help the reader understand. Don’t do it! If you require the “voice of God” to tell some key information, please let one of your characters have a religious vision or something of the sort. Unless it’s a memoir, the author should be invisible.

JAN: There is a Japanese Proverb that says, “To teach is to learn.” In editing, have you learned anything new about writing?

DUKE: Lots! When I edit other people’s work, I’m actively looking for problems. Another proverb says “practice makes perfect.” While none of us are likely to be accused of perfect writing, the practice of actively looking for errors has allowed me to see the same types of errors in my own work. They’re easier to fix now, and I find I’m not making as many of those errors as I used to. I’ve moved on to other errors . . . but my writing is better for it.

JAN: Please describe your typical editing process. (ie, Do you read the entire manuscript first, or do you edit as you read? How do you provide comments – via Word Review, or hand-written notes? Do you communicate with the author as you go, or give one review when complete?)

DUKE:  1) I format the manuscript if it needs it. Then, I read it from start to end, doing Line Editing (spelling, punctuation, etc.) as I go. Once I’ve read it all the way through, I’m able to see what message the author has. Then I can go back and do Copy Editing and/or Developmental Editing as needed, ensuring the manuscript is a cohesive whole and reaches the author’s goals.

            2) I comment in whatever method works best for the author. Some like Track Changes, others like highlighting text. The only thing that matters is for the author and me to understand what’s being said. I insert comments pretty liberally, targeting specific areas that need attention. So far, that works better than supplying generalized notes.

           3) I’ve communicated with authors both ways: as we go and giving one overall review. Again, it depends on what the author finds works best for him.

JAN: How can an author contact you for more information regarding your editing services?

DUKE: I prefer email sent to duke@dukepennell.com because I don’t often lose those messages.

JAN: You are also a writer, website developer and editor of Frontier Tales. Any upcoming projects you'd like to tell us about?

DUKE: I’m getting ready to produce the first anthology of stories from Frontier Tales. That’s fun and exciting! I’m also writing a novel and a non-fiction reference book for writers. This is on top of the editing jobs I have. The variety allows me to do one thing for a while then, when I get burned out, switch gears to something else with renewed enthusiasm. It’s like I imagine juggling chain saws would be: hard work, absorbing, and tiring -- but not boring!

JAN: Is there a question I haven’t asked that you’d like to answer?

DUKE: I think you should have asked “What’s the most important trait of a good editor?” My answer? You have to want to help people get their message across. You can’t do it for them, and you can’t turn their work into yours. You are a writer’s assistant. No more and no less.

Thanks to Duke, for taking time to share some information regarding his editing services. If you have any questions or comments, email them to Duke or leave them below and I'll pass them on.

LOOK!!
Email Duke (duke@dukepennell.com) the first ten pages of your work and get a free edit. If you have a completed novel-length manuscript, page count can be extended to the first twenty-five pages. Along with the edits marked, you will receive a free estimate of the cost for a full edit.



BUT WAIT! THERE'S MORE!

Anyone who posts a comment by Friday, July 29 will be entered in a drawing for a copy of the anthology, Voices Volume III, autographed by both Duke Pennell and Jan Morrill.




Visit Duke's Websites:
Duke Pennell
Frontier Tales E-zine

Five Questions for Ruth Burkett Weeks, Author

I first met Ruth Burkett Weeks about two years ago at the Northwest Arkansas Writers Workshop critique group. At the time, she was still working on her novel, Soldiers From The Mist. Her beautiful prose and dialogue defined and captured each character and I was always disappointed when she finished reading her five pages for the night. When I later learned the "story behind the story," I understood why she knew her characters so well. (See my note on "Whisperings" below.)

Now, I am looking forward to her new novel, The Legend of Dixie Dandelion. One of the joys of having writer friends is experiencing the birth of our characters with each other. I've seen a lot of Dixie in Ruth (in fact, these days, we call Ruth "Dixie,") and I was with her when she found the perfect personification for Jackson at the Cowboy Hall of Fame in Oklahoma City.

Here's just a tidbit of the author behind Soldiers From The Mist:

 JAN: Your book, Soldiers From The Mist was recently published by High Hill Press. Your story differs in a unique way from how other Civil War stories have been told. Can you explain how this story came to you, and how you decided to tell it in this way?

RUTH: First of all, I want people to know that Soldiers From the Mist is more than yet another Civil War story. It is unique in that it is channeled information that came to me from the ghosts that haunt my house. In fact, the main protagonist, Charles Ely, is my distant cousin. These ghosts were trapped in time and had waited for me for 150 years so that I could write their story and bring their message of love to the forefront. By doing this, they were able to cross over and rest in peace. (Jan's note: The "Whisperings" chapters in Soldiers From the Mist are fascinating. These chapters describe those moments when the ghosts came to talk to Ruth. Though I enjoyed all of the book, I could hardly wait to get the the "Whisperings.")

JAN: What have you found to be your biggest challenge as a writer, and what are you doing to overcome that challenge?

RUTH: Finding time to write is my biggest bug-a-boo. I work full time which means I do most of my writing at night and on the weekends. Trying to cram house cleaning, grocery shopping, bill paying, day-to-day living, and writing into that small amount of time is a challenge. I think every successful writer struggles with this problem even if they don't work outside the home. But dishes in the sink and laundry crawling out of the hamper is a small price to pay for the next New York Times Bestseller. I'll hire a maid with my royalities.

JAN: Any new projects you'd like to tell us about?

RUTH: I am working on my next novel, The Legend of Dixie Dandelion. I love Dixie! She is a scarlet-haired, spit-fire who tames the wild west with the help of Pinkerton Detective, Jackson McCullough,the love of her life. I know I was her in a previous lifetime.

"Jackson and Dixie"

JAN: I was recently at a writers' conference where an agent told the audience, "You are not the same writer today that you will be in six months." How has your writing changed, or how have you changed as a writer, in the last six months?

RUTH: I am a more confident wrtier today than I was six months ago. As a beginninger, I questioned my voice and style especially when I heard the polished, elegant words that other writers in my critque group, The Northwest Arkansas Writers Workshop, wrote. I tried to emulate them only to discover it didn't work; that I wasn't staying true to who I am. Each person brings her own uniqueness to the table and none is better or worse than the other. Variety is the spice of life. Of course having a published book that has been so well-received doesn't hurt either.

JAN: Why do you write?

RUTH: To create! It's such a high to pull characters, locations, events, and situations out of the thin air and make up an interesting story about them; to be able to escape into a different time and lose yourself in the pages. Creativity keeps your brain active and your heart forever young.

JAN: Thanks for the interview, Ruth! I can't wait to see what other stories you create from the characters, locations, events and situations you "pull out of thin air!"

Leave a comment by Monday, May 16

for a chance to win an autographed copy of

Soldiers From The Mist.

Winner will be notified on this blog and on Facebook.

Learn more about Ruth on her blog:
http://www.truthsbyruth.blogspot.com/

To order Soldiers From The Mist:

Contact Ruth at rhbweeks@sbcglobal.net
                      OR
http://www.amazon.com/gp/product/1606530399/ref=cm_pdp_rev_itm_img_1

A Conversation with Author, Denton Gay

I first met Denton at a meeting of Northwest Arkansas Writers' Workshop. I remember being held captive by his psychological thriller, Fatal Mistakes, which was published last year by BookLocker.

Denton attended the University of Arkansas and obtained a BA degree in Psychology. Although he did not pursue a career in the field, his interest in human behavior is reflected in much of his writing. He is also a member of Ozarks Writers League and Oklahoma Writers' Federation, Inc..

As I've gotten to know Denton, I not only enjoy conversations on writing, he is also one of my favorite people with whom to have a "political" conversation.

However, for this interview, I kept the subject about writing. :)

JAN: Midwest Book Review recently rated your book, Tailspin, as "Highly recommended. Thoughtful, humorous and charming reading." How did you come up with the idea to write a political satire through the eyes of a dog? Did any special dog(s) help with the characterizations? Any special challenges?


DENTON: Several years ago, I was sitting on the deck behind our house, gazing out at Beaver Lake, contemplating issues facing the United States when the thought struck me, my d---n dogs could do a better job running the country. The first question was how could a dog do that? The answers to questions like that kept coming to me, so I wrote this book. Naturally, the two main dog characters were drawn from my two dogs. Fortunately, both were smart, telepathic dogs and they were able to guide me along the way. Writing this was a ton of fun, and marketing the novella has proved to be the biggest challenge.

JAN: Your book, Fatal Mistakes, is a psychological thriller that weaves a story around teen pregnancy issues and revolves around a protagonist who, with the help of a therapist, deals with a variety of emotions. What was the catalyst for this story?

DENTON: Years ago, I saw a lot of friends involved with decisions surrounding teen pregnancy. Many of them were, like most of us during that time in our lives, immature emotionally and prone to make mistakes. And because people tend to repress emotions for various reasons, these decisions can result in unforeseen consequences. The decision to use a male protagonist stemmed from influences in the screenwriting world where everyone wants to do something that hasn't been done before. So, I thought it might be intriguing to write about abortion from a male viewpoint. For me personally, this book served as a vehicle to fulfill my fantasy of being a psychotherapist.

JAN: You write non-fiction and screenplays, as well as fiction short stories and novels. What do you enjoy writing most?

DENTON: Writing screenplays rocks. They are not the most fun to read, because the writing style leaves much detail to the director. But it is that economy of words that draws me to it. For me, any fiction writing involves visualizing the story, so the preference boils down to one of technique. Unfortunately, screenwriting is the most difficult form to sell.

JAN: Has your background in psychology or the insurance industry given you more writing ideas?

DENTON: The world of psychology offers unlimited writing ideas because the field deals with human behavior. If Fatal Mistakes receives a good response I'll likely write another psychological piece. And with so much attention on healthcare and insurance issues, I'd like to write more on the subject, though it will likely be in the form of newspaper, magazine, or blog work. Like most writers, many ideas spring from my imagination and experience. The challenge is where to focus your efforts.

JAN: What question have I not asked that you would like to answer?

DENTON: Beneath the surface of all your work one sees a concern about social issues in a thematic sense. Why? Because I think all good writing should make human beings consider who they are and how they should be in this world by using their own head and heart for answers.

JAN: You are initiating a group for writers to brainstorm and focus on the marketing aspects of writing. Tell us something about that.

DENTON: In today's competitive environment writers need to be thinking about audience and markets even before publishing their work. You can bet that a potential publisher will be asking questions along those lines. Most writers like to write but do not like to market their work. For many, this is a burdensome, difficult task that requires a good deal of research and knowledge in order to become effective. By sharing what we've learned and experienced with others, we can benefit each other. This group is in the formative stage so I don't know how effective it might be. (If you are interested in participating, please contact Denton at dentongay@gmail.com)

Denton also has a website, AmericanHighwayRoulette.com that contains information and advice for people who have been affected by an automobile accident.
 
Visit Denton's website:
http://www.dentongay.com/
 
Contact Denton:
dentongay@gmail.com
 
To purchase Tailspin as an Ebook or paperback:
BookLocker
Amazon 

To purchase Fatal Mistakes as an Ebook or paperback:
BookLocker
Amazon
 

Leave a comment by Monday, April 18 to be included in a drawing for an autographed copy of Tailspin!

An Interview with Caron Guillo - Author (and International Tour Manager!)

Caron Guillo

I have enjoyed getting to know Caron Guillo through emails, Facebook, Twitter and her website. When I learned she is not only an author, but also a speaker and Certified International Tour Manager, I couldn't wait to get to know her better. I am reading her book, An Uncommon Crusade, and look forward to meeting her outside of the "virtual world." One day, maybe I'll even be a lucky traveler on one of her tours!

Having just finished writing my first novel, Broken Dolls, I am trying to rev up to start my second, But the "engine" is slow to turn over. So, I especially appreciated her answer to the last question!

Thank you, Caron, for graciously accepting my invitation for a blog interview.

JAN: Your book, An Uncommon Crusade, (released on January 4, 2011) is the story of Elisabeth, Simon, and Hugo, who join an ill-fated commoner's crusade to Jerusalem in search of wealth, glory, and redemption. As a writer, I'm always watching for the “seeds” to stories. What was the seed, or inspiration for this book? Were your characters based on real people?

CARON: Several years ago I read an intriguing novel about the crusades which sent me to the encyclopedia in search of more information on the topic. At the end of the World Book article, I came across a few lines about a children’s crusade that ended in tragedy, most of the participants either dying prematurely in the Alps or being betrayed and sold into slavery in Africa.

I actually gasped and re-read the paragraph three or four times. What in the world would possess children to set off on such a misadventure or their parents to allow it?

Sometime later when I had the tools and time to research the subject properly, I discovered that at the forefront of the so-called children’s crusade was a charismatic and egotistical young commoner named Nicholas, that most of the “crusaders” were young adults, and that parents were generally terrified of the movement, seeking to protect their children from a disastrous end.

I couldn’t let the story go. Why would unarmed, untrained, unfinanced peasants think they could accomplish what professional armies had not? How desperate or deluded must an individual be to join such an ill-fated mission? And what about all those young people sold into slavery? How did they live with the consequences of their mistakes?

I began to envision a young woman who would do anything to win freedom from her past. A young man who dreams of rising above his lowly status to change the world. A would-be warrior looking for a fight, and perhaps a bit of fortune.

And so began my exploration into the lives of three young commoners who thought they had nothing left to lose.

  

JAN: You've traveled to sixteen countries on four continents and are now a Certified International Tour Manager. What effect has this had on your writing? Do your stories usually take place in exotic locales?

I have an insatiable curiosity and love exploring, tasting, and feeling different locales, so, yes, my travels do impact my writing. Over the years, and as a tour manager, I've had the wonderful opportunity to meet fascinating people from around the globe. I listen and learn from them. While I've written (or have in progress) novels set in the USA, my current project is a novel-length work titled Great Zimbabwe.

The plot is based in large part on my experiences in Zimbabwe in recent years, continued involvement in humanitarian efforts there, and time spent at Imire Safari Ranch—a black rhino breeding station and game park.

In Great Zimbabwe, American Sara Jenkins travels to Zimbabwe to meet the father she’s never known and perhaps scrape together enough courage to deal with the challenges she faces in her life and relationships. Instead, she must solve the mystery of his disappearance more than two decades ago.

In this story, I explore the tempestuous sea of political, economic, cultural, and racial tension in Zimbabwe today while simultaneously honoring the great beauty, courage, dignity, and strength of the Zimbabwean people. With a bit of humor thrown into the mix. I can't help it.

JAN: As writers, we often find certain characteristics in books that make them particularly memorable or enjoyable. What have you found in your reading that you’ve incorporated into your writing?

CARON: I think a memorable book is a mix of great plot, lively, believable characters, and vivid, but concise, descriptions, and that's what I try to write. In historical novels, I love to get that sense of the time and setting, but I don't want so much historical detail that the story bogs down or the characters get lost.

I sometimes say I write "history lite." For instance, the historical detail in An Uncommon Crusade is well-researched and solid, but I wanted readers to be able to see themselves in the characters, and so I tried not to belabor the historical setting to the point that I failed in that goal.

I was very pleased that Publishers Weekly nailed it when they wrote, "Although this novel uses the Children's Crusade of 1212 as its background, it is not a historical chronicle, but a very personal story . . ."

JAN:  Do you have a favorite piece of advice for writers?

CARON: Listen and learn. Some years ago a successful novelist agreed to critique one of my manuscripts. He wasn't impressed, but did me the courtesy of offering specific feedback.

I thanked him for his time and expressed my deep appreciation. For what, I had no idea. Privately, I railed against him. Didn’t he know genius when he saw it? Thing is, I’d heard the same feedback from editors and agents alike. Blah, blah, blah. It had grown tiresome.

Just when I’d settled comfortably into my superiority over the collective expertise of the entire publishing industry, I came across two Proverbs: “He who hates correction is stupid” and “Listen to advice and accept instruction, and in the end you will be wise.”

I swallowed my pride, took my mentor’s advice, learned a lot, and in the end he wrote a glowing endorsement of my novel.

JAN: Any motivational tips for writers – particularly those who have finished a project and are trying to "rev up" for another?

CARON: Move on! You are creative and productive and have more to offer. That finished manuscript belongs in front of editors or on the shelf, but you? You belong in the middle of your next story.

An author friend of mine--a New York Times bestselling novelist--once told me you have to pen a thousand pages before you're ready to write a truly publishable novel. So keep writing, learning, growing, and moving on. I can't wait to see what you come up with next!

Leave a comment to be entered in a drawing for an autographed copy of An Uncommon Crusade. Drawing will be held on Monday, March 21, and will be announced on this blog and on Facebook. Good luck!

Caron Guillo's Website

Click here to purchase "An Uncommon Crusade" at Barnes & Noble

Click here to purchase "An Uncommon Crusade" at Amazon.com

Follow Caron Guillo on Twitter