A Halloween Poem: The Witch of His Dreams!

THE WITCH OF HIS DREAMS

She comes to him at Midnight,

The Witch of his Dreams,

Her eyes a forest green,

Her hair, dark and long,

Her voice, a sweet magic,

Calling out his name,

He could not help but watch her,

Dance among the flowers,

Beneath a waxing moon,

She whirls and cast her spells,

Upon him,

A haunting chant she sings,

And soars into his soul,

On gossamer wings,

She whispers things he longs to hear,

Of secret longings in his ear,

She enchants him with delights,

Though she must fly into the night,

She tells him of her love,

And casts her spells upon him,

To love him evermore,

Though never shall she return,

For she was only ever,

The Witch of His Dreams.

Composed by K. D. Dowdall October 2017

How to Beat the Query Game: The Truth About the Slush Pile

How to Beat the Query Game: The Truth About the Slush Pile  by Paula Munier 

Everywhere I go I hear writers complain about the black hole that is every literary agent’s in-box—the slush pile—that dark and dangerous place where their queries and manuscripts go in, never to be seen again. Kind of like all those socks that go into the dryer, never to be seen again.

I sympathize, up to a point. Here are the slush-pile facts of the matter, and what to do about it:

Some slush pile stats

I receive some 10,000 queries a year. I got more than a thousand of them my very first week as an agent, and I’ve been behind ever since. Way behind. Most of my fellow agents are drowning in a similar tsunami of unsolicited material. Note: This doesn’t count all the material—queries, proposals, sample pages, partial and full manuscripts—that we’ve asked to see.

For this reason, many agents do not read unsolicited queries at all. Nor do most publishers. I know, I know, it’s a Catch 22.

For many of us who do read unsolicited queries, well, that’s why God made interns. I can hear you cursing at me from here, mortified that the precious job of finding talent should be relegated to interns. I repeat: 10,000 unsolicited queries a year. And may I point out that my actual job is not to read unsolicited queries, my job is to sell my clients’ work.

Only 1 in 200 queries is well-written enough, well-conceived enough, and well-targeted enough to prompt me to ask to see more material. Why? Because many writers simply write a one-size-fits-all query, set up a mail merge that includes every agent in Literary Marketplace, and hit send. This means that they haven’t done their homework and they know nothing about me or the kind of projects I represent. Note: The salutation “Dear Paula Munier” is a dead giveaway.

What to do about it

You can beat the odds, simply by making sure that your queries and proposals and manuscripts fall into the solicited, rather than unsolicited, category.

Research the literary agents you pitch, and only pitch those who rep your genre. Go to conferences, and meet the agents. Hang out on twitter, and meet the agents; participate in online and offline pitch contests and meet the agents; go to your genre association functions and meet the agents. Then, when you follow up, you can set your communication apart by referencing your previous contact in the subject line.

As in: “Requested material from Bouchercon” or “Nice meeting you at the Boston Book Festival” or “Twitter pal writes mystery” or “Loved your panel at the MWA meeting” or “WD says you’re looking for Domestic Thrillers.”

By putting this kind of headline in your subject line, you’re far more likely to catch the agent’s attention. I always skim the subject lines of all the emails that come in, and if I see something from someone I’ve met, I’ll look myself. (The rest of the slush pile I often leave to the interns.)

Beat the in-box odds

Whenever you send out an unsolicited query, you are in effect making a cold call. Any good salesperson will tell you that cold calling sucks, and that the best leads are the qualified leads. So use these end-runs around the slush pile to figure out which agents to approach, make initial contact, and beat the query game.

Research and networking pay off in publishing as in any business, and they beat cold calling any day. All evidence to the contrary, agents are people, too, and face-time and familiarity make a difference.

I’ve edited bestselling authors from a myriad of worlds with vastly different viewpoints: Judge Robert Bork, Michael Chertoff, GenXer Doug Coupland, Irish rebel Gerry Adams, conservationist Mark Kurlansky, activist Rita Mae Brown, among others. I never questioned whether any of these authors should be published. I believe all voices should be heard.

In my editorial role, it doesn’t matter if an author makes a point with which I personally disagree. I strive to help that author clearly articulate their vision, making it comprehensible to readers.

I sometimes encounter passages in which I fear a novel’s readers may misconstrue an author’s intent—for example, a hypothetical margin note might read, “I worry some readers could view the portrayal of this character as stereotypical. Want to tweak the characterization so the character becomes more vividly real for readers?”

Ick

Err. Actually, I feel the need to digress, recalling an anecdote illustrating a notable exception to my high-minded “publish everyone” screed just above. Years ago, with a millisecond’s adeptness, an assistant clicked through a telephone caller that had been bothersome to my boss: “Dana, David Duke for you.”

Oy! The former Grand Wizard of the KKK had heard that the imprint where I worked published “controversial books,” as he put it, and Duke had a book to sell. My last name made him assume I was Jewish so I proudly was for that one day. Astonishingly, he quickly told me how before World War II the National Socialists had a plan to settle European Jews in Madagascar. I managed to end the call. Unfortunately, only later did I think of all sorts of wise, witty, pornographic comebacks I might have lobbed back at him.

Anyway—him. He shouldn’t be published.

Hate speech should not be published.

Paula Munier

PAULA MUNIER is a Senior Literary Agent and Content Strategist at Talcott Notch Literary Services. She boasts broad experience creating and marketing exceptional content in all formats across all markets for such media giants as WGBH, Disney, Fidelity, Gannett, Greenspun Media Group, F+W, and Quayside. A dedicated writing teacher, Paula is a popular speaker and lecturer at writing conferences, workshops, and retreats both online and on-site across the USA.

 

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Watching Scary Movies: Horror & the Inference of Blame in Current Events

KC.. another wise and important post, that tells the tale of humanity. Blaming sex movies and horror movies on humans “evil” behavior, is such a cop-out by so many people. From the Cave Man forward, people have done horrible things to other humans, and they had no Horror movies to watch or read, or imagine. And, by the way, Horror movies always, always tell a tale of goodness, how humanity somehow manages to subdue and vanquish the evil scourge that threatens our human sense of what kind of beings we really are! Not generally very good actually, because the meek run off the ledge like lemmings, the bad ones hide their mentally deranged cowardly selves, and the brave stand up and are often martyred, leaving the middle-of-the road rest of us..trying to be better and that works for a while…then the bad ones raise their deranged selves, again, like Trump, when they spot the weak, selfish, jealous, head-in-the-sand lemmings and it starts all over again. So, horror movies are the opposite of what many call “evil”, a way to excuse our human derangement due to anything, but horror movies.

Zombie Salmon (the Horror Continues)

Horror has always been suspect.

What kinds of people watch, write, or put on film and in our minds such awful images? What kinds of people like that sort of thing?

Since it first emerged as its own genre, Horror has been blamed for being the cause or the effect of mental derangement, of moral impropriety and religious slander. Hidden behind the guise of the immaturity of adolescent boys, everyone has intentionally overlooked the real origins and depth of the genre, trading it for gratuitous sex and violence and wielding it like a magic wand to explain the irrational behaviors we have come to embrace as “evil.”

Most recently we had the Slender Man girls. And now we have the Scary Movie-Watching Florida middle school girls who planned to murder smaller classmates in the girl’s restroom…

As a Horror writer, I feel we must brace ourselves for the interrogation of…

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An Attack On American Democracy

Thank you, Dr. French, for the excellent and most needed post. It is shocking and terrifying that political opponents are being threatened in this way. Our civility in this country is at the lowest point in modern memory.

charles french words reading and writing

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(https://pixabay.com)

American democracy is under attack–the threat of the bombs that have been found that were aimed at numerous people, including political figures, business people, artists, and leaders from national intelligence–has precedent only in the assassination of President Lincoln. That conspiracy intended to kill 3 other government figures and bring down the Union.

There can be no doubt that this is a domestic terrorist attack, and all Americans should be horrified by these actions. These are the kind of actions that put many people, including the people who work in the postal facilities and offices where the bombs were sent, into grave danger. This is an attack clearly focused on one political side. I would condemn this kind of action, no matter who is the focus.

We are supposed to be Americans, regardless of political party affiliation. After 9/11, we had a brief moment of unity. We need to end…

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Writing Books for Us and Them: Diversity for Writers, Readers, and Publishers

 

 

 

 

 

 

 

 

Economics of Diversity by Dana Isaacson

The big publishers release titles from across the political spectrum. While some of their imprints may have an ideological focus, many cross boundaries. Why are publishers so fair-minded? Well, it’s not exactly that: it makes economic sense for Macmillan to publish Michael Wolff’s Fire and Fury while simultaneously having a conservative imprint All Points Books. Simon and Schuster sells Hillary’s What Happened and Ivana’s Raising Trump.

While there’s an ongoing publishing saga of under-representation among numerous groups, still, when authors like Margaret Atwood, Kevin Kwan, Jesmyn Ward, Ta-Nehisi Coates, David Sedaris, and Caitlyn Jenner sell huge numbers of books, surely some progress is being made.

Shhhh!

Some popular career authors have been criticized for expressing their political opinions on their own Facebook page. One bestselling author who, after expressing her opinions about the president—she “refuses to shut up”—got online responses like, “I didn’t come here to read this. I used to love your books and will never buy them again.” One outraged commentor promoted a phone campaign against this writer to her publisher. Undeterred, this career author politely responds to these comments with “Bye!” It seems sad that online cranks are depriving themselves of her delightful novels, which they formerly loved. Freedom of speech is a constitutional right that I hope we can agree to endorse, especially in forums created for just that.

Disagreement among friends or colleagues is not a deal-breaker.

Robin Williams said, “A friend is someone who listens to your bullshit, tells you that it is bullshit and listens some more.” Are not authors and their readers friends, or at least participants in a meaningful dialogue?

Sensitivity

While non-fiction political potboilers are selling like hotcakes, these days fiction featuring politics or political characters are a tougher sell. Fiction readers want to escape the overwhelming daily barrage of politics. But that doesn’t mean alternative or oppositional voices should not be heard from within works of either non-fiction or fiction.

Often when I ask writers whom their intended readership is, they answer, “Everyone!” If so, it’s wise to include diverse opinions. In their work, a writer may cloak themselves in anonymity, but their own perceptions and viewpoints naturally inform their literary labors. Adept (or perhaps “woke”) fiction writers may question their ingrained viewpoint, sometimes with oppositional characters. If novels are about character growth, conflict and debate are necessities. Career authors of fiction have ample opportunity to provide voices in counterpoint. It could be in their protagonist’s thoughts or the dialogue of others.

Fictional characters may passionately debate hot-button issues that folks are reluctant to voice in public these days.

Authors may also discover their characters are free agents. Hank Phillippi Ryan has spoken of how hers often do just as they please while she breathlessly records their actions and words on her laptop.

Alternative viewpoints

It’s not necessarily that you are writing a novel with a political agenda but instead more inclusively exploring the world at large. Rita Mae Brown says she doesn’t write “gay novels” because that would limit the scope of her fiction to a particular group of people.

Beyond their vast imaginations, careful observation and research, career authors have additional tools at their disposal to portray with accuracy people different from themselves. It’s fairly common for writers to seek and use feedback from a crew of beta readers—often friends and other kindly acquaintances.

Just lately, specialized services of this sort have been monetized. Career authors whose work explore alternative POVs may hire “sensitivity readers” to vet their books—specialized beta readers. For example, an African American author might hire a Native American reader to verify they are correctly describing Pueblo burial traditions. This sensitivity reader might reflect on other aspects of the book, perhaps a character’s emotions, discussing their own reactions in similar circumstances.

To some, this raises the question of whether political correctness or groupthink could inhibit the creative fiction-writing process. I’d counter that it allows another informed and interesting voice to be heard from the cast of characters, which during revisions an author is entirely free to heed or not. It seems a positive development for storytellers to seek inclusiveness. Raising questions is a good thing.

Seditious reading

Readers who carefully avoid political discussions at parties, family gatherings, and other public forums may still curl up with a Maya Angelou novel, or sneak a read of Ayn Rand’s The Fountainhead to see what all the fuss is about. Dan Brown might do the trick, or perhaps Tom Perrotta. Maybe dipping into a Sophie Kinsella novel or Harlequin romance is what some readers might crave at just that moment. It’s no longer a problem to shield book covers, and expanding literary horizons is greatly encouraged.

Your mission, should you accept it…

Even as certain writers leave little in their plots to interpretation, it remains the reader’s task to sort through ideas and come to their own conclusions. Over a hundred years ago, the novel Uncle Tom’s Cabin altered the dialogue about slavery. In more recent times, Judith Rossner’s Looking for Mr. Goodbar caused a public discussion of misogyny and womens liberation. Bret Easton Ellis went more bonkers in the misogyny direction in American Psycho. Salman Rushdie’s The Satanic Verses launched hysteria, as well as a debate on satire. And E.L James… um, well… Can fiction be just as influential and powerful today?

In divided times, books provide a time-honored forum for meaningful discourse among writers, readers, and thinkers about contemporary issues. In your writing, without restraints or fear of criticism, seek new angles and POVs. Can you address opposing views? Literature can be a provocateur, a liberator, and potentially a unifier.

ABOUT THE AUTHOR

Dana Isaacson worked as Senior Editor at Penguin Random House for thirteen years. There, he edited a wide variety of titles—from bestselling commercial fiction to literary biographies and historical narratives. Prior to that, he was an editor at various publishing houses, including Pocket Books and Regan Books. He has also been an abridger, literary agent, writer, book doctor, and ghostwriter. Now a freelance editor, more information about Dana Isaacson can be found at http://www.danaisaacson.com

Top 10 Reasons Your Book Will Sell: An Agent’s Checklist Posted by Paula Munier

 

Writers are always asking me how I decide to sign new clients—why this writer with this project, and not that writer with that project. As an agent, my primary job is to sell my clients’ work. Ergo, I sign writers whose work I think I can sell. And remember, we agents work on commission, so I don’t make any money until I sell the work. I can’t afford to take on a project, however wonderful the project and/or however wonderful the writer, if I don’t think I can sell it. Literally.

How do I know if I can sell it? It’s more art than science.

And God knows there are no guarantees in this business. That said, there are certain criteria that can help me predict what may work in today’s tough marketplace:

  1. I totally LOVE LOVE LOVE the work.
  2. I can pitch the story in 50 words or less.

In other words: It’s based on a high-concept (or at least unique) idea written by the writer born to write it. As in:

Everlasting Nora is a middle-grade novel about 12-year-old Nora, forced to live in Manila’s Cemetery City after her home burns down in the fire that takes her father. When her mother goes missing, Nora must find her—before it’s too late. A heartwarming debut by Filipino-American Marie Miranda Cruz.

  1. Readers will fall in love with the protagonist, just like I did.

Give me Bosch, Bridget Jones, Harry Potter, Stephanie Plum, Atticus Finch, Everlasting Nora.

  1. The story is written in a distinct and engaging voice.

Think Alice Hoffman, J. D. Salinger, Maya Angelou, Anne Lamott, David Sedaris, Isabel Allende, Pat Conroy, Roxane Gay, Sue Grafton, Lee Child.

  1. The story falls within a known genre.

Which means that: a) I know where it fits on the shelf; b) I can reference good comparable titles within that genre; and c) The publisher will know how to sell it.

  1. The protagonist drives the action from beginning to end.

Imagine your story as a film—would the A-list actor you want to play your hero agree to take the role? Hint: He’d have to do all the good bits, that is, take down the bad guy, get the girl, save the baby/world/universe.

  1. The structure is sound.

The plot works. The heroine’s dramatic arc is in place. The writer has remembered that: The first page sells the book. The last page sells the next book.

  1. The writer has a strong idea for a second standalone or the second in the series, whichever applies—and is already working on it.

The writer is in this for the long haul.

  1. The writer is professional, cooperative, and collaborative.

The writer understands that editing is part of the process—from my notes to the acquisition editor’s notes and beyond. Resistance is futile.

  1. The writer is prepared to make the transition from writer to author.

Notably: The writer is an active participant in his/her writing community, and is willing and able to do the promotion work required to publish successfully in the 21st century.

How’d you do? Are you ten for ten? Let’s discuss on Facebook.

Paula Munier

PAULA MUNIER is a Senior Literary Agent and Content Strategist at Talcott Notch Literary Services. She boasts broad experience creating and marketing exceptional content in all formats across all markets for such media giants as WGBH, Disney, Fidelity, Gannett, Greenspun Media Group, F+W, and Quayside. A dedicated writing teacher, Paula is a popular speaker and lecturer at writing conferences, workshops, and retreats both online and on-site across the USA.

An Interview with Judy Bullard, Book Cover Designer!

An Interview with Judy Bullard, Book Cover Designer!

I am interviewing today a very talented Book Cover Designer, Judy Rumsey Bullard, customebookcovers@cox.net. She has designed all of my book covers and I love each and everyone of them. Don’t miss 6 of her great designs at the end of this interview! It is my pleasure to introduce to you, Judy Rumsey Bullard, a book cover designer extraordinaire!

Judy, please tell us where you are from originally and a little about yourself.

I was born in Oregon but only lived there for my first two years.  My parents then moved to California where I’ve lived for most of my life.  My husband and I were married while he was in the Navy on the aircraft carrier, the USS Enterprise.  I was a stay at home Mom while raising our two sons who are now married.  For most of our lives we’ve lived in California with the exception of 5 years in Oregon.  After leaving Oregon we moved to San Clemente, CA where we currently reside.

What peaked your interest in making book covers for novels?

While I was designing websites one of my clients, Linda Pendleton, an author and artist thought it would be fun for us to create custom bookmarks. While making bookmarks, Linda asked if I would redesign a few of her book covers.  I enjoyed it so much I decided to give up the custom bookmark business and concentrate on covers.

Judy, when did you start creating book covers?

I think it’s been about 15 years.

How many book covers, in the span of your professional life, have you created?

 I can’t even guess, there’s been so many.

What did you have to learn to be able to create beautiful book covers?

 When I started designing websites I took an online class from one of our local community colleges to learn graphic design.  At that time I was using Paint Shop Pro, which is similar to Photoshop. I had a hard time getting into Photoshop but forced myself with a little help from You Tube tutorials.  I now use Photoshop exclusively.

Where do you get your ideas from when designing a book cover?

I always ask the author what they have in mind and if they have a certain vision.  I find most people do have something in mind and that helps me tremendously.  If they don’t, I just ask for a brief synopsis of their story, which gives me ideas.

When did you consider yourself to be a professional book cover designer?

That’s hard to say, there’s always something new for me to learn but to have the confidence to say I am a professional, maybe 10 years ago.

What inspires you when you are doing a new book cover?

The author…  I have been so fortunate to meet a large number of talented people who now have the opportunity  with self-publishing to see their vision in print.  How exciting is that, to be able to go to Amazon, Smashwords or other self  publishing companies and share your work with the world.

What genre is your favorite when it comes to designing a book covers?

 I don’t really have a favorite, I enjoy each one because they are all so different.  I really do enjoy the lightheartedness of children’s books and on the other hand, thrillers are quite challenging.

Do you focus on a particular style when you are creating a book cover?

 No, each cover has its own particular style.

When an author contacts you to do a book cover or even a book series, what kind of questions do you ask them about their book or series?

 The main question I ask is what do they have in mind.  Most of the time I can get pretty close to what they want.  I use stock photos which I manipulate to best suit the story.  Sometimes I can’t make it work and have to go into a different direction but in the end, the author is pleased with what I come up with.

Do you have any advice for wannabe book cover designers?

 I think the best advice is to listen to the author.  Communication is very important, don’t leave them wondering what’s going on.

Do you have a particular time schedule for designing or just when you are inspired?

 There’s no particular time schedule, sometimes I have to sleep on an idea but by morning a light bulb goes off in my head and an idea comes to me.  Once I start a project I am usually finished within a few days.

Is there anything you would especially like your authors to know about book cover designing?

Have an open mind because sometimes it won’t be exactly what you had in mind.

Judy, Thank you so much for being here today, and we would love to see some of your favorite Book Cover Designs, displayed here on WordPress. And, please let our authors know where to fine you by listing all of you social media here. 

You can find more of Judy Rumsey Bullard’s beautiful Book Covers on Facebook and her website and contact her at her email address:  customebookcovers@cox.net.  

https://www.facebook.com/Custom-E-Book-Covers-by-Judy-Bullard-252852781478412/        http://customebookcovers.com/