Monday, October 5, 2015

Guest Post: The Secret Power of Alpha and Beta Readers, by Callie Stoker

This month, our Monday Writing Series focuses on Editing and Polishing. Here to share an important tool in this process is Callie Stoker, a professional editor. Enjoy!

You've written your manuscript and your baby is ready for the world. This next great American novel is sure to have agents and publishers fighting over it... right?
No doubt you have an awesome story on your hands. But before sending out your queries, use one of the best assets you probably already have. Alpha and Beta Readers.

These readers are your fellow writing buddies and test audience. Their feedback will let you know the highs and lows of your story and help you weed out the problems you aren't able to see for yourself.

Alpha Readers
Alpha readers are writers. These are your writing buddies, your writing group, or fellow friends who also write.

They know the craft of writing and can give comments 
based on storytelling craft.
They focus on areas of:

·      story structure
·      character development
·      plot holes
·      satisfying conclusion
·      promises made or broken within your writing

Professional Alpha readers are called Developmental Editors/Content editors/Book doctors. But, you don't have to pay a professional to get a good alpha read. A writing or critique group with authors who know the craft make wonderful alpha readers.

To get the best feedback, be
specific with your alpha readers on the points of your novel that you feel are weak. If you are worried that the twists and turns of your thriller plot aren't working, whether your characters are likable, or if your ending is satisfying, tell them. The more specific you are in your requests, the better feedback you will receive.    

 Request that their feedback point to storytelling elements that are or are not working. For instance: "Your dialogue isn't doing enough for the scene. Remember that dialogue not only allows your character's to communicate, but should also move the plot forward or reveal character development." is a reminder of craft. A less than helpful Alpha Reader will try and fix your writing: "The dialogue on page forty was too slow for me. If you have them talk about their relationship more and maybe throw in some action the scene would be a whole lot better." Oops! An alpha reader like this is giving prescriptive advice that can confuse your own writing.

It may take time to gather and train the right alpha readers for you. Many writers get alpha reads automatically as they work with their writing group. If you don't have your own group, take the time to meet other authors through writing conferences and writing associations. Connections with fellow writers can be a great benefit to your writing and growth as an author.

Beta Readers
Beta readers are your core demographic and your test audience. If you are writing a Middle Grade science fiction novel, you are going to look for a 9-12 year old reader who is interested in science fiction.

Not all of your beta readers need to be in your demographic--you can receive valuable input from many types of readers--but be sure to have at least one or two beta readers from your core audience. These readers will tell you where your story hit the mark, and where you may have missed it.

Because beta readers aren't writers, we recommend you give your readers specific guidelines for the kind of feedback you are looking for. We borrowed the following list from Hugo Award Winner, Mary Robinette Kowal, who regularly uses readers as she creates her books.

Ask your readers to mark the following places as they read:

  • What bored you?
  • What confused you?
  • What didn't you believe?
  • What was cool? (So you don’t accidentally “fix” it.)

Knowing what parts of your story elicit the emotions you were hoping for is a great payoff for a writer. Finding out which scenes didn't quite work allows you to improve those story moments before you send your book out to the professionals you hope will invest in your work.

Note: For some authors the terms Alpha and Beta are synonymous or interchangeable. The important thing is to find out what form of outside reader best suits you. We highly recommend putting your novel through both sets of reads so that it can be as polished and ready for publication as possible.


Callie Stoker is a freelance manuscript editor. She has ten years of experience in editing. Her business, The Manuscript Doctor, offers services that help stories at any stage. Callie has two children on the Autism Spectrum and is a champion for spreading awareness and acceptance for those with disabilities. She is a member of the Editorial Freelancers Association, the Horror Writers Association, and The United Authors Association.

Sunday, October 4, 2015

Flash Fiction Contest #2 Winner

Thank you to everyone who participated in this week's contest. We had a couple Operatives join us (Wendy and Kara), so thanks for participating, guys. :) And the rest of you--well done! I enjoyed reading everybody's entries again, and I hope you enjoyed writing something for us.

Flash Fiction Contest #2 Prompt: Fireball!

"The Management Trip" by Premee

And he fell out of a clear blue sky, thought Marcus. That’s what they'll say later. Why, it's like the start of 'The Satanic Verses.' But I don't suppose I'll transform on the way down.

He didn't, and hit the water with a slap, face-first. Through the confusion of bubbles in his wake, he dimly saw the fireball continue uninterrupted on its trajectory, as if the Cessna had been a bubble. The bisected plane, meanwhile, dove smoothly through the crystalline water, and vanished.

A heavy, scarlet sunset greeted him as he broke the surface and clumsily paddled to a nearby atoll. He watched the stars emerge, shivering, wondering whether the body of the pilot - whose name, he now ashamedly realized, he hadn’t even asked - or one of the other managers might wash up right at his feet. The thing, whatever had hit them, faded into a tiny blue flash far on the horizon. Russian missile? Errant weather satellite? Meteor? Or was it meteorite. He couldn’t remember, but eventually roused himself and - dredging up rusty memories of shipwreck books - managed to get a fire started. I suppose they'll find me tomorrow. What a story for the girls at the office! How his wife would clutch him and sob and then laugh herself sick, that she had stayed at the hotel while they went on their la-di-da island-hopping trip.

Fancy that thing hitting his seat instead of the row behind him. He would have been sliced clean in half, he thought. Whoosh! Like that fellow in the market chopping papayas with his machete. The seeds shining and round as buckshot.

American missile?

Half-asleep under a handful of banana leaves, he woke to a sweet, high hum from far out to sea. He sat up and pushed his leaf blanket into the fire, brightening the feeble glow. "Hello?" he called.

Down the beach, a golden light glimmered, the ordinary glow - it seemed - of a flashlight. Rescue! He piled the rest of the leaves into the fire and ran, waving his arms. "Hello! Hello! I'm over here! I'm not hurt!"

But as he trotted down the slope towards his rescuer, he saw that the light was coming from beneath the surface - as if someone had dropped a huge candelabra that inexplicably burned on, Liberace, wishing his brother George were there, beneath the Paciferace. Marcus froze as other lights became visible - blue, green, gold. Something that looked like tentacles - no, could not be - spiralled up, symmetrical and hypnotic. As they rose he saw that they were precisely that, wrinkled, glowing hawsers, reaching to a sky he now saw was equally tentacled, equally alight, shining through a great rent in the precise line of the fireball’s flight. The hum grew in power and pitch until he collapsed to the sand, hands over his ears.

And so it was that Marcus B. Collins, Logistics Manager, became the first witness to the end of the world.


Thanks for sharing your story with us, Premee (is that the name you want on your badge? let me know if you want it changed), and the next time you can win is December 18--although I haven't decided if I'm going to do one that week or skip it because of the holidays.

This week's contest was also inspired by my daughter, believe it or not.

I've been burning candles, and she's mesmerized by the fire. But of course, my husband and I can't just say, "Fire." We have to quote Pitbull. And now, so does she.

I hope to see everyone Friday, Oct. 16, for the next contest! I'm really excited about that one, which has nothing to do with my daughter, but instead, is themed around the upcoming holiday that will occur on the last day of this month.


I think you're going to love it--or, at least, I'm gonna love it--so come back then!

Friday, October 2, 2015

Flash Fiction Contest #2

**Flash Fiction Contest #2 is CLOSED. The winner post will go live in a new entry at 10 p.m. ET on Sun., Oct. 4. The next contest runs from Friday, Oct. 16, 2015 at 6 a.m. Eastern to Sunday, Oct. 18, 2015 at 3 a.m. Eastern. Check the #OAFlash hash tag for sneak previous starting the Monday before.**

Hello, everyone, and thank you for joining us! If you're here for the first time, might I suggest having a gander at The Rules, etc.? I've made a couple of updates that previous participants might also want to check out (noted in red bold so you don't have to reread the whole darn thing) . Because I have much less to say this time, let's get right to it.

Flash Fiction Prompt For Friday, October 2, 2015

Lemme have it!

Wednesday, September 30, 2015

Solving Story Problems Collaboratively

I’m a big advocate for writers’ groups. I figure that drawing on the wisdom of eight brains will certainly get me further than the limited wisdom of my single brain. 

One of the things we like to do in my writers’ group, The Anita Factor, is help each other brainstorm when we have a story problem.

I’d come up with a new concept for a novel. I was pretty jazzed about the idea, but I lacked one thing—a disaster. A major one. One that would level a huge portion of a town and result in the deaths of thousands. As you can tell, I’m all giggles and butterflies over here. I was stumped as to what that disaster should be. This is where novels can become trite, where authors choose something that’s been done hundreds of times. I needed a unique disaster.

I decided to take my problem to my writers’ group. I explained the main character and the premise of the story and, for the next 20 minutes, we brainstormed. I wrote down all of their ideas, no matter how silly, unusable or ridiculous. When we were done, I had 32 disastrous ideas. None of them stood out as, “the one,” but I had pages worth of material to ruminate on.

That night, when I went to my car, still thinking on all those potential disasters, I came up with idea number 33. It was THE idea! While my group may not have come up with it, I needed to go through all of their ideas to stumble upon mine. I also have the assurance of knowing that if these highly creative people didn’t come up with my idea, then there probably are not hundreds of novels out there structured around the same disaster.

Are you a part of a writers’ group? How do you help each other? Do you brainstorm with friends or beta readers when you’re stumped? Leave a comment.

Melinda Friesen writes middle grade, young adult and new adult fiction. Learn more about her and her novel, Enslavement, at

Tuesday, September 29, 2015

NaNoWriMo Prep: Character Interviews

Hello again, and welcome to the next installment of preparing for NaNoWriMo. November is barely a month away, and I hope your fingers are itching to get typing. By now you've been spending time brainstorming all kinds of ideas for things you want to include in your novel, and naturally that's going to include characters.

One of the things that drives me nuts when I'm writing is when I've forgotten a detail I know I've already written about. I can't handle having it wrong, on the off chance that I forget to go back and fix it later. So I have to stop the flow, go back in my document, and figure out what that minor character's brother's name is, or what year the main character's dog died.

Creating a "character bible," or a set of documents with information about your characters, can save you a lot of reference time. When used with character interviews, it can also deepen your understanding of a character's motivations and help you create conflict in your writing.

The writing program Scrivener has some pre-created character sheets where you can fill in what a character looks like, important dates, etc--but it's easy enough to create your own if you don't use or (gasp!) don't like Scrivener.

Take your main character. Make all the notes you need about things like what color their hair is, or when they graduated from high school. But then go deeper. "Ask" your character about their relationship with their parents. Their siblings. Who was their favorite teacher in school? WHY? How did they choose their career?

Go more specific to your book. If you know that you are going to kill one of the main character's friends, ask about them! Why are they friends? What will it mean to have that friend gone?
Figuring out these feelings helps you develop individual character voices as well as their unique feelings towards important events. Then when you sit down to write these events you have a feeling for how your characters would react, and how that might propel the rest of your plot.

Obviously there is room to be surprised, which is one of the most fun things about writing. It's okay if while writing you have an epiphany that completely changes things. But at least you are thinking about your characters and their feelings instead of writing a machine that just goes through plot.

An example from my very first NaNo project:
My main character was a 20-year-old girl who lived at home, and the main focus of the book was on having her open up to experiences that would allow her to leave home and strike out on her own.
She needed a reason to have stayed at home in the first place, so I killed her mother and made her dad a widower. Now she's sympathetic! She stayed home to be with her dad so he wouldn't be lonely!

And not a single time in the whole book did she have any feelings toward her mother whatsoever.

So when I rewrote the book, I talked to her. I learned that not having a mom made her feel isolated, which informed her choice of friends. She felt great pressure to go to the same university as her parents, because of how her dad felt about meeting her mother there. And on, and on. It made the book and character so much richer.

So before November, take some time to get to know your characters. Check back in two weeks to learn more about the benefits of both outlining AND pantsing.

Monday, September 28, 2015

Writing Series: Major Rewrites guest post by Terra Luft

One of my favorite sayings when the horror of writing the first draft starts to settle in is this:

It’s enough to keep me blazing through until the end, even when my inner fears whisper this is the worst thing ever written in the history of the world. Every writer knows those dark moments, smiling and nodding as they read this, for it is those shared fears during our darkest times which bind us all as comrades and brothers in arms.

The truth is, getting to “The End” is only the first step. It is then that the hardest work – that of revision and editing – begins. What if you realize you’ve taken a wrong turn along the way, despite your best efforts?

This happened to me with both my first and second novel-length projects. I decided to put away the first novel, chalk it up to the one I spent years learning with, and write something else. But once I was done with the second novel, I realized it, too, was lacking something.

I spent a few weeks thinking I wasn’t good enough to be an author. Wrote and published a few short stories instead, trying to forget about the project I’d finished but hadn’t.

Eventually I pulled myself together, reminded myself that I had already written two novels so clearly I am good enough, and decided to fix it. Which meant an entire re-write.

The antagonist had changed halfway through the first draft, leaving the ending mismatched from the beginning – curse those characters who take on a mind of their own. At a minimum, that needed to be fixed. I also decided to add a supernatural element to make the story more compelling. I’d set out to write mainstream fiction believing it would be easier to write (and sell) than paranormal but if you’re a genre writer like me, that isn’t always true.

With the help of my editor and writing group, I spent several months taking stock of what worked and what didn’t and came up with a plan to incorporate a supernatural subplot – the key to most of what was lacking. Along the way, some of the characters morphed, changed their motivations or got cut out completely, and some of the existing plot points had to bend to work with all the new changes. From there, I built a rough outline. One that looked very different than the original one which I’d already written.

I wrote sixty thousand words in that first draft and hoped not everything had to go. However, enough had changed that even the scenes I could still use had a different feel and a different flow in the re-write. I found it nearly impossible to salvage original writing while doing such a major overhaul. Instead of cutting and pasting, I opened the original document so I could reference it and I started from scratch.
© Bethbee | Dreamstime Stock Photos     

Every writer should know, and if you didn’t already let me be the first to break it to you so you’re prepared for it, that the editing process is often not only more difficult than writing the first draft, it is also the largest part of the overall project. Especially when you have an editor. When the editing process begins with a complete re-write, it is even harder.

For the record, I believe everyone should have an editor who can see their work from the viewpoint of the reader and identify things you, as the author, are too close to the work to see. So if you haven’t incorporated critique partners and editors into your revision process, you should reconsider. You may not always like what they have to say, but they are usually right.

Five months of writing later, I’m almost finished. Again.

No one said writing was easy. For those of us in the trenches, at times it can feel overwhelming. Just remember, each time you write a story – regardless of the length – you get better at it. The same is true of revision and editing.

Don’t lose hope. If you find yourself at “The End” and unsatisfied with the product, there are ways to rewrite and salvage it. Figure out the missing elements and have a plan before going in. Above all, never give up. Never stop writing.


Terra Luft is a speculative fiction author and prolific blogger. An overachiever by nature, she tackles every project with coffee and sarcasm, and believes all rules exist to be broken. She works full time by day and writes by night; always searching for that ever-elusive work-life balance people tell her exists. A member of the Horror Writers Association and a founding member of The United Author Association, she lives in Utah with her husband and two daughters, their naughty dog and a cat who stole her heart.

Sunday, September 27, 2015

Flash Fiction Contest Updates

Based on feedback, I've made some updates to the flash fiction contest:
  • We now have a hashtag: #OAFlash. Yay! Use it to encourage your friends to join in the fun or to share the awesome winning story.
  • I will use the hashtag on the Mondays before the contest opens to tweet out that week's prompt. You can follow me on Twitter to find out what it is. The contest will still open at 6 a.m. Eastern on Fridays and close at 3 a.m. Eastern on Sundays.
  • The winner's post will always go live at 10 p.m. Eastern on the Sunday when the contest closes.
  • Awesome Operatives may join in the fun from time to time (Kara Reynolds joined last week, for instance), but fear not, they're not eligible to win.
  • I'll modify the first contest prompt with updated rules (unless and until I make a whole new Rules-only post). I'll include a link to it in each contest, so new folks can check it out. I'll mark updates in red bold so as not to make the regulars read the whole thing again.
Any other suggestions or questions? Post 'em here.

Friday, September 25, 2015

Editor Interview: Rhonda Parrish

Good morning, everyone! This is Samantha, and I'm so excited that today I get to share my interview with editor and writer extraordinaire Rhonda Parrish:

I first became acquainted with Rhonda's work when I read the anthology Fae, which she edited as the first book in her Magical Menageries series for World Weaver Press. (Just as an aside, "edited" crams tons of blood, sweat, and tears, into a demure, little word. You can read more about what an anthology editor does on her post here.) I loved Fae so much I found myself hugging my phone whilst reading. (I read on the Kindle app, so that makes more sense, right?) Then--THEN--she followed it up with two more awesome anthologies, Corvidae and Scarecrow. And now? NOW! She's accepting submissions for a fourth, Sirens. More details below.

Hi, Rhonda! Thanks for joining us today. You were the editor of Niteblade Magazine for eight years, and you’ve edited six anthologies. Obviously you love short stories! Why is that?

I love stories in any format--poems, short stories, novels, RPGs, video games, movies, television--but one of the best things about short stories is that they are short. That means I can read more of them in the same amount of time it takes me to get through a book.

I totally agree, and for even more reasons why our readers should be writing short fiction, check out Terra Luft's guest post from last week.

You’re currently accepting submissions for the upcoming Sirens anthology (which everybody should write something for, so says Samantha). What else can you say about what you’re looking for that you haven’t already?

Nothing really. I haven’t read a high enough proportion of the submissions I’ve received so far to really see what shape this anthology is taking (and thus what kind of stories I’m seeing too much or too little of). I’m hoping to be able to do an update around the beginning of October though.

We’re about halfway to the deadline of November 15. You’ve said you want an equal balance of sea and sky sirens, so are you getting that? How many submissions have you received so far? Have you started reading? Any tidbits you want to share about the slush?

So far I’ve received about 65 story submissions, and yes, I have begun reading them.

I’m excited. The overall quality of submissions seems to be quite high, which is not always the case right at the beginning where every author with a shelved story they think might possibly, almost, may be a fit for the anthology sends it your way. I’m not seeing that with this anthology, which is pretty exciting. I am seeing about twice as many sea-based sirens as sky-based sirens, but I expected that.

How do you feel about adherence to word count limits? What if I send you a story that’s exactly 7,500 words? What if I send you one that’s 7,549, but I call it 7,500? What if I send you one that’s 20,000 (but every single one is important, I swear)?

I don’t usually read cover letters before I read submissions (because I want the story to speak for itself), and the way most manuscripts are formatted the word count is way up in the right-hand corner, so I’m unlikely to notice the word count before I start reading. If I notice it while I’m reading, it’s because I’ve thought, “This story feels long… how long is it?” which is usually a symptom of a problem with pacing/tension/conflict/something within the story rather than “ZOMG, there are 49 extra words in here! Where’s my big red REJECTION stamp?!”

That being said, if you’re going to send something significantly over my word limit, email me first. I’m not an ogre, I’ll probably agree to take a look at it, but it’s about respect. If I say nothing over 7,500 words and you send me 20,000 words, I’ll be miffed because either a) you didn’t bother to read my guidelines, or b) you read them but decided that obviously they don’t apply to you. [Samantha's note: Why do writers do this? Don't let this be you.] Either one of those things, depending on my mood before I start reading, might have me reaching for my big red stamp…

Do you have any pet peeves about stories or submissions?

As you may have guessed from my answer above, people not following the submission guidelines drives me up the wall.

Niteblade used to have a ‘No Indents’ rule. It began as a practical thing to speed up formatting, but it very quickly became our BrownM&Ms Rule… sort of. In our case it wasn’t about safety, it was about who reads and follows directions because I don’t want to work with someone who doesn’t.

We turned away a lot of great stories because they were indented.

And I really wasn’t an ogre about it. It’s not like I wrote ‘no indents’ in tiny text at the bottom of the guidelines in the same colour as the background so you had to highlight it to see it. Nope. The very top of the page said, ‘NOT indented,’ and then a little further down it said, “When submitting prose, please single space your work, insert a blank line between paragraphs, and do not indent them.” AND there was a .jpgexample of what we meant. And yet…

To be clear, Sirens stories don’t have to be formatted in any special way. My point is just read and follow the guidelines. LOL.

Yep. Do it. It's hard work being a writer. Give yourself as many advantages as possible--and that one is easy.

As writers, we always want to know about the magic an editor brews to pull stories out of the slush. Once submissions close and you’ve made a first pass, about how many stories do you usually have on your shortlist before you start paring down?

I don’t think there is a ‘usual’ number. The shortlist has fewer stories than the total number of submissions and more than the final table of contents. That sounds like I’m being sarcastic, but I’m really not.

Fae had 191 submissions in total; 39 of them made it on the short list and 17 onto the table of contents. I recently edited an anthology using my pen name, and every story on the shortlist made it onto the table of contents. You just never know.

Can you tell us more about the step between shortlisting and deciding on your table of contents? Besides lots of coffee, wine, and/or painkillers, how do you decide what goes in and what goes out?

None of the stories on my shortlist are bad, which makes this stage the most difficult stage in regard to decision-making. It’s easy to pick between a strong story and a less-strong story. It’s a different thing entirely to pick between two strong pieces. Unfortunately I have to.

Once I re-read my shortlist, there are usually a handful of stories that I love so much they are guaranteed a spot. After I’ve established those, it becomes a matter of figuring out what else to keep. What goes with them? How do I get the most diversity, the most variety?

If I have two stories about a polka-dotted panda bear saving the world from evil using the power of dance, I can only keep one. In that case the stories go head-to-head, but usually by this point I’m trying to figure out which stories work best together.

For WWP anthologies once I have my short-short list done, I pass it up to my publisher, Eileen Wiedbrauk. She reads the stories and sends me her notes. They are short things (“It’s good but that ending…” or “I LOVE this one.”) but definitely help me with the final decisions.

Agents and publishers talk about an author’s behavior on social media as a decision-making factor in working with them. Do you consider that for anthologies?

I haven’t yet, though anything is possible.

I mean, I’ve accepted work by people I don’t like or wouldn’t want to hang out with, because the work was good*. BUT it’s different when you’re putting together an anthology because that person is just one of 17 or one of 26 or whatever rather than being THE ONE as in the case of a novel.

And… after giving this question a lot of thought… once you get down to the short-shortlist, if I’m deciding between two stories and the author of one is an ass on social media… well, that might be enough to tip the balance in the other direction.

You just never know, really, so we should all follow Wheaton’s Law. I mean, just in general, not only because you don’t want to alienate editors, agents, or publishers.

*For the next week my inbox is going to be full of “Do you mean me?” emails, so let me just say, if you have my email address the answer is probably no. :-p

Once you’ve decided on your table of contents and the author has been signed onto the project, you send back a list of substantive edits. How much say does the author have in which updates to accept and reject? Have you ever worked on a story where you and the author had to walk away because you couldn’t agree?

Authors always get the final say in which updates to accept and reject. Always. I do ask everyone I work with to look at my suggestions with an open mind, and often there’s a bit of back and forth which goes on between drafts, but it’s not adversarial or dictatorial, it’s a conversation.

I’ve been doing this for a while now, and I can only remember two times when the author and I couldn’t find a middle ground. One of those times was because the author really, really didn’t want to change a single word, and the other time was because the author and I had totally different visions for the story. Thankfully in both cases, the break was amicable, and I would happily work with either of those authors again.

You’ve said that you have to pitch each individual idea for Magical Menageries and I wouldn’t want to spoiler any announcements, but I’m terribly curious: Are you able to share any future anthology ideas? Are there any for this series that you pitched and had rejected?

I’ve been very lucky with the Magical Menageries in that so far each idea I’ve pitched has been accepted, but I’ve gathered plenty of rejection letters for other anthologies (with several publishers). It happens.

As for what’s coming next… I have some ideas, but nothing I’m ready to share yet. I will say I’m at the short shortlist stage, but I haven’t pitched anything to follow Sirens yet, and, really, I don’t want to jinx myself. LOL.

That's all right... if a bit mysterious. *eyebrow wiggle* How many more Magical Menageries anthologies will there be? Are you working on anything outside that series right now?

Yes. So many things.

I assume you mean specifically in regard to editing and anthologies? I’m in the midst of line edits on the third of my AlphabetAnthologies (C is for Chimera). I’ve also got a couple collaborative anthology projects looking for a home. I can’t talk about them much just yet, but they are pretty exciting.

I’ve also got an idea for a trilogy of anthologies I’d like to develop and find a home for--and I will, just as soon as I find where I left my time turner. ;)

As for how many more Magical Menageries anthologies there will be… that’s tough to say. I have lots of ideas (as I mentioned), and I enjoy working with World Weaver Press, but right now we don’t have anything planned beyond Sirens.

What are your long-term plans now that Niteblade is closing?

I intend to continue editing anthologies and such, but mostly I’m looking forward to having more time to write. LOL. Isn’t that what we all say?

Yep. "What would you if you had a million dol--" "WRITE." "OK, then..."

That’s all the questions we have for you. Thank you very much for your time!

Thank you very much for inviting me and for this interview. I appreciate it. J

Rhonda Parrish is driven by a desire to do All The Things. She was the publisher and editor-in-chief of Niteblade Magazine for eight years (which is like forever in internet time) and is the editor of several anthologies including, most recently, Scarecrow and B is for Broken.

In addition, Rhonda is a writer whose work has been in publications such as Tesseracts 17: Speculating Canada from Coast to Coast, Imaginarium: The Best Canadian Speculative Writing (2012 & 2015), and Mythic Delirium.

Her website, updated weekly, is at, and you can find her on: 
Check out all the details about submitting to her Sirens anthology here:

That's it! Don't forget next Friday is Operation Awesome's second flash fiction contest. I've been considering the feedback after the last one, and I'll have some details about minor changes in quick post on Sunday. Stay tuned for that!

Wednesday, September 23, 2015

Wednesday Debut Interview: Link by Summer Wier

It's time for another Wednesday Debut Interview! Today we're talking with Summer Wier, whose YA science fiction novel LINK is now available from Reuts Publishing!

Hi Summer! Thanks for joining us! Your bio says you're an accountant! An author/accountant seems like an unusual pairing; which came first?

Hi! Yes, I do some accounting, but am really more of a jack-of-all-trades. And this is definitely one of those chicken and the egg scenarios. If I look all the way back to high school, I was awful at math and loved reading and writing. Over the years, my work experience took me more in the direction of business management and I never really thought much about pursuing writing seriously. When I finished my MBA, I needed another "project" to fill my spare time and had the thought to write a book. The idea for LINK wasn't a solid one and took a while to really nail down, but once I figured out the "hook" I dove into writing! I still juggle both and probably always will!

Your debut, LINK, sounds like a little bit of sci-fi, a little bit of fantasy. How do you describe it to people in one sentence?
You're totally right, and I had a hard time picking one genre to go with as I was querying and pitching because it really does combine the two. There's a great line from the LINK press release that sums it up perfectly: LINK is the perfect blend of science, speculation, and adventure.

Do you have a favorite scene? Can you tell us a bit about it without spoiling too much?
It's hard to choose a favorite scene, especially without giving away any spoilers. I can say that my favorite parts to write were when Kira interacts with her star. I'd close my eyes and drift into those moments, imagining what it would be like if we were connected to those celestial objects and how it would sound and feel to be near them. I hope my readers get carried away in those moments, too!

I'll bet they will! What's the biggest change you made to this story between the first draft and final draft?
WORD COUNT. When I finished my book and started querying, I was a total newbie. LINK clocked in at 47,500 words when I first started sending it out. I quickly learned that it needed more meat. As I added and revised, I never made any major changes to the storyline overall, but the final version is around 67,500 words. I couldn't be happier with it!

LINK is the first in a series; did you know going into it that this would be a trilogy?
Yes. When I started LINK I always planned for it to be a trilogy, although I had absolutely no idea where it was going plot-wise. What I did know was that the first book would be very internal for the MC, solving problems close to home and her heart. As we progress to the second book, she looks beyond herself to help those closest to her, and by book three she has to focus on saving the universe (which maybe be groan-worthy to some, but it is what it is). So with that in mind, the sequel plots slowly unfolded! I'm still not 100% settled on how the third book ends, but it will come with time.

I'm always interested to hear about writers' processes. How long did it take you to draft this novel? And how long was it from that first draft until publication?
Me too! Every journey is unique. Drafting LINK was pretty drawn out. I started writing it right after I finished my MBA and got about 3 chapters in, then went to work full-time. My kids were also toddlers at the time, so it was more of "for fun" at that point. I'd guess that a year passed before I really had that nagging voice that I needed to do more with it, that it was a project I needed to finish. All the while, I'd have ideas popping into my head that I'd jot down for whenever I got around to writing. Anyway, once I decided it was a priority, I finished it in about six months (still working and mothering of course). But that was the glorious 47,500 word version! From that time, I queried and pitched (revising to add to my word count along the way) for 1 1/2 years before I had offers on it! Now it's scheduled to be released at the end of the month, a little over a year after I signed with REUTS Publications. What a ride!

Can you tell us about how you got your book deal with REUTS and what makes them a good fit for your book?
As I mentioned earlier, I started querying agents right out of the gate (with a book that was not ready) because, at the time, that was the only way I thought one could get published (outside of self-publishing which I also considered an option). As I learned more about the publishing industry, I discovered there were still other options like going through editors or directly submitting to presses. During this time, I did a lot of research into all of the options while trying to narrow down what I wanted and what would work for me. Now this may sound unusual, but part of me totally panicked at the thought of handing my baby over to an agent and letting a publisher have their way with it. On the other hand, though I have the background and knowledge needed to self-pub a professional work, I still wanted support as a debut author. I learned about REUTS from a pitch event, and though it was months before I subbed to them, I finally did. And even though they weren't the first to offer on LINK, I knew from the editorial letter and covers (and everything else I'd learned about them) that they were exactly what I wanted in a support team and publication partner.

It sounds like you found a great fit! Tell us about your cover. What do you want it to tell your readers about your book?
I absolutely love how my cover turned out. I had ZERO vision for what I wanted when I began working with REUTS' cover designer, Ashley Ruggirello. As we talked about options, I determined the focus should be on the lake setting (such a key element of the book and my premise) and should also include hints of the world it's linked to. So while it gives a great overall feel for my story, it really makes "sense" after you've read the book.

How are you planning to celebrate your book's release? Do you have any events you'd like readers to know about?
I don't even know what to expect that day, but I'd imagine it will be a social media frenzy! I am hosting an online release party on Facebook (Join here: and will plan an in person event at a later time. Anyone and everyone is welcome!

What are you working on now that the work on LINK is all done?
I'm working like a mad woman to finish the sequel, LOST, which is tentatively scheduled to release Fall of 2016. I'm about halfway through, but summertime and an international move totally knocked me off my writing schedule. Time to get back to it! And for those who are interested, book three, LIGHT, is scheduled to release Fall of 2017.

Is there any other advice you'd like to pass on to others pursuing publication? Anything you would have done differently?
1.) Never give up. 2.) Join the Twitter writing community. I learned SO much just from being involved there and it also led me to find my closest writer friends! And like you said, every journey is different. I could come up with lots of things I COULD have done differently, but I learned a lot on my journey, things I might not have had I done it a different way. It may sound corny, but I'm exactly where I'm supposed to be.

And, just for fun: what do you think would be the best food to snack on while reading LINK?
Hands down, OREOS. (Which comes as no surprise to those who know me.)

Thank you so much for your participation in this Wednesday Debut Interview!
Thank you so much for having me! I truly appreciate your time!


If you are an author looking forward to your debut sometime between December 2015 and June 2016 and are interested in being part of our Wednesday Debut Interview feature, please contact me at wendynikel at gmail dot com with your book title, category, genre, publisher, and release date.

Tuesday, September 22, 2015

Tuesday Museday

Welcome back! Need a writing prompt today?
I find the sense I neglect the most in my writing is smell. I rarely remember to have my characters react to smells, or to set the scene with smell. But how a place, thing, or person smells can be important information! And how characters react to said smells is also important.
So your prompt today is the smell of rotted potatoes that got left in the back of the pantry and have now become goo that you're going to have to clean up because nobody else will touch it. Yes, that is a personal experience. Have fun!

If you are working on a query and you'd like fresh eyes on it, let me know in the comments! I'll pick someone for a query critique.

Monday, September 21, 2015

Major Rewrites: Revising in Layers or Moving Mountains One Stone at a Time, Pt. 2

Welcome to part 2 of Revising in Layers or Moving Mountains One Stone at a Time.

If you have major novel rewrite ahead, the task can seem overwhelming. My goal with these posts is to break the process down in order to make your revisions less daunting.

If you didn't read part 1, you can find it here. Last week I outlined the first four steps:

  1. Brainstorming
  2. Outling the existing manuscript
  3. Thinning
  4. Subplotting
After all your new characters and subplots are outlined as described in step 4, it's time to move on to step 5.

5. Integrating
This is where the layers come in. One subplot or character at a time, I add the subplot outlined items to my manuscript outline. For me, this is just a couple words with an arrow pointing to where I'll insert it. In this step, I can arrange and rearrange the new subplot points until I have them where they make the most sense.

When I'm pleased with my outline, I add the new writing to the manuscript. Depending on how extensive my new subplots and characters are, this can entail anything from a couple sentences to entirely new scenes.

I continue this process until each and every new character and subplot is added to the manuscript. During this process, I don't worry about whether or not it flows. I'm simply add the information I need.

By working in layers, I can concentrate on one subplot or character at a time which allows me to fully enrich each new item and add necessary depth.

6. Comprehensive Editing
I now view the manuscript as a rough draft, so it's time to do a thorough edit with a critical eye. I need to see how it flows, if the new plot points and characters ended up in a logical place, if there are any places I need to insert new information. I need to examine if the new characters are in all the scenes they need to be in, and to look for proper transitions, pace, tone, and appropriate shifts in existing text.

7. Polishing
After making the necessary changes, I always do a second edit to ensure it's ready for an editor's or beta readers' eyes.

8. Happy Dancing
This was a huge undertaking. You overcame the discouragement, dug in and got the job done. Everybody click here to do the dance!

The words, "major rewrite" are the last thing most writers want to hear, but I hope that by having the tools to conquer what can seem like an impossible task, you can approach the process with a can-do attitude. And that's what I'm here to tell you--you CAN do it! So, get offline and start brainstorming!

Melinda Friesen, author of Enslavement, writes novels for teens and people like her who love to read YA. In two weeks, her daughter is getting married, so her writing time is succumbing to wedding planning.