Forged in Grace by Jordan Rosenfeld

"Jordan E. Rosenfeld’s  luminous, edgy debut is dark, searingly-written, and ultimately redemptive. Forged in Grace startled me at every breathtaking turn." - Patry Francis, author of The Liar's Diary

My friend Jordan Rosenfeld's debut novel Forged in Grace publication date is February 28th.

Here is a description:

Grace Jensen survived a horrific fire at age 15. The flames changed her: badly scarred in body and mind, Grace developed an ability to feel other people’s pain. Unable to bear human touch, she has made a small life for herself in Northern California, living with her hoarder mother, tending wounded animals, and falling a little in love with her former doctor. Her safe world explodes when the magnetic Marly Kennet reappears in town; Grace falls right back into the dynamic of their complicated friendship. Marly is the holder of many secrets, including one that has haunted Grace for over a decade: what really happened the night of the fire?

When Marly exhorts Grace to join her in Las Vegas, to make up for the years they have been lost to each other, Grace takes a leap of faith and goes. Although Marly is not entirely honest about her intentions, neither woman anticipates that enlarging Grace’s world will magnify her ability to sense the suffering of others—or that she will begin to heal wounds by swallowing her own pain and laying her hands on the afflicted. This gift soon turns darker when the truth of Marly’s life—and the real reason she ended her friendship with Grace—pushes the boundaries of loyalty and exposes both women to danger.

FORGED IN GRACE gives a new twist to the idea of reuniting with an old flame—literally. Exploring ruptured female friendships as in Leah Stewart’s The Myth of You and Me with the dark psychology (and twist of the inexplicable) found in Donna Tartt’s The Secret History, FORGED IN GRACE will resonate with anyone who has wanted to set the past right.

To help build momentum for the release date, Jordan is highlighting the work of some of her literary friends and offering free copies of their work through daily literary trivia questions.

Today an electronic copy of my novel Quest of the Warrior Maiden will be given away to the first person who correctly answers the trivia question posted on her blog.  She also has a Facebook author page you can "like" and a link will appear there as well.


Jordan had been an influential part of the Sonoma County literary scene when I first met her. She had created a literary salon in Petaluma as well as a literary radio program on our local National Public Radio station. 

She has moved out of Sonoma County, but her influence is still felt here. Last night an interview with Jordan about her forthcoming novel was aired on KRCB Radio by Gil Mansergh, the new host of "Word by Word." It will be available in a few days as a downloadable podcast from the station's website and through iTunes. (I will add a link once that is put online.)

Jordan has written many articles that have appeared in such publications as Writer's Digest Magazine including a cover story interview with New York Times best selling author Tess Gerritsen. She has several nonfiction books on writing including the wonderful Make a Scene: crafting a powerful story one scene at a time published by Writers Digest Books.

She has returned several times to our county to be a speaker at Redwood Writers meetings and workshops. Here is a photo of her from the 2009 Winter Editing Workshops where she discussed the importance of writing powerful scenes.

Jordan has not only done her own writing, but is a successful freelance editor. I am one of her many satisfied clients in that regard.

One more thing I wanted to mention is that Jordan also teaches online writing classes with lessons and assignments to bring out the best in your writing.  She has a Revise for Publication class starting February 18th. So if your New Year's Resolution was to shape up your NaNoWriMo manuscript into something publishable - consider this as Opportunity Knocking on your front door.

I wish Jordan well in the launch of her novel.  Bonne chance mon ami!

Edited to add links to her book that is now available.

Kindle
Trade paperback on Amazon
Nook
Smashwords




http://lcmccabe.blogspot.com/2013/02/forged-in-grace-by-jordan-rosenfeld.html

Advice for newbie writers

The other day I received a ping on Facebook chat from one of my FB friends who wanted to ask me about how to go about getting published.

It is a common starting point question for those who have begun the process of writing a book. What do I do after I finish writing?

Well, before you finish your first draft, I recommend that you begin thinking of yourself as a writer.  Start using that term when you refer to yourself.  It is a psychological shift, but one you need to make in order to take yourself seriously as a writer.

You also need to work on your craft.  That means you must write all the time.  You must also read all the time.

Discover what you enjoy reading, and then write the kind of book that you would like to read.

Analyze your favorite books.  Tear them apart.  Dissect them.  Take copious notes. Discover the plot points, the subplots, the plot twists.  Think about the characterizations and settings.  Could the story be set in another place and time?  If so, how would it have changed the story?

Here are a few books on craft that will be thought provoking and help improve your storytelling ability:

Writing the Breakout Novel by Donald Maass
Fire in Fiction by Donald Maass
Make a Scene by Jordan Rosenfeld

Here is another book that I adore for understanding drama:

Audition:  Everything an Actor Needs to Know to Get the Part by Michael Shurtleff

Beyond working on your craft, you also need to start educating yourself about the business of publishing.  I recommend that you subscribe to two different daily electronic newsletters.

Publishers Lunch and Publishers Weekly Daily

You should also read industry blogs.  If you do not have a reader to help manage blog subscriptions, please remedy that today.  I use Google Reader and I have far too many blogs to comfortably follow, but I do scan them.  If you don't have a Google account, please get one.  It's free and easy to obtain.

Here is one agent's blog that I think is helpful:  Kristen Nelson.

Start there, check out her blogroll.  Try a few others, subscribe to ones you like.  Scour more blogrolls. Rinse, repeat.

You must also find a support network.  Try and find a writers club near you.  Check your Sunday newspaper to see if there are any listings for meetings in their author signings area.  Look in the advertisements in your papers for meetings.  Perhaps you have a writers club that meets that you've never heard of before.

Then again, maybe you'll have to dig a little deeper to find a writing community in your area.

You can also try and utilize a cyber community of writers.  Absolute Writer Water Cooler is a great place to start.

Getting feedback from fellow writers is essential.  Finding a good fit critique group is important in improving your writing skills.  It is helpful to not only hearing from others about what works and what doesn't work in your drafts, but by reviewing others' work you begin to develop stronger editing muscles by identifying strengths and flaws in someone else's writing.

I feel it is more important to find someone you have good chemistry with in your critique group than it is to find a group of same genre writers.

Now onto a word of caution: there are many who will try and take advantage of writers.  Please do not click on any links for "Publish your novel here" that you might see.  It is doubtful that you will be happy with the result.

You should check out a website called Preditors and Editors and familiarize yourself with the various scams that are done to unsuspecting writers.

A companion blog that is entitled:  Writer Beware Blogs!

Another tip is to find a good adhesive to secure your backside to your desk chair or as some of my friends call it:  Butt Glue.

Any other suggestions from my writing friends for those just starting out?



http://lcmccabe.blogspot.com/2012/05/advice-for-newbie-writers.html

Critique Groups and Self-Editing

Becky Levine and Linda C. McCabe

It has been over a month since I last posted.

I have not been hospitalized, abducted by space aliens or any such dramatic excuses. Nor is it due to me running out of blog topics. Nope, I have just been busy writing. And editing. Again.

The biggest part of writing is the re-writing process.

One of the most difficult aspects of re-writing is recognizing what works, what isn't working and what needs to be changed.

My writing club held a series of editing workshops this year and we were fortunate enough to have a roster of wonderful speakers. One of which was my friend Becky Levine who spoke on a topic near and dear to her heart: critique groups.

She was able to use her workshop as a "testing ground" for her forthcoming book by Writers Digest books on the very subject of critique groups and how to critique other people's writing.

How to offer constructive criticism that will help others to know what works and how things can be improved. It is in the process of using your analytical eye on another person's work that you can then recognize things in your own writing that had heretofore been invisible.

Because the writer is always too close to their own work to really see it objectively.

Becky has been a member of various critique groups for about twenty years and she stresses that the purpose is to help writers improve their work, but never to get them to write a different book. It is the individual's work and the writer determines what advice is taken and what is rejected.

Her preferred critique group structure is one where pages for review are submitted a few days before the meeting. This allows for thoughtful consideration of the work rather than immediate response to the text.

Becky gave handouts which included a form for a written critique. She includes questions for the reviewer to answer such as:

Character: can you identify the hero (main character) in this scene? Has the author written a hero that a reader can sympathize or identify with? Does the hero's personality show complex, even conflicting, traits? What would you do to strengthen this character as the hero?

She also includes spaces to discuss Plot, Description (settings and people), Dialogue, Point of View & Voice, as well as Scene Structure.

Becky insists that when writing a critique that you always start with something good. We are dealing with people's creative sides and their egos, so find an area to praise. Becky did not allow for the possibility that there would be nothing worth praising. She adopted her "stern mother voice" if someone wanted to skip that part and directed them to find something to admire.

After starting with praise, then move to areas where you see weaknesses. Identify areas where you were bored, confused, or taken "out of the story." If you had a negative response to the text and try to identify why it did not work for you. Offer suggestions such as "what would happen if...." or "Have you tried..." Then end on another note of encouragement.

Face to face interactions are important, but it is the written critiques which can sometimes provide the most lasting help. They might be filed away for months at a time and then the tangible bits of advice are used later during revisions.

In regard to the in person critique group meetings, Becky suggests that only one person speak at a time with the writer being critiqued remaining silent. That is unless there is some confusion and questions for clarification. However, one should remember that most readers will never have the writer there in person to answer a question so if there is confusion in the text, it may need to be addressed in the revision process. (Unless that is a deliberate aspect of the story such as a clue or red herring designed to make the reader guess the solution.)

If while another person is giving their critique you think of something you wish to add, jot that down in a note rather than interrupt. You will have your turn to speak.

Overall, Becky did a wonderful job presenting how best to conduct yourself in a critique group and it reinforced many of my thoughts on the subject. I look forward to buying a copy of her book The Critiquer’s Survival Guide, due out in Fall 2009.

I had meant to do this write up about Becky's workshop shortly after it happened, except I ran out of time. I was busily preparing myself for a week-long plot intensive workshop sponsored by Free Expressions. It was the Breakout Novel Intensive known by its participants as BONI.

The classes were taught by literary agent Donald Maass, author of Writing the Breakout Novel and its companion Writing the Breakout Novel Workbook.

Donald Maass

Mornings were filled with lectures, but they were more like motivational seminars fused with writing challenges. Donald Maass is an excellent public speaker who has great passion for the subject of writing and drama as well as a quick wit.

During his talks we were barraged with questions about our characters, plot points and challenged to make things worse.

One of the first exercises was to consider the main character or hero of the story, identify defining characteristics about them and then consider what the opposite qualities would be. Then find a way to show both the ideal and its opposite in the first five pages.

Here is the notes he wrote on the easel for that day:



I realized while listening to that lecture that I had those elements built into my first chapter, but they had not been brought out sufficiently. In challenging myself to find a way for my hero to show a negative quality, in this case to be disrespectful, I had to make him hurl an insult.

A nasty insult to a superior officer.

That afternoon I worked on implementing the homework assignment. My first attempts were a bit lame, but it was a break through for me to allow my hero to do something against his nature so soon in the story.

I was excited to print out my new revision to show to the critique group that night. We were assigned groups according to our genres and I was fortunate to be a part of an incredibly lively (and bawdy) group of writers.

One of the reasons I signed up for the BONI workshop was to discover what was wrong with my first few chapters. I had good luck in getting agents interested in seeing my work, so I knew that my premise and pitch were working. However, none had ever asked to see more pages.

I had received some feedback that the beginning seem "too distant." I had been polishing the chapter for so long that I could not understand what was being asked of me to change.

I brought those comments to the fresh eyes of my BONI critique group members and it was as if I had given a sock to bloodhounds in a fox hunt. One person mentioned that when I used the term "ominous" that they wanted more. Another thought I should cut it, but then I began challenging myself to give more personal stakes for my hero in that first scene.

It was as fireworks were going off in my brain. Later that night I stayed up late re-writing the first chapter and including the new insights. I fell in love with the story again.

I also want to personally thank one of my critique group members who helped me tremendously in how to increase the insult to the ego of my antagonist. By changing the dialogue slightly, without changing any plot events, he showed me how to increase the size of my hero's cojones.

And, the insult that I am now using to end my chapter wound up flowing from my lips as the group brainstormed. Thank you, Lucien.

Lucien Nanton

The afternoons were designed for you to have time to work on your writing as well as the time set aside for one on one consultations with faculty members who read portions of your work and synopsis.

Here is one more snapshot of a morning workshop's notes which is in honor of my friend Terri Thayer. During the discussion, there was mention of some designer quilts going for as much as $100,000 to collectors. Donald Maass showing his quick wit decided to change gears and switch topics from scenes to quilts.

Not really, but it was funny and led to several rounds of puns tossed out by people throughout the room.




I have found after going to my writers club meetings that I feel energized. As if simply being around other creative people releases endorphins into my bloodstream.

Interacting with the other BONI students was fantastic. Many were veterans of other Maass workshops, but all were serious writers committed to bettering their craft. So even when I wasn't at class or in a consultation, I was networking with other writers.

The week spent at BONI took my natural post-meeting high and amplified it tenfold. I felt as if I was on mental steroids.

Seriously. I had trouble sleeping, because my mind was so fired up. I rested, but could not really get into deep sleep because of the intense mental stimulation wouldn't allow me to shut my mind off.

It took me several days at home before I was able to revert to my normal sleeping patterns.

One of the last bits of advice Donald Maass gave to us was to take 20-30 pages of our manuscript and throw them off a staircase so that the pages are in disarray. Then take another 20-30 pages and repeat the process. Do this until the entire manuscript is out of sequence. Then edit page by page for microtension.

Ye Olde Grading by Gravity trick.

The rationale was to force yourself to look at each page in isolation to identify weaknesses and avoid getting "caught up" in your own narrative by doing it in sequence.

I have begun that process and am about a quarter of the way through this round of edits, but have not yet entered any into my computer. Because I am fearful of potentially introducing continuity errors by editing out of sequence.

So I shall wait until I have finished this round of edits and then enter them sequentially. I am finding areas in my manuscript that were a bit heavy on exposition that can be tightened and/or changed to dialogue.

But I now have a new focus and energy toward making this manuscript as strong as I can make it.

Write on!

Setting, Scenes and Book Signings

Jean Hegland

I have mentioned before on this blog how much I enjoy belonging to a writers club. It is the process of interacting with others who share my obsession with the written word that inspires the creative flame within me.

This past weekend my club sponsored the second of three editing workshops and had its monthly meeting.

So I saw writing friends and colleagues on both Saturday and Sunday. On the drive home Sunday night I felt euphoric.

Things had gone fabulously and I had some incredible new insights that will inform my future writing and that I wanted to share with my blog readers.

Jean Hegland, author of Into the Forest, led a workshop regarding the importance of setting. She began with the situation of a person waking up from a coma and that the first thing they would ask is, "Where am I?"

That is the question that a writer needs to answer when they begin a story or a scene so that the reader will know whether it is day or night, what season, what year, whether it is indoors or outdoors and where this scene takes place geographically. Because each choice has an impact on the overall story.

Setting gives a story verisimilitude when it takes readers to a place they have not been before or if it is to a place in which they are familiar. It is vitally important to get the details right for if you choose a real location and say you put a grocery store on the wrong side of the road, those who know the area will complain.

Jean then gave an example of how important it is choosing settings for individual scenes and how by playing with your choices you can change the tone and meaning of a scene.

She referenced Jordan Rosenfeld's earlier workshop about scenes and Jordan's insistence that a scene not be comprised of "talking heads in space" and that each scene involve some action. Then Jean gave an example of an action such as a couple having sex where the setting chosen would reveal character.

The actions by the characters could be written the same, but depending on the setting the meaning and the tone of the scene would be different.

The following were the three different settings she used to illustrate her point:

1) a cemetery (ewwww)
2) a bedroom
3) a boardroom

During that discussion I could not help but blurt out my "ewwww" comment in the class, which led to a nice round of laughter from the group. Camaraderie among writers is a wonderful thing.

Jordan Rosenfeld

Now onto the subject of scenes which was Jordan Rosenfeld's topic. She described scenes as the building blocks of a story similar to beads on a wire. Meaning that each scene needs to be complete in and of itself and it is the stringing together of the scenes that create the overall story.

Each scene should be comprised of:

action
character
POV (point of view) in which the scene is communicated
new information revealed
conflict and drama
and it must take place in a tangible setting

In other words: No talking heads in space!

She also stressed that not only is the first scene in your book important to hook your readers, but that as each character of any relevance is introduced that you must take the time to recognize that this is their first scene. Writers must reveal something compelling about each important new character without resorting to a data dump summary.

Jordan feels that it is better to give such information via dialogue and action than by summary. Ye olde "show don't tell" maxim.

She described dramatic tension as a sense of danger, complexity, mystery and a sense of discovery. Each scene should have some dramatic tension. She also stressed the need for variety in the style of scenes so that there are peaks and valleys in the tempo or else the reader will become either fatigued or bored.

Plot is created in relationship to the scenes. She gave a list of 4 D's for plot revelation that each scene must include at least one of these:

Dialogue
Discovery
Demonstration (such as a flash of unexpected anger)
Devices - e.g. letters or memorabilia

She described a well balanced scene as one where the reader is:

not confused
knows the setting
knows the characters
there is tension and drama

The time to change a scene is denote a break with time, place or POV. That can be done with a full chapter break or by using a blank space within a chapter to signify the change.

For those interested in knowing more about Jordan's thoughts on scenes, you can buy her excellent book Make a Scene

by Writers Digest Books at your local bookstore or available online.

Then on Sunday at the monthly meeting of my writers club we had Stephanie Deignan the events coordinator of Copperfield's Books come and speak.

Stephanie Deignan

For several years now I had wanted to schedule a speaker who could give the bookstore's point of view in regard to author appearances. I had approached two other events coordinators in the past to give such a talk, but they declined. So I was excited when last summer I spoke with Stephanie on the phone and she accepted.

I wanted our members to know how to go about getting an event scheduled, what to expect in regard to publicizing from the bookstore, and what their responsibilities are in order to have a successful event.

Stephanie started by saying that we should all be aware that bookstores are understaffed and underpaid and so when you approach a bookseller in the hopes of arranging a signing, you need to be understanding and patient. The information that you need is to discover the name of the events coordinator, their phone number and email address. Do not bother the harried bookseller with the information about you or your book as it will probably get lost in the shuffle.

In your initial contact via phone (most likely a voice mail message) and email you should include your name, your contact information, the title of your book, the publisher information, give a brief synopsis about what the book is about, any publicity information such as radio interviews scheduled, any published reviews, as well as book distribution information. Mention if it is carried by Ingram, Baker and Taylor or a smaller independent publishing distributor or if it is a POD title (print on demand) which would necessitate being on consignment.

Then be patient and wait for a few days or so to hear back. Be professional and be willing to call back if necessary. Again, they are short staffed and bookstore employees are trying their best.

Stephanie at some point discussed the difficulty bookstores have with PODs titles because generally they are non-returnable. Bookstores will order POD titles for customers if it is paid at the time of ordering, but they do not want to be stuck with books they cannot return and might never be able to sell.

The different kinds of author events were described as "traditional author talks" where an author talks about their book, does a short reading, a question and answer session and then signs books versus "meet and greets" where a table is set up and an author can interact with customers in a more informal setting and talk one on one instead of to a group.

She said that for authors who are not yet established would find it easier to have a "meet and greet" scheduled than an "author talk." If for no other reason than it causes less havoc for booksellers since they do not have to rearrange the bookshelves in the store to make room for chairs for people who may or may not show up to the signing.

She admitted that the emphasis that bookstores give to publicizing their author events is tiered depending on the name recognition of the authors. Those who are big named authors are given "A list" treatment and more time is spent on trying to generate crowds. Then publicizing for "B list" and "C list" authors are by necessity given less time and energy. This comes back to the reality of being understaffed.

That means that a large onus of publicizing the events rests on the shoulders of authors. Once you have a scheduled event, you must do as much to publicize as you can by utilizing the old tried and true methods of fliers, posters, and postcards, as well as newer media such as online events calendars, keeping an up-to-date website with your events listings, and social media such as Facebook and blogs.

She also stressed the influence that radio interviews can have in making the events a success. If you should be lucky enough to score a radio interview with someone like Michael Krasny of KQED Radio - who has an audience known for being book buying fiends - be sure to let a bookstore know so that they can buy adequate stock. Recently an author returned for a signing and after having been interviewed on Krasny's show and he drew a significantly larger crowd than the had the year before with a previous title. The problem was that the publicist did not alert the store and there were not enough books on hand to meet demand.

Which is why authors should always carry at least a box of books with them to signings...just in case. You never know when a bookstore's order might not come through on time due to blizzards in the midwest or strikes by UPS, etc.

(A few side notes: if you are lucky enough to score a radio interview prior to a book signing, do not forget to mention your scheduled book store event including the date, time and location. That is what will bring people into the store and get their butts in the seats for your signing! And if you want to know more about what to expect with talk radio and radio interviews you can read an old post of mine on the subject of the Do's and Don'ts of Talk Radio.)

On the day of your event you should call the store early in the day to confirm, arrive early and check in with a bookseller. You should bring a sign up sheet for those who would like to be on your mailing list as well as fliers to any upcoming events such as workshops or conferences. You should also bring postcards with the cover of your book, business cards and even book marks with your website and blog addresses. Make it easy for people who are interested in you to follow your career.

Stephanie suggested an event drawing between five to ten people for small authors is doing good. She also said that if there is a ratio of 30%-50% of books sold to the number of attendees present than it is a successful signing.

During the discussion with our members, Persia Woolley mentioned another reason for authors to always be prepared. One time she went to a signing and the author never showed. The audience was getting restless and being a trooper - she offered to pitch in and give a talk about her book. The events coordinator was thrilled to have someone save the day and she had the opportunity to talk to an audience she otherwise would not have had.

Stephanie thought that was great of Persia to help out in that manner.

Persia then said that the favor wound up being returned by another author when she got lost trying to find a small venue. She arrived late after finally getting directions from someone at a gas station and discovered that another author had warmed up the crowd in the interim. (Another reason for authors to keep a box of books in the trunk of your car. You just never know when you will get a chance to sign and sell them!)

Stephanie was asked about timing of when to start trying to schedule events at bookstores and she thought that two months before publication would be a good time to start. Then on the other end is how long you have before the books start getting returned. That happens at about three months post publication for hardcovers and six months for everything else. So after about a year of publication unless your book has really taken off, it will be hard to interest a bookstore in doing an event.

Her last words of wisdom on the subject was to enjoy yourself and make it fun.