Monday, April 23, 2018

Dianne K. Salerni, Make Rejection Your Motivation to Grow

Make Rejection Your Motivation to Grow
Rejection.

We hates it, precious. We hates it.

Rejection stings. It undermines. It tarnishes every writing success you’ve ever had. That was all you had, it whispers. You already peaked, and it’s downhill from here.

And yet, we can’t quit writing, can we? At heart, we’re incurable story-tellers with the lives of characters pulsing through our blood. We can’t stop writing. But if we let rejection infect us, we’ll never break out of its cycle.

People say, “It only takes one yes” and “The business is so subjective.” These things are true, and remembering this might help you stop weeping and binging on your comfort food of choice. But it doesn’t help much when you face your next blank page. Since you can’t control the whims of the publishing business, you must take control your own journey as a writer.

I’ve experienced a number of rejections lately, including on a project I thought was a sure thing. Rather than keep cranking out similar stories and expecting a different outcome, I’ve taken a long hard look at my work and asked myself: Am I bringing the best I have to the table?

It’s not that these projects weren’t difficult. I swear, I tore my hair out over some of them. But I’ve come to realize that if I don’t learn something new and vital about the craft of writing in each and every story I write, then I’m not growing and learning as a writer. And if my works have been rejected, maybe it’s because that lack of growth is apparent.

One of the most common reasons for rejection—and the most puzzling for writers—is: I didn’t connect with your main character’s voice. If you’re like me, you’ve banged your head on your keyboard over that one. What’s wrong with the voice? What did she mean, she didn’t connect with it? How do I fix what I don’t understand?

Some of the things I’ve started to question about my own writing, especially as it pertains to voice, are:
  • ·       Am I choosing the right point of view for the story? Or have I defaulted to the point of view I’m most comfortable with?
  • ·       Have I given POV to the right characters? (Considering how my drafts change over time, have I recognized that a POV character in the first draft has lost importance as the story evolved, while another character has gained importance?)
  • ·       Have I delved deeply enough into character arcs and fully explored my characters’ emotional crises and eventual growth? Or have I simply skimmed the surface because going deeper makes me uncomfortable?

And, not directly related to voice, but looking at my projects holistically:
  • ·       Have I tried something new or stayed squarely within my comfort zone?

The last time I had a big book deal was when I left my comfort zone of historical fiction and ventured into urban fantasy. When I started that project, I didn’t think I would ever finish it. But I did. And now it’s a three-book series.

In the past year – in between the weeping and the binging – I’ve done my best to grow and learn as a writer. I’ve explored new genres and tried my hand with different points of view and verb tense. I took an old manuscript that came this close to selling and rewrote it, changing the POV and delving deeper into character emotions. I took POV away from a character who didn’t need it and gave it to a character who had more agency in the story. I outlined a book from start to finish – which is not something I normally do. And I started a project that is way out of my comfort zone.

I’ve decided to stop looking at rejection as a condemnation of my writing and start looking at it as impetus for personal growth.

Who wants to join me?

DIANNE K. SALERNI is the author of the popular Eighth Day MG fantasy series, described by Kirkus as “an exciting blend of Arthurian legend and organized crime.” The first book in the series, The Eighth Day, has been on state lists in Maine, Florida, Georgia, Virginia, Minnesota, and Indiana. Dianne has also published two YA historical novels.  The Caged Graves is a Junior Library Guild Selection and has been nominated for reader’s choice awards in Vermont, South Carolina, and Pennsylvania. We Hear the Dead was the inspiration for a short film, The Spirit Game, which premiered at the 2013 Cannes Film Festival. 

Monday, April 16, 2018

Five Reasons To Promote Your Book


Many writers detest promoting their books, but it’s a necessary evil if we want readers. Too many of us indies publish our books, promote them for a few weeks, leave them to flounder and then fade into obscurity. If you’re going to be writing for the long haul, there are at least five excellent reasons to promote your books.

It’s great for visibility. This is obvious and, clearly, the number one reason to share information about your work. People are busy and there are oodles of things vying for their attention. If you don’t put your book in a position to be seen, it’s a sure bet that after release day visibility will taper off and soon the rankings will blow up to a huge number.

2.   You never know who you’ll reach or who’s watching. It’s a good idea to have several graphics for your books that you can rotate on advertising platforms and social media. I’ve found many readers simply by posting my graphics in various places, on some kind of schedule.

3.    It provides a mind shift. Most of us are writing and promoting at the same time. The intervals we use to showcase our work puts our brain in another gear and gives us time for fresh inspiration to take root until we sit again to write. If you like playing with graphics, that’s another way to change your mental channel to another station for a while.

4.    It keeps your eye on the prize. Including promotion as part of your day helps you stay disciplined. It’s also a great reminder that your aim is to sell more stories. All of us would like to find our tribe of readers, and regular promotion helps us to gain traction one reader at a time.

5.    Promoting helps expand your knowledge. Indies have to know a little bit about a lot of stuff. I now know what promotional material works for me and what doesn’t. I know what time of day I can catch my audience,  I’ve found out where my ads do better, and I continue to read books that talk about the why and how of promoting and marketing.

What is the most valuable thing you’ve learned about promoting? What works best for you? Do you know you can swap/share promotional material with other authors to get the word out about your book/s? What can you do differently to promote your book/s?

Monday, April 9, 2018

Brad Herzog. The Curious Writer

I first met Brad at a bookstore event last year where we gave presentations to a group of writers. I loved what he had to say about his take on writing because it jived with mine. Well, of course, you love people who agree with you, right?

The next time we met, he talked more about himself as a writer and a publisher. I had to share his take on this business with IWSG members. I think you'll love it, even if you don't agree with it.

Take it away, Brad.


As a bit of an iconoclast—and as a longtime author and freelance writer—I tend to question everything. When the rest of the world is zigging, you’ll often find me zagging. In fact, I believe that’s my job description: Tilt your head at the world, wonder out loud, grab an unusual idea, then write about it.

So I tend to question clichés about writing, too, including these:
*Write what you know (I prefer to write what I don’t know so that every fascinating subject is a mini-education for me).
*Don’t pitch it until it’s perfect (Nothing is perfect. Not even To Kill A Mockingbird. Rewriting is paramount, but it can cross the line into procrastination).
*Be disciplined (If a strict writing schedule works for you, great. But mood and motivation contribute to the strength of my work. When I force writing, the Force is not with me).

Still, I most question this: Brand yourself. Pick a genre. Stick to it. 

I understand where this comes from—the notion that a jack of all trades is master of none, that an agent or editor should be able to categorize you, that expertise is focused, and that success in a certain arena breeds more success. And yes, a great many mega-successful authors are nearly inseparable from a genre, whether it’s Stephen King or John Grisham or J.K. Rowling.

But King and Grisham also have written about baseball. And Rowling penned a novel, The Casual Vacancy, about social issues. They could write about anything they wanted, and that’s exactly what they did—expectations be damned.

So why can’t any author? Why can’t anybody gain the sense of satisfaction that comes from a bit of courageous experimentation? Why can’t it actually be viewed as a triumphant attempt, perhaps even a beneficial one? After all, we may think we know which genre lures us. We may think we know where our talents are best suited. But how do we really know until we dabble a bit?

I suppose I’ve made a career out of this.


In college nearly 30 years ago, I was a summer intern at Sports Illustrated for Kids, which (through its publishing arm) released my first books a few years later—a sports puzzle book, a couple of sports trivia books. Was that my destined path? Well, roads veer and fork. Now my list of published children’s books includes fiction and nonfiction, little board books for preschoolers and nonfiction collections for middle graders, rhyming alphabet picture books and co-authored autobiographies.









I’m not a genre-specific children’s writer. I’m a writer.










I actually began my career as a newspaper sportswriter who soon realized I was more interested in the human angle than the X’s and O’s. So I began writing magazine features—mostly about sports. But roads widen. I broadened my scope. A quarter-century later, my portfolio includes everything from Sports Illustrated to in-flight magazines, from stories about Monopoly and miniature horses to profiles of the Wright Brothers and Dr. Joyce Brothers (um, separately, that is). My first book for adults, The Sports 100: A Ranking of the Most Important People in U.S. Sports History, was a book about sports history. But really, it was a foray into cultural trends, business, media, gender, and race.

I’m not a sportswriter. I’m a writer. And that means I’m an historian, an observer, a commentator, a critic, whatever I want to be.

When The Sports 100 was about to be published, I found myself staring at an atlas one day. I noticed tiny little towns named after virtues—Pride (Alabama), Wisdom (Montana), Inspiration (Arizona). On a whim, in a Winnebago, my wife Amy and I decided to hit the road on a year-long, 48-state journey. “We’ll search for those attributes in those places,” I said, “and I’ll try to write a book about it.” The resulting book, States of Mind, did rather well (look it up if you want to read about its goofy journey involving Regis Philbin and Oprah). I’ve since written two more American travel memoirs in which I examine the big picture by visiting the tiniest dots on the map. It’s where I flex my writing muscles. I’m tremendously proud of the writing and the scope (if not the subsequent sales).

But I’m not a travel writer. I’m an author.

Of course, not every experiment pans out. I written a couple of manuscripts (think The Phantom Tollbooth and Where the Sidewalk Ends) that I truly love. Someday they’ll have covers and ISBN numbers. But not yet.


But there, too, I haven’t limited myself. Like so many writers, I grew frustrating with the publishing gauntlet. So I zagged again. I started my own little venture, Why Not Books, which has grown beyond my own books (ranging from a picture book about golf to a civil rights memoir) to publishing a couple of other authors whose manuscript and message resonated with me. And lots of things resonate, which is why I’ve created blogs about everything from 100 literary lists to the merger of place and prose.



But I’m not a publisher. I’m not a blogger. I’m a peddler of notions. I send ideas out into the world.

So if you’re focused on a specific genre, and that’s where you feel comfortable, that’s great. Embrace it. Ride it out. Have a blast. But hopefully, your motivations are internal. True writing comes from within. And as the great Walt Whitman contended, “I am large; I contain multitudes.”

If you’re a square peg of a writer, don’t try to fit yourself into a round hole of oft-repeated rules and arbitrary categories. Anyway, more likely you’re a squircle… a heptagram… or nonagon. If that’s the case, you have to create your own fit. In fact, why peg yourself at all?

To be curious about many things is human. That’s why we’re writers. And to dabble is divine.



 

Brad Herzog is the author of dozens of books for children, including W is for Welcome, a celebration of the challenges and accomplishments of America’s immigrants (Sleeping Bear Press, April 2018). He also has written a trilogy of travel memoirs, which the American Book Review deemed "the new classics of American travel writing." As a freelance magazine writer, Brad has been honored several times by the Council for Advancement and Support of Education (CASE), including a Grand Gold Medal for best feature article of the year. As a speaker, he visits schools around the country and has presented a popular TEDx talk about “Catching Creative Ideas.” Along with his wife and two sons, Brad lives on California’s Monterey Peninsula.

Wednesday, April 4, 2018

Insecure Writer's Support Group Day and Upcoming Events

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the tab above and sign up. We post the first Wednesday of every month. I encourage everyone to visit at least a dozen new blogs and leave a comment. Your words might be the encouragement someone needs.

The awesome co-hosts for the April 4 posting of the IWSG are Olga Godim, Chemist Ken, Renee Scattergood, and Tamara Narayan!

April 4 question - When your writing life is a bit cloudy or filled with rain, what do you do to dig down and keep on writing?


Upcoming events:

Are you following TheIWSG on Instagram? Here are the prompts for April:

There’s a Self-Publishing Conference coming up on April 14 and it’s free to register for it.



The IWSG anthology, Tick Tock: A Stitch in Crime, comes out on May 1. Click on the link to go to the book’s page – pre-orders are open.



The IWSG Goodreads Group will be discussing Save the Cat: The Last Book on Screenwriting You'll Ever Need by Blake Snyder on May 23.

The next IWSG Twitter pitch event, #IWSGPit, is July 19! See that page for details. Some great success stories have come from the first two – it could be you.





Please welcome Shannon Lawrence to the IWSG Admin team!
Shannon will be heading up our newsletter.






We need co-hosts for the coming months! If you can co-host on May 2, June 6, July 3, or August 1, please leave a comment below or send us an email. It takes at least four co-hosts each month to keep up with everyone. Thanks!


What do you do to keep writing? What events are you looking forward to?

Monday, March 26, 2018

Establishing an Author Platform



By Elizabeth S. Craig, @elizabethscraig 

No matter if you’re published or unpublished, the idea of setting up an author platform from scratch can be really daunting.  It’s important to realize that establishing a platform and promoting a book is a marathon, not a sprint. 

If you’re not published (either traditionally or self-published):

Spend most of your time working on your book.  If you’re in a time-crunch and need to make the choice between setting up a platform or writing your book, you should be writing.

However, if you can spare the time … say fifteen minutes at a time … for establishing a platform, I’d encourage you to set up the basics.  Breaking these tasks into increments will help get them knocked out without ending up with a time suck.

Getting started: 

Have an email address for your writing business.  This should be your name and an email just for you.  You can get free emails from Gmail and from Microsoft, among other providers.

Set up a basic website, to create an online hub for you and your books. It’s a first step to being visible online. This website should be in your name, not the book’s title (you may write other books).  You can get free websites through WordPress (and can later transfer to a paid WordPress site, if warranted).  

The website should list a way to contact you (your email address, your social media addresses), your name, a little bit about you and the types of books you’re planning on writing.  If you have the time, you could blog once a week or every two weeks on this site, to bring in traffic and search engine attention.  More on what to blog about in this post by industry expert Jane Friedman: “What Should Authors Blog About?”.  Set up your blog to automatically post to Facebook or Twitter, if you’re there. 

It may seem silly to have a newsletter signup when you don’t yet have a book or readers, but the earlier you start, the better. MailChimp is free for up to 2,000 subscribers. 

Social media.  This is where you’ll want to pace yourself.  It’s fine to sign up on all the social media platforms (Twitter, Facebook, Instagram, Pinterest, etc.), but only to reserve your name on these sites.  Later, you can find which one or two appeal most to you.  There’s no point in trying to post on a platform that you don’t enjoy because you’ll struggle to keep up with it. 

Again, sign up for these accounts with your name, not your book’s title.  Be sure not to spread yourself too thin—it’s very difficult to keep up with more than two social media accounts.  Use free tools like Hootsuite to schedule updates, if you’re pressed for time.

If you’re published:

All of the above, plus:

Amazon Author Central.  It’s important to set up your author page on Amazon.  When someone clicks your name next to your book’s title, it will take them to your page and show them all of your books in one place. You can add your bio, video content, connect your blog feed, and include photos. What’s more, you can use this portal to add editorial reviews to your book’s product page and check sales stats.
 
Do you have any other advice for setting up an author platform? What’s your favorite social media platform for connecting with readers? 

Elizabeth is the bestselling cozy mystery author of the Southern Quilting mysteries, Memphis Barbeque mysteries, and Myrtle Clover Cozy Mysteries for Penguin Random House, Midnight Ink, and independently. You can find her at Elizabethspanncraig.com . Elizabeth shares writing links on Twitter that later make it to the free search engine for writers, writerskb.com. 

Monday, March 19, 2018

What I Learned About Writing From Bad Movies

Admit it – you’ve sat through your fair share of really bad movies. You’ve moaned and groaned and wondered why on earth you were sitting through such meaningless drivel.

But all is not lost! Those awful films were a gold mine of research. Why? Because they can teach us valuable writing lessons.

Here’s a list of truly horrible movies (made less horrible by the fact I watched them via RiffTrax because I can only take so much torture) and the valuable lesson I learned from each one.

Grizzly – A grizzly terrorizes and kills campers but they don’t want to close the park. Basically, it’s Jaws on land. Lesson – make your plot original.

Santa and the Ice Cream Bunny – Santa’s reindeer abandon Santa and at the end the Ice Cream Bunny drives his truck to rescue Santa. However, Santa could’ve at any point in time simply got out of the sled on his own and walked off the beach. Lesson – fill in those plot holes.

Roller Gator – A miniature talking gator entices a roller skating girl to hide him from bad guys. Endless insults from gator, pointless scenes and chatter, and lots of meandering. Lesson – don’t make up for a lack of plot with empty padding.

Jack Frost – Death row inmate is transformed into obviously plastic snowman and goes on killing spree. Lesson – make the villain believable.

ROTOR – Futuristic robot cop goes on killing spree in science fiction thriller. In reality, very boring and the only thing more cardboard than the acting are the sets. Lesson – don’t dress up a story as one genre and then deliver something completely different.

The Little Unicorn – A girl and her unicorn avoid detection in this star-filled film. However, most of the stars are wasted and look really bored. Lesson – give your characters something interesting to do.

Birdemic – Vanity project about killer birds with one dimensional acting and no dimensional special effects. Possibly one of the worst films in the world. Lesson – just because you think it’s brilliant doesn’t mean it is–get a second (or third or fourth) opinion.

Zindy the Swamp Boy – Drama about boy living in swamp with grandfather and eventually on his own. He dies at the end. Lesson – if your story is aimed at children, make sure it won’t scar them for life.

Sharknado 2 – Category seven hurricane spawns sharknados in New York City. (Need I say more?) Lesson – readers must buy the story concept.

The Apple – A musical about a couple entering the music industry who find weirdness, drugs, and aliens. Featuring fourteen songs in ninety minutes, it’s a failed Rocky Horror Picture Show copycat. Lesson – fancy and colorful words won’t make up for a story that makes no sense and goes nowhere.

Cool as Ice – Featuring flash in the pan rap star Vanilla Ice. 1991 never looked so bad. Lesson – don’t use elements, terms, or slang that will date your work in less than five years.

Night of the Lepus – Giant, blood-thirsty killer bunnies. (Not making this up!) Lesson – threats in your story must be believable.

The Last Shark – Giant shark terrorizes coastal town. At one point, he jumps out of the water and takes down a helicopter. Lesson – make sure your thrills and scares work and don’t cause readers to roll their eyes or laugh.



And finally…

The Star Wars Holiday Special – Chewbacca’s family waits for him to come home to celebrate Life Day. Poorly acted, heavily padded, and featuring ninety minutes of mostly Wookie cries. Lesson – never rush a story (or sequel) and toss it out there just to please others.







There you have it! Next time a terrible movie crosses your screen, sit back and learn from it. If you can stomach the awfulness and can’t find it on RiffTrax, of course.

What lessons have you learned from bad movies?

Monday, March 12, 2018

Writers’ Conference Secrets for Success

By Carolyn Howard-Johnson
Author of the multi award-winning
HowToDoItFrugally series of books for writers

L Diane Wolfe, one of the forces behind The Insecure Writers Group asked me to share my enthusiasm for writer’s conferences with this video made at one my recent presentations at Bookbaby’s first ever conference in Philadelphia.



So, now you are convinced how much fun they can be—for both attendees and presenters!—I want to share some information on how to make conference more successful by planning in advance. You want to treat it like a garden and bring home all the ripe stuff that suits your palate. That means you have to organize. This partial excerpt from the chapter on writers’ conferences in The Frugal Book Promoter will help you do that.

Your notebook—either the old-fashioned paper kind or the one you set up on your laptop—is key to getting the most from a conference. These ideas come from the old fashioned way of doing it, but most can be adapted to your iPad or laptop.
  • Bring a seven-subject notebook (or seven files in your computer). Divide the notebook into sections that match your goals. These might include: Agents, Publishers, Promotion, Writing, and Other Contacts. Leave one section open for a category that crops up after you arrive.
  • On each separator page tape a number ten envelope in which you slip business cards, bookmarks, mini notes to yourself, and small brochures. When you arrive home, part of your filing and sorting will be done.
  • Take blank mailing labels to make custom index tabs that stick out from the edge of your notebook.
  • On the first night of the conference, clip and paste separate parts of the conference handouts and programs into corresponding segments of your notebook.
  • At the back of your conference notebook, make a directory section. Use the label index markers to delineate each one.

The first page is a name and address list for publishers. They should be listed in conference handouts but you may glean more from seminars. Star the publishers you spoke to personally. Make notes. What have they published that is similar to your book? Jot down anything that will help them remember you when you write to them and mention your encounter. Query letters work best when you indicate you are familiar with the person or company being queried.

Big Hint: When you talk to publishers always ask them what they do to promote their authors’ books. Pin them down to specifics.

The second directory page is for fellow authors. Jot notes on them, too. It’s no fun to arrive home with a useless business card.

Ditto for agents and for conference planners. You may be surprised at how often you’ll refer to this page and the good it will do you when you start to shop your next (or first) book.

A page for “Other Resources” includes information on anything from other conferences to books fellow attendees and presenters recommended to you—including the books you bought at the conference. This is the continuing education aspect of a writers’ conference.

Designate a few pages for writing ideas.

The final pages are for new promotion ideas.

Hint: Bring a small pouch of tools—I use one I received with an Estée Lauder gift-with-purchase. Toss into it color-coded pens, snub-nosed scissors (sharp ones may not get you through airport security), a small roll of cellophane tape, your index labels, paperclips, strong see-through packing tape, hammer, tacks, razor, ChapStick, hole puncher, breath mints, elastic bands, Band-Aids, and your personal medication. Don’t unpack this when you get home. You’ll need it in the future for other conferences, book signings, book fairs, and other promotional events you attend and eventually may become a presenter or key note speaker!

You can use a conference to promote, too.
  • Some conferences offer tables where participants can leave promotional handouts for their books or services. Before you leave home, ask your conference coordinator how you might utilize this opportunity and print and pack anything you might need.
  • Ask the conference coordinator if they publish a newsletter or journal. If so, send the editor media releases as your career moves along.
  • Take your business cards to the conference. Give them out liberally. They won’t do you any good in your pocket.
  • If you have already published a book, take your bookmarks to give to others. And a few books, as well. Authors tend to forget to give their books to people who are in a position to recommend it.
  • If you have an area of expertise that would interest the conference director or programmer, introduce yourself. She may be busy, so keep your pitch very short and follow up later.
  • Think in terms of gathering endorsements for your book to use in the future. You are always building a network but you’ll find influencers—maybe some with name recognition—at conferences.


Carolyn Howard-Johnson is the author of the multi award-winning HowToDoItFrugally series of book for writers. Learn more about them at How to do it Frugally. She also invites you to subscribe to her writers’ resources blog, Writer’s Digest 101 Best Websites pick Sharing with Writers. Follow her tweets at @FrugalBookPromo And that new edition of The Frugal Book Promoter? It won a USA Book News award, its second—one for the first edition, one for the second--and the e-book edition was honored at Dan Poynter's Global EBook Awards. As an aside, please leave a comment and a like on YouTube; it’s part of “pass it forward” and “sharingwithwriters” concept for marketing success.

Wednesday, March 7, 2018

The 100words100days Challenge and IWSG Day



Purpose: To share and encourage. Writers can express doubts and concerns without fear of appearing foolish or weak. Those who have been through the fire can offer assistance and guidance. It’s a safe haven for insecure writers of all kinds!


Posting: The first Wednesday of every month is officially Insecure Writer’s Support Group day. Post your thoughts on your own blog. Talk about your doubts and the fears you have conquered. Discuss your struggles and triumphs. Offer a word of encouragement for others who are struggling. Visit others in the group and connect with your fellow writer - aim for a dozen new people each time - and return comments. This group is all about connecting!

Our Twitter handle is @TheIWSG and hashtag is #IWSG

The awesome co-hosts for the March 7 posting of the IWSG are Mary Aalgaard, Bish Denham, Jennifer Hawes, Diane Burton, and Gwen Gardner!

Some important things I’ve learned on day 66 of my #100words100days challenge

Consistency is king. When you show up, the words also show up. Success is the sum of small efforts, repeated day in and day out.

Accountability is a key factor in getting those words on paper. Having a partner or group where you can post/share a daily/weekly word count really helps.

Prompt writing in small bursts works for me. Find out what works for you and then use it to your advantage.

You are capable of much more. Push yourself beyond that comfort zone because that’s how we grow!


 
Every month, we announce a question that members can answer in their IWSG post. These questions may prompt you to share advice, insight, a personal experience or story. Include your answer to the question in your IWSG post or let it inspire your post if you are struggling with something to say. 

March 07th optional question:  How do you celebrate when you achieve a writing goal/finish a story?

I’m on day 66 of my #100words100days challenge. Any ideas how I should celebrate at the end?

                 
 Don't forget to check out #theiwsg writing Wednesday posts on Instagram.
Join as you can.
Share and Encourage.
Spread the word.









In case you missed it. The next IWSG Anthology has a cover and release date.
  
                                                             Can a dead child’s cross-stitch pendant find a missing nun? Is   revenge possible in just 48 minutes?
Can a killer be stopped before the rescuers are engulfed by a city ablaze? Who killed what the tide brought in? Can a soliloquizing gumshoe stay out of jail?

Exploring the facets of time, eleven authors delve into mysteries and crimes that linger in both dark corners and plain sight. Featuring the talents of Gwen Gardner, Rebecca M. Douglass, Tara Tyler, S. R. Betler, C.D. Gallant-King, Jemi Fraser, J. R. Ferguson, Yolanda Renée, C. Lee McKenzie, Christine Clemetson, and Mary Aalgaard.

Hand-picked by a panel of agents and authors, these eleven tales will take you on a thrilling ride into jeopardy and secrecy. Trail along, find the clues, and stay out of danger. Time is wasting…

Release date - May 1, 2018
Mystery & Detective/Crime/Thrillers
Print ISBN 9781939844545 eBook ISBN 9781939844552

And it is now up for Pre-order. Get your copy today!


 Have you written for 30 plus days or more… non-stop? Do one-word writing prompts or picture prompts work for you? Have you succeeded with your January and February writing goals? Have you signed up for our Instagram challenge? Any interesting celebratory stories to share?