How Bad Do We Want It?

For years, I harbored a secret.

I wanted to be a writer. I longed to see my words in print. But persistent doubts and fear of failure often sidetracked me.

Desire and talent were two different threads. I wondered, “Am I truly capable of crafting words people will want to read?”

As a mostly self-taught writer, it was time. Time to learn. Time to network. And time to confess my secret.

Where to turn?

Three and a half years ago, feeling a bit Alice in Wonderland-esque, I fell into my first writer’s conference. Upon my arrival, I discovered a very weird yet indelibly native wonderland.

The mountains were filled with beginner, intermediate, and widely-read authors. And the land overflowed with editors, publishers, and agents. Finally, a sense of genuine community—these people understood. We spoke the same language, shared similar idiosyncrasies, and dreamed the same dreams.

But dare I fantasize they would help me—that they could help me—figure out which way to go from here?

Like water for a flower, the serendipitous environment seduced me to voice my dream. I whispered my idea into attentive ears. It was all I had—a simple, naïve, and undeveloped concept.

The faculty was incredibly helpful. Come-at-able (within respective boundaries). Attainable. These worldwide publishers, award-winning authors, national editors, and stellar agents were simply real people. And they didn’t bite! They wanted to help, and expressed a genuine interest in my success.

Words of encouragement and strong support overtook me. Transformed me. A newfound confidence wafted through the mountain air. I really can do this.

I packed my bags for home with a new resolve. I would return to next year’s conference with something tangible—my book proposal and sample chapters.

However, dark storms quickly absorbed this new perfume of confidence. I returned, instead, to the lie of the daily routine. Life as a mom, wife, and entrepreneur consumed my days. Not to mention various health issues that cropped up at the most inopportune times. I quickly learned inspiration alone doesn’t write a book.

Eight months passed. A fluorescent note on my Daytimer reminded me of the upcoming conference, only a few months away. The date pierced my heart. How bad do I want this?

I had found the courage to voice my dream. Now, would I really do what I needed to do? It was time to be intentional, time to register for the next conference. And time to start writing.

A couple months later, I returned to my writer wonderland. Determined now to find my way, I hemmed up my fears and laid out my work before eagle eyes. I coveted honest insight and constructive critique. The faculty didn’t disappoint; the feedback was invaluable and the support overwhelming.

In the end, I completed my first book. I also gained multiple offers of agent representation, found a fantastic editor/writing coach, and secured potential endorsements. That first writer’s conference was the gentle kick I needed.

 

Desire and talent may well be different threads but woven together they have the potential for a beautiful tapestry.

 

How about you? As a writer, do you ever feel isolated? Lack motivation or confidence? How do you stay on track? Have you struggled to marry your desire with your talent? (I would love to hear from you; we’re all here to learn from each other’s experiences.)

You Never Know…

Are you discouraged? Keep writing.

You never know what God might do with your words.

In the late ‘90s, I wrote Blind Sight a suspense novel about a man who was struggling with God’s goodness in tragedy. Near the end of the book my protagonist, a man who lost his wife and two children in a car accident, understands that God is good even when circumstances are not.

Like all new authors, when Blind Sight was released in 2003 I had dreams of a bestseller. But that wasn’t to be. The book’s sales were mediocre at best and, when my second royalty statement showed massive returns—and a large deficit—I was crushed.

I pouted for a few weeks, but eventually realized that I was being selfish. Finally I prayed, “Lord, I wrote this book for you and I’m giving it back to you. If you’ll use it in even one life, I’ll be happy.”

Time passed and Blind Sight was consigned to the ranks of out-of-print books.

But God wasn’t finished with it.

On March 1, 2008, a terrible tragedy happened not far from where I live. Two men broke into the home of Terry and Penny Caffey. They shot Terry, Penny, and their two sons. Then they set the house on fire. Even though he’d been shot five times at point blank range, Terry survived and managed to escape the burning house. Terry’s wife and sons died. Even worse, his teenage daughter Erin was implicated in the crime.

Although Terry was a Christian, he struggled deeply in the aftermath of the tragedy. He couldn’t understand why God took his family or why He made him go on living.

About six weeks after the murders, Terry went back to his property to “have it out with God.” He stood on the ashes of his house and cried out, “God why did you take my family? I need an answer and I need it today.”

At that moment, he saw a brown, scorched piece of paper leaning against a tree. Terry picked it up.

It was a single page from my novel. But it wasn’t just any page. It was the page where my protagonist—a man who has lost a wife and two children—comes to grips with God’s sovereignty in his loss.

The first words on the page were, “I couldn’t understand why You would take my family and leave me to struggle along without them…but I do believe You’re sovereign. You’re in control.”

God used those words to turn Terry Caffey’s life around, and now he travels all over the country sharing an incredible story of grace and forgiveness. At this very moment, he is in Slovakia, sharing his story.

My novel wasn’t a bestseller, but God took one page from it and changed a life. And now that man is touching thousands.

Don’t be discouraged. Keep writing.

You never know what God might do with your words.

The honest stain of truth

Professor looked like Jabba the Hut, jowls of  flesh hanging over the collar of his shirt. He watched, smirking, as fellow co-eds and I jockeyed for seats around the long conference table, Professor’s preferred room arrangement for this, our first college creative writing class.

Until I met Professor, I could always count on my writing to please teachers and professors. But assignment after assignment came back with haphazard red-pen scratches. I imagined Professor held my paper for a brief moment before tossing it aside.

Professor enjoyed two things: making students cry and picking favorites. I landed in the first group, and was left out of the second like a scrawny girl in a middle school dodge ball gym class.

The class favorites wrote about sex, of course, and they wrote about it often. Though I lamented my mediocre scores, I refused to write about something so sacred just for him.

One fateful morning, my alarm clock malfunctioned and I was late for Professor’s class. When I arrived, he stopped class and laid into me with a barrage of insults. On and on he spat about how lazy, irresponsible and stupid I was, daring to enter his class late. Too hurt to hold back tears but too proud to leave, I stayed for the whole class.

My notebook was a soggy mess.

That day, I resolved to please Professor–if not shock the hell out of him–with my writing.

And I did.

I wrote a short story full of violence and deceit, sex and betrayal, blood and fine champagne.

The story disgusted me.

Professor loved it.

I hated Professor for a long time after that.

Years later, I realized my sordid short story paralleled scars of abuse from my childhood. The rage I felt toward Professor was a pivotal breakthrough from flowery, Pollyannic prose, and the beginning of my journey of writing hard, writing real and learning to write well.

I can’t say I agree with Professors tactics.

But I think I understand, now, what he was trying to do.

See, good writing involves daring to go to deep and frightening places. Like John Coffey–the man who breathed light and life into dead things in The Green Mile–hearts come alive when we breathe into still and long-forgotten places.

Words become life when writers allow the pen to pull them places no one else wants to go.

Like leper colonies, places in the soul exist where fear hangs like shadows, veiling what we don’t understand and shielding us from disease and pain. And yet, the only way to be real and alive is to allow the pen to touch diseased and painful places.

It is the unsought job of the writer to burst through the gates of leper colonies . . . to run to those who are bandaged and losing limbs . . . to embrace those who smell like rotting flesh . . . and to caress touch-starved hearts until they stop trembling and maybe, just maybe, believe in life again.

Good writers learn to distinguish the honest stain of truth from pencil scratches on paper.

Good writers learn the events in life which enslave us are ultimately the ones which set us free.

Good writers endure hours–even days–of depression that come when the pen finds fragile, tender places.

Good writers touch ugly, diseased places, in order to touch ugly, diseased places of others.

Good writers allow the pen to pull them.

To set even one person free.

What about you? How have you learned to write more deeply? Has a person, teacher, mentor or friend influenced the deep, true pull of your pen? Do you believe words have the power to set people free?

A Word Miser’s Experience with Line Edits

I have two confessions.

I hold tightly to my words.

And of all the things that lay ahead as a contracted author, line-edits made me the most nervous.

Here’s my truth. I’m in love with words. I love stringing them together in creative and clever ways to paint pictures for the reader. I don’t like deleting them. And I’m super protective of my voice.

So the idea of line-editing scared me.

I admitted all this to my incredibly talented line-editor, Lissa Johnson, and she said it’s a common malady for writers, especially beginners. Which makes sense if you think about parenting. We tend to be much more uptight with our first born, don’t we?

So how did line-edits go? Did I have to get rid of words I wanted to keep? Does the writing still sound like me? Was it as painful as I feared? Is the story better?

Good. Yes. Yes. Yes (but not in the way I expected). Very much.

Allow me to elaborate….

I deleted words I wanted to keep.
This is a reality for line-editing. I had to delete some of my more creative descriptions. One of the things I loved about Lissa was that she didn’t just tell me to delete them. She explained why they weren’t working.

Descriptions shouldn’t pull the reader from the story. Not even for the sake of admiring the prose. We can get away with it on occasion, but the more often we do it, the more we risk creating a choppy read for our audience. And choppy’s never good.

I’m learning that subtle and simple is usually best. A hard lesson for a writer who tends to go purple.

My voice is still my voice.
Lissa suggested changes, and even made changes, but she did so in my voice. She stayed true to who I am on the page and put to rest my biggest fear: That by the time this story makes it to the shelf, it will no longer sound like me.

Line-editing is painful.
Yes, it is. But not for the reasons I expected.

Deleting a beloved description wasn’t the painful part.

Having to scrutinize a novel I didn’t want to scrutinize was.

I had to look at so many of my words and make sure they meant what I wanted them to say. I had to look at so many of my details and make sure they were accurate and well-researched.

And I had to do it all while wanting to chuck the story out the window. At this point, I’ve edited this thing more times than I can count.

Combing through it so meticulously yet again made me cross-eyed. My lovely editor, Shannon Marchese, assured me that my strong feelings of dislike toward my story were very normal.

The pain is worth it.
Saying goodbye to some of my words was hard. But after stepping back, I discovered that Lissa was usually right. The changes improved the story. And although I might be permanently cross-eyed, it’s now much cleaner. Much smoother. Much better.

I’m learning something I always suspected. Editors are amazing. At least the good ones are.

And when it comes to editing, we’re wise to ignore those feelings of defensiveness, embrace some humility, and trust that they know what they’re doing.

Chances are, they’ve been doing it a lot longer than we have.

***

What scares you most about getting a book ready for publication? What excites you the most?

A Writer’s Life: Surviving the Fire Swamp

Rodents of Unusual Size? I don't believe they exist...

After hanging out at the Cliffs of Insanity, I’m doing a bit of rumor control today before negativity infiltrates the Water Cooler crowd. The report is this: “We’ll never survive.”

Survive what, you ask? The journey–wherever it takes us–along the writing road.

Never survive? To quote Westley, our hero from The Princess Bride, when he faced the Fire Swamp: “Nonsense.”

Many writers survive–even thrive. Sure, at times the Brute Squad hammers our egos, but consider a pounding an occupational hazard. Westley and Buttercup conquered the flame spurt, the lightning sand and Rodents of Unusual Size (R.O.U.S.’s). Like our hero and heroine, writers must overcome terrors specific to the writing world.

  • Expect the expected. Flame spurts were predictable. Listen for the popping noise, move, and you won’t get burned. Hang around the writing world long enough and you’ll recognize probable pitfalls. Listen for oft-repeated refrains like:
  1. Show don’t tell. (Unless you’re Erin Healy, who’s teaching a class at ACFW titled “Sometimes It’s Better to Tell than Show.” I don’t know about you, but I’m intrigued.)
  2. Know the rules before breaking the rules. (See bullet #1.)
  3. Writers need a platform. (Or a brand. Or, at the very least, an engaging plot.)
  • Don’t travel alone. You don’t survive a solo encounter with lightning sand. Buttercup would have suffered a tragic death but for Westley’s daring dive into the sand to rescue her. And despite writer Jessamyn West’s oft-quoted assertion that “Writing is a solitary occupation,” I’m thankful for my writing comrades. They’ve saved me from death by over-writing. Death by over-editing. Death by over-thinking why I decided ever to set foot on the writing road to begin with.
  • Realize the reports may be true. I’ll disappoint some of you by not drawing an anology between R.O.U.S.’s and editors. Or agents. Sorry, not going there. (I’m an editor too, after all.) Remember Westley’s response when Buttercup asked about R.O.U.S.’s? He said: “I don’t think they exist.” And right after that–OOOF! An R.O.U.S. took him down. We’d like to think we’re exempt from the tough times writers face: Bad reviews. Low sales. Dissatisfaction with critique groups. Let me be frank: Ignorance isn’t bliss when it comes to R.O.U.S.’s in the Fire Swamp or very real problems along the writing road. Saying “It ain’t going to happen to me” only accomplishes one thing: You’re unprepared when low sales take you out at the knees.Or when your crit group pummels your work-in-progress (WIP). Or when your elevator pitch plummets to the basement.

What about you? Any survival techniques you’d care to share with the rest of the group gathered ’round the Water Cooler today?

Post Author: Beth K. Vogt

Beth K. Vogt is a non-fiction author and editor who said she’d never write fiction. She’s the wife of an air force physician (now in solo practice) who said she’d never marry a doctor—or anyone in the military. She’s a mom of four who said she’d never have kids. She’s discovered that God’s best often waits behind the doors marked “Never.” She writes contemporary romance because she believes there’s more to happily ever after than the fairy tales tell us.

The Writer’s Life: On the Edge of the Cliffs of Insanity

BeingThe Cliffs of Insanity a writer can make you crazy.

Think about it:

  • Your literary heritage? A long line of creative alcoholics and drug users: Ernest Hemingway. O. Henry. Tennessee Williams. Dorothy Parker. Edgar Allen Poe.
  • Betting your life on a maybe, dependent on the kindness of others–agents, editors, publishers–for your success. And, really, their decisions have nothing to do with kindness.
  • Balancing your hopes on the seesaw of contradiction: Write your passion. Write what the market wants.
  • Hearing voices. The fictitious ones in your head that you tell what to do–and then you wreak havoc on them when they don’t. Meanwhile, the ever-present voices in the real world–your boss, your spouse, your kids–demand you focus on the here and now. The business meeting. The bills. The moody pre-teen inhabiting your daughter’s body.
  • Facing unending emotional upheaval. Waiting. Rejections. The mixture of joy and jealousy when a friend earns “the call.” (Not that you’d ever admit to even a passing acquaintance with the green-eyed monster. Inconceivable.)

Being a writer can push you to consider changing your name to Poe or Hemingway. The craziest part? You chose this life. You’re committed to this insanity. Here are a few suggestions for managing the madness:

  • Pick your mentors wisely. Just because writing drove others to indulge in mind-altering escapes doesn’t mean you must. I admire my mentors for their lifestyle choices, not just their writing skills.
  • Don’t let all your dreams be based on maybes. I have limited control over my success as a writer. Writing, however, is not all of my life. I’m pursuing other dreams with both short and long-term goals.
  • Choose between your passion and writing for the market. Or not. Maybe you’ll be the lucky author who hits the market when your passions collide with what “they” want. (Romantic-Amish-Vampire-Time-Travel-Steampunk-with-a-moral, anyone?)
  • Jump off the seesaw. The whole “balancing the writing world with the real world” challenge? I may never master that. Sometimes my mind seems full of shrieking eels, all screaming, “If only these people (husband, kids, friends) would leave me alone, I could accomplish the more important goals!” Then I know it’s time to shut down my computer and connect with family.
  • Admit you experience emotions. If emotions are good for our fictional characters, why are they bad for us? Sometimes we’re conflicted: over-the-moon-happy for our friend who landed a contract and also disappointed we’re not the one signing on the dotted line. That’s reality.

I’m curious: Am I the only writer pushed to the edge of the Cliffs of Insanity? How do you keep yourself from leaping off? (And can anyone tell me where the Cliffs of Insanity exist?)  ;o)

Post Author: Beth K. Vogt

Beth K. Vogt is a non-fiction author and editor who said she’d never write fiction. She’s the wife of an air force physician (now in solo practice) who said she’d never marry a doctor—or anyone in the military. She’s a mom of four who said she’d never have kids. She’s discovered that God’s best often waits behind the doors marked “Never.” She writes contemporary romance because she believes there’s more to happily ever after than the fairy tales tell us.

Brand Basics

If you’re interested in delving into this business of publishing, then you’ve likely heard a lot of talk about branding. Simply put, branding clearly identifies you with a product. For the author, it might be their brand of fiction or their platform. Your brand is strong if someone hears either your book or your name and can identify the other. For instance, if I said “Stephen King”, certain things would pop into your mind even if you’ve never picked up one of his novels. If I said, “The Shining”, you could likely name the author. Stephen King has a strong brand.

Your brand needs to be supported by your internet presence such as your blog or web site. Think about the images you want to portray. Are you a contemporary women’s author? Then, your site should have a different “feel” compared to someone who writes suspense.

I worked with Tekeme Studios for my blog design. First hurdle to overcome was the content of the blog. How can I be different from the other thousands of blogs that are out there? What I noticed myself doing was answering a lot of medical questions for fellow writers. I couldn’t find anyone else with this type of blog. That was good because perhaps I could provide a service for other authors that was thus far unfulfilled.

Second was to think of the feelings I wanted to invoke when people first visited my site. For me, these were intrigue, medical, with a slight suspense feel.

Here was the first design:

Here comes the third part. You have to be willing to speak up if you don’t like the design. After all, this is your brand and your investment. You should have strong feelings about it. For me, the design read historical. The man was dressed in period garb and the cabin looked like one you’d find on the frontier. This image didn’t support my brand as a suspense novelist. Plus, I‘m a woman and why did it need to be a man answering those calls for help? Also, too bright and orange (not a huge fan of that color). Not an ominous feel at all.

You’ll know you’re with the right design team when they understand your concerns about the design and are not offended about making changes. After discussing my concerns, it became as follows. You can check out the full implemented design at http://jordynredwood.blogspot.com/.

My challenge to you:  Are you thinking about what your brand is? How are you evoking that brand image with your internet presence? Ask people to visit your site and give you thoughts about what they feel. If you’re a suspense writer, people should feel ominous… maybe a little worried, like they will when they read your novels.

These are some examples of authors who I think have portrayed this well. Visit their sites for a little homework. Do they have a strong brand? Do they evoke certain feelings when you see their imagery? I think what they’re doing supports their brand of novels.

  1. Brandilyn Collins
  2. Tosca Lee
  3. Robert Liparulo

What are some things you’re doing to support your brand?

Surviving My First Year As A Published Author

It’s hard to believe that I’ve been a published author for over a year now. My first book (A Tailor-Made Bride) debuted in June 2010, and last May my third book with Bethany House, To Win Her Heart, hit the shelves. What an exciting whirlwind adventure this has been!

For those of you who are not yet published, I thought I’d share a few of the myriad lessons I’ve learned during the transition from hopeful writer to published author. Believe it or not, signing a publishing contract is not the pot of gold at the end of the rainbow. It is just the beginning of another journey, one that will take you through unfamiliar territory with a whole new set of obstacles and pitfalls to navigate.

Learning to work with an editor

Most of you have probably worked with a critique group or received feedback from contest judges on your manuscript. Some of you may have even invested in hiring a freelance editor to go over your book. All of this is wonderful for helping you perfect your craft, and I highly recommend it. I still work with my critique group on every book I write. However, making the switch from critique group to publishing house editor is like switching from working with a high school baseball coach to a major league manager. The expectations placed upon you increase and the time to make improvements decreases. Thankfully, the editor wants you to succeed just as much as you want to succeed, so it can be a marvelously rewarding partnership.

In learning to work with an editor, attitude makes all the difference. Here are some tips for making this process a blessing instead of a trial:

  • Trust your baby to the care of another. You are no longer simply a passionate writer, creating the story that best pleases you. You are now a professional writer who must please a publisher and readers. Don’t forfeit the passion, but temper it with professionalism. I often hear unpublished writers say things like, “If an editor ever suggested I change X about my manuscript, I’d find a different publisher.” I strongly caution against this attitude. Publishing is a team effort. Be a team player and remember that the publishing world is a small one. Don’t make things harder on yourself by gaining a reputation as a diva.
  • Editors are allies, not enemies. It might not feel true when you get that 12 page, single-spaced substantive edit letter, but keep your defenses in check. Remember that your editor is there to help you create the best manuscript possible.
  • Approach conversations with humility. Editors know the market better than you do. They know what their readers like. Submit to their mentoring and heed their advice, but don’t be afraid to respectfully speak your mind if you have a strong aversion to one of their suggestions.

Dealing with deadlines.

Everyone writes differently. Some pour out their stories unchecked then go back and add layers, weaving in editing as they work through multiple drafts. Some outline extensively before ever writing a word. Some spend weeks delving into research. I’m one of those odd ducks who uses both sides of my brain at the same time, editing as I go. This makes my pace slow as I constantly edit as I create, but I essentially write only one draft.

The key to dealing with deadlines is to know your writing pace and plan accordingly. Set realistic intermediary goals. (For example, instead of a daily word count, I choose to set weekly goals. I try to write one polished chapter a week.) Then be sure to budget a cushion into your schedule to allow for unforeseen circumstances. Illness, family vacations, work duties—many things can pull you away from your writing. Don’t add to your deadline stress by cutting things too close. I try to pad my deadline by 2-4 weeks to give myself some flexibility. Plus it’s cool to get brownie points by turning in a manuscript early.

Handling Reviews

Good reviews can send your spirit soaring, and bad reviews can send you plummeting into a pool of doubt and insecurity. You must learn to find balance. Some wise authors I know choose not to read reviews at all. I have to admit that I can’t seem to resist the lure. I check my reviews on Amazon every day and eagerly await news from my publisher about trade reviews. Publisher’s Weekly tends to give me great write-ups, yet the ones from Romantic Times are usually a bit lackluster. The inconsistency can be frustrating, but I constantly remind myself that reviews are subjective. That fact became very evident when my publisher decided to offer my debut novel as a free e-book download in May. I was pleasantly surprised by all the new 4 and 5 star reviews, but then there were the 1 star reviews that came with them. Ick.

  • Not everyone will love your book, so gird your loins in advance.
  • Enjoy the pleasure of positive reviews, but don’t let them puff you up with pride. When pride comes, then comes disgrace, but with humility comes wisdom. ~Proverbs 11:2
  • Learn what you can from a harsh review. Look for ways to improve your craft for future projects. However, don’t dwell on the sour words. They will destroy your confidence and steal your passion. Glean what you can, then walk away.

This publishing journey can be a long and arduous one, but it is rich with rewards as well.

For those of you who are still seeking publication—what makes you the most nervous about making the transition to published author?

And for you published authors—what other advice would you share with upcoming writers regarding what to expect after the contract is signed?

How A Plot-First Writer Builds Character(s)

Don't be put off by the Jim Morrison/The Doors album cover look of this book. It's really great, I promise!

I am a plot-first writer. My story ideas emerge when considering events, real and imagined, and only after all the events are in place do I try to figure characters. While my mind races happily along forming the plot, my brain comes to a standstill when it’s time to zero in on a character to carry the story.

That is, until I found this handy-dandy little book: The Complete Writer’s Guide to Heroes & Heroines: Sixteen Master Archetypes by Tami D. Cowden, Caro LaFever, and Sue Viders.

There are dozens of books on character-creation out there and lots of helpful resources online to aid in creating the perfect characters. I know because I’ve tried many of them. Most of these methods involve making endless lists and exploring everything in the character’s past from shoe-size to perfume preference. For some authors this is vital to the writing process, but for me, it is tedious, boring, and keeps me from writing the story.

So I was happy to find a resource that was different. Here are a few of the things from Sixteen Master Archetypes that I found helpful:

  • With only 8 Hero types and 8 Heroine types, this book narrowed my initial character questions to only a few possible answers. Yet the types are broad enough to encompass lots of individual quirks while being distinct enough that your character will fall into a category quite easily.
  • There are multiple examples from books, tv, and movies to illustrate the different archetypes. I’m a visual person, and I love being able to pinpoint who my character is like from a pool of characters I already know. (Example, is your character a Free Spirit? Think Dharma from Dharma & Greg or Phoebe Buffay from Friends. Is your character a Professor-type? Think Sherlock Holmes or Columbo.)
  • This book gives examples of possible professions for each of the character types, as well as what in their history might’ve contributed to the people they’ve become.
  • And most valuable of all to a romance writer, this book gives examples of how the various heroes and heroines both clash and mesh, their points of conflict and their points of commonality, as well as how the characters change when forced to be together.

You might be worried that the choices are so narrow as to make all characters in that category seem the same, but consider this: Harry Potter and Mr. Spock are in the same category (Professor.) Thelma Dickenson from Thelma and Louise is in the same category as Dorothy Gale in The Wizard of Oz (Waif.) Plenty of room to maneuver there.

If you’re like me, a plot-first novelist who has a rollicking story to tell but searches for just the right person to inflict all this conflict and disaster on, I encourage you to check out The Complete Writer’s Guide to Heroes & Heroines: Sixteen Master Archetypes.

You can find the book on Amazon.com by clicking the title above.

How do you feel about character worksheets? Love ’em or hate ’em?

Post Author: Erica Vetsch

Erica Vetsch is a transplanted Kansan now residing in Minnesota. She loves history and reading, and is blessed to be able to combine the two by writing historical fiction set in the American West. Whenever she’s not following flights of fancy in her fictional world, she’s the company bookkeeper for the family lumber business, mother of two terrific teens, wife to a man who is her total opposite and soul-mate, and avid museum patron.

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