Giveaway of A Light of Her Own *and* Michelle Hauck's Grudging

Michelle Hauck and I are teaming up to mentor in Pitch Wars together this year, and we know writers will be looking for a mentor that’s the best fit for them. Since buying a bucketload of books isn’t really feasible, we thought we’d give away a copy each of our debut novels, so at least one writer will have a good look at what we write.

[Alternative text: Michelle Hauck’s Grudging, with an image of a conquistador helmet and a sword, next to Carrie Callaghan’s A Light of Her Own, with red and orange textured triangles and snippets of Judith Leyster’s self-portrait.]

[Alternative text: Michelle Hauck’s Grudging, with an image of a conquistador helmet and a sword, next to Carrie Callaghan’s A Light of Her Own, with red and orange textured triangles and snippets of Judith Leyster’s self-portrait.]

(For everyone else, there’s always the library! :) )

Rules for the rafflecopter:

  • US only. Sorry! International shipping is crazy expensive.

  • We’re mailing you a copy of the books, so the winner will have to provide a mailing address.

  • This is aimed at Pitch Wars, but anyone can enter!

  • Winner will be chosen at random on September 21, 2019.

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Team Longbow's Pitch Wars Wishlist!

[This is the same wishlist as on Michelle's page.]

Hi, and welcome to Carrie & Michelle’s Pitch Wars Wishlist! Pitch Wars is a volunteer-run mentoring program where published/agented authors, editors, or industry interns each choose one writer to spend three months revising their manuscript. The hard work ends in February with an Agent Showcase, where agents can read a pitch/first page and can request to read more. Learn more at

 This year we are teaming up to bring you Team Longbow!!

[Alternate text: The fox version of Robin Hood aims a bow, albeit a recurve bow, to his right.]

[Alternate text: The fox version of Robin Hood aims a bow, albeit a recurve bow, to his right.]

(Kind of like this cutie, but with a more historically-accurate bow.)

 The short version of what we’re looking for:

 Adult historical fiction, historical fantasy, epic fantasy, and related genres (see below).

 We’re willing to work with a New Adult manuscript if it leans more toward adult than YA.

 Who we are: You can learn more about Michelle and Carrie and our published books at our Pitch Wars profiles. Between us we’ve mentored for eight years, and we’re both extremely dedicated to working closely with our mentees to make them stronger, more confident writers ready to take on the world. Carrie's priority is to help her mentee grow as a writer, and Michelle loves picking awesome stories that go on to attract wide agent and publishing attention. We're a great combination of craft emphasis and publishing industry knowledge.

To get more of a flavor for us: here’s a Goodreads list of the books that have come out of Michelle’s seven years of hosting writing contests, and here’s a blog post Carrie wrote about mental health for ambitious writers. You can also check out our web pages to learn more about our writing and writing styles. (Michelle,Carrie.)

 How we work: Our chosen mentee will get a fulsome (but not overwhelming) edit letter and a very marked-up manuscript. Then we’ll have a phone call to get to know one another and ask questions. Carrie is happy to do regular phone calls, and we’re both available via text and DMs for questions. We do expect our mentee to be able to dive right in, but we’re here for questions. Carrie is known for assigning craft books to read, and we both like homework assignments when appropriate. We both strongly respect writers’ ownership of their work, and we’ll never force anyone to make any changes. But we do hope you’re here to learn.

 What we want: To be swept away. Send us your historicals, your epics, your other-worldly stories of heartbreak or war or magic!

 More helpfully, these are the genres we’re interested in:

  • Historical fiction. We are most interested in 19th century and older, though Carrie has a soft spot for the 1930s (and her next book takes place in the thirties!). We are definitely not interested in World War II or more contemporary, nor are we interested in biblical stories.

  • Historical fantasy. Stories with magic where you had to do some research about the historical time. This can be in our world or a similar secondary world. We’ll also take magical realism in a historical setting – so light on the magic, heavy on the history.

  • Epic fantasy. Magic, big stakes, moving characters. Low fantasy or high fantasy are both great.

  • Gaslamp. Our mentoring friendship got off to a rocky start when we were both fighting to mentor this beautiful book a few years ago. (Don’t worry, we recovered instantly.)

  • Steampunk. So technically steampunk is scifi, but if there’s enough historical flavor, we’ll love it – like The Watchmaker of Filigree Street.

  • Historical mystery. The best mystery fit for us will be closer to historical or literary fiction than to straight-up murder mystery. Think cozy mystery with amateur sleuth like the Miss Fisher Mysteries.

 What else we want:

  • Thoughtful themes. You’re writing for adults, and we’d like to see the novel dive into interesting themes.  (For example: how to balance friendship and ambition, how to gain power in a small town, how to allocate scarce resources during a time of hardship, etc. In other words, decisions that affect more than just oneself. Though we will also be looking for a character arc.)

  • Heart. Maybe this is by way of a sprinkling of romance (more than a sprinkling and it’s probably not for us), maybe it’s just because you’ve plucked our heart strings.

  • Humor. We love characters who have the strength to joke during bleak times.

  • Unique concept and settings. We would particularly love to see stories not set in the United States or England, though a unique take on those places would be appealing too. We also love Russia (Carrie’s forthcoming novel is set there), Spain (Michelle’s Birth of Saints trilogy has a marked Spanish flavor), China, Japan, Colombia, Ecuador, Peru …. Really, we’re curious and enthusiastic about so many places.

  • Big worlds and (when applicable) cool magic. Subtle magic systems are fine, but we do love to be blown away by a thoughtful, creative take on magic.

  • Diversity and fresh perspectives. Bring us the stories that haven't been told, particularly if you're a writer from a marginalized background. We want to be surprised and delighted by what we read. We’re very open to any LGBTQ+ stories.  If you're writing about a background that's not your own, we’d like to read in your query about your research and relevant sensitivity readers.

  • Secrets, art, war, politics … Any of those plot elements are delicious! And backstory! Characters with deep backstory that is revealed slowly are great!

  • Complicated antagonists. We like our villains with shades of grey. Their justifications for their actions should be believable. If your villains are evil for no reason, we’ll have to work on that.

What we DON’T want:

  • Pure romance. We’re not the ones to mentor your romance novel – there are much better mentors in this contest than us! If the primary plot line is love interest, it’s not for us.

  • Too many words. We can’t work with a book over 130,000 given the time limits.

  • Too few words. If the novel is less than 65,000, it’s probably not fleshed out enough for us. We want rich, complicated worlds.

  • Main characters who are overwhelmingly angry or unhappy. We like complicated protagonists, but too much whining or vengeful anger on the page will be a turn-off. If they’re very angry, they should have some obvious soft spots (like in Trail of Lightning).

  • Graphic sex scenes and assault. We can handle sensitive depictions of violence (including sexual violence), but we don’t want it to be overwhelming or used just to be titillating.

  • Killing off your main character. Michelle’s a softy. Don’t break her heart please (looking at you, GRRM!). Michelle says if you kill them at the end, that’s probably okay—just not in the opening or middle.

  • Modern guns. We prefer our weapons to be pre-21st century. Antique weapons like flintlock or muskets are okay. So are clockwork weapons.

  • Retellings. We want to be surprised, so derivative retellings are not for us. THAT SAID! If your retelling is extra-twisty or otherwise very different from the source material (like Mr Iyer Goes to War), we’ll be interested.

  • Paranormal folk and critters. We’re not so keen on vampires, werewolves, ghosts, or mermaids. Not as main characters or plot points but minor appearances are fine.

  • Submissions we’ve received before. If you have subbed either one of us in the past, please do not submit to us again. We’re glad you’re still revising and editing! But we’re looking forward to falling in love with something new this year.

 How to ask us more questions: We are both accessible on Twitter (though no pitching us via DM please). We’re both passionate about helping writers, so here is a list of Michelle’s  editing posts, including some useful stuff about query writing, filtering, and punctuating tabs and beats. You might want to check a few over as you get ready to submit to Pitch Wars. Michelle will probably do an Ask Me Anything (AMA) on the Pitch Wars forum.

We will both be at the Pitchwars general genres twitter chat on September 24th and Michelle will be at the Pitchwars SFF chat on September 19th.

Some books we’ve loved:

  • A Well-Behaved Woman by Therese Anne Fowler

  • Theft of Swords by Michael J. Sullivan

  • The Sea Queen by Linnea Hartsuyker

  • The Way of Kings by Brandon Sanderson

  • N.K. Jemison’s Broken Earth trilogy

  • V.E. Schwab’s Shades of Magic trilogy

  • Pachinko by Min Jin Lee

  • A Lady's Guide to Etiquette and Murder by Dianne Freeman

  • Wheel of Time by Robert Jordan

  • The Priory of the Orange Tree by Samantha Shannon

Thanks for stopping by, and good luck to you!

The map to go back to the blog hop:

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Salt the Snow, forthcoming on January 7, 2020, has a cover! Here’s what my next novel is about:

American journalist Milly Bennett has covered murders in San Francisco, fires in Hawaii, and a civil war in China, but 1930s Moscow presents her greatest challenge yet. When her young Russian husband is suddenly arrested by the secret police, Milly tries to get him released. But his arrest reveals both painful secrets about her marriage and hard truths about the Soviet state she has been working to serve. Disillusioned and pulled toward the front lines of a captivating new conflict, Milly must find a way to do the right thing for her husband, her conscience, and her heart. Salt the Snow is a vivid and impeccably researched tale of a woman ahead of her time, searching for her true calling in life and love.

Pre-orders are incredibly helpful! Either at your local indie store (💜) or on Amazon.

And here it is!

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9 Steps to Moderating a Great Book Panel

This post originally appeared in the Washington Independent Review of Books.


It’s a ubiquitous feature of the lecture hall or public presentation: the person who, during the Q&A period, stands up and says, “Well, it’s more of a comment…” And then proceeds to monopolize the airtime for five minutes.

The audience groans. The speakers at the dais shift uncomfortably.

Audience members want to tell the commenter, “Don’t you know this isn’t about you? This event is about all of us, and we’re here to engage with the speakers.”

Everyone sits awkwardly in their seats until the moderator comes to the rescue.

The moderator, the unsung hero of presentations everywhere! The moderator is the genteel host, inviting everyone to feel included and gently chiding those who stray from the rules. The moderator shows the speakers at their best, while remaining mostly invisible.

I love moderating.

Whenever I get the opportunity, I volunteer to moderate panels at book festivals and writing conferences. It’s a wonderful way to meet delightful authors, and there’s a special thrill in helping to present people at their best.

But figuring out how to moderate a panel isn’t intuitive. Once, when I was checking in to moderate a panel at a book festival, a writer on an earlier panel approached the organizers.

“Ugh, that was awful,” she moaned. “Our moderator was terrible. She spent all the time interviewing the other speakers, and I hardly had a chance to even say my book title.”

Let’s not let that happen. Whether you have a chance to moderate at a book festival (and I hope you do!) or you’re simply at a cocktail party, caught in conversation and trying to get one friend to shine in front of someone else she’s trying to impress (see #4!), I have some tips:

1. Read the books. If you’re moderating an author panel, of course you’ll want to know the books. Once you’ve read, think about what the author was trying to accomplish, and think about what you liked best about the work. Make notes.

2. Know the rules. What is the format of the panel? Do the organizers expect the authors to read? Will you be introducing the biographies of the authors, or will someone else do that? How much time do you have?

3. Plan to use your time wisely. For a 50-minute program, I like to do very short introductions (one or two sentences per author), brief readings (no more than five minutes apiece), and about 15 minutes of the panelists answering my questions. That leaves the remaining time for audience questions.

4. Ask questions that sell the book, not that show your literary insight. In most cases, your audience members will not have read the authors’ books; they are there out of curiosity. Ask questions that allow the panelists to pique the interest of the audience, questions like, “What inspired you to write this story?” or “Who is your favorite secondary character and why?” This is where the moderator becomes invisible, and the authors shine.

5. Warn the audience that their turn is coming. Often, bookish audiences are shy, so I like to give them a warning that I’ll ask one more question before opening things up to the audience. That gives them a chance to formulate their question and, if applicable, line up at the microphone.

6. Have enough prepared questions to fill the silence. If the audience is quiet, jump right back in with your own questions. Keep everyone at ease by staying calm and confident. Remember, this is your tea party! Keep refilling the cups when they get empty.

7. Manage the audience. If there’s no microphone for the audience, repeat the question so everyone can hear. If an audience member asks only one author on a multi-author panel a question, see if you can expand the question so everyone can answer. And if you get that verbose, “It’s not so much a question as a comment” person? Politely step in, thank them for their thoughts, and see if you can rephrase it as a question. If not, move to the next person.

8. Don’t sell your own book. If you’re an author (and I am), it can be tempting to remind the audience that you, too have brilliant, beautiful words vying for their attention. But the panel isn’t about the moderator, it’s about the authors. The best impression the moderator can make is to be self-effacing — and, who knows, maybe that will inspire someone to look up your book. But there’s grace to be found in touting others. Let that be your reward while moderating.

9. Conclude by praising the book. Even if you didn’t like the books you’re talking about, someone did (including the author sitting next to you), and you can find something positive to highlight. Tell the audience what you genuinely liked and encourage them to support the authors. Also, don’t forget to thank your event’s organizers and sponsors.

I hope you’re inspired to try your hand at moderating. Enjoy! And let me know how it goes.

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When We Left Cuba

Did you read Chanel Cleeton’s enchanting Next Year in Havanna? (If not, go do it, I’ll wait.) Now you know how much you need to read her next! When We Left Cuba features a beautiful woman who is far more than her perfect features, a doomed romance (my favorite), and a soupcon of international intrigue. Oh, and did I mention heartbreak?

The cover of  When We Left Cuba , featuring a woman in a mid-century dress and sun-hat facing away, toward  the ocean and palms

The cover of When We Left Cuba, featuring a woman in a mid-century dress and sun-hat facing away, toward the ocean and palms

Isn’t that cover gorgeous?

Here’s some more about the book:

Beautiful. Daring. Deadly. 

The Cuban Revolution took everything from sugar heiress Beatriz Perez--her family, her people, her country. Recruited by the CIA to infiltrate Fidel Castro's inner circle and pulled into the dangerous world of espionage, Beatriz is consumed by her quest for revenge and her desire to reclaim the life she lost. 

As the Cold War swells like a hurricane over the shores of the Florida Strait, Beatriz is caught between the clash of Cuban American politics and the perils of a forbidden affair with a powerful man driven by ambitions of his own. When the ever-changing tides of history threaten everything she has fought for, she must make a choice between her past and future--but the wrong move could cost Beatriz everything--not just the island she loves, but also the man who has stolen her heart...

Chanel and I will be doing an interview with Washington Independent Review of Books, so keep an eye out for that. In the meantime, here’s some more about Chanel:

Chanel Cleeton is the USA Today bestselling author of Reese Witherspoon Book Club pick Next Year in Havana. Originally from Florida, Chanel grew up on stories of her family's exodus from Cuba following the events of the Cuban Revolution. Her passion for politics and history continued during her years spent studying in England where she earned a bachelor's degree in International Relations from Richmond, The American International University in London and a master's degree in Global Politics from the London School of Economics & Political Science. Chanel also received her Juris Doctor from the University of South Carolina School of Law. She loves to travel and has lived in the Caribbean, Europe, and Asia. 

Now, go buy the book!


Barnes & Noble:




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My year in reading: 2018

Reading lets us imagine anything, and yet I can’t imagine surviving without books. I go everywhere with a book, preferably physical but always with a book on my phone as back-up. (Actually, that’s a new development for this year’s reading. It’s worked out well.)

This was a very busy year, but I still read 62 books to date, with maybe one more to squeeze in by the end. Still, my to-be-read shelves continue to groan with beautiful books that I can’t wait to get to. The richness of living in a world with so many books to anticipate is one of the great joys of my life.

Some of the books I read this year.

Some of the books I read this year.

Having immersed myself in so many worlds was pretty amazing, and this year was a remarkably good crop. The books came to me via various roads: books I bought because they appealed, books for a wonderful book club I joined, books whose authors I knew. The last category was large and fun, especially since my own novel debuted this November. I had the joy of reading many fellow debuts. There are a good handful more from my Authors18 group sitting on that glorious TBR shelf. I can’t wait.

What were my favorites this year? It’s so hard to pick! Here are the top contenders:

  • Pachinko by Min Jin Lee

  • Happiness by Aminatta Forna

  • The Sea Queen by Linnea Hartsuyker

  • The Air You Breathe by Frances de Pontes Peebles

  • The Immortalists by Chloe Benjamin

All fiction, all written by women. Three are historical fiction. Hey, that probably doesn’t surprise you.

But with sixty two books in my belly, so to speak, I have to rave about a few more!

Classic favorite: My friend Dorothy writes a wonderful column about reading classics from the (mostly) Western canon, and I’ve enjoyed reading along with her. She got me to re-read Jane Eyre, which was an utter delight. It turns out my high-school-based memory wasn’t all that reliable. (I knew there was an attic involved? Ha.)

Fantasy favorites: The first book of the year was one of Steven Erikson’s Malazan Book of the Fallen series, and I would love to finish the series. (The commitment involved in a series usually scares me off, though.)

A book by a friend: I read so many good books by people I adore this year. In addition to two listed above, Jenni L. Walsh’s books on Bonnie Parker (of Bonnie and Clyde fame) deserve special mention. They were captivating, insightful, and heartbreaking. What more could you ask for in a novel?

Best book to upend your expectations: Alice Stephens’s novel Famous Adopted People is a page-turning, surprising look at one woman’s forced encounter with her shocking birth mother.

Best book from a small press: Sarah Madsen’s Weaver’s Folly urban fantasy was captivating. Elf and professional thief Alyssa gets in deep trouble when she falls for a mysterious business partner. I can’t wait for the next one.

Favorite book written by a guy: Less than fifteen percent of the books I read this year were by men. I didn’t intend for it to happen that way, but hey, kinda cool. So the dudes need a little bit of extra love here. I will mention two: Planetside by Michael Mammay was an excellent psychological mystery (that happens to be set in space), and Rules of Civility by Amor Towles was a masterpiece of class observation.

Weirdest book I read: Hadriana in All My Dreams by Rene Depestre. This new translation of a Haitian classic about a young bride poisoned in a (failed) attempt to turn her into a zombie was the most mind-bending, bizarrely sexualized book I read all year.

There are so many more good ones! Especially in historical fiction. (You know, if you ever want a histfic recommendation, tell me on Twitter what you’re looking for, and I’ll be happy to make a suggestion) If I keep going I’d end up listing them all ….

I hope you had a wonderful year of reading, and I wish you an even more entertaining and challenging year in 2019.

Oh, and hey, I’ll have a book out next year too! More on that later. :)

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Q&A with Novel Queriers

Querying a novel manuscript is thrilling, soul-sucking, fun, and miserable, all at once. It’s also pretty confusing, since there are so many small decisions to make. Some writers currently going through (enduring?) querying asked me a few questions, and I figured I’d share my experience and opinions, in case they’re helpful.

Ready to push off into querying?

Ready to push off into querying?

How many agents did you query for your novel? How did you select agents?

A Light of Her Own is my fifth novel-length manuscript. I queried novel #3 over one hundred times — got lots of requests, but no offers of representation. I selected agents based on anyone who was interested in historical fiction, largely according to their profiles on which I always corroborated via the agency web pages. I also queried some agents that I met at conferences (particularly Muse & the Marketplace, an excellent Boston conference).

My fourth manuscript I queried less than twenty times, but decided I didn’t like it so gave up quickly. For A LIGHT OF HER OWN, I took my time before querying. I hired an editor to look at the beginning pages (the excellent Heather Webb), and tried to get as many beta readers as possible. I also entered Pitch Wars, and though I didn’t get in, I learned from watching the hashtag and the critique partners I met. I had earlier met Shannon Hassan at the Historical Novel Society Conference, and she had requested my manuscript but I asked if I could hold off sending until after Pitch Wars. She graciously agreed. I had also sent out a few queries (maybe 20?) but not a bunch. By that point, I was also keeping track of who represented the historical fiction books that I loved, according to the authors’ acknowledgements.

How do you choose comp titles for your query letter? Do you select a book with a writing style similar to yours and another book on a similar topic? How recent should comp titles be?

Ah, my innocent querying self. When I first started querying, I thought comp titles were supposed to be the books that inspired the writing, not ones the manuscript resembled. So one of my first comp titles was … War and Peace.


Later, I learned, with much horror, how wrong that was.

So I started picking recent books that had either setting, plot, or stylistic similarities. When I started querying A LIGHT OF HER OWN, I actually didn’t use any comp titles, for reasons I don’t remember. When Shannon and I sent the manuscript out on submission, we comped Girl with a Pearl Earring by Tracy Chevalier, based on the 17th century setting and the artist.

How did you know which genre to select from--for example, historical or women's fiction or commercial fiction or upmarket?

Querying writers should definitely choose one genre; the one that best fits your novel. It’s ok to say “historical fiction with literary styling” or “literary fiction that would appeal to readers of women’s fiction,” but the more specific you can be the better. I knew mine was primarily historical because it is set in the past — and no matter how literary the styling is, it seems that the setting sets the genre. There could be some wiggle room here for novels that take place in the 20th century; I have seen those slotted as literary fiction.

Imagine where your book would be shelved, and how other authors would categorize your book. If you really don’t know, try reading more recently-published books. Read from a few books in the genres you are considering. It’s worth the time to know the market.

How important is it to get a professional editor? How do you know if beta readers are sufficient?

I learned a lot from working with Heather Webb, and I certainly recommend hiring an editor — even for just your first 100 pages — if you can afford it. Vet your editors to make sure they have quality advice to offer. That said, if you’ve put the time into editing the manuscript and sent it out to beta readers who are not your friends and can be very honest about what’s working and what’s not working.

I wrote a post about how to think about shelving or not shelving your manuscript. I think this might also be useful for thinking about how query-ready you are.

When do you know if you need a sensitivity reader?

If you are writing about a marginalized or underrepresented group or perspective and you are not of that background, or even if it’s a different perspective than your own, it’s a very good idea to think about working with a sensitivity reader. At a minimum, see if you can find another writer to swap with who might have the background to help you with that. But since that work can be emotionally demanding, it’s pretty important to try to remunerate sensitivity readers when at all possible.

Do you recommend any resources for querying?

Definitely. I loved having as much information as I could about an agent’s responsiveness and correspondence habits. Knowing when an agent was sending rejections (or if she was in the habit of not ever sending any) helped me feel a little more in control. I used Query Tracker to help me monitor my queries and find new agents. Duotrope also has an agent function, though I only use them for literary magazine submissions, so I can’t vouch for the agent function as well.

There are also many great resources out there on how to write and refine a query letter. Query Shark is the classic, and Pitch Wars (where I’m a mentor) has a page of writing resources which includes a bunch of great query references.

Finally, I think both Reading Like a Writer by Francine Prose and Bird by Bird by Anne Lamott are great emotional resources for querying. They have helped me approach literature with humility and humor, and those are tremendously helpful tools to lean on when you’re putting yourself out there.

How do you know when you’re on the right track with your manuscript or if you need more editing?

It has taken me years to learn how to edit my own work, and I’m still working on it. One of the best ways to know if you need more is to see what honest, perceptive readers think. See if you can get some critique partners to look at some or all of your manuscript, and listen carefully to what they have to say. If people are confused or bored, you still have work to do. Make sure you’ve done multiple editing passes, starting with big-picture structural issues (does my novel have a structure, does the protagonist have an identifiable character arc, do my chapters each portray the protagonist’s pursuit of a desire), and then move to chapter-by-chapter structure (is each scene essential, are there multiple story elements in play at all times), and finally paragraphs and words (is the writing smooth, consistent, grammatically correct).

Is there any request percentage that can indicate if you’re doing well?

There may not be a magic number, but if you’ve sent out 10-15 queries and received no requests, that’s probably not a good sign. Having a good concept is hugely important, and a good query that conveys that concept will elicit requests. From there, the novel should be able to stand on its own.

How long to wait before following up with an agent who has requested a full ms?

Be sure to check the agent’s webpage and Twitter for individual guidelines. Generally, you should not follow up before three months at a minimum. Personally, I’m a little fatalistic about following up. Unless you have an offer or otherwise have good news (a new publication, for example), I suspect that a follow-up nudge isn’t going to make a busy agent any more excited about a manuscript that she hasn’t already made time for. But that could just be me — I try to keep my expectations as managed as possible.

How important was it to have a social media presence before you completed your novel?

I don’t think it really matters to agents, unless you’re genuinely famous. But being comfortably engaged on social media in a way that feels healthy and rewarding to you can be fun — as long as you find a balance that works for you. I’ve loved having my Twitter community to help encourage and support me now that my novel is out. But I doubt the social media presence makes much of a difference for marketing.

Good luck querying, everyone. Putting your heart’s work out there for others to commodify is gut-wrenching. Remember that you’re standing on the shore of your own artistic island, and you’re hoping someone else can build a bridge to a community of book-buyers. Whether or not that bridge gets built does not diminish your own artwork and accomplishment. I know it’s hard, but try to separate what you can control — your work — and what you can’t — someone else’s reaction and willingness to spend money on your work.

And keep us posted on any good news!

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Publishers Weekly

I got my first trade review. Ever.

It didn’t kill me! In fact, they said really nice things!

_Callaghan’s riveting debut convincingly brings to life determined painter Judith Leyster ... A dextrously woven and engrossing historical novel..png
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The Frame-Up

A comic book writer solves copy-cat comic book crimes for the LAPD with the help of her drag queen best friend.

Doesn’t that sound amazing? That’s Meghan Scott Molin’s debut novel, The Frame-Up. It gets better — check out this cover:


Meghan got the idea for the book from a dream. She explains: “I had a dream about my best friend directing a squad of Drag Queen models through San Diego Comic Con to catch a killer. I woke up (literally) laughing out loud, told my husband and we both agreed I needed to write it down. It evolved into a story in my head, and BOOM. MG Martin et al were born!”

She says the book is super (deliciously?) nerdy. It has “alllllll the nerd jokes, all the time.” And if Meghan were to spend time with her characters, they would go to something nerdy, like a Harry Potter party, or a Star Wars movie marathon. Or maybe just sit and read comics together.

This book was a Pitch Wars book, which means I automatically love it (and for those who don’t know Pitch Wars, it means that Meghan’s manuscript was picked in a mentoring contest and edited with an experienced writer before she queried it. I’m a Pitch Wars mentor this year.). Between her first draft in 2016, Pitch Wars, her agent, and her editor, Meghan says the book went through at least five major revisions.

Meghan became serious about writing when her first son was born with medical complications, and she had to quit her job to care for him. Her interests are broad: “I have my Masters in Architecture, and a minor in Opera. I have two small kids, a dog, a cat, and two horses! I also am a professional wedding photographer because I like to do all the things, and never sleep.”

Here’s a bit more about the book:

Michael-Grace is sure she landed her job as a comic book writer because she has a man’s name, but her purple hair and take-no- prisoners attitude have helped her keep it. She lives and breathes geek culture, designing costumes and attending drag shows in her spare time. Time that disappears when her beloved comics begin coming to life. Someone in LA is re-creating comic panels using real-life crime scenes. MG recognizes the calling-card of her favorite hero, and it’s not too long before the LAPD is literally knocking at her door for her expertise. Her agreement to help has everything to with the chance to chase down a real life vigilante hero, and nothing to do with Detective Matteo Kildaire, or his gorgeous hazel eyes. Nothing at all.

When the string of crimes take a sinister jump off-script and clues point to there being a dirty cop in Matteo's inner circle, MG has to decide who to trust in this cat-and- mouse game. A game that gets dicier when she becomes a suspect. Lies and intrigue build up faster than her color-safe shampoo can handle, and she's soon trapped by the secrets she's keeping from her friends, and the Detective she’s falling for.  A trail of clues leads her to San Diego Comic Con, a thirty-year- old murder, and the fact that the dirty cop she chases could also be the very drug lord Matteo is searching for - a true comic book villain. MG is left with no choice but to devise a fierce and fashionable plan to catch their villain, with a little help from her friends.

Intrigued? Pre-order here!

And learn more about Meghan here:

Twitter: @megfuzzle

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On shelving your manuscript.

I might have one book coming out this fall, but I have four sitting in the drawer behind it. You could say I’m a pro at shelving manuscripts.

Some of my writing that won’t see the (published) light of day.

Some of my writing that won’t see the (published) light of day.

Sometimes it’s easy to decide to shelve a manuscript and move on. But sometimes it’s hard.

Really hard.

Manuscript #3? The novel I love so dearly and queried 120+ times?

That one was hard to shelve.

(Manuscript #4? Queried twenty-ish times and shelved with nary a backwards glance.)

I’ve thought a lot about how to figure out why a manuscript isn’t getting picked up by agents and/or editors. I’ve come up with five reasons. There are probably more.

  1. Quality of the writing. For strangers to pick up our meaning, writers have to deploy words, sentences, and paragraphs clearly. For beginning writers, this can be tough, partially because new writers haven’t had as much practice turning ideas into words that then convey ideas. It’s also difficult because new writers may not have developed the self-editing skills to fix their own prose. (Everyone writes bad copy. Experienced writers just know how to fix it.) If you suspect this is your issue (or even if you don’t), join a writing group. See how many line edits you get. See how often people tell you they don’t understand the meaning of a sentence. Happily, this problem is pretty easy to fix, albeit labor intensive.

  2. Not connecting with the characters. Agents and editors often reject manuscripts with the vague explanation of, “I just wasn’t connecting with your characters.” What a frustrating response for a writer who loves her characters with all her heart! How can someone not connect with them? Well. In my experience, connection falters for two reasons: the character doesn’t clearly want something, and/or the reader doesn’t know enough about the character’s personality and motivations to care about what the character wants. Balancing those two aspects, particularly at the beginning of a draft, is hard. You’ve just got to keep working on it, and sending the opening to new readers to see how they react. Examine the books you love and pick apart why it is that you love those characters. Especially in the opening chapters.

  3. There’s not enough tension. A reader can get vested in the characters, but then the plot falters. Novels so often succumb to the dreaded “saggy middle” — when the promise of the initial premise has worn off, and the characters have reverted to passivity. Chances are, events are simply happening to the characters. A good plot will use obstacles plus the character’s desire (need) to overcome those obstacles to build tension. If you think this might be your problem, read some craft books (I love Benjamin Percy’s Thrill Me for this particular issue), examine some plot structures, and see what you can do to retroactively structure the plot.

  4. The concept itself isn’t catchy or unique or of-the-moment. This is a hard one, but unfortunately, I suspect it’s pretty common. I’ve mentored Pitch Wars for the past three years, and each year I’ve seen stories that are well-written and pretty interesting, but don’t make me sit up and gasp and say, “I have to read this now!” One way to judge this for yourself is to see what happens when you give a one-sentence description of your novel to friends and family. Do they politely raise their eyebrows and say, “Oh, that sounds cool,” or do they do that gasp thing? This one was hard for me! Manuscript #2 was definitely a polite nod, and so was #3, no matter how much I loved it. If this is the case, maybe you can find the cool part of your premise and sharpen it. Also, this is the category where luck factors in. Some writers are just going to hit the zeitgeist. There is nothing you can do about whether or not that’s you. Don’t chase trends.

  5. The world isn’t ready. I hesitate to include this reason because, for so many of us, this will be the explanation we’ll want to rely on. The world isn’t ready for my genius, we’ll tell ourselves. But in reality, our manuscripts are more likely suffering from one or more of the previous problems. So before you decide this is your situation, give a hard look at those suggestions above. Still, for a small number of writers, this really is what’s happening. One of my all-time favorite books, A Place of Greater Safety by Hilary Mantel, was rejected countless times when Mantel first submitted it to editors in the late 1970s. She got rejection notices saying that the editors weren’t interested in historical romances — which her novel of the French Revolution most definitely is not. But that’s all editors at that time could imagine historical fiction could be. So Mantel wrote other books and she waited. She finally published that one in 1992, when the world was ready for gritty and political historical fiction. If this is your manuscript? Well, here’s hoping the world catches up.


You’ve gone through this list, you’ve examined your manuscript, you’ve fixed all the problems you think you can fix, and you’re still getting rejections. Now what?

When do you decide to put it away?

I can’t answer that for you. I can only say you have to listen to your heart. Here are the questions to ask it:

  • If I’m looking to go the traditional route, are there still agents left whom I haven’t queried who are interested in this type of story? (If you’ve queried everyone under the sun, and you really want an agent, the book has probably reached the end of the road. At least for now. If not, consider pausing and revising, then dive in again.)

  • Do I still love this story? (If not, shelve it. If you do, think what else you can try. Small press? Self-publishing?)

  • Do I still have the energy to fight for this story? (If not, shelve it. That’s ok!)

  • Am I more interested in writing something new? (If so, then go for it! Life is made in the moment. Do what makes you happy.)

  • Do I even still enjoy writing? (If you’re doing this writing thing because you’re determined to have some sort of external validation, but not because you love the process, you’re going to be miserable. If you still enjoy writing, fabulous! Keep at it, whether with this or another manuscript.)

And if you shelve your manuscript … then what?

Then, congratulate yourself. You wrote a book. (Or ten.) And if you continue to write books and attempt to get them published, you are in the process of developing a thick skin. You’re learning to handle rejection, to examine your work critically and separate it from yourself, and you’re learning there are some things you can’t control.

That thick skin? You’ll need it. When you do eventually get published.

And remember, no one defines success except you. No one. Be gentle with yourselves, beautiful creative people.

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Diana Holguin-Balogh summons Billy the Kid

Please join me in welcoming debut novelist Diana Holguin-Balogh to talk about her historical fiction Rosary Without Beads.

Rosary Without Beads is a back-hills narrative for the 1800s Lincoln County War. The novel reboots Billy the Kid’s academic legend and gives voice to the silent story haunting the recorded version. Ambrosia, a Mexican sheepherder’s daughter, encounters fast talking Billy the Kid, and her world reverses its orbit.


Where did you get the idea for your novel?

Diana:  After a cousin’s funeral held on the Mescalero Apache Indian Reservation, my brother showed me side by side graves of Shotgun Roberts and Dick Brewer, enemy combatants in the Lincoln County War. I grew up with the story and knew that when Billy wasn’t charming Mexican señoritas, the bilingual Kid fought in that war. Intrigued, I began. My fingers typed away as the story wrote itself.

The story was based on Billy the Kid, but the novel evolved into an aggressive woman power performance. From back hills New Mexico, a mentally challenged sister, a disenfranchised Apache curandera, and Ambrosia offer a fierce rendition into their possible involvement in the war.

If you could spend a day with one of your characters, who would it be and what would you do?

Diana: The unforgettable Kid is loved by the locals and hated by those in power. So many unknowns have fueled eternal debate about his true character. Was he good or bad? I’d love to ride horseback with him from San Patricio, Ambrosia’s home, to Fort Sumner. Along the way, he could tell me about his life philosophy, his upbringing, and loves and future dreams. But then, would I have to re-write the book?

Are your characters historical figures or fictional creations?

Diana: As I point out in the Epilogue, members of Ambrosia Salazar’s family are fictional except her brother. He truly lived and was Billy the Kid’s friend. All the players in the historic Lincoln County War were real people. Those living only on the page are Tehde, the Mescalero Apache Indian, Ramon Salamanca, his mother, and Father Martinez.

Tell us a little bit more about yourself.

Diana: I am a product of a multicultural family. My father attended only to the fourth grade, and my mother made it to the eighth. Books, other than an old encyclopedia, were not available in my family. My parents could not offer what they knew not. However, my father was a fantastic verbal story teller, and I remember wearing out the fairy tale section of that encyclopedia. I got a Ph.D. from Colorado State University and taught psychology at a local community college. After retiring, I began writing.


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Jennifer Klepper's Unbroken Threads

Jennifer Klepper is one of the nicest, most generous souls you could hope to meet. I’m so excited to read her recently-released novel, Unbroken Threads, and thrilled to get to share more about Jennifer with you here.


Let’s start with the most important thing. What’s Unbroken Threads about?

Jessica Donnelly’s life is beginning to unravel. When the attorney turned stay-at-home mom tentatively volunteers to represent Amina Hamid, a woman seeking asylum, Jessica must learn an unfamiliar area of the law. Soon, rising opposition to Muslim immigration and unexpected prejudices put her relationships on shaky ground.

Amina fled Syria with little more than memories that now fight against the images splashed on the news. Seeking a secure future and freedom from guilt and grief, she must learn to trust others amidst the reality of fear and hate.

To find stability, Jessica and Amina will both need to harness their own strengths, which may lie in connections that transcend generations, cultures, and continents.

Where did you get the idea for Unbroken Threads?

Jennifer: I started writing a character who was at a crossroads in her life and had to reconnect with her past in order to find her place in the present. At the same time--in the real world--I was watching the news and seeing thousands of displaced people fleeing their homes and their countries. It seemed natural (and appropriate) for my character to look at how she connected to what was going on around her and to have a deepening awareness of her place not just in her family but in greater society as well.

What’s the story behind the title?

Jennifer: When I signed my publishing contract, my publisher informed me that my original title ("Reclaimed") had to go. It wasn't until I was well into edits that "Unbroken Threads" came to me, partly as a result of specific items in the book, but also because of the underlying theme of the value of relationships and the durability of connections across generations, cultures, and continents.

Who’s your favorite character?

Jennifer: Jessica's teenaged son, Conor, intrigues me. He's at that age where he's a complete pain in the ass (as teenagers are prone to be), but it's because he's trying to figure out who he is and simply can't be bothered to figure out how to be an engaging participant in the conversations going on around him. I suppose it's relevant to note that my own son is Conor's age right now (though I wrote the book a few years ago). It's a thrilling age, with so many possibilities, and I'm both envious of those possibilities and relieved I don't have to go through that phase again.

Are your characters based on real people?

Jennifer: My goal when I write is to create characters who are realistic and relatable. As such, the characters in Unbroken Threads are informed by my interactions with friends and family and strangers, but no character is based on a real person. I can say that when I needed names for some of the women in Jessica's book club, I posted on my Facebook Author Page that the first few responders would have their name in my book. So, while the book club members aren't based on real people, they do have my real friends' names.

What kind of research did you do for the book?

Jennifer: My main research focused on events in Syria and the asylum process in the U.S. I am mindful that I am not an expert in these areas, which are ever changing--particularly in the past few years, but I can say I learned a lot and gained great empathy for the victims of the Syrian war and great appreciation for the efforts of organizations and individuals who work to provide assistance.

Brag a little. (It’s ok, really.) Share some praise that’s made you happy.

"A terrific debut, and so very timely. With smart writing and compassion, Klepper offers us a look into the hearts of two women: a Syrian immigrant hoping to find a home in the USA, and the volunteer lawyer whose work brings a second chance at life not only to her client, but to herself as well." -- Julie Lawson Timmer, author of Mrs. Saint and the Defectives 

"Unbroken Threads delivers an honest and intimate portrayal of the American response to the Syrian Refugee Crisis. By turns harrowing and heartwarming, it's a powerful and important novel that book clubs and discussion groups will relish." -- Amanda Skenandore, author of Between Earth and Sky

Where can we buy your book??


A Midwest native, Jennifer made stops in Dallas, Charlottesville, and Boston before settling for good in Maryland. While she has an appreciation for the expansive beauty of the plains states, she hopes never to live landlocked again.

Jennifer attended Southern Methodist University and the University of Virginia School of Law, her law degree guiding her through the worlds of corporate law, tech startups, and court advocacy for foster children. She is an ardent consumer of podcasts and books that challenge her with compelling and unfamiliar topics. When she’s not writing, she’s crossing things off a neverending to-do list and hoping to catch that next sunset. Jennifer lives near Annapolis with her husband and two kids.

Facebook: @JenniferKlepperAuthor (
Instagram: @jennifer_klepper (
Twitter: @jenklepper (
Website: (


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Divorce the Lout, Earn Your Own Millions

I love historic home tours. You get to look at how people lived and hear their stories as told by curators who (usually) love them. For a historical novelist, it's the only way to travel.


Of course, when we were in Leadville, CO, I managed to sneak off to a house tour -- of the indomitable Augusta Tabor. She was a leading figure in that 19th century mining town, and is today known mostly for her husband's scandal: he left her for his lover, the enviably nicknamed Baby Doe.

Augusta Tabor (1833-1895)

Augusta Tabor (1833-1895)

But Augusta, as I hear it, wasn't letting her idiot ex-husband keep her down. She won a relative pittance in their divorce settlement, but it was still enough money at the time to serve as seed money for her own enterprises. She ended up a millionaire, while her husband died a pauper. Not that money is the measuring stick for revenge, but I'll bet it felt good to Augusta.

You can find Augusta's full story in a 1955 book that's now, luckily for US readers at least, available for free via the Gutenberg Project. And if you're ever in Leadville, check out her home. Lovers of Victorian furniture and lives will marvel.

The charming Victorian parlor.

The charming Victorian parlor.

Horace and Augusta built this home to serve as their retirement. When Augusta got it for herself, she made good use of the cozy (six-room) space.

Horace and Augusta built this home to serve as their retirement. When Augusta got it for herself, she made good use of the cozy (six-room) space.

A Victorian guest bed! In a cabinet!

A Victorian guest bed! In a cabinet!

Augusta's own silver-ornamented traveling trunk. She brought this with her to Colorado from Maine, where she grew up.

Augusta's own silver-ornamented traveling trunk. She brought this with her to Colorado from Maine, where she grew up.

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Shenandoah Valley, 1850-1930s

Writers of historical fiction are constantly living on two timelines, or more. We see the world we're in now, but we are alive to the ways in which this world is woven on top of so many other, older worlds.

I love finding quirky museums of local history when we travel, because those museums help illuminate those older designs, the older ways of living that undergird our present day. When our family had a weekend in the Shenandoah Valley last month, of course I dragged the kids (literally) into the Shenandoah Valley Cultural Heritage Museum in Edinburg.


There's not a narrative at the museum so much as an immersion. They have collected artifacts from the daily lives of people all around the area and put them on display, so folks today can learn how people lived over one hundred years ago. There's a heavy bias toward middle and upper-middle class white families, it seems, so don't take this as the whole story. (And certainly, you should visit it to get your own impressions!  Mine were made with one screaming child in the other arm.)

Isn't it neat to think about how women entertained themselves when there was no television to watch at night? (They made have made beaded purses, like the below.) Or...


... isn't it intriguing how independent women entrepreneurs ran their businesses? The museum had a small tribute to a Ms. Edith Miller, born in 1872, who operated her own millinery shop. She traveled twice a year to Baltimore to purchase materials for her hats and to learn new techniques. That must have been quite a journey then.

A sewing machine that Mrs. Scheffler sold to Mrs. Merkley for $1.

A sewing machine that Mrs. Scheffler sold to Mrs. Merkley for $1.

Maybe Edith took those trips on the passenger train, which arrived in that area in 1859. Or maybe she took a buggy, like the below. And our enterprising milliner could have worn dresses and sported fashionable whips like the second photo below.

(Realistically, no one was driving very far in this thing, I imagine. Especially not in cold weather!)

(Realistically, no one was driving very far in this thing, I imagine. Especially not in cold weather!)


She might have used these trappings to decorate her hats and clothes.


Then, there's the simple challenge of communication. How did people get their correspondence? Rural families didn't get mail delivered until 1904.


And finally, before I go, I'm just going to throw this one in here. In case anyone is writing a story where the main character has to make a nail. 

You can thank me later.

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The Summer List

Friendships are, in many ways, more complicated than romantic relationships. There are so many uncertainties, so many imbalances, so many layers. But the best friendships can go deep, through the secrets and the hurt.


Amy Mason Doan's debut novel, The Summer List, tells the story of two women who were inseparable in high school but haven't spoken in the 17 years since. Laura reluctantly accepts an invitation to reunite for the weekend in their lakeside hometown, where she joins Casey in a scavenger hunt like the ones they did as girls. The clues lead them to their favorite summer haunts, revealing why their friendship fell apart one summer night—and unearthing a stunning family secret.

Amy is stopping by to share a little bit more about her book and her writing.

What inspired your story in The Summer List?

Amy: I was camping by the Oregon coast one summer and a bunch of kids ran up asking for a graham cracker for a scavenger hunt. I’d been half-heartedly plotting a story about two former girlhood friends reuniting after a mysterious rift, and suddenly I saw them going on an adult scavenger hunt together, following a list written by someone who wanted them to reunite. It would be initially awkward and sometimes loopy, but would help them heal old wounds.

Who's your favorite character?

Amy: Casey! She lives across the lake from my other main character, Laura. They’re close enough to see each other’s houses and swim back and forth, but they’re complete opposites. Casey is impulsive, fearless, completely secure in her skin. She’s a loyal friend, intensely protective of Laura. She practically lives in the water, and she has a weakness for old paperbacks like Queenie and Princess Daisy.

Tell us about yourself and your writing process, Amy.

Amy: I live in Portland, Oregon with my husband, Mike, my 11-year-old daughter, Miranda, and our rescue tabby cat, Leah Lilikoi McConagall Mason. I went to Journalism school and I’ve worked at a variety of newspapers and magazines up and down the West Coast. I started writing fiction a few years ago, after I turned 40. I’d always wanted to do it but never pushed through my fears. Then I won this contest and got to fly to the movie premiere of TIGER EYES and meet Judy Blume, whose books I’ve adored for years. It was the strangest, loveliest turn of events. She was so down-to-earth. It felt like the universe was telling me to stop messing around and write a novel.

What's next for you?

Amy: I’m revising my second novel, the second book in my contract with Graydon House. I can’t say too much yet except that it’s set along the California coast and I’m really excited about it. I love the characters.

Brag a little. Share some praise you've received for The Summer List.

“There is not a word or a plot line out of place in The Summer List, Amy Mason Doan’s fabulous debut. These characters and their stories are going to stick with you for a long, long time.”
-Meg Mitchell Moore, author of The Admissions and The Captain’s Daughter

Thanks Amy! 

If The Summer List sounds like your sort of book, check it out at your local indie bookstore or here:

You can catch Amy on Twitter or her website or Goodreads or ... ! :)

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