Editor and Agent Appointments

Agent Rachelle Gardner addresses the question, "Should I get an appointment with an agent/editor if I'm not yet ready with a project?" It's certainly worth your time to read her post.

Ever Wonder what a Publicist Does?

There's a great post over at Novel Journey about what a publicist does, how it differs from marketing, and what would be a waste of publicity dollars. You can read it here.

CIC: Crazy Industry Chatter: How to WOW an editor or agent

This post comes to us from Beth Jusino, an agent at Alive Communications. These hints will help you craft a nonfiction proposal or fiction proposal that wows an editor. It'll help you as you consider what you will write for your next project. Thank you, Beth, for wise words.

***

What does WOW:

Here are a few "Wow Factor" suggestions that seem to be making a real difference in publishing committees these days:

1. Know why your book is relevant NOW. Is there a recent (within the past 12 months) survey that points to the need, or is there an event coming up in the next 12-18 months that would make your book particularly timely? (When we took Lori Smith's "A Walk With Jane Austen" to publishers in early 2007, it was critical to show them that there would be a major studio release of Becoming Jane in 2008 and the new Masterpiece Theater releases of all the Austen books at roughly the same time. We showed them that they could drop a book into the perfect storm of media attention.)

2. Know how to summarize your project in 1 line and 1 paragraph, in ways that marketing and sales people (ie, not editorial "word loving" people) will understand. Spend the time to make this shine - if the team can't get your concept in 10 seconds, chances are they won't invest 10 minutes.

3. Have a great title. Again, don't skimp on the time you spend with this - this is the first impression you will make, and publishers will turn down a project if they don't think it has a title that grabs the consumer's attention. Your goal is to get attention from the very first line and to make a publisher keep reading. So test out titles and see what gets attention. Run titles through Amazon to make sure they haven't been used.

4. Know what you can do to market your book. An author's personal commitment and resources to support their own project are often deciding factors for publishers. An author who knows how to successfully query articles and work with periodicals (and has contacts in those fields) makes the possibility of print media more likely. An author who is regularly traveling and speaking nationally creates name recognition that can translate to bookstore sales. An author who regularly blogs (or podcasts) about topics relevant to a book proposal and has a significant following online brings a built-in audience and low cost marketing channel to the discussion. And while this may seem crass, an author who brings financial resources (either their own or commitments from those who support them) will get the attention of a publisher, who sees more opportunities to help launch a book.

What Doesn't Necessarily Wow:

Okay, this list might hurt a little... but here are a few tough-love thoughts on what I've seen authors rely on that do NOT add (or at least, do not add much) to their proposal's WOW factor when it's being reviewed by a book editor or agent:

1. Occasional local speaking engagements (less than once a month, within a 100 mile radius). These are good building blocks to a platform and wonderful ministry opportunities, but do not build the brand and name recognition to support a book on retail shelves across the country.

2. Endorsements. Publishers will consider endorsements and personal relationships with "known names," but the general sense right now is that endorsements don't sell books. Unless the endorsement comes with a commitment from a ministry to carry your book in their retail channels and order 1500 copies from the first print run, don't depend on it to bring you a contract (or an agent).

3. An author's passion that the reader SHOULD do something, or learn something. Readers do not like being told what they should do - they will not pick up a book that promises to wave a finger at them and tell them how to become better people. Instead, look at your WIP as a way to help the reader learn what they CAN do - instead of writing a book about why Christians SHOULD witness more and offering a step-by-step guideline to evangelism, consider writing a book about how a reader CAN change one dozen lives for eternity if they accept the challenge to share their faith in the next 24 hours. (See the difference?)

4. Writing articles in magazines or newsletters that are not connected to the content of your proposal. Writing holiday tips for Detroit's local magazine will not help your book about the spiritual disciplines. (It may help you learn more about the craft and help pay the grocery bill. Just don't expect it to be the deciding factor on your book proposal.)

5. Similarly, getting media coverage (like a newspaper story or a TV appearance) about a topic not related to your book proposal. If you were interviewed on the Today Show 3 years ago about your amazing chocolate chip cookie recipe, it will not WOW a publisher/agent reading your proposal. Don't spend the money copying DVDs of your appearance to send with the proposal.

Note: I'm not saying that these things aren't important, or that you shouldn't be investing in them. There are many steps on the writing journey, and everything listed above offers a step in the journey toward publication. But when you are putting together a book proposal and asking about what really matters (or when you are looking at a stack of rejection letters and asking what you were missing), think about what you were prioritizing, and what you were counting on to WOW that publishing person.

TWC: The Writing Craft: Don't Write Scared

When we're telling personal experience stories on the page, particularly those that are painful, we should exercise caution in our disclosure. I spent my teen years as an "Over-proclaimer," telling everyone and anyone my tales of woe. Then in my twenties, I realized my mistake and believed, naively, that I'd been entirely healed of my past and that to share my story would be an indication that He hadn't healed me.

Thankfully, in my thirties, I realized there are two extremes: over-disclosure and under-disclosure. One is annoying and self-serving, the other is self-protection. So, I'm walking a third path now, monitored, hopefully, by the Holy Spirit. I am telling the stories He tells me to tell, without fear.

I wonder, though, in this, if we let God really tell us what He wants us to write for others. Has He released you to write a painful story, but you've shrunk back in fear? Don't let fear hold you back. Tell the story He's laid on your heart. Trust Him to help you temper the words.

I'm reminded of an amazing scene in one of my favorite movies, Strictly Ballroom. Everyone danced only as the "federation" told them to. At the end, someone breaks out of the mold. He tells another fearful dancer, "We lived our lives in fear." I wonder how many of us live our lives in fear, not spilling the stories, not risking, not sharing, because we're afraid of our own words.

Darkness and Light in Writing

I posted about my journey in writing redemptive prose over at The Master's Artist. Click here to read the post and leave a comment.

AFP: Why Keeping Your Day Job Makes you a Better Writer: Sharon Dunn

Today, I'm privileged to host Sharon Dunn, author of Death of a Six Foot Teddy Bear. She's here to dissolve the myth that true writers only write, that day jobs are obstacles to publishing nirvana. Take it away, Sharon!

***

It’s every writer’s dream to have endless time to write, but is ten hours at the keyboard the most beneficial? I found that even after I sold my first book, working for a steady paycheck made me a better writer.

A “real” job provides structure causing efficient use of time. Tasks usually expand to the amount of time allotted for them. The problem with having eight to ten hours to write is that it often gives a writer too much wiggle room, making them more likely to procrastinate. It takes a great deal of discipline to use all those hours productively.

Sometimes less time is better. I first started to write when I was pregnant with my oldest son. While my babies were little, my husband watched them for an hour or I wrote while they napped. Knowing that I only had limited time to write made me very productive--no head scratching/chair wiggling/coffee making time allowed. When I sat down to write, I had already mentally brainstormed what my first couple of sentences would be. I continue to work part time at a college and I have found that I get just as much done as when I am home for Christmas or Spring break.

It is possible to work full time and still produce as a writer. Robin Lee Hatcher author of Beyond the Shadows worked full time as an office administrator. As a single mom, she was the sole support for her family. She set aside 7 to 9 p.m. Monday through Thursday and Saturday mornings to write. “I wrote long hand on legal pads in the evenings (no computer back then) and typed the manuscript on the office typewriter on coffee breaks and lunch hours. I wrote in every spare moment I had.” Robin structured her writing time around work and family, publishing nine novels before quitting her day job to write full time.

Writers may think the lack of time is what keeps them from being productive. In fact, the barrier is usually something different and claiming lack of time is the excuse. Even the busiest person can find an hour a day to devote to writing if writing is really what they want to do. The question that needs to be asked is not do I have enough time to write, but what I am willing to give up in order to write? How bad do I want to make this dream come true? Planning writing around a work schedule often makes a writer more efficient.

Sharon Dunn is the author of five mysteries including her latest Bargain Hunters mystery Death of a Six-Foot Teddy Bear. You can read more about Sharon and her humorous who-dun-its at http://www.sharondunnbooks.com/

YQA: Self Publishing

Kennisha Hill asked:

"This is interesting and makes me just want to self-publish and promote my own books. I didn't know the industry was really this strict. I've done lots of research and most of the Houses I've found don't work with new authors. There are only a few who will consider a new author's Query letter or Book Proposal. I don't mind giving it a try, it can really be very discouraging though. I have a question. I thought when you are published and already have an agent that that makes your journey a bit easier because your agent finds a publisher for you? Maybe I have this wrong."

Kennisha, great question(s).

First: Yes, you are right. This is a tough industry to break into. It's not easy or a piece of cake. But neither is self-publishing. Why? These reasons:

1. Self publishing costs a lot of money up front. It is true that you make much more per book, but it's also true that it's often very hard to sell books by yourself without distributors. So, you can have a large outlay of money for very little return. And if you don't have a platform now, what makes you think you'll magically have one once your book is published? If you do POD or Print on Demand, your up front costs will be less, however, and this could be a viable option ONLY If you pay well to have a great cover design done (Oh how I can spot a self-published book! Poor cover art!) and pay a professional to edit the book, both of which cost thousands of dollars.
2. The public's view of self published books is problematic. Though this is changing, the overall bias is that self-published books are seen as inferior in quality and content. Now I have an amazing, dear friend, Jeanne Damoff, who is a beautiful writer. She wrote a book I endorsed. Because it is a personal experience story, she could not find a publisher for it, though every agent and publisher that read it loved it. Her book is one of the exceptions. It will release in September. Her heart is to bless folks with it, which is a wonderful reason to self publish if you have the resources to do so. You can read an excerpt here. As to the reputation of self published books: that's hard to overcome. I have not liked any self published book I've read (except for Jeanne's), even The Shack. There's just something to be said for having professional editing. And if I find typos aplenty, I'll stop reading.
3. Sometimes working harder and facing more and more rejection makes you a better writer. Just because an agent or editor says no doesn't mean you'll never be published. Having rejections is part of the journey. Keep at it. Consider that this is the way people who truly want to write and those who don't are weeded out.
4. Publishing houses and agents work with new authors all the time. I was unpublished when I was agented. My first book sold, and I was unpublished. Be careful you don't throw some mountains in your pathway and then give up. Yes, it's hard, but not impossible. I fear that many writers let their smallness and the industry's bigness become an excuse to give up. No. Let it be a challenge instead. And realize that sometimes our American addiction to instant gratification will not work in the world of publishing. I wrote in obscurity for ten plus years before I saw my name in print. It is a long journey, but it is possible. Just don't think it will happen overnight.
5. Publishers don't owe new writers contracts. New writers earn them by writing terrific stories and nonfction books. It's not like publishers are adamantly plotting against the new kid on the block. On the contrary, every editor I know goes to conferences with one thing in mind: Will I find that next fresh voice? The question is: will you become that fresh new voice?
6. As to agents, yes, you are right. Having an agent makes things much easier. My agent takes my books and proposals and shops them for me. She has connections and relationships with all sorts of people in the industry. Because of that, the publishers respect her when she pitches a project. So, as a new writer, a good goal would be to write such amazing prose that you would woo an agent.

Nuts and Bolts: How to Write a Fiction Review by Audrey Hebbert

Today we have reviewer Audrey Hebbert helping us write fiction reviews--a viable source of publishing credits.

*****

Potential readers search reviews in order to find an appealing read. It is therefore imperative that you remain honest and candid throughout. A book review is not a summary of the story because the publisher will have prepared one for the book jacket or elsewhere in the book. If the author receives more exposure and acclaim, that’s a good thing, but author approval is not the primary purpose for the review.

I usually single space my reviews unless directed otherwise in the guidelines. Start with a list on the lefthand side of the page: name of the book, genre, the author and publisher with address, ISBN, price, number of pages and release date. Leave two lines and include your name and contact information.

Read the entire book. Otherwise, you may be embarrassed when someone tells you that you didn’t get your facts straight. It happened with my book, Green Light Red Light, much to the reviewer’s embarrassment.

Aim for three paragraphs, depending on guidelines you may have. Don’t use direct quotes from advance reader copies because the quote may be edited out in the final product. Otherwise, start with a direct quote from the book.

Rather than a summary, write a critical analysis with an attempt to answer the reader’s questions. Include information about the author and her qualifications for writing the book. Include the theme, the author’s purpose in writing the book, and whether she achieved that goal. Give the book a rating on a scale of 1-5 and explain your thinking. How does this book compare with others of the same genre and subject? Give your overall impression and whether you would recommend the book. The average reader will not be aware of author errors such as head hopping and switches in tense. Therefore, it is not necessary to list everything the author did wrong. At the most, mention errors that would slow the reading process or cause confusion.

Conclude with a one-line bio of yourself, the reviewer, including name, education and qualifications for writing the review. For example, “Reviewed by Audrey Hebbert, M.A., retired teacher and freelance writer, Omaha, Nebraska.”

I'd Be Published, but I'm afraid of failure AND success

Amy Storms writes:

I'm just scared--and vain. I want this so much! But I'm scared to tell people "I write", because then they'll know when I fail. And I'm scared to succeed, too, because then I might turn into an egomaniac and not write for God. Honestly success scares me more than failure. At times it's really a faith battle between the Lord and me...not sure who is winning. :)

These are normal fears, Amy. I had them too. I so much wanted to be published, but I was afraid to tell people, "I am a writer" for fear of failure. Saying that out loud to people, though, is the first step. It's a risk. But a necessary one. If you can't say it out loud, how do you expect to believe that you actually are a writer?

So, all of you, here is your assignment for the day:

1. Look in your mirror and say, "I am a writer."
2. After you've mastered that without crying or laughing or shrugging, find someone you haven't told (your mailperson, a friend, your spouse, a lady in the carpool lane), and just let it out. I AM A WRITER.

As to the worry about becoming a crazy meglomaniac writer, I teach about that from time to time. Here are some of my notes that may help. If you're really serious about researching this, it will bless you to look up the scriptures I've listed.

5 Preventative Steps so Your Head Won’t Explode

"Most writers fail from lack of character than from lack of intelligence." — Ezra Pound, ABC of Reading

1. Develop a prayer team

· To affect a dying world with the gospel, you must be lifted up in prayer.
· This gives others the opportunity to be a vital part of a writing ministry.
· If you are getting published regularly, you will need this. Others who pray can be a good checks and balances system for you.

2. Withstand the trial of notoriety:

Take the lowest seat. Luke 14:7-11, Proverbs 27:2.

Much is required. Luke 12:48b.

Become a servant. Randy Alcorn’s advice: “Focus on being a servant. Ask yourself, ‘How can I serve in any situation, whether it be . . . with a taxi driver, flight attendant, waitress, etc. Think of what you can do for that person. It’s not about you; it’s about the Lord. This gets your mind off yourself and onto another person. The greatest danger of notoriety is you start thinking about you. People then exist to serve you. This is exactly the opposite of the servant mentality. Jesus came to serve, not to be served.”

Woe to you. Luke 6:26.

Praise is a crucible. Proverbs 27:21.

The danger of success. “Never cease praying that you will not become a star or a celebrity. Donald Davidson has said, ‘Our culture places an absolute premium upon various kinds of stardom. This degrades and impoverishes ordinary life, ordinary work, ordinary experience.” From Scribbling in the Sand, Michael Card. Difficulties help us stay grounded, but instant gratification allows us to forget to thank God. “It is by affliction chiefly that the heart of man is purified, and that the thoughts are fixed on a better state. Prosperity, unalloyed and imperfect as it is, has power to intoxicate the imagination, to fix the mind on the present scene, to produce confidence and elation and to make him who enjoys affluence and honors forget the hand by which they were bestowed.” Samuel Johnson

Maintain an eternal perspective.

3. Give back

· Don’t forget where you once were.
· Recall your journey and offer hope to others.
· Give away your work. Edit and teach for free.

4. Develop thick skin, while maintaining a tender heart

5. Believe in sovereignty

Do we really believe God sees us?

Do we really believe He is big enough to accomplish His purposes through us our stories?

Would we rather God give a stamp of approval to our own writing plans or let Him orchestrate our careers?

With sovereignty, we take setbacks in stride.

Our overarching goal should be the glory of God, not our words in print.

6. Let go of the past:

"Let the past sleep, but let it sleep on the bosom of Christ, and go out into the irresistible future with Him" (Chambers, Oswald, My Utmost for His Highest, Westwood, NJ: Barbour and Company, 1935, p. 49).

One Sheets: Nonfiction

A one sheet for nonfiction is a one page piece of paper you take to a conference to show an editor or agent what your book is about. Essentially, it's the best elements of your proposal placed on one page in a pleasing, easy to read format. Some things to include:

• A picture of you
• Your contact information
• A bio, including your platform.
• The concept statement of your book. In a nutshell, what is this book about?
• A few short paragraphs about the book and its features
• Word count
• Audience
• Comparative analysis (brief). How does your book compare with other books on the same subject?
• Marketing (brief). How will you market this book.

Here are two great examples from columnist and humorist Leslie Wilson:

Happily Ever After the Honeymoon

Real Moms Retire Early

Happy May Day! Bring flowers to a neighbor unexpected!

TWC (The Writing Craft) Crafting Fiction One Sheets

For those of you who are crazy fiction writers like me: it's time to learn how to create a one-sheet. We'll pick up with some examples of nonfiction one sheets tomorrow. Today we're using two examples from novelist D'Ann Mateer (who is a two-time Genesis finalist).

First: What is included?

• A couple paragraph summary of the book. This is more likely the kind of copy you'd find on the back of a book. It should be punchy, to the point, and invitational to the reader. Your goal is to woo and editor and/or agent enough to make them long to read the story.
• Another option is to write your one sentence summary of the book at the top of your one sheet before you get into the nitty gritty of the story. This is that punchy, amazing summary that nutshells your story. For great advice about creating those one-sentence pitches, go to Randy Ingerman's blog here.
• Graphics. D'Ann's designs are clean and don't detract from her story. She uses readable fonts and a simple picture.
• Bio. You'll want to highlight awards you've won (if applicable...don't make one up!), publishing credits, important affiliations.
• A picture of cute you. Please, folks, shell out the cahuna for a professional picture. Do not crop you out of your family. Don't try to be cool and photoshop yourself with impressionist dots. Get an amazing picture, preferrably taken outside, with a photographer who has a killer lens and great lighting.
• Your contact information.

No more suspense. Here are D'Ann's examples:

One Thin Ribbon of Road (contemporary women's fiction)

Monkey in the Middle (legal suspense)

AFP: Settings – Beyond Talking Heads, Bare Stage, author Lena Nelson Dooley

Today we have the privilege of hearing from novelist Lena Nelson Dooley. You can find more about her here:

http://www.lenanelsondooley.com/
http://lenanelsondooley.blogspot.com/

Lena is passionate about helping new writers. I think you'll find her piece interesting and informative.

*****

I have hosted a critique group for over 20 years. So many new people bring a good story, filled with emotion and conflict, but completely bare of setting. That’s what I call “talking heads, bare stage.”

What is setting? The place surrounding the characters. Many elements make up setting.

Time is part of the setting. In a contemporary novel, the time is present day, and in a historical novel, it denotes the time period. It could be winter, summer, autumn, or spring, or the book could span all the seasons. Each of these elements adds to the fabric of the story.

Place should be revealed early in the scene. Indoors or out? If inside, what kind of building, with what kind of furnishings? If outside, is it rural or urban?

Another important element is weather. It can add to the tone of the book. Stormy weather increases the darkness of a brooding mystery or gothic novel. Sunshine adds to the feeling of well-being.

Some authors, including Colleen Coble, use the setting almost as another character in the book. Study her work to see how she uses these elements.

Why do we need setting? It anchors the reader in a time and place, gives the story a foundation.

How should you use setting? When I first started writing, I dumped large sections of description of setting into one place. Tracie Peterson helped me understand what I was doing.

Don’t overload the reader with unnecessary information. It’s best to include setting in snippets woven throughout the story. Reveal the snippets from the viewpoint of the POV character. How that person responds to the particular part of the setting will add to the overall feel of the story.

Another place to include elements of setting is in conversation beats. I hardly ever use a conversation tag (he said, she said). Instead I utilize the beats to describe setting and other characters in the scene as well as depict the emotions of the Point of View character.

If you’re an author, you should read multi-published authors and see how they include setting in their books. I will add this caveat. Many authors who write suspense don’t use as much setting, because it can slow down the pace of certain scenes – those edge-of-your-seat scenes. But they use setting snippets in other places.

©2008, Lena Nelson Dooley

YQA: Conferences

Elaine asks:

I'm attending a writer's conference in June (my first) and will be meeting with two publishers regarding my book proposal. I've never met with a publisher face to face and am a little nervous about what to expect. Have you posted any thoughts regarding this topic on your blog? If so, I would love to glean some insight.

I have a little. You can read six posts about conferences here.

Here are some wee little rules of thumb when meeting with an acquisition's editor or an agent for the first time:

1. Breathe. Truly. Don't let yourself get worked up into nervousness. Instead of thinking of the person as larger than life, view your appointment as you would with a teacher in your child's school. You are there to transfer information, as is the editor--like a teacher conference.
2. Stay humble. Try not to over-present yourself as "all that." Simply state the premise or pitch of your book (your quick elevator pitch) and ask questions. Don't argue back with the editor or agent. You are there to inform and absorb.
3. Create a one-sheet for your project. This is your book in a nutshell, compressed into one nicely formatted page. If you're nervous, simply going through the bullet points of your one-sheet will help steady you.
4. Don't expect the editor/agent to take your proposal home. They have heavy bags. If they ask for it in email form, send it as soon as you get home.
5. Send a hand written thank you note to each editor and agent you formally meet.
6. Go to a conference to learn. Understand that you may not yet be ready for publication, or that your idea may be overdone, or your proposal might not be up to snuff yet. That's okay. Learn from that. Understand that you'll be better prepared for the next conference. Don't put all your eggs in this conference basket.
7. When you meet with an editor or agent, do your best to be professional. Don't try to be over chatty or personal unless the other person initiates that. Have really amazing business cards with you, the kind that show you understand professionalism. Wear nice clothing (or whatever is the common dress of the conference. Mount Hermon is casual. ACFW is more formal.)
8. Don't stalk agents and editors. And don't pitch in a bathroom. Trust God for a time to meet.
9. If it's clear your project isn't going to work for that agent or house, kindly ask if they know of houses that are interested in the type of writing you are doing.
10. Eye contact is key. So is a genuine smile and a confident attitude. If you're nervous about pitching your book, pull your spouse or friend aside and start practicing over and over again. Your pitch should easily spill out of your mouth like the times tables. Make it second nature.

Of course, there's more to say, but I'm going to leave that up to you, my amazing blog readers. Please offer Elaine some tips in the comments section. And, if you'd like your question answered, place that there too. I'll pick a question from the comments for next week's YQA.

Happy Conferencing!

Mary

A thought-provoking post

Mike Hyatt, the CEO of Thomas Nelson, answers the questions folks posed to him in the comments section of his last post. It's a well-thought out response and worth the time reading through it. Here's a snippet:

"In response to my previous post, some people thought that by cutting the number of titles we said we would publish, I was somehow saying that we would only publish well-known authors or those with strong brand equity. But, no, this is not the case.

For starters, even if we wanted to do this, there aren’t enough well-known authors to make it possible. But even if it were possible, it certainly wouldn’t be desirable. Publishers like Thomas Nelson must discover and develop new talent in order to stay in business. This is just common sense—as many people pointed out."

You can read the whole post here. So, what do you think?

A little Housecleaning

I've really enjoyed our series about "I'd be published, but..."

But (there's always a but, isn't there?), I want to keep the flow of all sorts of ideas going, so to streamline the blog a bit, I'd like to give it a weekly rhythm. Here's what I'd like to do:

Mondays: YQA (Your Questions Answered). Some of you have added some great questions to the comment section of the blog, so I'll start with those. I have a feeling I won't run dry. You inquisitive writers ask a lot of terrific questions.

Tuesdays: AFP (Advice from Pros). Hearing from voices around the book world will really help you understand and exegete publishing. Some really cool people will be a part of this, so be sure you tune in on Tuesdays.

Wednesdays: TWC (The Writing Craft). From commas to concocting perfect scenes, Wednesdays will teach you what to do and what not to do.

Thursdays: CIC (Crazy Industry Chatter). I'll highlight what's new with the industry, share some great places to get started, and elaborate more on the journey toward publication.

Fridays: IBPB (I'd Be Published, But). Yep, I'll be keeping this one. Instead of using the old post for ideas, I'll choose a topic from the last week's comment section, so be sure you comment each Friday if you have a hindrance to publishing you'd like discussed.

Saturdays: NAB (Nuts and Bolts). Not necessarily craft stuff per se, but nuts and bolts to getting published: query letters, proposals, sample chapters, agents, etc.

Now, I'm a busy gal, so I won't always be able to post something every day. This is a framework for us, so please be patient with me if I miss a day or two. But it's my hope that this rhythm will give you a well-rounded education about publishing, so that if you read it regularly, you will learn what you need to learn to become published.

Blessings and happy writing,

Mary DeMuth