Michael Hauge One-on-One Coaching Available in Denver

!!NEWSFLASH!!

Michael Hauge be doing one-on-one coaching sessions at the Hampton Inn and Suites--Denver Downtown from 10am to 3pm, Sunday July 12th.

These sessions can be used for whatever the writer wants: story ideas and structure; pitch coaching; marketing consultation; etc.

For this special Denver Event, Michael will charge $100 per half hour (20% off his regular rate), and people can purchase back to back slots if they want an hour or more.

Anyone who wants to reserve a slot early (there are already some signups) should email him in advance at: http://www.screenplaymastery.com/; remaining slots will be available for signup at the workshop on Saturday.

Saturday Denver Workshop info: If you want to elevate your fiction writing to the highest possible level, this event, Saturday July 11th, is a must. And there are limited seats, so to find more information, click on http://www.coloradoromancewriters.org/Flyer_MH.pdf.

Please visit Michael's website, http://www.screenplaymastery.com/ and sign up for his e-newsletter.

Leslie Ann

Happy Birthday USA

Happy 4th of July.

Writing into the Mist - Whatever Works

Award-winning Author Deb Stover makes no apologies for being an in-the-mist writer. Here on Five Scribes, we often talk of plotting, templates, and we certainly give our share to "How-to" Authors. For you pantsers, this one's for you. Thanks for joining us, Deb.

Writers are obsessed with plotting tools, toys, and techniques, as if these are the magic elixir that will spur them forth to publication and certain stardom. Speakers selling these "surefire" techniques look down their noses at those writers they call "pantsers." Those who don't adhere to outlines, plotting boards, fancy tools and toys are sometimes accused of "writing naked."

After all, what writer in their right mind would spurn a plotting technique claiming to simplify the novel writing process? Snake oil salesman often said they had certain cures and solutions to everything, too....

The first rule of writing fiction is simple. There are no rules.

Writing is a smorgasbord--take what you want and leave what you don't. The same holds true for critique--especially for critique. As my late husband, an engineer, always said, "Whatever works." And that means whatever works for you as a writer. It doesn't matter what works for Nora Roberts or Susan Elizabeth Phillips, if it makes you twitch or stare at the blinking cursor on a blank screen. All the spreadsheets, plotting boards, outlines, detailed synopses, brainstorming kits and tricks in the world aren't going to help if they send your muse screaming into the night.

Flying into the mist is a term coined by the brilliant Jo Beverley. Many writers have heard her mention it a time or two, either at conferences or on line. Her description works for the way I write, so I borrowed it for a recent workshop, and warned her in advance that I planned to blame her for the entire idea in case it wasn't well received. Seriously, all of Jo's books are perfect examples of how brilliant and successful flying into the mist can be.

We've all attended dozens of workshops about plotting, writing synopses, etcetera. For some writers it's as if someone turned on a light bulb when they discover the techniques involved with meticulous, tedious, detailed plotting. Fine. That's wonderful. I'm happy for them. In case you haven't figured it out by now, I'm not one of them.

I'm one of those who, early in my writing career, thought there was something wrong with me, because all these successful writers were trying to teach me another way to write. "I'm not doing it right," I told myself. Convinced that was why my first manuscript never sold, I set out to outline my second one and do it the "right" way."

Ha!

That was pure torture. Something was missing. The book truly sucked. I worried and fretted, talked to other writers until a good friend--a multi-published author--asked me why my first book was fun and that one wasn't. Only then did I realize the simple answer. All the magic, the passion the adventure of storytelling was missing this time. Why was it missing? What was different? That was when my creative light bulb went off, and when I realized there really are no rules.

So I took my original idea, beause every story starts with an idea, a character, a situation--something--and sat down to write. Three months later, I had a completed manuscript to shop around. That one didn't sell either, but the third one did--also written my way.

Now I'm not saying I never write a synopsis first. I do--at least I do now. I didn't before that first sale when I had to write the complete anyway. Now I often sell on the synopsis then write the book. My editors--and my wonderful agent--have come to realize the finished project may only bear a minor resemblance to the original synopsis, but at least the characters and general premise are the same.

I never write scene-by-scene outlines. I don't know how to make a spreadsheet, and I don't want to know, thankyouverymuch. I do write character bios, interviews, horoscope charts, and even Tarot readings on occasion to help flesh out my characters. Those characters lead me on a merry chase, and the more multi-dimensional they are, the more twists and turns and depth the story will have. I do not dictate the direction those characters may take me. On the contrary--they lead and I follow. Sometimes I get revenge....

After all Romance is, first and foremost, character-driven fiction.

Some books require more research than others. Since I've written historicals, time-travels, and contemporaries, I've done a lot of it. I do some initial research to get a feel for the setting, but I never do all of it right up front for fear of letting it steal the magic of storytelling, and also to prevent me from writing any infodumps. If I reach a point in my story where I must have another fact, I use a dummy variable--always the same one so I won't miss it in a search--then go back to do the research later. Don't let details slow the flow when you're in a creative fever.

That's the beauty of writing into the mist. The characters and the story carry the author--and your reader--away on an adventure. It's exciting, mysterious, and I wouldn't have it any other way.

Some of you are wondering where to start without an outline. Flying into the mist isn't for every writer, just as outlining and meticulous plotting aren't for me. Assuming you have an idea in the first place, then you should get to know your characters next. I always see one of both protagonists in a situation. In fact, I would say every story idea I've ever had has originated there, then blossomed from there.

Here is a simple exercise to test your skills at writing into the mist. Think about a character in your current project. Place your character on a dirt road--anywhere, anytime. There's a fork in the road. One fork disappears over a hill and the other down into the woods. Your character has to decide which fork to take, and you will discover what they will find when they do, and why they make that choice. Give yourself five minutes to write and see how your scene snowballs from there.

Writing into the mist isn't for the weak. It takes courage and believe in yourself and in the strength of your characters. If it doesn't work for you, then enjoy plotting boards and tools that do work. Whatever works....

This article ran first in Pikes Peak Romance Writers chapter newsletter. (Once upon a time, Deb Stover wanted to be Lois Lane, until she discovered Clark Kent is a fraud and there is no Superman. Since publication of SHADES OF ROSE in 1995, Stover has received dozens of awards for her cross-genre fiction, including ten Romantic Times nominations, and a 2005 Career Achievement Award. Her 12th full-length novel, THE GIFT, will be released by Dorchester Publishing in November 2009. For more information visit www.debstover.com)

Great News for Beginning Writers

Are you at the beginning stages of your writing career? Do you feel like you've entered an elite club or started down a long dark tunnel of hype, misinformation or plain old lack of knowledge? In the words of Sir Francis Bacon, "Knowledge is Power." Put that power to work for you.

I'm pleased to promote the workshops that I wish I had access to when I began my writing career. Dianne Drake, author of more than 25 novels, including 72 foreign releases, and the author of 500 magazine articles, and Lois Winston, literary agent for Ashley Grayson Literary Agency, and an award-winning author of novels and novellas, have joined forces.

It's not an elite club or a long dark tunnel unless you allow it to be. I, along with numerous contest coordinators in RWA, rely on Dianne Drake and Lois Winston to help train contest judges. Whether you're a beginner or in need of a refresher course, these instructors know their stuff.

Get your writing career off on a solid foundation. Coming in September, 2009. http://www.beginningwriterworkshops.com/

Crested Butte Writers Conference Agent/Editor Pet Peeves

One of the most popular, fun workshops at the Crested Butte Writers Conference was the First Page Cold Reads by agents Colleen Lindsay of Fineprint, Don Maass of Maass agency, editors Lisa Rector of Third Draft, Adam Wilson, MIRA and Kate Ninzel of Morrow/ Harper Collins.  

We all know that the publishing industry is incredibly finicky, but here are a few things that annoyed our agents and editors when they read the first pages of fiction books:

1)  Start with ACTION!

No thinking while standing, staring, waking up, in the shower, and no dreams.

No starting with long, elaborate descriptions of the weather (or ANY weather descriptions for Don Maass--unless you want to watch his head hit the table--repeatedly).

No passive voice.  

No first name-last name for Kate Nintzel.  Starting with Jane Dolittle lay on the concrete slab, would make her crazy

2) Make them care about the character immediately.  

3) Pull them into the story in the very first paragraph, with strong word choices, action and great dialogue so they have to keep turning pages!

But I must admit, after awhile it was a little fun to watch their agony.  And when we had a passive voice opening, with first/last name (in the first sentence) with long elaborate descriptions of the weather . . . evil grin here--I WOULD have written it and planted it in the pile to be read on purpose just to watch their reactions.

How- to Authors Dianna Love and Mary Buckham Break into Fiction

The Five Scribes are pleased to present Margie Lawson's How-to Author Interview Series with today's special How-to-Authors Dianna Love and Mary Buckham, authors of BREAK INTO FICTION.

Post a question or comment, and you have a chance to WIN:

• Break Into Fiction -- by Mary Buckham and Dianna Love
• Phantom in the Night -- by Sherrilyn Kenyon and Dianna Love
• A Lecture Packet -- from Margie Lawson

Dianna and Mary will drop by the blog several times today. They'll respond to questions and comments posted by 7 p.m. Mountain time.

Factoids about Dianna Love and Mary Buckham:

• NYT best-selling and Rita award-winning author (Love)
• Authors of BREAK INTO FICTION: 11 Steps to Building a Story that Sells (Love/Buckham)
• Award-winning suspense author (Buckham)
• Former editor and contributing editor for NW Parent Magazine (Buckham)

Funtoids about Dianna Love and Mary Buckham:

• Formerly climbed more than 100 ft. in air to paint murals (Love)
• Collects ethnic textiles from around the world (Buckham)
• Portrait artist and motorcycle rider (Love)
• Climbed the pyramids of Giza (Buckham)

Their websites are:
www.BreakIntoFiction.com
www.AuthorDiannaLove.com
www.MaryBuckham.com

Books Currently Available:

BREAK INTO FICTION :11 Steps to Building a Story that Sells -- nonfiction book on how to create a novel using YOUR story in the worksheets (Buckham and Love)
WHISPERED LIES - (Love) BAD Agency romantic thriller (Pocket/May 2009)
PHANTOM IN THE NIGHT - (Love) BAD Agency series (Pocket/May 2009)

Jon Franklin, author of Writing for Story and a two-time Pulitzer Prize winner says about BREAK INTO FICTION :

"These writers know their business, and what's more, know how to explain it. Break into Fiction is solidly grounded in storytelling fundamentals but then goes much farther into the practical detail that determines whether your book will bring a check or a rejection slip. Altogether, it's one of the most useful writing books I've seen for a very long time -- Jon Franklin, author of Writing for Story.

From the foreword of BREAK INTO FICTION by #1 NYT best seller Sherrilyn Kenyon (she is a panster - does not plot):

"What I love about the programs that Mary and Dianna teach nationally is that their intent is not to convert pansters to be plotters, but to give both types of writers tools for breaking through writer's block or finding a plot hole or shoring up a sagging middle."

Publisher Weekly on Phantom in the Night...

"All hell breaks loose in this over-the-top romantic thriller...Da Vinci Code-derivative components tweaked with a bioterrorism twist add extra punch."

How-to Author Interview Series -- offered by Margie Lawson

ML: BREAK INTO FICTION: 11 Steps to Building a Story that Sells came out this month. How did you two meet and what prompted you to write this book?

D.L.: Mary and I met at a conference where we'd been invited to speak on the same panel. We hit it off immediately and realized we both had an analytical approach to craft where we studied what made a book or movie successful and what did not work in stories. The Power Plotting program included in our new BREAK INTO FICTION book was a labor of love as much as anything else. As fairly new authors (I didn't start writing my first sentence until 2001), we understood how many tombs of reference books and hours of workshops it took just to get the basics down-- because we both had those walls of books and had attended hundreds of hours of workshops to develop our craft. We believed there was an easier way to learn how to create a novel...and there is. We taught private retreats nationally for the last several years, but our speaking and writing schedules have gotten too busy to do as many now so we decided the best solution would be to put the BREAK INTO FICTION Power Plotting program into a book.

M.B.: When you find another writer who challenges you to think bigger, work harder and dig deeper into the craft of writing, it's a dream come true. After we met, Dianna and I worked on not only analyzing other stories, but on challenging each other on our own stories and we realized not only how fun it was, but how liberating. We also realized that not every writer can find another to challenge them, so part of the premise behind the BREAK INTO FICTION book is to afford any writer, at any stage in their writing process, to look and think about their own stories in a fresh and different way.

M.L.: Will this book help all writers or only plotters?

D.L.: We've taught new writers, multi-published mass market writers and a Pulitzer Prize winner who were plotters and pantsers (writers who write by the seat of their pants). Plotters like to figure out the key elements in their story so they know they aren't going to run wild on rabbit paths while writing. Pantsers like to let the story reveal itself through stream-of-conscience writing and consider revising or rewriting a large amount of pages part of the process. BOTH are correct ways to write. Using our book, a plotter can figure out their key elements and twist points in advance to assure their characters and plot are arcing to a strong finish. Pansters answer the same questions in our book during their revision process to find weak spots or plot holes.

M.B.: One of the most exciting elements we discovered when teaching our live BREAK INTO FICTION plotting retreats was to see how writers could step away from narrow definitions of HOW to write a book and embrace a larger concept of understanding the structure behind commercial fiction. Doing this liberated them to know how to write their book and not worry about the process. Pantsers discovered a more efficient way of creating a strong story structure without feeling constrained or limited as well as having a tool to let them know if they've veered off track from their main story during the revision process. Plotters have a solid road map that they work step by step through their story in a systematic and consistent way.

M.L.: What are the most common mistakes you ran across in working with both published and unpublished [writers] in your Power Plotting retreats?

D.L.: We found it interesting that so many writers miss the same things in the early stages of creating their stories. The sagging middle is one, which is fixed by understanding twist points that is covered in our plotting worksheets. A big issue is the lack of rising stakes -- give the reader a good reason to worry about what happens next. At the root of so many of these craft problems is poor motivation -- the character is only reacting, as opposed to acting, or the character is performing an action because the "writer" needs that to happen at the point and hasn't set up a good reason for that action. These are all things that pull a reader off the ride once they are into the story -- the reader puts the book down. Another thing we found was terminology confusion. Mary and I listen to writers when we teach. We take their feedback and improve a program. While creating our current BREAK INTO FICTION book, we realized many writers hit speed bumps in the terminology alone. We created our own terms such as Internal Character Growth as opposed to Internal Goal for the character. A person doesn't get up in the morning and think, "I need to change and grow over the next week so that I can reconnect with the world." Not understanding the terminology creates problems for a writer, so we made it easier to answer questions about their characters and plot.

M.B.: One of the issues that kept surprising me is the comment from writers that thinking so intensely and focusing on their story was 'hard.' Learning any new craft skill initially is hard, so why shouldn't plotting your story prove challenging when you really dig into a deep understanding of plot? Great news is that the 'hard' phase dissipates, once you know what you need in plot and don't need, then the process of plotting becomes so much easier and fun too!

M.L.: Did developing BREAK INTO FICTION have any influence on how you write?

D.L.: My first book was a romantic suspense because I'm a huge suspense/thriller fan. While working on this program with Mary I came to understand the difference between writing a suspense and kicking up to a high-concept thriller. This resulted in my having the wonderful opportunity to co-write the BAD Agency romantic-thriller series with Sherrilyn Kenyon. I've just finished a mainstream thriller project as well. And I wish Mary could tell you about the amazing project she's close to taking out, but she's keeping this one under tight wraps for a good reason. It's high concept with unusual paranormal elements that is unlike anything I've seen out there. This is not vampires, werewolves or fairies and I see her series working very well as a movie or television series. But she could tell you how her writing is far different now than her earlier award-winning suspense novels. One of the great advantages I've found from developing BREAK INTO FICTION is having a more efficient way to pull together large, complex stories. This is the book we would have liked to have had when we started, but are glad to have in our hands now.

M.B.: As you teach so do you learn. That was one of the most amazing aspects of working with 10 or 15 or 20 some writers at a time in our intense BREAK INTO FICTION Plot Retreats. Seeing students get excited about their own work was inspirational. Dianna and I always try to build in some serious plot time on our own stories when we get together, whether it's before presenting at BEA [Book Expo of America where we presented by request from the folks at Writer's Digest] or giving a workshop somewhere around the country. Give us a few hours and we can hammer out not only a plot, but have a great time pushing one another to think bigger, think outside the box and step up our writing. Our biggest challenge has been to find the time to write given our travel and presentation schedules. Now that the BREAK INTO FICTION book is out, and writers have their own personal program in the book to learn from, we're working seriously to free up more FICTION FIRST time for each of us.

M.L: Visiting both your individual websites as well as the BREAK INTO FICTION website makes my head spin with all the workshops, presentations and touring you do. Do you have any tips for time management?

D.L.: Writers ask me all the time "How do you get so much done?" but they aren't always happy with the answer . I do whatever it takes to write. I write everywhere I go and give up recreational time/events to get my pages done. I do what it takes. I have never approached anything in business with a "clock" mentality. In other words, I don't tell myself I "deserve" every weekend and holiday off, especially if I have a deadline looming. I find holidays a great time to work because the phone doesn't ring as much and e-mails are quiet. I set a goal of getting a project completed by X date and treat that as carved in stone even though that date is generally several weeks before my actual deadline. This allows me room for the unexpected illness or family issue that might run me late. I do take time for my husband and family, but any day that is not specifically set aside for something special is a work day -- 7 days a week. I get up at 5 a.m., even on Sunday. If I'm not on track to hit my "early" deadline, I get up even earlier and work longer. Every person has to find the way to reach their writing goals if they want to have a career in writing. Better to get a plan before selling because you will need that discipline once you do sell.

M.B.: If there's a strong enough will, you will find a way. Given that as a starting point, the following tips might be helpful.

• Know that no one is given more time than you are. What you do with your time is your choice.
  

• Find what you are willing to give up to devote more time to writing. TV? Computer surfing? Meetings? There's always some way to rearrange a schedule if you want to write bad enough.

• Create an accountability person or group. Someone, or some people, who will not let you give excuses for why you didn't get your writing or revision or submission done. Give yourself the same permission to do what you need to do to write as you would a loved one, your best friend, your child.

• Seek out and surround yourself with other writers who will get published or stay published, because they will accept nothing less. Learn from them!
  

• Build in Fill the Well time, when you support your creativity by whatever makes you passionate.

• Know that the road to being published, and staying published, is a process, not an end all or be all. Didn't get your pages written today? Learn what stopped you and start again tomorrow.

M.L: Recently you've had an amazing Event on your BREAK INTO FICTION website www.BreakIntoFiction.com called The 5 for 5 Writer's Extravaganza. Can you share what that was and if you'll be doing it again?

D.L.: We wanted to offer a FREE tutorial program on our website -- with no passwords or sign in issues -- for writers where published authors of all levels shared their insights on Character, Conflict, Dialogue, Point of View and Plotting. We asked authors to choose 3 topics and share their thoughts then posted 5 author replies for 5 days. The response from both authors and visitors was incredible. I thoroughly enjoyed the information shared, and every writer I've spoken to who visited had something glowing to say about the event. It helps to read how authors from different genres (we had a wide selection of genres) approach their craft. Writers from all over the world gained new insights on writing, and an appreciation for how authors constantly give back to the writing community.

M.B.: I have to give Dianna all the credit for the concept behind the 5 for 5 Event, which was marvelous, not only for us, but for the more than 110,000 readers and writers that visited us that week. By having so many great writers at so many different stages of their careers from recently published to multi-published and NYT best selling authors each talking about the same craft aspects, it was an in-depth tutorial that was simply amazing. If one or two authors say the same thing, it's one thing, but when you have 25 authors bringing home the same points said in slightly different ways, it's mind-expanding. I can't wait for us to do it again!

M.L.: Can you tell writers what makes BREAK INTO FICTION different from other plotting books currently out in the market?

D.L.: Our book is about creating Character-Driven Plots that are compelling stories with strong characters. When I started writing I constantly heard a debate about writing Character-based stories vs. Plot-heavy stories. There is no debate -- you need both character and plot woven so tightly they become one. BREAK INTO FICTION is based on programs we teach nationally to all levels and all genres of fiction writers on how to build a Character-Driven Plot. We wouldn't have considered writing a craft book if not for the enormous demand for our program and the realization we could never teach everyone. Time and again, writers ask "can you tell me how to fix a sagging middle?" or "can you explain how to fix a motivation problem?" or "the rejection letter said my book wasn't big enough -- can you tell me how to make it bigger?" and so on. You don't just fix 'one' issue most of the time -- it's a matter of understanding what makes a powerful story. Writers who tackle a story alone who use our book feel like they now have the benefit of a critique partner. Critique groups are getting copies for everyone in their group so they can all grow as writers together and challenge each other using the questions from our worksheets. This book finally gives fiction writers a way to create and revise with confidence.

M.B.: One of the key areas that sets BREAK INTO FICTION apart is that it's designed to get a writer writing on THEIR story immediately. No reading through 200 or 300 pages of what you should do with no practical way to apply the concepts. We've had writers telling us that not only have they broken through on elements of a plot that have kept them blocked or stymied, but that in as little as a coffee break they have strengthened, improved and understood elements of their own stories that have been missing. We've seen writers take story concepts and turn them into strong stories with BREAK INTO FICTION template questions and we've seen so-so stories develop breadth and width into strong, compelling plots that are exciting. All by asking key questions of their story at key places in their plot. That's very exciting!

M.L.: I see where Dianna will be at ThrillerFest in July then you'll both be presenting workshops at RWA National Conference in Washington D.C. the next week. Can you tell us what you're presenting, and when, as well as any special activities you have planned?

D.L.: I'm attending my first ThrillerFest in New York the weekend of July 8-12th where I'll be on a panel discussing collaborations from 3-4 p.m. on Sat., July 11th then signing afterward. Mary, myself and Pocket Executive Editor Lauren McKenna will be presenting a panel workshop at RWA National the next week entitled, "Do You REALLY Know what a Bigger Book is?" from 2-3 p.m. on Fri. July 17th. Then Mary will give a workshop from 4-5 p.m., Sat. July 18th on Body Language: Writing Compelling Characters of Both Sexes. *We'll be giving away copies of BREAK INTO FICTION at all of our workshops.

M.B.: Dianna will also be signing at the RWA Literacy signing in Washington D.C. on Wednesday, July 15th, and for folks registered for the conference, you can attend the Pocket Spotlight to receive free copies of Whispered Lies and Phantom in the Night that Dianna will be signing. Dianna is also offering a SPECIAL RAFFLE just for those who have her sign any books (you can bring your copies from home) during the RWA Literacy event and/or the Pocket Spotlight. You'll get a raffle for every book signed that enters you in a drawing for one of several BAD Agency T-shirts, an embroidered BAD Agency tote bag and a black denim jacket with the Bad Moon Rising logo embroidered on the back and the small on the front (Bad Moon Rising is #1 NYT best seller Sherrilyn Kenyon's August hardback release). We both are also available from Wednesday to Saturday to sign copies of the BREAK INTO FICTION book, which will be available for sale at the Conference book room.

M.L.: Last question! Do you have any plans for a follow up book to BREAK INTO FICTION?

D.L.: We have other progress in the works and a huge interest from the educational systems across the country, but the next nonfiction book will have to come after our current fiction projects. Also, we like to vet our programs with writers. As I mentioned earlier -- we listen to writers. In listening, we also learn so that when we do put the program in a book, it's been tried and tested.

M.B.: Yes and no to another nonfiction project ;) We've created a daylong workshop designed to teach the elements necessary to think about and consider before you ever sit down to plot. Because of observing writers get stuck in their story or the key story elements. At some point we'll pull these concepts into our next nonfiction project, but for now our motto is FICTION FIRST.

*** Dianna and Mary are donating an autographed copy of BREAK INTO FICTION and a copy of Whispered Lies to be given away in a drawing of everyone who posts today.

We hope you enjoyed Margie's interview with Dianna Love and Mary Buckham. Join Five Scribes next month on July 25, 2009, when Margie Lawson's How-to-expert will be renowned editor, Chris Roerdon, author of DON'T MURDER YOUR MYSTERY and DON'T SABOTAGE YOUR SUBMISSION.

Crested Butte Writers Conference 2009 Recap

Hi All,

So this was the BEST writers conference EVER--though I have to admit, a small part of my joy is due to the fact that I'm co-coordinator of it. I say a small part, because, volunteering at a conference gives one opportunities to make more friends and network more with the agents, editors and speakers, so I get to know them on more than just a professional level. I feel like much of the professional barriers are broken down and I've made new friends. Hmm . . . which could be a problem if I ever wanted to have an agent/editor relationship. I'd have to think about that. But meanwhile, I've got no worries.

I have to tell you, after reading Don Maass's wonderful books Writing The Breakout Novel and The Fire In Fiction, I was thoroughly intimidated to be around him and convinced that I was NEVER going to let him read ANYTHING I've ever written--even after I revise all 4 books using keys I've learned from his and Lisa Rector's workshops. Though there was some consolation when I realized I didn't want him for my agent. I can't have an agent who intimidates me.

It all started out horribly. I picked Don, Lisa (Don's wife--a sweetheart and a brilliant freelance editor and writing coach of her own company -Third Draft), and Colleen Lindsay (Fine Print Agent) up at the Gunnison airport. I drove the 30 minutes from Gunnison to Mt. Crested Butte, thankful that in the beginning, they did most of the talking amongst themselves.

Then they talked to me. At this time, I had a horrible headache and just

wanted to get them there without hitting any of the chipmunks that dashed across the road seemingly intent upon committing suicide under the tires of my Expedition. I'd answered a few simple questions Lisa was kind enough to ask, about myself and my children--unfortunately, in one of those questions, I revealed that I have a BSN--bachelor's of Science in Nursing. Four years of studying biology and nursing in depth, and when Don asked me exactly what altitude sickness was . . . I blanked.

I stuttered, and hemmed and hawed, and he persisted in clarifying his question--"no, the biology of it. It has something to do with the lower oxygen, right?" I agreed that it had something to do with the lower oxygen in the air, but exactly what that meant to the cells and lungs . . . I confessed I just couldn't remember. Then he asked if all the land was privately owned--and I said that I believed it was government owned. His eyebrows shot up and his tone was surprised, when he repeated "government owned?" making me feel that surely I'd said something very stupid.

I thought the land around Gunnison that we drove through was national forest land--like Rocky Mountain National Forest. Like Estes Park. Now come on, guys, help me out. Government and civics isn't my thing, but doesn't the government own National Parks? I wasn't certain, I told him he'd have to ask a local to be sure. Boy, did I feel stupid.

Then he asked which government agency oversaw it and made a suggestion. Thank GOD Lisa or Colleen chimed in with their opinions here, and then Don read a sign that said the Dept. of Agriculture. So by now all I want him to do is ignore me and never ask me another question. EVER. Which of course he does not.

We get to Crested Butte and Don keeps saying how "sweet" everything is--which for some reason I found his word choice oddly endearing and distracting. I don't know what I thought he'd say, cool, unique, charming--just not sweet. I point out the main street--Elk Ave., and tell them there is so much personality in the city; do they want to take a quick look on our way up to the mountain? Of course they do--after I pass my turn. So I swing into a parking lot to circle back--and Don helpfully tells me when I need to make a right on the street clearly marked Elk Ave.--like I didn't know that (I hadn't screwed up on the directions--just everything else that came out of my mouth!).

Oh--and did I mention that Don speaks very softly? So at least three times on the drive I had to say, "excuse me, or I'm sorry, I didn't hear?" So by now he thinks not only am I an idiot, I'm a deaf idiot! And damned if he didn't keep asking me questions that I couldn't answer--what mountain is that straight ahead? I don't know, but I tell him my hiking husband could identify them all for him--very helpful as John was home in Niwot watching the children. I wanted to bang my head until I achieved blessed unconsciousness!

And I still had the dinner with all the guest speakers, agents, editors, and Crested Butte Writers Board to "enjoy". Can you guess how I was looking forward to that? Needless to say, having many other people to talk to, I successfully avoid Don, Lisa, and Colleen during that dinner, so I could recoup some confidence.

To make a long story not so short . . . I had a grand time with the Maasses and others at dinner-- a different night-- and I faced my fear of Don Maass. I have to say, I was VERY proud of myself. I moderated and coordinated one of the most fun workshops--a first page cold reading of unpublished work by the agents and editors volunteered by attendees--and me.

I also wanted to make it a little more fun by planting four best-selling authors' first pages mixed in with the unpublished and challenged the agents and editors to identify them. They only guessed one. In fact, they guessed that two of our unpublished works were published! Those talented individuals got invitations to send their work from just about all five of the agents and editors on the panels. I was so happy for them!

Luckily, our agents and editors were quite impressed with our keynote speaker's first page--William Bernhardt gave me the opening of his Sept. '09 release, Capitol Offense. Overall, it was a terrific workshop. Don and Colleen--the least tactful of the group, were a bit harsh at times, but to give them their due . . . it's a VERY harsh industry. Harsh for them too. Though . . . I had enormous fun watching Don bang his head on the table when someone opened with the weather, passive voice, or ANY inaction. And Kate Nintzel's hot button was openings with first name, last name-which I would have planted on purpose, had I known, just to watch her groans of agony--evil grin.

But in general, when they failed to identify the published works, the group decided that Alice Hoffman's, The Story Sisters, David Baldacci's, First Family, and Stephenie Meyers, Breaking Dawn, were not those authors' finest openings. I helpfully confided to the room of 50-or so, that I was sorry I hadn't taken detailed notes of their opinions so I could have shared it with each bestseller. Then all of us agreed that those authors had acquired such a following that they could get away with a weak opening once in a while--we unpublished hoping to break in, cannot.

So I bravely put my own work in--two actually-- my Amazon semifinalist and the first draft of my new book I just wrote last week. Lisa Rector later teasingly accused me of stacking the deck, and I nodded in agreement. Damn right. What's the point of spending hundreds of hours a year working to help coordinate a conference if there aren't any perks?

Anyhow, guess which agent and editor I had read them? What did they say? No . . . I wasn't one mistaken for a published author, but . . .

if you want to know more stay tuned....