I Found My Writing Home

Publishing this post scares me, because the subject is so personal. I'm going ahead with it anyway with the hope that I can get across my meaning. Deep breath.

From my first attempt at writing in second grade, I began my journey making up fantasy stories. Many long-time readers will know that those early plots were largely inspired by Beverly Cleary and her mouse Ralph, resulting in several stories involving rodents.

Even in high school, when I co-wrote an entire novel with a friend, it was a re-telling of a fairy tale (this was waaaay before doing that was cool or commonplace).

The first novel I tried my hand at by myself as an adult: also a fantasy.

So it came as a surprise to me when I began getting ideas for books with a specifically Mormon angle to them. Of course, those ideas turned into the books that got published.

I did two contemporary novels that you could call romance, and I generally do, but I've never been entirely happy with that label. Not because I don't like romance; I absolutely do, as evidenced by THIS and THIS and the fact that we're doing more of Timeless Romance Anthologies and having a ball with it. Not to mention that I went on to do historical LDS novels, and every single one of them has a romantic element.

But those first two books especially had something else in them too, something I couldn't put my finger on, but which made me hesitant to classify them strictly as romances.

So there was Lost Without You, and then At the Water's Edge (although they were written in the opposite order). Then came the four historicals: House on the Hill, At the Journey's End, Spires of Stone, and Tower of Strength. Each of my historicals, with the exception of Spires, which is a romantic comedy in spite of the serious-looking cover, had that same "other" quality.

Then I was told not to write any more historicals. And I wondered what in the world I'd do next. I'd already started researching my next one, and I had to set it aside and find something else to write about.

Enter my childhood friend Chris and her husband's deployment, which in a roundabout way led to me deciding that I had to write about what it's like to be home with a soldier gone and in the line of fire. In categorizing that book, romance never entered my mind, because, well, it's totally not. Band of Sisters is clearly women's fiction.

Some people think romance and women's fiction are the same thing, but they're not. Not even remotely. Women's fiction doesn't have a love story as the primary arc, and it deals with issues and conflicts that wouldn't normally appear in a romance. I loved writing that book, and it even took the Whitney Award in its category that year.

Yet I still thought that one day, I'd return to my fantasy roots and write books for kids. That feeling was strengthened by the fact that here in Utah, we have more successful writers of youth fiction than probably any other state in the nation. Tons of New York Times bestsellers, a Newbery honoree, and more. Youth writers here are rock stars. It's the market and genre that are most respected in these parts, likely because Utah has a lot of kids, families are serious about literacy, and we tend to like clean books, which often means youth fiction. Take this piece in the news, for example. (In case you don't click over: a launch party for Brandon Mull with Tyler Whitesides, Richard Paul Evans, Chad Morris, and Christopher Paolini. NOT KIDDING.)

Then I had a good chunk of my critique group also writing youth fiction, and this one and this one have had significant success with it (young adult and middle grade, respectively) on the national stage.

Yet I also loved mysteries, and I had a bunch of cool ideas for some. I loved romance, and could see myself writing that. I loved historicals, and would be happy doing more. And so on. What on earth should I focus on?!

My publisher couldn't/wouldn't give me direction on what they wanted next besides no more historicals even after I handed over a list of ideas and asked which they'd be most interested in.

I floundered like a boat without a rudder. I had a total and utter writer identity crisis that lasted two and a half miserable years.

The go-to advice for this kind of situation is to write the kind of book you like to read. Problem: I read all kinds of books, and I enjoy just about every genre. So that suggestion was no help.

Then one year for NaNoWriMo, I decided to write something totally wacky and weird and fun to shake myself out of the awful funk I was in. I drafted 50,000 words of a futuristic, science fiction-type young adult story. And it was a lot of fun. But contrary to my hopes going in, the experience didn't make my future writing path any clearer. (And no, that book will never see the light of day.)

Yet I knew I needed a clear path, something to sink my teeth into and identify as my own. I needed a map to plan my writing future.

I ended up deciding to write the sequel to Band of Sisters even though I had no assurance that my publisher would take it. They did (yay!), and Coming Home was released in January.

During the last year or so, a few things happened to cement my writer identity. One was researching and writing Coming Home. Another was being part of The Newport Ladies Book Club series with my novel Paige and the forthcoming Ilana. 

And then during the 2012 LTUE conference, Luisa and I went out to dinner to brainstorm. She knew of my identity crisis and suggested we hash it out over food. I brought along a notebook with ideas that included young adult fantasy, historical, romance, and everything in between. We picked a story with a really cool premise, and by the time we paid our tabs, we had a rough plot sketched out.

In writing that book, which I'll begin major revisions on soon, I finally came to realize that this was the genre I belonged in. It was women's fiction. And women's fiction is my home.

I realized that my first two books were women's fiction in disguise. That was the element I could never quite wrap up tidily in the romance bow. Women's issues popped up in my historicals too.

While I was thrilled to finally latch on to my writer identity, it came with a price. Remember, I live in the land where writers of youth fiction are rock stars and are most respected by colleagues. Even my own daughter recently asked if I could please write a cool book like the fantasy we were reading together, and it broke my heart to say that I'm writing for grown-ups.

Then there are those packed, celebrity-style launch parties like the one I linked to above. It seems that most writer events for fans tends to lean more toward youth fiction as well. There was one a few years ago that included my friend Janette Rallison (who writes YA), and at the same event was Scott Westerfeld and Stephenie Meyer, among others. Really.

I've had to come to terms with the side of my ego that would like acclaim. The reality is that if I become very successful with women's fiction, it will be with limitations. In some ways, I'd like my youngest to look at me like her hero, but that can't happen if I'm not writing kids' fantasy books. Which I'm not.

Plus, youth fiction has a crossover readership from kids to grandparents, while women's fiction is read almost entirely by, well, adult women. So the numbers are different: simply put, the sales potential for youth fiction is much greater. Unless someone waves a magic wand and I become the next Jodi Piccoult, I won't be getting rich writing women's fiction. (I wouldn't mind becoming the next Kristen Hannah, though... Seriously. Her interview in Writer's Digest pretty much blew my socks off and confirmed my writer identity.)

While I'm not greedy, I am a professional, and I do rely on the money I make through my writing. Making a conscious choice to essentially limit my potential income was hard.

I also had to choose to basically walk away from earning the respect of certain peers who almost look at youth fiction as the one and only true market. Would I like my ego to be stroked a bit? Sure. Could I write youth fiction? Sure. I love the genre, and I've developed  the chops over the gazillion years I've been writing to do it.

But when push comes to shove, I believe that I'm supposed to be writing women's fiction now. When I look at my list of story and research ideas, it's all women's fiction now.

I've wondered why, and why now. Why didn't I figure this out 18 years ago when I first started submitting? There may be several reasons, but I think a major one is the fact that while youth fiction isn't any easier to write than grown-up fiction (they're both hard to do well, and anyone who tells you differently is lying), in order to write good women's fiction, I simply had to be older. I had to experience more, see more of the world, encounter more situations, gain more maturity. On the other side, I've already been an adolescent. As long as I can write well and tap into that part of my brain, I could write youth fiction.

But I couldn't have written good women's fiction at 21, because back then I was barely a woman.

A bit of irony: Turns out that the old piece of advice was right after all. While I do read all kinds of books and love almost all genres, if I had to list my top books of all time, most of them are, yep, women's fiction.

How I Pulled an "Anne"

Or: Maud's Influence

Like many writers (at least, I believe), I am influenced here and there by the books I read. Not in a blatant "I'm stealing this plot" sort of way, and not even in the more subtle, "I'm totally using that metaphor" kind of way, either.

If I come across a passage where an emotion comes across powerfully, I'll step back, put on my writer hat, and try to figure out how the author made the scene so effective. I watch for structure: what works well, what doesn't. Most importantly, why.

And so on.

But there was one case where a book impacted mine in a more direct way.

I won't do spoilers, so here's my attempt at explaining while being vague:

There was a case where I wrote Character A needing redemption in the eyes Character B, so A and C could be together. As I pondered the plot issue, I remembered a device in Anne of Green Gables, by Lucy Maud Montgomery (who preferred to be called Maud, not Lucy).

I realized with an aha that I'd found my solution. Sort of.

Those who have read all my books will likely recognize this now that I'm about to point it out. (And now you'll know where that plot event came from.)

When Anne accidentally gets Diana drunk on what she thinks is raspberry cordial, Mrs. Barry refuses to let the two be friends anymore. The two girls are not allowed to even talk to one another.

It's not until Mr. and Mrs. Barry are gone one night, and Diana's little sister Minnie Mae gets very ill, that things change: Anne comes to the rescue to save Minnie Mae, who would have died by the time a doctor arrived had Anne not intervened.

That night changes everything: now Mrs. Barry is overflowing in gratitude toward Anne for saving her baby. And she knows without any doubt that Anne can't be a horrid, evil girl after all. Diana and Anne get to be friends again! All is well.

In my book, I pulled an "Anne." I gave Character A, who needed redeeming, a chance to save someone else to prove their character to Character B, who was keeping them from the Character C.

(Is that vague enough to avoid a spoiler? Yet clear enough for those who know what I'm talking about? Hope so.)

That was the one time I deliberately used a specific technique I learned from LMM or any other writer. Yet my version looks very different than hers. I adapted a device.

However, in my very first book, I accidentally mimicked a line of hers from one of my all-time favorite books. I didn't realize I'd done so until two years after Lost Without You first hit shelves, while rereading The Blue Castle for probably the 10th time. I came to a similar line near the end of the book and gasped.

At first I was horrified. Had I accidentally plagiarized? But then I realized that no, I hadn't. First of all, plagiarism is deliberate. This was completely unintentional. Plus, the line wasn't copied; it just contained a distinctive adverb. I'd simply read and loved so much of LMM's work that her influence was bound to creep into my writing on some level.

Most of the time, when I'm influenced by another writer, it's in unseen ways: I notice how they start or end chapters, how they reveal character, show emotion, even describe gestures. (Robert Jordan was particularly good at the latter.)

So: I'm assuming others are influenced in similar ways. For the writers out there: whose writing influences you and how?

Or am I the only one weird one?

(Oh, and if you know what book and situation I'm talking about, please don't spoil it in the comments for anyone else! Thanks!)

How Do I Draft & Revise?

I've had several people ask variations on this question, so I figured it was time to answer it.

Every writer is different, and I don't pretend to hold all magical writerly wisdom in my hands. But because every writer is different, I think we can all learn from one another, see what works for one person, and try it out for ourselves.

My drafting and revision method (such as it is) has evolved over the years quite a bit. Here's roughly how it stands today:

I rarely draft chronologically, at least at first. I usually start a novel midway. This is largely because I have a first-chapter curse (wish I were kidding). If I try to start at chapter one, scene one, that section will be inevitably be doomed for the trash can.

It's also because my ideas for books don't START at scene one. I usually get a cool idea for a specific scene that happens in the middle. So I start writing there, back up, jump forward, and somehow link it all together. At some point I do settle into mostly chronological writing, but I always allow myself to jump ahead again if I feel the need.

I'm not a strict outliner, but I'm not a "seat of your pantser," either. I fall somewhere in between. I have to know where I'm starting (although not what the first scene will be), where the story will end up, and several major landmarks along the way.

That's how I can hop ahead: I write out one of those major landmarks early on.

But I can't outline with too much precision, because that takes the fun out of discovering exactly what my characters will say and do. I do generally know that my characters will go from A to B to C, but I'm often surprised at exactly how they get there. (If that makes sense. Writers rarely do.)

I've learned that writing scenes I'm already "on fire" about tends to be best; if I wait until I get there chronologically, some of the fire is gone. Sure, by the time I've written everything that comes before that part, I often have to rewrite bits to make the whole fit together, and there's always bridging from one section to the already written parts, but it works for me.

While in drafting mode, I generally spend a lot of time thinking. When the kids were really little, this was the only way to survive as a writer: to think ahead to what I'd be drafting next, so when I had 45 minutes, I could race to the keyboard and pound out the next part.

I still think ahead even though the kids are older. This kind of creative thinking can be done while I'm falling asleep at night, folding laundry, taking a shower, driving, or whatever else doesn't use much brain power. I call them "brainless moments," where I can be doing one activity that doesn't take much attention or focus while my creative side can wander around and do its thing.

That way, when I'm ready to draft, I can really get to work instead of staring at the screen, fingers over the keys, but getting nothing accomplished. This is especially important for when I do writing marathons, when I set aside several hours or a special day just for writing. If I have a solid list of scenes to come, I won't lose valuable time trying to figure out what comes next.

Usually, but not always, when I first sit down, I'll go over the last part I wrote, making tweaks and fixes on it. That helps get me back into the groove of the story world, which makes continuing the story easier. It also makes answering the question, "How many drafts do you do?" pretty hard to answer. (Some scenes get rewritten a dozen times, others three or four.)

If I feel stuck, or somehow disconnected to the story world, I'll open up some research related to it. That used to mean historical books about temples and whatnot. For Band of Sisters, it was often rereading military wife interviews. With my YA folktale, it's reading a section aloud from The Kalevala.

I tend to write sparingly in my first drafts, so when I go back to look at a scene for the second (or whatever-eth) time, I flesh-out the details: setting, emotions, action, and so forth.

After revising a scene a couple of times, I print it out and take it to critique group. Ideally. There are times I have to crank out something to read, and they, um, get to see it hot off the press in all its ugliness.

When my awesome group is done praising/shredding/otherwise fixing the scene, I take it home. In theory, I make the needed revisions right away.

In reality, I often have a several-inch stack of critique pages before I buckle down for serious revision. I look at everyone's feedback and compare it, since sometimes they don't agree among themselves. I take about 90% of their suggestions. They're that good. But I don't take every single suggestion; it is my story, after all, and a lot of things are subjective. (I don't expect my fellow group members to take 100% of my feedback either.)

When I'm done drafting a book, I'll go through the whole thing from start to finish, looking for anything more that needs fixing or polishing that I haven't hit yet.

Up to this point, I've been working on the manuscript piecemeal, seeing it microscopically, if you will. The full read is the first time I see the book as a whole, where I experience the story arc all at once.

So I look at it macro-scopically, to see the big picture: Does this chapter flow into the next? Does this scene transition well here? Is the pacing good throughout? Does the motivation wash in that scene? Does the conflict carry over from here to there? Do the character arcs work? And so on.

Generally there's not time to take an entire manuscript to critique group a scene or chapter at a time before I want/need to submit it, so when it's fully drafted and revised, I ask for anyone in my group who has time to read over the whole thing. I hope to get at least two readers, and even with their busy schedules, they're pretty darn awesome and always come through for me.

We swap these kinds of favors, so I don't feel too bad asking; I know that I'll be returning the favor by reading someone else's entire manuscript soon.

When I get their edits back, I go through one final revision before submission.

Yeah, except that "final" is a misnomer, because even after acceptance, there's more revision with the help of my editor before we enter the line-edit stage.

That's the "typical" process, but really, there isn't a typical one. Every book has been different.

Remember to enter my blog anniversary giveaway. Nine prizes are up for grabs.

TIP: Right now you have a GREAT chance at winning SIX of them . . . check out the second and third ways of entering.

Writing Journey: Pronunciation Guides

Up today: Answering a question L. T. Eliot (also known as Lexicon Luvr) posed some time ago:

[Writers creating pronunciation guides for audio recordings] is a new phenomenon to me, and I've only ever heard it mentioned once. How long has that been going on?

I can't speak for other writers and their experiences with their publishers, of course, so what comes below is based on my experience.

For my first five books, Covenant released an audio version on either cassettes or CDs (in one case, both). In each case, the book was abridged.

My first two novels (Lost Without You and At the Water's Edge) are my shortest ones. I had to cut them down to 48,000 words, but since they were each right around 70,000, that wasn't terrible to do. It wasn't fun by any means, but I could cut out descriptions, shorten dialogue, delete actions and tags, take showing portions and make them telling, and the like. Abridging took out a lot of the voice and personality of the book, but the basic story was left intact.

And then . . . well, THEN I had to cut House on the Hill. It clocked in at 102,000 words. Remember, it had to be hacked down to 48,000.

Yeah. Had to cut that puppy by more than half. The final version had entire scenes and subplots stripped out. For example, readers didn't see Abe's father or even know much of Abe's background. There just wasn't time for it.

At the Journey's End was even longer, by more than 10,000 words (I think it was around 114,000 words total). By that point, they were toying with whether they'd still do a cassette version. If not, I'd get to keep an additional 5,000 words because CDs hold more. But the final decision wasn't made early enough, so even though that book is only on CD, I still had to cut it to 48,000.

Spires of Stone was a bit shorter than At the Journey's End, and I got to cut it to 53,000, so it wasn't quite as miserable to cut, but I still hated it.

If memory serves, Spires was also the first book they requested a pronunciation guide for, but what they asked for was relatively minor. I had to clarify any names or terms that might be confusing. I remember writing character personality descriptions, but not much else. That book was released fall of 2007.

In hindsight, had my sister not been the one reading At the Water's Edge (2004), I probably would have needed to submit a guide, because it has Finnish names and words that would totally throw off your average American reader. That's why I requested that Mel read it: she knows Finnish pronunciation as well as I do, so she didn't need a guide.

By the time Tower of Strength came out, a new decision had been made: Covenant heard its customers asking for unabridged books and agreed to do them! (And there was much rejoicing in the land!)

However, there was a consequence to that decision: unabridged books are (obviously) longer. Therefore, they cost more to produce (both in actual CDs as well as in paying for a reader and other costs). Ergo, they couldn't afford to put every book onto audio.

So while they'd have fewer novels on audio, those that got audio versions would all be unabridged.

The result: Tower of Strength (2009) wasn't given audio. I was rather relieved: no butchering of my book! On the other hand, if it had gotten audio, there wouldn't have been a need to butcher it. But cutting it down wouldn't have been as painful, since Tower is my shortest historical.

I didn't have a 2008 release, so between the small guide for Spires in '07 and no audio for Tower in '09, the first "real" guide I've had to do was for Band of Sisters. (Did you catch that? It's on unabridged audio!)

The pronunciation guide for Band of Sisters was rather involved. I was surprised at how many names and terms they wanted me to explain. I had to include actual pronunciation symbols based on Merriam-Webster's style.

I also had to describe the characters, but this time it wasn't only their personalities. I had to describe their voices. Does Nora have a high or low voice? What about Kim? Does Marianne have a noticeable accent? Does Jessie have a unique tone? What about Brenda? Does she talk fast? And so on.

I had to go reread portions of the book to really listen to my characters talk so I could describe their voices. (That probably sounds bizarre to anyone who isn't a writer, but to me, these women are real, and I can hear their voices in my head. No, I don't need medication.)

Back to the question: How long have the pronunciation guides been going on?

Short answer: somewhere in the ballpark of three or four years, and in that time (at least in my experience) they've become more specific and detailed.

That's a good thing, I think. I don't mind spending a little extra time on a guide since I'm no longer sweating over abridgments. And the guides really benefit everyone. The final product is better, since the actor reading the book knows going in how every person should sound and how to say possibly confusing terms, and the listener has a better experience with the story.

The guide avoids problems like the actor finding out 2/3 of the way through the book that whoops, this character has a southern drawl or this one has a gravelly voice, and this one speaks low for a woman . . . and that they've been reading it wrong the entire time!

Lots 'o Giveaway Winners

I've had two giveaways going on at the same time over here, and today I'm announcing the winners.

FIRST GIVEAWAY:

Rachelle Christensen's OfficeBox/Wrong Number giveaway has two steps. First, the 25 blogs participating each pick a preliminary winner who gets a prize package that includes:

• A ScrapMaBob
• A self-healing cutting mat
• A ribbon box

(That's a retail value of about $48.00.)

The 25 preliminary winners go on to be part of the grand prize drawing for an Original OfficeBox and a copy of Rachelle's new novel, Wrong Number.

The Lyon's Tale preliminary winner of the prize package is (drum roll, please . . .):

THE MOTHERBOARD from Crazyland with her first (required) entry of simply commenting on her favorite item. (It pays to enter!)

SECOND GIVEAWAY:

This one was to encourage readers to spread the word about our super-successful Triple Book Launch (more to come on that in another post). Thanks again to every single person who came and supported us. It was such a great night!

I promised a full set of my four temple novels (House on the Hill, At the Journey's End, Spires of Stone, and Tower of Strength) to the grand prize winner, plus two runner-ups who'd each get a copy of my grammar guide, There, Their, They're: A No-Tears Guide to Grammar from the Word Nerd.

Winners:

The four-book set goes to . . .

Alexis of One Cluttered Brain!

She was bound and determined to win by getting as many entries as she could, even though she's not in Utah and couldn't attend the launch. Thanks for spreading the word, Alexis!

The two people who get copies of There, Their, They're:

1) Krista

AND

2) Elizabeth Morgan

Congratulations to all three!

(Ladies, be sure to e-mail me your snail mail address so I can get your prizes to you!)

Share the Launch Love

It's almost here!

Sarah M. Eden, Julie Coulter Bellon, and I are revving up for Friday's Triple Book Launch Party!

THIS FRIDAY, March 12

6:00 pm - 8:00 pm

Deseret Book at University Village

(East of University Mall in Orem)

Get ready for a bunch of great door prizes. (They'll be announced here soon. We've got a bunch of awesome stuff!) Friday will be a ball.

Whether you love Regency Romance, Thrillers with lots of suspense (and a little romance thrown in!), or women's fiction (or know someone who does!), you won't want to miss this event.

But WAIT! There's more for YOU.

We want to spread the word about the launch as far and as wide as possible.

Welcome to the "Share the Launch Love" drawing!

The more YOU do to spread the word, the better your chances of winning. (I'm totally not above bribery.)

THE PRIZES:

An entire FOUR-BOOK set of my temple books: House on the Hill, At the Journey's End, Spires of Stone, and Tower of Strength.

(That's a value of over $60.00!)

TWO runners-up will get a copy of my grammar book, There, Their, They're: A No-Tears Guide to Grammar from the Word Nerd.

HOW TO ENTER: SPREAD THE LAUNCH PARTY LOVE!

Be sure to leave a comment FOR EACH SEPARATE THING YOU DO so I have a fighting chance of keeping track of the entries.

-TWO ENTRIES: Put the Triple Book Launch Party button on your side bar. (The image is at the top over on my sidebar. Just copy and paste it to your blog). You must also LINK the button to the event's Facebook page: http://www.facebook.com/event.php?eid=338177993233&ref=mf

HOW-TO UPDATE: For Blogger users, simply copy the image and add it to a picture gadget. There's a spot in the dialog box where you can add a URL to link the picture to. Copy and paste the FB link above, then save.

-THREE ENTRIES: Blog about the launch party, including date, time, location, and name all three authors involved, including links to all three authors (author websites or blogs).

-TWO ENTRIES: First you must do the blog post (above). In that post, include all three book covers featured at the launch. (Courting Miss Lancaster, Dangerous Connections, and Band of Sisters).

Here are the covers, just to make things really easy for you:

-ONE TO FIVE ENTRIES: Tweet the event. (Include a link to your tweet in your comment.) Receive an additional entry each time you tweet the launch (maximum once a day) between now and Friday. (Leave a comment each time, with a link for each tweet.)

-ONE ENTRY: Mention the launch party in your Facebook status or news feed. (Include a link in your comment.)

-ONE ENTRY: Follow The Lyon's Tale. (If you're already a follower, just say so in a comment; an immediate entry!)

-ONE ENTRY: Follow me on Twitter.

-ONE ENTRY: Become my fan on Facebook (use the nifty Facebook fan badge in the sidebar).

-ONE ENTRY: Follow Sarah M. Eden's blog.

-ONE ENTRY: Follow Julie Bellon on Twitter.

-ONE TO THREE ENTRIES: Link back to THIS POST (not just my blog; use the permalink) and share it via Facebook, Twitter, on in a blog post (the same blog post as above works!).

(It would also be awesome if readers would invite their Wasatch Front-living friends to attend. If they're on Facebook, go to the event page and click on "share." I have no idea how to track invitations like that, but we'd sure appreciate it!)

Drawing ENDS Friday, March 12 at 4:00 pm Mountain Time.

Winners will be announced after the launch (and, quite possibly, a long nap).

***TOTAL POSSIBLE ENTRIES: TWENTY-ONE!***

Ready . . . go!

(Hope to see you Friday!)

Writing Journey: Audio Double Hockey Sticks

I entered the publishing world at a rather odd period: right as cassette tapes were making their exit and CDs were making their debut.

As a result, my first novel's audio was put on cassette. My second was available on both cassette and CD, and my third was only on CD. I was right at the transition period.

This was also a period where nearly every Covenant novel was available in both print and on audio. Slight problem, however: audio sells less, but has new costs like paying an actor to perform the thing, so they always insisted that the author abridge the book down to a particular length to help on production costs.

When the full transition to CD was complete, it brought me a slight measure of joy. This may sound like a small thing, but for a writer, it was huge: the CDs they used could hold 5,000 more words of air time than the cassettes could.

That meant less abridging. Instead of cutting my book down to 48,000 words, we had to cut books down to only 53,000.

Let's put those numbers into perspective.

Abridging my first two books wasn't too hard. Oh, at the time, I thought it was a hideous brand of torture, but I had no idea how good I had it. Those books were in the neighborhood of about 70,000 words. Cutting them to 48,000 was taking out roughly 1/4 of the book.

I could take out descriptions, condense paragraphs, summarize sections, and so on, but keep the entire story intact. It wasn't fun by any means, but it was quite doable.

With At the Water's Edge, I was particularly concerned about the Finnish words and names being pronounced correctly. I could do it, in theory, but I knew I'd probably talk way too fast and get ridiculously nervous and end up sounding like a fool. So I had them audition my sister for the reader, and they used her. Mel and I sound remarkably similar (to the point that her husband has mistaken me for her on the phone), so if you ever listen to the audio of that one, you can pretend it's me!

My next book, House on the Hill, clocked in at about 102,000 words. It was book #3, which, as you recall, was still on both cassette and CD. I had to cut it down to 48,000 words. That means more than half of the book had to be at the mercy of the delete key.

Entire characters and subplots from the original don't exist in the audio version of that one. I listened to my first two audios, but nearly 5 years after that one, I still haven't listened to it. I don't have the heart.

Next book: At the Journey's End.

In theory, I should have been dancing with glee, because this was when the transition to CD was complete, so I had an additional 5,000 words to work with, right? After all, I had to cut the book to 53,000 instead of 48,000.

Yeah, well, slight problem: the novel was 114,000 words. Ahem. So even with those extra 5,000 words, I still had to cut a higher percentage, because the book was so dang long. ARGH! I think I managed to cut it well enough, but again, I haven't listened to it. I hope it makes sense.

When you cut a book that much, it becomes almost a summary; you have to suck out any personality and flavor of the original. You lose the essence of the real thing. That's why I almost cringe when I hear that people have listened to my books; I know they have no idea what my writing and my stories are really like.

I just hope the audios aren't butcher jobs. (On one hand, I do count my blessings in that I get to do the abridging and not someone else!)

Next up: Spires of Stone.

The book and its rewrites and edits gave me fits for months on end. By the time I had to cut it for the audio, I was ready to torch it anyway. I think I managed to cut it all right. The audio part of the process was such a blur that I don't really remember. I just did it and handed it in.

Haven't listened to that one, either.

Now here comes the interesting part: Covenant has changed their tune. I don't know what was behind the decision, but I'm guessing they've realized that most people don't want abridged books. If they're going to listen to a book, they want the whole thing.

So here's the latest: Covenant's putting out fewer audio books (because they can't afford to put out everything unabridged) but whatever they are putting out is unabridged.

Can I hear a hallelujah?!

The result of this is that Tower of Strength had no audio at all. That was bittersweet. For once, I didn't have the misery of having to hack away at my own book and leave a bloody mess on the floor. (Especially since authors pretty much never, ever saw any royalties on audio books anyway. Long story there, but the whole audio thing was an exercise in futility. Something we had to do, but it really did no good.)

On the other hand, a contract clause was changed that meant I would now be far more likely to get royalties from an audio book, not to mention that with a book unabridged, people would be more likely to buy it. Plus I didn't have to abridge anything.

Regardless, I didn't get the audio on Tower. Like I said, bittersweet.

This time around, with Band of Sisters, I haven't heard either way whether I'll get the audio. That'll be a decision up to the marketing department, what other titles are being released during the same period, and which they figure will be most likely to sell audio copies.

For now, I am simply grateful that never again will I have to sit at the computer wondering, How in the world can I tell this story in so few words and have it make any sense whatsoever?! ARGH!!!!

Those days are gone! YES!!!

PS #1: Today is the 4A State Football Championship. My nephew is playing in it (He's #24 for Timpview). It's also my alma mater. Today's their shot for a 4th consecutive state title. Cross your fingers for the Thunderbirds!

PS #2: The Utah Chocolate Show runs today and tomorrow at the South Towne Expo Center, 11 am to 9 pm. Tickets are $7 at the door. If you see my sister Mel (the director) say hi for me! My other sister, Michelle, will likely be hanging around the demo stage and running stuff there. Say hi to her, too! Mel may need to jet at some point this morning to see part of the game. I don't know how she'll manage to even open the show while her son's in a championship game. Yowza!

Stupid Google Alerts

Admit it. You've Googled yourself, haven't you?

But you don't have to anymore. You may have heard of the nifty Google Alert tool, which searches for any phrase you tell it to once a day, and then Google e-mails you the results.

Kinda nifty.

For a writer, Google Alerts are really convenient. For example, you can set up an alert on your book title so you'll be notified of book reviews you might not have found otherwise on a blog or news site you didn't even know existed.

I have a friend with a relatively small blog who wrote about her experience with a particular book, and within a day, the author had commented on her post.

How do you think the author even found her blog? It had to be with a Google Alert.

Awesome and convenient, no?

Definitely. Especially if your book has a title like many of my friends' books. Say, When Hearts Conjoin, or The Mazerunner, or Farworld or All the Stars in Heaven or Abinadi.

For my friends and their books, if Google finds their titles somewhere, there's a pretty good chance that the post or article is going to be about their book.

And then . . . well, then there are my books.

Do you have any idea how useless Google Alerts are for my titles?

They are all common phrases.

Let's take a look: House on the Hill

For that one, my daily Google Alert e-mail used to consist of a good dozen or more links, most referring to tourist descriptions of places they'd visited.

"We visited this beautiful house on the hill . . ."

After months and months of daily e-mails with not a single link about the actual book, I finally deleted the stupid alert.

Oh, and what about, say, Tower of Strength?

Do you have any idea how often that phrase is used whenever someone describes a loved one who has been a support? I didn't, until I created an alert for the phrase.

I swear, I get links all the time about family tragedies and how the father or the mother or whoever was a "tower of strength" for the rest of the family. Or it's a romantic tribute from one spouse to another. ("You are my tower of strength . . .")

Any time a celebrity dies, I can guarantee I'll get a bunch of "tower of strength" links about whoever is supporting the family.

Great for them. Not what I'm looking for.

Let's look at my other titles, shall we?

At the Journey's End

Another phrase tourists use. Also, I've discovered, a common name for places like bed and breakfasts. Another deleted alert.

Spires of Stone

Not quite as common as the others, but still used a lot by people in describing architectural structures they see on travels, whether it's cathedrals or whatever. I haven't deleted this alert, because I don't get dozens and dozens of irrelevant links. Just several regular ones, and every so often, there will be a real one referring to the book. Still annoying, mostly useless.

Lost Without You

A common phrase peppered throughout blogs. Since the book is out of print, it's pretty rare anyone blogs about it anyway. Alert deleted.

At the Water's Edge

Common descriptor that pops up regularly in articles and blogs. Lots of irrelevant links. Another out of print book. Another deleted alert.

There, Their, They're

You'd be amazed at how often word nerd people like me post about these homonyms . . . in this order. That's the weirdest part. I get links all the time about their misuse, and they're listed just like this. It's eerie. In all but one case, it's never been about the book.

The most useful Google Alert is simply my name, and that usually does the job well enough, because usually, if someone's going to review a book, they'll include the author's name. I'm likely to find out about it even if I'm not alerted with the title.

But then there was the time a Google Alert on my name informed me that I'd died. It sent a link to an obituary of an Annette Lyon from New York. That was disconcerting in a Twilight Zone sort of way.

Fortunately, this Annette Lyon is alive and well. And my next book's title (sounds like they're keeping it as Band of Sisters) isn't a common household phrase.

Maybe I'll finally have a useful Google Alert on a title!

Temple Trivia: Logan

Of all my temple books, House on the Hill tells more about its temple than any other. The Logan Temple is almost another character, it's such a big part of the story. Even though there are more stories in that book, plenty more aren't in it. Here are two of my favorites.

Carpeting the Temple
The original plan was to purchase factory-made carpet. 1,516 yards were purchased, but that wasn't nearly enough. Worse, the order had pretty much depleted the supply available. What to do?

Superintendent Charles O. Card asked the committee for permission to use handmade carpets. As soon as it was granted, stake Relief Societies were called on to band together to make the carpets.

The women donated rags, which were torn into strips at rag-tearing sessions. The strips were then sewn together by color and rolled into balls. The balls were taken to a weaving machine, which created long strips of cloth. They then sewed the strips together carefully so the carpet wouldn't twist or bulge.

As they were sewn together, the carpets were stretched across a room, tied to doorknobs on either side, to help keep them square. Some wards had to work together on pieces for the larger rooms to make sure the pattern remained consistent.

In spite of how hard they worked, the women weren't able to complete quite all of the carpet on time. The last of it was delivered to the temple on Tuesday, May 20, three days after the dedication. The carpet was installed all that night, with the last bit being laid at 8:00 AM, barely in time for ordinance work to begin that day.

In all, the Relief Society sisters made 2,144 yards of carpet, about two-thirds of the total 3,660 yards in the temple. The homemade carpet remained until 1925, when it was replaced by store-made carpet, with the exception of one bit, which hung on in one of the towers until 1959. When it was removed, that last section was cut into pieces, which were given to officiators and others. Presumably, one piece is still in the temple office.

The Hay Baler
One of the saddest stories in the construction is something I wanted to tell in the book, but I couldn't find a natural way to fit it into the plot. Since I refuse to throw in irrelevant history just for history's sake, I reluctantly left it out. So I'm going to tell it here instead.

Since the construction era was well before things like gas-powered cranes and other motorized vehicles, much of the power came from animals like horses and mules who hauled stone, pulled ropes on pulleys to raise stone blocks, and the like. (I do tell about Old Jim the donkey in the book. Fun story there.)

As a result of the animal labor, they had a temple stable where the work animals were fed and housed. For many families, their donations for the temple consisted of hay for the animals. To keep the hay in good condition and to be able to distribute it easier, they needed a baler.

Nolan P. Olsen describes it as being, "15 feet high, consisting of a large wooden enclosure, with a hole through which the hay was pitched. A large flat rock was rigged up so it could be hoisted up high by horse power, and when it was tripped it would fall into the enclosure and mash the hay flat."

The 300-500 pound bale would be tied up with ropes or wire and then stacked for later use.

One day the rope got stuck, and they couldn't trip the rock to make it fall. The workers couldn't get the rope to loosen or the stone to budge. At that point, a young man of 13 years, John Hincks, put his head inside the baler to peer up in hopes of seeing what the problem was.

Of course, that's the moment the rock tripped on its own. It came down and crushed his head, killing him.

The death of John Hincks was the first connected to the construction of the Logan Temple, but while it wasn't anywhere near the last, to me, it's one of the most tragic because he was so young.

As his grave marker said, he was "Like a flower in bud just bursting into view."


Today's tour stops:
Is It Just Me? (Featuring the Lunar Temple and a new face for me!)
Heather Justesen

Where Book Ideas Come from

Recently, I've had several people ask where I get the ideas for my books. Some of my unpublished manuscripts are so bad they'll always be unpublished, but here's a book-by-book look at my published books.

I'll start with the most recent and go backward:



With most of my historical novels, I haven't had a clue about what the story will be until I learn about the temple and the area. Since I'm very big on the history being an organic part of the story, I need to know about the setting before I can come up with a plot or characters to fit it.

With Tower of Strength, I researched the settlement of Manti and the temple there for several weeks, making notes and marking spots in the text of several publications, but I really had no clear idea for a story.

Then one day as I was blow drying my hair, Tabitha showed up in my head. I heard her say, "It's Tab, not Tabby. I'm not a cat!" I grinned, knowing I'd found my heroine.

From that point, I knew enough about the area that I was sure Temple Hill and some of its history needed to figure prominently in the story. But those events were way before the construction of the temple and therefore several years before Tabitha was born. I knew I'd need a character that was a child during those years. (Which is why Fred is several years her senior.)

Early into the drafting, I uncovered Mantia's story and groaned. GREAT. More research. In an area I knew nothing about. So I hit the Internet and studied up on horses and horse training. Such. A. Pain. (But in the end, totally worth it.)


As I mentioned in a recent Writing Journey post, Spires of Stone is essentially a retelling of Shakespeare's Much Ado about Nothing. I've always loved that play and wanted to retell the story. The trick for this one wasn't finding the idea, but finding a way to adapt a classic to the 1800s and work in details about the temple in a natural way.

At the Journey's End was a bit like Tower of Strength in that I was several weeks into the research before I had any clue what the story would be. I had lots of cool ideas about what could happen (and things that had happened) on the Honeymoon Trail that led from Arizona to St. George, but I also knew there was no way to tell all of them.

Thanks to all the horror stories I read about one area of the trail, I knew pretty early on that there would be a disaster in that spot. (Something that apparently takes most readers by surprise.)

One thing I did know going in was that Abe would need a strong reason to leave Utah. Plus, he needed someplace else to go that had Mormons. I'd recently read about a lynching that really happened in Salt Lake City around this time. That tragedy provided the perfect impetus Abe needed.

Once I settled on him going to Arizona, his story wasn't the hard one to come up with. It was the heroine's. Fortunately, Maddie showed up on her own a couple of weeks into the research, and I could breathe a sigh of relief. Now I had both sides of the equation and could move forward.


House on the Hill, my very first temple novel, came about after I read my parents' copy of Nolan P. Olsen's Logan Temple: The First 100 Years. I picked it up after getting married in the Logan Temple myself, and after reading the book, I knew immediately that there was a story there I had to tell. But it wasn't until after I read the book again, made a master chronology, and started looking at the events and dates that I figured out a story to go with it. This book went through a lot of drafts and revisions, especially in the early stages. Writing a historical for the first time was pretty terrifying.

I managed to buy a copy of Olsen's book for myself a few years ago. It's out of print again, so I'm glad I snagged it when I had the chance. Sometimes I get e-mails asking where you can find the book. I've seen it for sale at online used bookstores and even Deseret Book's online auction. They're out there, just hard to find.

As I've mentioned before, Abe came about after I read a paper on Native American children who were indentured by Latter-day Saints. It was such an intriguing idea that I knew right away who he was and where he'd come from. He remains a favorite character for a lot of readers.


As some people have guessed, At the Water's Edge was somewhat inspired by my parents' own love story. But only inspired by. The vast majority of the book is pure fiction. Here's where it dovetails with reality:

My dad served a mission in Finland. He returned several years later on graduate research and met my mother at church. (Check, check, and check for Kenneth.)

Mom became the black sheep of her family when she was baptized, and her father threatened to kick her out of the house if she joined the Church. (Check and check for Annela.)

But that's as far as the story mirrors reality. Mom was seventeen when she was baptized, not an adult in her twenties with a messed-up, live-in boyfriend. All the rest of the story is out of my head. One big difference is that both of Mom's parents were against the Church, not just her father.

I made the mistake of telling one of my sisters that our parents inspired the story right as I handed over a few chapters for her to read. She came back with tears in her eyes saying, "Did Grandma really say that?" I had to burst her bubble. Sorry, no. This is FICTION. Annela's mother isn't Grandma (who was very much against Mom's baptism). Grandma never expressed support like Annela's mother does. (It's a novel. Pretend. Made up!)


Lost without You was sparked by a dream. (Wouldn't it have been nice if that dream yielded millions like Stephanie Meyer's dream?! :-D) At the time, I had two children. In the dream, I knew I was going to die soon, and my two regrets were that I couldn't say good-bye to my husband and that I couldn't tell him to find a good mother to raise my children.

Up to that point, I'd been adamantly opposed to him ever remarrying were I to die. But that dream showed me that if another woman were to truly mother and nurture my children as her own, that I would praise and honor her for doing so.

That was the kernel of the idea.

Next week I might go into some other ideas, such as what prompted Band of Sisters, coming out next spring, and my the dust-gathering murder mystery I really should do something with


Today's Tour Stop:
Author Bee's Blog (Therein I discovered what that smell is.)