The Truisms of Walt Disney World (That's My Opinion) by Steve Russo

The Truisms of Walt Disney World (That's My Opinion) by Steve Russo

This is a great article for all of yu Disney freaks like me. So, what are you "publishing truisms"? And please people, this is a fun activity for the weekend. No posting things just to make a political statement or slam against something in publishing.

I'll get this started...

It is a certainty that I will find a spelling error AFTER I hit the send message with a submission.

An Offer For This Year's Golden Heart Class

Attention all Golden Heart nominees for this year. Although Greyhaus is currently closed to all unsolicited submissions, consider this your invitation to submit. If you are interested, submit the following material via email.

SUBJECT LINE: REQUESTED MATERIAL GOLDEN HEART - Your name

In the body of the email, submit a standard query letter including a brief synopsis of your Golden Heart Manuscript that would equal no more than 1 page typed.

Attach the first three chapters of your manuscript in an .RTF (Rich Text Format Attachment).

Please note, this is ONLY open to this year's nominees. Submissions from prior nominees or other authors not currently on the posted list from the RWA will not be read and there will be no response. Greyhaus Literary Agency will cross reference the Golden Heart Postings found on the RWA National Website.

Congrats to the RITA/GH Nominees - Vote Here For Your Favorites!

Tell me who your favorites were this year! Stay tuned also for an announcment later this week for all of the GOLDEN HEART FINALISTS.

 

A special congrats to my favorite editors! Tara Gavin, Gail Chasen, Lucy Gilmour, Susan Litman, Sally Williamson,

 

2013 RITA Finalists

Best First Book Finalists

The Anatomist’s Wife by Anna Lee Huber
Penguin Group USA, Berkley Publishing Group
Michelle Vega, editor

Crazy Little Thing by Tracy Brogan
Amazon Publishing, Montlake Romance
Kelli Martin, editor

Firelight by Kristen Callihan
Grand Central Publishing, Forever
Alex Logan, editor

Forged in Fire by Trish McCallan
Amazon Publishing, Montlake Romance
Lindsay Guzzardo, editor

Ghost Planet by Sharon Lynn Fisher
Tom Doherty Associates, Tor Books
Whitney Ross, editor

The Haunting of Maddy Clare by Simone St. James
Penguin Group USA, New American Library
Ellen Edwards, editor

My Life Next Door by Huntley Fitzpatrick
Penguin Group USA, Dial Books for Young Readers
Jessica Garrison, editor

Pushing the Limits by Katie McGarry
Harlequin, Harlequin Teen
Margo Lipschultz, editor



Contemporary Single Title Romance Finalists

About Last Night by Ruthie Knox
Random House Group, Loveswept
Sue Grimshaw, editor

Barefoot in the Sand by Roxanne St. Claire
Grand Central Publishing, Forever
Amy Pierpont, editor

Forever and a Day by Jill Shalvis
Grand Central Publishing, Forever
Alex Logan, editor

Lucky in Love by Jill Shalvis
Grand Central Publishing, Forever
Alex Logan, editor

Melt into You by Roni Loren
Penguin Group USA, Berkley Heat
Kate Seaver, editor

Sugar Springs by Kim Law
Amazon Publishing, Montlake Romance
Kelli Martin, editor

The Way Back Home by Barbara Freethy
Simon & Schuster, Pocket Books
Micki Nuding, editor

Zoe’s Muster by Barbara Hannay
Penguin Group Australia, Michael Joseph Books
Belinda Byrne, editor



Historical Romance Finalists

Beauty and the Bounty Hunter by Lori Austin
Penguin Group USA, Signet
Claire Zion, editor

Bride by Mistake by Anne Gracie
Penguin Group USA, Berkley Sensation
Wendy McCurdy, editor

Defiant by Pamela Clare
Penguin Group USA, Berkley Sensation
Cindy Hwang, editor

A Lady Never Surrenders by Sabrina Jeffries
Simon & Schuster, Pocket Books
Micki Nuding, editor

The Recruit by Monica McCarty
Random House Group, Ballantine Books
Kate Collins, editor

A Rogue by Any Other Name by Sarah MacLean
HarperCollins Publishers, Avon Books
Carrie Feron, editor

Too Dangerous to Desire by Cara Elliott
Grand Central Publishing, Forever
Lauren Plude, editor

Wedded in Sin by Jade Lee
Penguin Group USA, Berkley Sensation
Kate Seaver, editor



Inspirational Romance Finalists

Against the Tide by Elizabeth Camden
Baker Publishing Group, Bethany House Publishers
Raela Schoenherr, editor

Betrayal by Robin Lee Hatcher
Zondervan
Sue Brower and Leslie Peterson, editors

An Heiress at Heart by Jennifer Delamere
Grand Central Publishing, Forever
Lauren Plude, editor

A House Full of Hope by Missy Tippens
Harlequin, Love Inspired Books
Emily Rodmell and Rachel Burkot, editors

My Stubborn Heart by Becky Wade
Baker Publishing Group, Bethany House Publishers
Sarah Long, editor

Naomi’s Christmas by Marta Perry
Penguin Group USA, Berkley Trade
Ellen Edwards, editor

The Soldier’s Wife by Cheryl Reavis
Harlequin, Love Inspired Books
Tina Gavin, editor

The Wedding Dress by Rachel Hauck
Thomas Nelson, Inc.
Ami McConnell, editor



Long Contemporary Series Romance Finalists

A Cold Creek Noel by RaeAnne Thayne
Harlequin, Special Edition
Gail Chasan, editor

From Father to Son by Janice Kay Johnson
Harlequin, Superromance
Wanda Ottewell, editor

A Gift for All Seasons by Karen Templeton
Harlequin, Special Edition
Gail Chasan, editor

A Life Rebuilt by Jean Brashear
Harlequin, Superromance
Adrienne Macintosh, editor

Making Her Way Home by Janice Kay Johnson
Harlequin, Superromance
Wanda Ottewell, editor

No Ordinary Joe by Michelle Celmer
Harlequin, Superromance
Charles Greimsman, editor

Out of the Depths by Pamela Hearon
Harlequin, Superromance
Megan Long, editor

A Texas Chance by Jean Brashear
Harlequin, Superromance
Adrienne Macintosh, editor



Novel with Strong Romantic Elements Finalists

The Anatomist’s Wife by Anna Lee Huber
Penguin Group USA, Berkley Publishing Group
Michelle Vega, editor

Before and Ever Since by Sharla Lovelace
Penguin Group USA, Berkley Sensation
Wendy McCurdy, editor

Bridge of Scarlet Leaves by Kristina McMorris
Kensington Publishing Corp.
John Scognamiglio, editor

A Girl Like You by Maria Geraci
Penguin Group USA, Berkley Trade
Wendy McCurdy, editor

The Haunting of Maddy Clare by Simone St. James
Penguin Group USA, New American Library
Ellen Edwards, editor

Time’s Echo by Pamela Hartshorne
Macmillan Publishers, Ltd., Pan Macmillan
Wayne Brookes, editor

The Welcome Committee of Butternut Creek by Jane Myers Perrine
Hachette Book Group, Faith Words
Christina Boys, editor



Paranormal Romance Finalists

Angel in Chains by Cynthia Eden
Kensington Publishing Corp., Brava
Megan Records, editor

Edge of Oblivion by J.T. Geissinger
Amazon Publishing, Montlake Romance
Eleni Caminis, editor

Immortally Yours by Angie Fox
St. Martin’s Press
Monique Patterson, editor

Lothaire by Kresley Cole
Simon & Schuster, Pocket Books
Lauren McKenna, editor

Mark of the Witch by Maggie Shayne
Harlequin, MIRA
Leslie Wainger, editor

Moonglow by Kristen Callihan
Grand Central Publishing, Forever
Alex Logan, editor

Rogue Rider by Larissa Ione
Grand Central Publishing, Forever
Amy Pierpont, editor

Shadow’s Claim by Kresley Cole
Simon & Schuster, Pocket Books
Lauren McKenna, editor



Romance Novella Finalists

Breathless by Sophie Jordan
HarperCollins, HarperTeen Impulse
Kari Sutherland, editor

The Duchess of Love by Sally MacKenzie
Kensington Publishing Corp., Zebra
Audrey LaFehr, editor

“Room at the Inn” by Ruthie Knox in Naughty & Nice
Random House Group, Loveswept
Sue Grimshaw, editor

Seduced by a Pirate by Eloisa James
HarperCollins, Avon Impulse
Carrie Feron, editor

“Sleeping with a Beauty” by Leslie Kelly in Once Upon a Valentine
Harlequin, Blaze
Brenda Chin, editor

“The Valentine’s Curse” by Jodi Thomas in Be My Texas Valentine
Kensington Publishing Corp., Zebra
Peter Senftleben, editor



Romantic Suspense Finalists

Celebrity in Death by J.D. Robb
Penguin Group USA, Putnam
Leslie Gelbman editor

Dead Heat by Bronwyn Parry
Hachette Australia
Bernadette Foley, editor

Don’t Cry for Me by Sharon Sala
Harlequin, MIRA
Leslie Wainger, editor

Forged in Fire by Trish McCallan
Amazon Publishing, Montlake Romance
Lindsay Guzzardo, editor

Last Man Standing by Cindy Gerard
Simon & Schuster, Pocket Star Books
Micki Nuding, editor

Scorched by Laura Griffin
Simon & Schuster, Pocket Star Books
Abby Zidle, editor

Twisted by Laura Griffin
Simon & Schuster, Pocket Star Books
Abby Zidle, editor

Vortex by Cherry Adair
St. Martin’s Press
Rose Hilliard, editor



Short Contemporary Series Romance Finalists

Becoming Dante by Day Leclaire
Harlequin, Desire
Mary-Theresa Hussey, editor

Cowboy in the Crossfire by Robin Perini
Harlequin, Intrigue
Allison Lyons, editor

The Last Single Maverick by Christine Rimmer
Harlequin, Special Edition
Gail Chasan, editor

A Marriage Worth Fighting For by Lilian Darcy
Harlequin, Special Edition
Bryony Green, editor

A Night of No Return by Sarah Morgan
Harlequin, Presents
Lucy Gilmour, editor

Surgeon Sheik’s Rescue by Loreth Anne White
Harlequin, Romantic Suspense
Susan Litman, editor

The Tycoon’s Secret Daughter by Susan Meier
Harlequin, Romance
Sally Williamson, editor

We’ll Always Have Paris by Jessica Hart
Harlequin, Romance
Lucy Gilmour, editor



Young Adult Romance Finalists

Bound by Erica O’Rourke
Kensington Publishing Corp., KTeen
Alicia Condon, editor

The Farm by Emily McKay
Penguin Group USA, Berkley Publishing Group
Michelle Vega, editor

Grave Mercy by Robin LaFevers
Houghton Mifflin Harcourt Publishing Company, Houghton Mifflin
Kate O’Sullivan, editor

Pushing the Limits by Katie McGarry
Harlequin, Harlequin Teen
Margo Lipschultz, editor

2013 Golden Heart Finalists

Contemporary Series Romance Finalists

"Baby on Board—Help!" by Miranda Liasson

"The Billionaire's Hypnotized Mistress" by Greta MacEachern

"Confessions of the World's Oldest Shotgun Bride" by Gail Hart

"Her Soldier Returns" by Kristin Noel Fischer

"Jayhawk Down" by Sharon Calvin

"Southern Comforts" by Nan Dixon



Contemporary Single Title Romance Finalists

"The Bollywood Bad Boy" by Sonali Dev

"Clean Sweep" by Nan Dixon

"Climb to Freedom" by Sheila Athens

"Everybody Knows..." by Jacqueline Floyd

"Hijacked" by Leslie Lynch

"Objection Overruled" by Jane O'Hanlon

"Place Your Betts" by Katie Graykowski

"What's Yours Is Mine" by Tamar Bihari writing as Talia Quinn Daniels



Historical Romance Finalists

"Between Love and Lies" by Jacqui Nelson

"A Champion's Heart" by Piper Huguley

"Come to Me" by Oberon Wonch

"Drawn to the Earl" by Joanna Shupe

"The Last Light of Dusk" by Joanne Lockyer

“The Promise of Dawn” by Eliss Baker

"The Rake's Handbook" by Sally Orr

"Sense and Seduction" by Thomasine Rappold



Paranormal Romance Finalists

"Dark Secret" by Mariah Ankenman

"Demon's Bane" by India Powers

"Guardian" by Tara Sheets

"Jinn & Tonic" by Kay Hudson

"Mind Sweeper" by Amy Jones writing as AE Jones

"Sea Panther" by Dawn Wolzein

"Shadows in the Deep" by Lark Howard

"Unbroken" by Ella Sheridan



Romantic Suspense Finalists

"Broken Places" by Krista Hall Reynolds

"Crazy for Her" by Sandra Owens

"Juliet's Rogue" by Sharon Wray

"The Predator" by Chris Taylor

“Rampant Perfection” by Laurie Cooper

"Rogue's Redemption" by Sharon Wray

"The Shadow Hour" by Jacqui Nelson

"Spies, Lies, and Debutantes" by Miranda Liasson



Young Adult Romance Finalists

"Camp Awakening" by Bonnie Staring

"Hidden Deep" by Amy DeLuca

"Leath'Dhia/Birthright" by Kari Miller

"Miranda Perry's Imported Prom Date" by Sheri Adkins

"Sticks and Stones" by Kimberly MacCarron

"Summer of Supernova" by Darcy Woods

"Ten" by Holly Bodger

The Pro's and Con's of Dialect In Writing

A lot of famous authors from Mark Twain to Alice Walker have used dialect in their writing. As readers we have all experienced reading dialect and seen both the power it has to suck you into the world of the characters, while at the same time, really becoming an obstacle to our understanding of the story. Yes, bringing in an authentic language and voice to the story adds to the realism of world you are creating on the page, but it might be working to your disadvantage.

If you think about the first time you read Shakespeare, you will understand what I mean. For most new readers of his plays, it took two or three acts before our heads to get a grasp of the language. By then, we might have become so lost and confused, it really didn't matter because our brains turned off. For people who travel, you too might have experienced just this same thing. when you end up in a country that might speak a different dialect of English, it seemed as if you might be really listening to a different language entirely.

I see many new authors really mess this one up a lot. In their attempt to create a truly authentic picture of their world, they fill the book with dialect that, for many, would take a dictionary to understand what the characters are saying. There are good intentions here, but the problem is that the fluency of the story, the rhythm and cadence that makes for an easy read is stopped dead in its tracks with the language.

So, what is the solution? Does an author eliminate all of the language and dialect? You can, or you can simply reduce it throughout the book. Use it sparingly and you should be fine. I think some great examples of this are the authors of historical fiction, especially those that write in a time period with a unique voice, or a country with that strong dialect. Scottish authors use the "doona's" sparingly. Medieval authors back off of the "thee's" and the "thous". If you think of the movie, Hunt for Red October, you get the idea. People often laughed at Sean Connery's character. Isn't it interesting that this Russian submarine captain speaks amazing English with a British accent? He had to, or the odds are the movie goers would have no idea what he was saying.

Play with it a little. See what you can find on this when you read this week.

All The Gears Have To Work With A Submission

There are so many variables when it comes to the publishing world. I do think this is one of those things that frustrates all of us in this business. The writers, the agents and the editors are all faced with the same issue of making sure that all of the variables are in place for a book to do well. We're talking about serious Cosmic Alignment here for your projects. I also believe this is one of the things that many writers have a hard time grasping. Sure, they understand that these variables are in there, but when it comes to submissions, it is often hard to see it first hand.

I was thinking about this last week when I read the great blog post by Rachelle Gardner on the Books and Such Literary Agency website. She was discussing the difficult time agents face more often than not, of having to give up on a project. The points she brings up clearly highlights much of that frustration we feel when it comes to books. I do believe there is an extension to this when we bring into the fact that all of those variables in a book have to be there for it to sell.

That same day I read Rachelle's post, I also received a rejection for a project I am currently marketing. The comment I got back from the editor I think really hit the mark. She loved the premise and thought it was really marketable and unique. In fact, she hadn't seen anything like this at all, but for her, the voice of the story didn't quite work. The writing was fine, but it was the voice. Ugh.

I have another author who we are also on the hard search right now for selling her first book. The feedback from the editors I have sent it to have all be very positive. In one case, when I was talking to the editor about the author, she commented that, for this author, "if so many editors are loving her writing, it is just a matter of time for it to fall in the right hands." In simple terms, the cosmic cards have to be in the right place.

So, when we talk about all of these variables, what are we looking at? Again, I am going to tap into Rachelle's post for some of these points.

1. The strength of the writing. This is an obvious one I think for most authors. The writing has to be good. We're talking about all of those stylistic things we spend so much time editing. Does the author really have a command on the basics such as dialogue, narration, pacing and so forth. Yes, even grammar comes into play here.
2. The voice of the story. This issue deals with the tone of the story. We (and I am talking about agents, editors and the readership out there) want a story that just floats off the page. We are looking for a story that has an authentic feel to it and not something that feels forced and distant. In many ways, this connects back to the actual writing. That voice also has to be in alignment with what the publishing house is looking for in a story. Remember, everyone is different.
3. The storyline and plot development. This is the issue that my author had positive comments on. That storyline has to be something that is realistic, well developed and demonstrates a strong sense of knowing where it is supposed to go. Stories that miss this mark are often full of random plot devices, repetition, pointless scenes and so forth. 
4. The enthusiasm of the agent/editor. This is, unfortunately, the huge issue of subjectivity in this business. There are just some stories that don't work for us. It doesn't knock our socks off and we just don't connect with it. You know what I mean on this one. You have a book you like and someone else hates it. It is just a matter of preference.
5. The marketablity of the project. This is where the story has to be something that can sell. In this situation, we can be dealing with a market that is completely flooded at this particular time of that genre. We might be talking about the size of the project (500,000 word projects). It might be you are dealing with an issue that is important but might be too touchy to bring up with the mass market right now. In simple terms, we're talking about sales here. If we can't sell the books, then we won't take it on. Does this mean the book will never sell? No. It might simply be the timing of it.
6. The need for that book in the line-up. In this case, this is where we look at the other authors currently with the agency or the publisher. If there are already authors writing the type of story you are writing, then adding "another" author to the group isn't going to work out. The same goes for publishers. There are only so many slots to fill each year for books. If the publishing "dance card" is full, then things won't work out for you.

So, next time you get a rejection letter that says they loved the book, or they loved your writing, but then passed on it, don't worry. It simply meant the cosmos wasn't lined up for you at that moment. It doesn't mean it won't happen all of the time though.