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About the Host

Jessica Bell is an award-winning author, writing and publishing coach, and graphic designer. In addition to having published a memoir, four novels, three poetry collections, and her bestselling Writing in a Nutshell series, she has been featured in a variety of publications and ABC Radio National shows such as Writer's Digest, Publisher's Weekly, Mamam!a, Life Matters, and Poetica.
 
She is also the Publisher of Vine Leaves Press, CEO of Independent Publishing Assistance, a voice-over actor, and the coordinator of the Writing Day Workshops.
 
In October 2016, she became the new lead singer of the well-known dream-pop group, Keep Shelly In Athens, and records and performs as a solo artist under the name BRUNO.


Tweets by @MsBessieBell

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This website is a Vine Leaves Press project.

GO AHEAD, CHEAT ON YOUR GENRE, by Susan Sundwall

15/3/2017

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Think about the word, genre. It’s a bit snooty sounding. And right now you’re saying it to yourself just to test my supposition, aren’t you? It means kind or type. When someone asks what kind of writing I do, most often they’re thinking genre. But their asking frequently stumps me. Two of my mysteries have been published so you’d think I’d answer “mystery,” but the word tends to stick in my throat. 

In veering off (a gentle term for cheating) into other genres writers can become green with envy in so many productive ways.
Tweet: By trying other genres, #writers become green with envy in productive ways, says @ElainaSam https://ctt.ec/PJ6aa+ #theaartistunleashed
There’s a hesitation there because I don’t want this asker to think that’s all I write – I’m broader than that. I don’t want her to think that’s all I read, either. Yeah, I’m broader and, dare I say, more beautiful than that, because of the poetry. It’s true, I always have a mystery waiting on the table, under the lamp, but often, in a mad fever of rebellion, I’ll give in to my cheating heart. So here I confess, with Hank Williams and his guitar strumming plaintively in the background. 

Books like Kalad Hosseini’s, The Kite Runner, and A Thousand Splendid Suns, seduced me into the historical fiction genre with its violent beauty, ancient cultural patterns, and the universal revulsion for cruel injustice. In like manner Lisa See’s, Snow Flower and The Secret Fan, pulled me in and begged me to experience the old Chinese practice of foot binding. It was dreadful and fascinating and sent me searching like a mad woman for authentic images (which I found). It also made me cringe and give thanks for being born elsewhere and in another time.

Hugh Howie’s, Wool, whipped me below the surface of the earth and made me wander through a future where everyone lives like a mole. Science fiction. I rarely read it, but I could hardly lay Wool down. I tried. Then, every time my Kindle gave up the ghost on one installment, I zippy quick downloaded the next. So what if it was two in the morning? This is what cheating does to you and I’m not sure I’m ashamed. If you’re judging, hang on a minute. I’m calling Lucy in to do some ‘splainin’.

After the pleasing, near-erotic, diversion of any number of other genres I scamper happily back to Janet Evanovich, Sue Grafton, Lee Child, and Elizabeth George – old flames, brief passions, or current crush all from my long days of delicious mystery reading. I’m excited. I feel like I have things to tell them; tales and imaginings from these other worlds I’ve discovered. I’ll gladly grab their hands and set out the picnic blanket if they’re only willing to listen, to broaden out, too. Where can we go for a glass of wine and good brie to discuss the dark secrets revealed in the back alleys of nineteenth century London? Do they have any idea how strangely wonderful Tibetan butter tea is? And then, what kind of dirty secrets might I pull from these masters about their wildly popular inspectors, detectives, or bumbling skip chasers? And who have they cheated on – these purveyors of murderous humanity? You tell me yours and I’ll tell you mine. The game is afoot.  

Once we’re settled down and begin courting true insight, another phenomenon bubbles up. In veering off (a gentle term for cheating) into other genres writers can become green with envy in so many productive ways ...

​At first we chasten ourselves for not coming up with this brilliant plot twist or that sublime syntax more readily than Mr. #1 on the New York Times bestseller list. Self flagellation looms. But in short order we get mad – as in mental – in a way far greater than simply red in the face. The mind whirls. The pen flies. Our writing scales new heights and heads for Alpha Centauri because our cheating heart has brought home the goods. And when, at last, that pen is laid to rest, we collapse into sobbing.

“Why didn’t I stray before? What was wrong with me?” 

The old flame, brief passion, and current crush smile. What I didn’t know is that they know what it’s like – they’ve cheated, too. And so they forgive, hand over a hanky, and fill my wine glass. Sure, I’m no longer pure, but I’m better, wiser and more able to forgive myself and others. The glorious blooming must come next. It’s a wonderful thing.

And if, deep down, you also have a cheating heart, you know exactly what I mean. Now ‘fess up. Where has your cheating heart led you lately? Old Hank and I really want to know.


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Susan Sundwall’s first mystery, The Red Shoelace Killer, was published in late 2012. Her second book, The Super Bar Incident, was released in 2014 and she’s currently editing a third. She lives in upstate New York where she draws inspiration from the demented squirrels living in the woods out back. 

Connect with Susan: Blog | Twitter


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WRITING, SECRETIVE DOGS & LGBT LITERATURE by Jean Ryan

7/4/2016

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I have always believed that the finest LGBT literature builds bridges between different communities. The passions and problems explored in my stories span relationships of all kinds. Lesbian love affairs are woven with heterosexual relationships in an attempt to demonstrate the commonality of our experience as loving human beings. Because writing is a way of connecting, LGBT writers have an exciting opportunity to promote understanding and respect between all people.

​In my story collection SURVIVAL SKILLS you will find a hell-bent storm chaser, a malicious parrot, a young man afraid of cars, a dog with too many secrets, a guilt-ridden sister, an insidious garden weed, a love-struck goose, adulterous wives, mysterious deaths and a few lesbian love affairs gone awry. This is the advantage of story collections: the ease with which a reader can slip in and out of disparate worlds, tasting all kinds of trouble.

I strive for beauty and precision in my writing. While I have published both a novel and a story collection, I am most fond of the short story genre, the distillation involved. While novels depend on an accumulation of details, short stories must get to the point swiftly. For me, writing feels like sculpting; I try to chip away the extraneous to reveal the essence. Nothing matters more than the reader’s time, and I strive to honor it by cutting clear paths and offering something I hope intrigues them.

​Life on this planet is a communal experience, and readers and writers form a sort of therapeutic bond, a mutually beneficial relationship. In an effort to bring the reader in close, I offer up my own doubts, fears and heartaches, knowing they are common chords. A couple stories in SURVIVAL SKILLS feature dogs, which stymied a friend of mine who wanted to know how I can write about them so convincingly, having none myself. I told her there is no shortage of examples. To write about dogs, to write about anything, requires two faculties: observation and empathy. If the story calls for more information, I turn to research (an occupational hazard: research can be addictive). An interesting aspect of this investigative work is how little of it I actually use. Research is like shopping. I meander down dozens of aisles and wind up with just two or three small treasures. These I tuck into my stories as discreetly as possible—only the best for my readers.

How are these details chosen? I’m not sure. I do know that when I spot one, my heart quickens. My favorite literary quote was penned by Georgia O’Keefe: “It is only by selection, by elimination, by emphasis, that we get at the real meaning of things.” Absolutely. The right details take us straight to the truth, and short stories are great vehicles for getting there.

Many people don’t read short stories, preferring the lengthy immersions offered by novels. I am baffled by this unwillingness to invest in low-risk, short-term investments, particularly given our paltry attention spans. Essentially readers are basing the value of a story on how long it keeps them company. You don’t see this more-is-better mentality applied to other art forms. A symphony does not trump a song, nor is a portrait less important than a mural, or a statue more impressive than a figurine. And poetry—no one accuses poems of being too short. I wish I could write poetry; the audience is small but ferociously loyal.

Just let me say: If you want to make new friends, fall in love, laugh out loud, solve a mystery, take a vacation, or just learn a few jaw-dropping things about this world, you don’t always need three hundred pages. Stories of any length can be stunners, and some of the very best writing is found in short works.

I am encouraged to see more and more LGBT writers breaking away from conventional novels and exploring other genres. Greater emphasis is being placed on the craft of writing and the quest for excellence.

Why would a greyhound refuse to run? Could a brand new face change one’s personality? What would make a goose adopt a divorcee? Where does the brain travel during coma? Why are moths attracted to light? Just how smart is an Amazon parrot? Can a woman lose her partner to the arms of an octopus? How do people survive the harsh infinity of a desert town?

These are a few of the questions that led to the creation of SURVIVAL SKILLS, and I hope I came up with some adequate answers. I am currently working on a second collection in an effort to connect with more readers and better understand the world we share. 

Do you prefer to write what you know, or are you open to exploring what you don't? Do you prefer writing short stories, or novels?


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Jean Ryan, a native Vermonter, lives in Napa, California. Her stories and essays have appeared in a variety of journals and anthologies. Nominated several times for a Pushcart Prize, she has also published a novel, LOST SISTER. Her debut collection of short stories, SURVIVAL SKILLS, was published in April 2013 by Ashland Creek Press and was short-listed for a Lambda Literary Award.

Connect with Jean:
Website | Facebook | Twitter



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THE TEN INGREDIENTS OF A GOOD THRILLER, by Dawn Ius

2/12/2015

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Ever since Dan Brown’s DaVinci Code launched onto the scene with a controversial uproar, the thriller genre has grown with heart-pounding speed. And, over the years, it has evolved to encompass the paranormal, the transgressive, and, even more so as of late, young readers.

In fact, the thriller obsession has bled into pop culture like a severed artery, forever changing—for better or worse—the face of television, movies, books, plays, video games, art and graphic novels. The boundaries of what constitutes “thriller” are often up for debate. But regardless of whether you’re into science, horror, mystery or suspense, the key elements of a good thriller can be hard boiled down to these 10 ingredients as presented by award-winning medical thriller writer, Gary Braver.

1.    A Strong Story

The driving mechanism of a thriller novel is “dread.” Dread is generally—but not always—accomplished through the quest to find some “elixir” or “cure-all” to prevent disaster. Thriller stories often evolve from real life news. One of the classic thriller novels, Michael Crichton’s Jurassic Park, was sparked by a news article about the cloning gene.

2.    Dread

Thrillers are about emotions, primarily the feeling of dread. A good thriller continuously ramps up the “dread factor” — beginning with Page 1. 

3.    The Underdog

The protagonist of your thriller should be the person with the most to lose, the one the reader is most emotionally attached to. This character should have a moral code and a past “hurt.” Throughout the story,  your walking wounded hero must overcome these personal demons.

4.    Clear Protagonist Goals

Know what your protagonist wants, but don’t give it to him. Your hero must earn the victory for your reader to feel satisfied. The protagonist should go on a professional and personal quest.

5.    Multiple Points of View

While there are many exceptions to the rule (ie: Steve Martini), most thrillers are written in third person, shifting point of view. This allows the reader to feel “dread” and see the story from different eyes.

6.    Open the Book with Action

Don’t use your opening chapter as a dumping ground for back story. Use action to capture the reader’s attention. Try to keep the first chapter under ten pages (which translates to about five pages in a published book) to really hook the reader.

7.    The Main Character Must Change by the End of the Book

This is true of all fiction.

8.    Pacing Must be High

Pacing is the rate at which the story moves. Keep description tight, the action moving. If you have a high drama scene, the next scene can slow down a bit, but not too much—thrillers rely on the reader’s desire to turn the page. Avoid adverbs. Aim for active voice. Two great examples of fast-paced thrillers include Stephen King’s Misery and Thomas Harris’ Silence of the Lambs. In fact, if you’re writing a thriller and haven’t read Silence of the Lambs, stop now. Read the book. It’s virtually a textbook on how to write a good thriller.

9.    Cliffhangers
End your chapters with good cliffhangers—make it impossible for the reader to not turn the page.

10.  Teach the Reader Something

A good thriller teaches the reader something. While you don’t want to overload the story with too much research, one of the reasons the Davinci Code did so well was because it was peppered with facts that made the story more believable.

Take a look at your current thriller WIP. What elements are you missing? What thriller “textbooks” are you using? Of course, many of the elements listed above are true or can be adapted for all fiction. How can you incorporate the elements of thriller into your writing? ​


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DAWN IUS is a professional editor with more than 20 years experience in the newspaper and magazine industries. Her work has been featured in global publications such as Cosmopolitan, Maclean's, Soap Opera Weekly, The Calgary Herald, The Calgary Sun, and The Edmonton Journal, among many others. She is the co-founder and senior editor of Vine Leaves Literary Journal, the Assistant Managing Editor of the International Thriller Writers' monthly e-zine, The Big Thrill, and the author of ten educational graphic novels published by the Alberta Canola Producers Commission. Her first contemporary young adult novel, ANNE & HENRY, was recently published by Simon Pulse.

Connect with Dawn: Twitter • Facebook


This article was originally published at Vine Leaves Literary Journal.

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DON'T BE AFRAID OF JUMPING GENRES, by Marilyn June Janson

9/9/2015

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I’m a gold fish swimming in a school of mackerel. 

My writing does not fit into any single category. 

Sometimes, I mix mystery and suspense with creative nonfiction, romance with horror, and science fiction with humor.

American author Dean Koontz jumps genres. His Black Cat Mysteries/Mike Tucker, Moonlight Bay (Horror), Odd Thomas (Mystery and Thriller), Odd Thomas Graphic Prequels, and Frankenstein series are best sellers.

Also, he’s written dozens of stand alone novels, short story collections, and fiction for magazines.

But he’s a famous author published by the mega giant Random House. Also, Mr. Koontz has a huge body of work selling on Kindle and Amazon.com. His fan base and sales rival any other highly ranked author on the New York Times Bestseller list.

How can I ever compete with these world-renowned writers?

I don’t try to.

Following the crowd has never been my style.

Freedom to write what I’m passionate about motivates me to play with words and experiment with genres, plot, characters, and formats. As dozens of story lines form in my head, I am compelled to write them down.

Not everyone understands or enjoys my work. “How can you write such horrifying stories?” a woman in my former writer’s group said.

“Because I have to,” I told her.

I too have had my share of rejection letters.

Stephen King’s breakout novel Carrie was rejected numerous times. Playboy, Cavalier, and Penthouse rejected his short stories. Intermittently. He received small checks from magazines. King took odd jobs to make ends meet.

Similar to Mr. King, my short fiction has found a home to flourish and be enjoyed.

This publisher doesn’t mind taking chances and isn’t afraid to accept pieces that are risky, experimental, and imaginative.

Even after researching the markets and following submission guidelines to the letter, the publications’ layout, content, and needs for that issue may not be a good fit for your piece.

Despite online submission managers, editors are human and have to contend with the stresses and frustrations of layout and meeting deadlines.

Many students in my Author Publishing and Marketing classes ask, “Should I write for the market or for myself?”

Trends come and go. By the time your manuscript is completed and is ready for the querying and submission stage, the industry may already have experienced shifts from novels to quick reads (novellas). Kindle, Nook, tablets, smartphones, and new technology have revolutionized consumer reading and spending habits.

Why would customers spend $25 for hard copies when e-books can be downloaded for $2.99 or less? 

In Karen Raugust’s article, “Social Media Properties Gain at Licensing Expo,” (Publishers Weekly June 11, 2015 e-newsletter), she reports that the licensing divisions of Chadwick, Random House, and additional companies are interested in developing new digital projects and that may include an extended line of graphic novels.

Power Play Plan of Action

A. Motivation and Inspiration. 

Take a writing workshop or join a group. Whether meeting once a month or twice a week, writing a chapter or short story for critiquing will compel  you to progress with your project.

B. Author/Writer Contract. 

Personalize, sign, and post it in your workspace as a daily reminder to accomplish these goals. Write them in the present tense. Reward yourself with a movie, special dinner, concert, or night out to celebrate achievements and successes.

Author and Writer’s Contract Sample

A. Short Term Goals. 

1. Every day at (are you an early riser or night owl?) I am filling out character sketches, developing plot, writing a scene, editing, proofreading, etc. my manuscript. 

2. Every day I am studying the markets to find at least three publishers or magazines for my (non-fiction, novel, poetry,  short fiction, children’s stories, books, memoir pieces, etc.).  

3. For every rejection letter received, I am submitting the same manuscript to an appropriate market ASAP.

B. Long Term Goals

1. In 6 months I am finishing the final edit on my novel or poetry collection.

2. In 6-8 months I am completing the first (second or third) draft of  my novel, children’s, or non-fiction book.

3. In 6 months I am completing my Fiction Submission Package or Nonfiction Book Proposal (Author Bio, Book Synopsis, Marketing Analysis, Publicity/Promotion Plan, and the first three chapters) according to the publisher’s guidelines.  

You can write in multiple genres, write what you want, and get published. 

Turn each rejection into an opportunity.

After a market rejected my memoir piece I promptly sent it to another publication.

I won an award for that same essay from WomensMemoirs.com.

Don’t be intimidated by mackerel.

Whatever combination of categories you like blend, the following marketing newsletters and websites offer dozens of publishers, e-zines, no-fee contests, and hard-copy magazines looking for new and experienced writers and authors. 

Market Resources
LinkedIn and Facebook Writing and Publishing Groups
www.fundsforwriters.com
www.writersdigest.com
www.writermagazine.com
www.shewrites.com
www.thewritelife.com
www.thereadingtub.com
Tales2Inspire.com 
WomensWriters.com
AuthorsPublish.com


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Award winning writer Marilyn June Janson, M.S., Ed. is the author of Recipe For Rage, a suspense novel, and Tommy Jenkins: First Teleported Kid. Her Super Cool Kid's Story Collection is scheduled for release in September. Ms. Janson teaches online Creative Writing, Author Publishing and Marketing classes. 

Connect with Marilyn: Website 


Sign up to Jessica Bell's newsletter and receive Book #1 of the Writing in a Nutshell Series, Show & Tell in a Nutshell, or Muted: A Short Story in Verse, for FREE.

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