Author: susangrayfoster

Fall Writing Frenzy!

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Many thanks to Lydia Lukidis, Kaitlyn Sanchez, and Alyssa Reynoso-Morris for hosting the #FallWritingFrenzy contest. (You can read more about it HERE.) I had so much fun creating several short fall-themed pieces, and I hope you enjoy reading the one I selected as my entry:

🎃 JACKITY-CLACK 🎃

by Susan Gray Foster

As the harvest moon rose into the dusky sky on a long-ago evening, a girl lost in the old cornfield happened upon a pumpkin-headed scarecrow called Jackity-Clack. The scarecrow waved at her with twiggy fingers, and winked at her with candlelit eyes, and charmed her with his carved-out grin. And he begged her to set him free.

What harm could it do?

The girl stood on tiptoes, reaching, but when she at last stretched high enough to unhook Jack from his post, he tumbled down and collapsed into pieces—a pile of stick limbs no longer attached to his jack-o-lantern head.

Dear me. The girl leaned down to help poor old Jack.

But—oh!—the sticks leapt up and scurried away. And Jackity-Clack’s grinning jack-o-lantern mouth laughed and laughed as his pumpkin-head rolled away and disappeared into the darkness.

Sometimes, on a crisp autumn night, when the moon glows orange in an inky sky, you might be startled by the creaking clatter of stick limbs strolling through the cornfield. And if you listen closely, you’ll hear the echoing laughter of Jackity-Clack.

Photo by Stephen Mease on Unsplash

Celebrating a Success!

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confetti 4With all the scary, anxiety-inducing world events currently taking place, it’s wonderful to have something to celebrate. I am so thrilled to announce that Sarah Taylor, who was my Pitch Wars mentee in 2017, signed with literary agent Alyssa Jennette of Stonesong Literary Agency!! Sarah is a delightful writer and person, and I hope everyone will get a chance to read her heartfelt YA novel one day soon! Below, she tells the story of her journey to signing with an agent.

SARAH’S STORY:

Finding an agent is one of the most challenging steps to becoming a published author. Not only does it take lots of hard work and persistence, it also requires serendipitous timing and a lot of luck! For me, the process took several years.

While I’ve written in sporadic bursts throughout my life, I only began writing seriously about ten years ago—when I wrote a book with a scattered plot that I could never quite tie into a structured novel. Sensing that I needed to improve my story-telling skills, I began reading books and blogs on crafting a novel.

Then, about five years ago, I started a new book, which I drafted in only a few months. I completed a round of revisions and decided to start querying literary agents. As a novice writer, it can be hard to know when your novel is ready, and mine wasn’t. I suspect this is pretty common—in retrospect I can see that my manuscript needed more work, but at the time, I didn’t have the experience to realize that.

I received a few manuscript requests (just enough to keep me encouraged) and a lot of rejections. As time passed, I worked hard on improving the query letter I sent out to agents and on revising my manuscript. I also utilized the critique skills of numerous agents by doing a “first pages” critique and several short critique meetings, which were facilitated by the writing and publishing website, Manuscript Academy. Those meetings helped me to acquaint myself with reputable literary agents while also improving my writing skills.

Eventually, I decided to call it quits on the manuscript I’d been polishing. But, as a last-ditch effort to make my manuscript publishable, I decided to enter a revision contest called Pitch Wars. I crossed my fingers and toes, submitted to Pitch Wars, and spent several weeks waiting in anxious expectation.

I think my heart stopped beating for a minute when the “Welcome to Pitch Wars!!!” email from my new mentor, Susan Gray Foster, arrived in my inbox. While Pitch Wars was stressful and involved lots of deadlines, working with Susan was a dream! Her experience as a book coach gives her a great editorial eye and a good instinct for story. She helped me develop a new subplot, give my manuscript a much stronger ending, craft a concise pitch for the agent showcase, and land on a new title. And her detailed line edits were always spot-on!

By the end of Pitch Wars, my manuscript was a thousand times better. I sent the manuscript off to agents who had requested during the contest and also started querying again. The rejections rolled in slowly, but I also got complimentary comments from agents and two requests to revise and resubmit (known as an R&R). I could tell I was getting closer! Inspired, I buckled down and completed two more rounds of intense revisions, both of which took several months.

Then, one evening in January—about three years after Pitch Wars—it finally came: the email I’d been waiting for. I think I read that email a hundred times, because I couldn’t quite believe my eyes! It was an email from the agent who’d read an early version of my manuscript and who’d encouraged me to revise it again. This time, she said she’d loved my manuscript and that she wanted to set up a phone call.

I had a great chat with the agent, Alyssa, and I signed with her about a week later. I had followed Alyssa’s career online from afar and was always impressed with what a tenacious advocate she is for her clients.

Now, I’m in the process of getting ready to go on submission to editors at publishing houses and also outlining a potential sequel for my manuscript. I’m excited and grateful, and I know I couldn’t have done it without Susan’s constructive and kind critiques, her thoughtful analysis, and her love for my manuscript. The path to publication isn’t an easy one, and I’m so grateful to have a friend and ally in Susan and a new advocate in Alyssa!

__

Follow Sarah on twitter: @s_taylor7

 

My Pitch Wars Wishlist!

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PW logo 1Hello and welcome to all who love Pitch Wars and YA! 

♄ What I’m looking for: My favorites include many YA contemporaries, such as Eleanor and Park, Anna and the French Kiss, All the Bright Places, Aristotle and Dante Discover the Secrets of the Universe, Mexican White Boy, and We Were Liars (I kind of have a love-hate with that one, because *SPOILER ALERT* the end is devastating).

book covers for blogSo, if you’ve written a YA contemporary with an honest, captivating, authentic voice, please DO send your entry my way! I especially love contemporaries with a twist of something unique, or a surprising element—even a little genre-bending, or a splash of fantasy or sci-fi. However, I’m also open to “quiet” contemporaries, but they must be very special and compelling.

I also have favorites among other genres, such as fantasy and sci-fi, including The Scorpio Races, Feed, House of the Scorpion, and of course, the Harry Potter series. What’s most important to me is that fantasy and sci-fi novels have, at their core, an authentic human voice, and genuine human emotion and experience. I do also like fairy tale and classic lit reimaginings.

I’m NOT usually a big fan of mystery or thrillers, but you never know—I’m open to surprises. Except horror. I like stories that have a little creepy element (Anna Dressed in Blood, Warm Bodies), but I’m NOT the right mentor for serious horror. Similarly, I like “dark” stories, but I prefer them with at least a splash of hope and light. I’m probably not the right mentor for unrelenting darkness.

In any genre, I would also love to see under-represented perspectives and voices (“own voices”), unique settings or worlds, humor, romance, and lovely writing (whether literary, or simple and clean).

♄ So, to recap: *YES* to YA contemporary, YA fantasy, YA sci-fi, YA fairy tale and classic retellings, genre-bending YA, and YA magical realism—all with authentic human experience and emotion at heart. *YES* to “own voices,” unique settings, humor, romance, and lovely writing. Above all, *YES* to authentic human emotions and experiences.

*NO thanks* (generally speaking) to mysteries and thrillers, hard-core horror, and super-dark stories. (However, I’m open to surprises, so if you have a hunch that I’ll love your manuscript, go ahead and take a chance!) Also, since I’m an animal lover, *NO thanks* (in most cases) to violence against animals, unless it is coupled with a strong anti-violence-against-animals message.

♄ About me: I was a Pitch Wars mentee in 2014 and it was the best thing that ever happened to me as a writer, so I’m thrilled to have the chance to pay it forward by mentoring this year!

I write (and love) YA! In addition to writing, I also teach high school English and work as a book coach/editor for Author Accelerator.

Things I love besides writing and editing include (in no particular order): Dogs, songwriting, English breakfast tea, vanilla-scented candles, my family, British period TV series (Grantchester), reality TV that centers on creativity (So You Think You Can Dance, Project Runway), avocado, my dogs, other animals, and did I mention my dogs?

As an editor, I love figuring out what is and isn’t working in a manuscript on both a big picture and detailed (nit-picky) level.

Several of the writers I’ve read for have gone on to obtain agents and/or book deals. My name appears in the acknowledgements of These Gentle Wounds, by Helene Dunbar; If I Fix You, by Abigail Johnson; Arrows, by Melissa Gorzelanczyk; and the Frosh series, by Mónica B. Wagner.

Below are ♄ comments from a few writers I’ve critiqued: 

I don’t know what I’d do without Susan as my CP. Her editorial eye is amazing, the kind that explains to you well what’s not working, and you’re like, Whoa, I can SEE it now. Whatever was I thinking writing that in a scene? It’s crazy how she can put her finger on exactly what’s not working for her–like, she’ll never say something like “this part is boring me” and nothing else. She’ll say why exactly it isn’t working and will give you options to fix it. She’s the sweetest gal ever, too! She’ll tell you what she loves in your MS, and she’ll root for you. You want her as your mentor! She truly is amazing! – MĂłnica B.W. 

Susan is a truly wonderful editor. Precise, kind, whip-smart, and knowledgeable, she’s the sort of editor you feel really lucky to have. She knows the craft backwards and forwards—how to tell a great story with all the right elements that go into making a polished novel, from the super small to the super big. Her line edits are amazing; even when you think you’ve been over your manuscript with a fine-tooth comb, she catches problems that need to be fixed to make your novel shine. Her sense of a story’s timing and story arc, as well as of a character’s development, are fantastic. She has a kind of deep-seeing when it comes to the art of the story—she asks all the right questions to help you understand what motivates your characters and how to drive your story forward. Not only that, but she has the knack for giving tough feedback that somehow makes you feel good about your writing (a rare gift, indeed!). Susan is a generous editor with a really big heart and I’m grateful I’ve had the opportunity to have her as an editor. – Karen Halil, Ph.D. in literature; previously, Lecturer in English at Harvard University and Boston University; presently, YA writer 

Susan is a fabulous editor! She has an eye for detail such as grammar mistakes and missing words, but is also able to identify larger issues regarding plot and clarity. She’s exceptionally thorough, giving pointed, detailed advice in an honest and direct tone, while remaining positive and encouraging. Susan’s opinions on my manuscripts have been invaluable, and I’d highly recommend working with her! – Andrea Contos 

Susan was my mentor, along with Monica Bustamante Wagner, back in 2015. Susan has an amazing editorial eye, pointing out not just what doesn’t work, but explaining why in a kind and supportive way. Any time I had questions, she would respond quickly, even if my questions were more of a panic-fest. My writing is stronger for having known her–and I’m proud to count her among my writer friends now! Any writer should leap at the chance to work with Susan! – Kerbie Addis 

♄ My editing style: I plan to read my mentee’s manuscript twice–once for big-picture issues, and once for line-edits. I believe that feedback can and should be honest and constructive. (With all due respect to Simon Cowell, in my opinion honesty does not need to be brutal.) I think it’s helpful to comment on what DOES work as well as on areas that need improvement, and I’ve been known to include hearts and smiley faces in my comments. I will also try my best to respond with some feedback to all entries.

♄ Links to some of my posts on writing: Capturing Voice, Opening Scenes, Writing Tips from YALLwest, Hope in the Face of Rejection, Four Qualities of Good Writing, Is it Time to Put that Manuscript in a Drawer? (with Kelly deVos), Interview

♄ What I’m looking for in a mentee: I’m hoping to work with a writer who’s open to feedback, who can communicate honestly, and who will work their fingers to the bone to make their manuscript the best it can be. I’m also looking for someone who can tolerate some stress and who understands that each writer’s journey is unique.  I can’t promise an instant ticket to publishing success, but I can guarantee that, with the right attitude and lots of hard work, you’ll come away from Pitch Wars with a stronger manuscript and unbeatable writer-friends!

I can’t wait to read entries and find my 2017 mentee!

♄ Scroll down for links to the other mentor wish-lists, but first, my beloved writing companions:

My writing companions: Thumper (forever in my heart), L.J., and Bentley

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Finding and Working with a Mentor

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PW logo 1*This post originally appeared in June, 2016, on the Writing with the Mentors blog, but is now updated for Pitch Wars 2017!*

Pitch Wars 2017 is just around the corner! One of the best features of the Pitch Wars contest is that writers get the opportunity to work with mentors who help them strengthen their manuscripts before submitting to agents. Best of all, writers can choose which mentors to apply to. That way, if they are selected as mentees, they know they’ll be working with someone whose opinions they value.

So how does one go about deciding which mentors to apply to, and how, exactly does having a Pitch Wars mentor work?

I had the tremendous good fortune to be selected as a mentee in 2014; I co-mentored in 2015, and I’m thrilled to be mentoring YA again this year! So, I thought I could share some tips from both sides of the Pitch Wars experience.

***Opinions are mine; please refer to Brenda Drake’s website for all official Pitch Wars rules, information, and guidelines.***

How to choose

The process begins when mentors’ wish lists go live on July 19. Brenda’s website will have links to all the mentor blogs, and each mentor will post a brief bio and detailed information about what categories and genres they are seeking, taste preferences, expectations, and other useful tidbits. So, of course step one is to read the mentor wish lists!

You will definitely want to take notes, and using a spreadsheet or some sort of organizational system will help track mentor information. You can immediately narrow your mentor list to those seeking the category and genre you write. (Seems obvious, but there are always a few wasted entries submitted to someone not mentoring that genre.) If a mentor mentions special interest in something specific that your manuscript has (could be horses, a particular period setting, LGBTQ, rare fairy tale retellings, etc.), that’s a strong indicator that they might be a good choice for you. Mentor wishlists may also discuss mentoring style, and you may get a sense of personality. In addition, some mentors take part in Workshops (on Brenda’s website), and Live Chats. These are great sources of information about the mentors and their styles and personalities.

Stalking Researching

Once you have a “short list” of potential mentors who are seeking the type of manuscript you’re writing, you will probably want to do a bit of stalking on twitter and/or other social media sites and blogs to find out more. You can check out any books mentors have published or that will be coming out, who their agents are, and who they’ve mentored in previous years. All these tidbits may leave your head spinning, which is where a good note-keeping system can be a huge help.

Finally, for mentors who have been involved with Pitch Wars (or other contests) in previous years, I highly recommend checking out their previous entries. This is what lead me to apply to the person who ultimately became my mentor, critique partner, and friend, Mónica Bustamante Wagner. I loved the writing and concept of her previous year’s entry, and I figured that if we had similar taste in that respect, then there was a better chance that she would like my manuscript. Furthermore, I felt I could confidently rely on her judgement, knowing that she had similar values in terms of story and writing style.

Now what?

So you’ve applied to carefully-selected mentors, and you’ve waited through the grueling weeks until the mentor picks are revealed, and—HURRAY!!—you’ve been selected as a Pitch Wars finalist! Now your mentor will provide you with feedback to help you take your manuscript to the next level.

I was beyond thrilled when I received feedback from my mentor, MĂłnica; I knew, immediately, that she had discovered the key to fixing an issue that had been plaguing my manuscript and preventing me from moving forward.

Communication

But what if your mentor suggests something you don’t agree with? At some point in the revision process, Mónica advised me that my characters “laughed” too much and suggested that I could substitute the word, “chuckle.” But, for me, the word, “chuckle” has very specific connotations: an old man can chuckle, but my MC would never chuckle! The word didn’t fit my manuscript’s voice, in my opinion. Timidly, I explained this to Mónica. And of course she replied with something like, “Okay, no problem, just find other ways to fix your overuse of ‘laugh.’”

I believe communication is the key to a successful mentor-mentee relationship. Don’t understand a suggestion? Communicate. Wondering when you’ll get notes? Communicate. Disagree with something? Communicate. Confused by what other mentees are saying? Communicate. Completely and utterly freaking out about everything? Communicate.

Respect

At the same time, mentors have varying communication styles and schedules, and it’s also important to be respectful of your mentor’s time. Communicating every time you’re unsure of where to put a comma would probably be a bit much.

Your mentor selected your manuscript from among the many they received, and they are volunteering their time because they believe in you and your manuscript and want to help you move forward with your writing dreams. By respecting your mentor’s time and effort, and communicating honestly, you can make the most of your Pitch Wars experience.

Questions or tips about finding and working with a mentor? Please add a comment!

Monica and Susan 1.16

Monica lives in Chile, and I live in Arizona, but we got a chance to meet in person on a beach in Florida.

 

Love-Lists for Your Writing

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anna ... coverA few years ago, I came across this post—Happy Writers’ Society: Love Lists by Stephanie Perkins—on author Natalie Whipple’s blog. Anna and the French Kiss is one of my all-time favorites, so I’m a big fan of Stephanie Perkins, and I also fell in love with her idea of creating “love-lists.”

“Whenever I begin a new project,” Stephanie tells us in the blog-post, “I also begin a list called ‘What I Love About This Story.’” She further explains, “I use this love-list as a touchstone to remind myself during the hard times why my story is worthwhile.”

As writers, we all know how easy it can be to lose sight of why we’re writing and what we’re writing as we slog through a first draft or endless rounds of revision. Creating a love-list can revive your sense of purpose and your love for your WIP, refocusing you on what’s at the heart of your writing.

Below are love-lists for my current projects. I’d love to see your love-lists, too, so please share in the comments below or provide a link to your love-list!

❀  Love-List for my YA contemporary-with-a-twist – How to Make a Heartbeat:

  • A brilliant, awkward boy
  • A girl who hums random oldies
  • A dog like a little skeleton covered in fur
  • A brutal accident
  • The stunning, but harsh, Arizona desert landscape
  • Love that defies death
  • The whisper of a heartbeat

❀  Love-List for my new YA WIP – Just B (Working Title):

  • A girl under pressure
  • An elite boarding school
  • A quirky Arizona ghost-town with a Roswell-esque history
  • A desperate act
  • An unfathomable creature with long, thin rabbit-ears (or are they antennae?)
  • An odd, reclusive boy
  • Falling stars
  • Unlikely friends

*Be sure to check out this post for more of Stephanie Perkins’ thoughts on love-lists!*

Writing is Magic!

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Clipart-harry-potter-vector-magz-free-download-vector-graphicsWriting fiction really is a kind of magic. You’re creating another reality out of words. By weaving words together, you can make readers care about people and things and happenings that don’t exist in the “real” world. And if you’re doing that with any success at all, you’re creating magic; it’s something special and you should be proud. How many people can do that?

Harry-potter-clip-art-2It’s hard to make magic, though, and sometimes a few tiny flaws ruin the whole spell. There are so many ways to get it wrong. That’s why it’s important to keep studying the craft (as if you’re a student at Hogwarts!) and to keep working hard. And get help. Someone else’s suggestions or edits can make the web of magic stronger so that it works on more people in a more powerful way. But there’s no one right way to do it. Sometimes you’ll get helpful advice that doesn’t work at all, and there’s really no way to know except to keep trying. You will probably fail miserably. Many times. Did you think making magic would be easy?

It can be infuriating and painful and humiliating, but it’s worth it. Because when your hours and hours of hard work pay off, and you enthrall readers with your magic, it’s 
 well 
 magical!

Harry-potter-clip-art-free-download-free-clipart

A little romance—in writing and in life

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img_0104Many think of romance as grand gestures: dozens of roses, heart-shaped boxes of chocolate, diamond jewelry. That may work for some, but to me romance isn’t about big gestures or stereotypical gifts. Romance means a special, almost magical connection between two individuals. It’s knowing and caring about what another person values and what will make them feel understood and loved.

It’s universal. It’s personal.

Once, when I was a student doing a junior year abroad in London, I went on a date with an American boy who had many romantic notions, not only about the kind of romance that happens between a boy and a girl, but also a fascination with the Romantic poets—Keats, Bryon, Shelley—and about reading and writing poetry in this beautiful, history-laden city. He pulled out all the stops for our date: a European-style picnic with baguettes, brie, wine, flowers, and reading romantic poetry.

I was not impressed. I was angry.

Why? Because the date had nothing to do with me. He knew nothing about me and gave no thought to learning about what I might enjoy. He didn’t talk to me or get to know me. I was just a pawn in his elaborate romantic fantasy. (And I’m pretty sure he was deceiving himself, too.)

Romance is an important aspect of many novels, yet, as writers, we often struggle with how to convey romance, how to capture the essence of two people falling in love in a way that will capture readers’ hearts as well. Sometimes we resort to overblown romantic gestures that fall flat.

Anna and the French Kiss (Anna and the French Kiss, #1)However, one beloved YA novel that catches the essence of romance beautifully is Anna and the French Kiss, by Stephanie Perkins. It’s full of sweet, personal connections between fully fleshed-out, individual characters.

There’s a moment when St. Clair gives Anna a gift—not flowers, chocolate, or expensive jewelry. It’s just a little trinket, probably costing less than a dollar, useless, meaningless to almost everyone except the two individuals involved. It’s a little bead in the shape of a banana—St. Clair’s silly, affectionate nickname for Anna. To the two individuals involved (and the reader), it’s full of meaning. It’s personal. It’s his name for her. It’s an “inside joke”—something that only the two of them share. And it means he’s thinking about her. It’s romantic. Anna, and readers, are falling head-over-heels for St. Clair.

To me, in both life and in novels, that’s what romance is all about—a unique, individual, personal connection that hints at the mystery and power of love. And a little can go a long way.

What does romance mean to you? What are some of your favorite novels when it comes to capturing romance? Please leave a comment!

Why I write

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Each day after lunch, I rushed back to my fourth grade classroom, where our teachers where-the-red-fern-4would gather all four classes together and read aloud. I cherished this time, adored Roald Dahl’s James and the Giant Peach and Charlie and the Chocolate Factory.

But Where the Red Fern Grows, by Wilson Rawls, captured my heart forever. This middle grade novel tells the heartbreaking story of a determined boy and the bond of love he builds with his hunting dogs, Big Dan and Little Ann.

Why did I fall in love with Where the Red Fern Grows, why does it still hold a special place in my heart, and what does it have to do with my writing? The obvious answer is that I loved dogs as a child (and still do!) and so of course a story about a boy’s love for his devoted pair of dogs appealed to me. But when I think of that book, through the years, a particular image fills my mind: a red fern growing between two graves. Although I couldn’t have articulated it at the time (or before today, actually) that red fern told me that love lives on, the spirit lives on, that even when life is tragic, it has meaning.

I’ve heard some people don’t like Where the Red Fern Grows or think it’s appropriate for children, because it’s “too sad.” Yes, it’s sad, heartbreaking, but I would argue that there is nothing more hopeful and uplifting than that red fern growing between the graves.

The meaning of the red fern resonates for me just as strongly today as it did back in fourth grade, and I’ve been reflecting on this recently. I’ve realized that many (possibly all) of my writing ideas and works-in-progress are concerned with the boundaries between life and death, and glimpses of an afterlife.

Why?

Because I believe in the power of the spirit, the power of love. I believe that we are more than just physical bodies with physical needs and desires (and this includes all living creatures—Big Dan and Little Ann—not just humans). I believe that two dogs could love a boy enough to sacrifice their lives for him and for each other, and that their love is powerful enough to transcend death and make a red fern spring up on their grave.

I write because of that belief in love and the spirit and hope. Life has meaning. And I have the audacity to hope that I can capture and express a little of that in a story that will maybe mean something to someone else. (And I hope my stories will also be exciting, fun, captivating, entertaining, and maybe a little scary and heartbreaking, just like Where the Red Fern Grows.)

I hope that one day, maybe I can plant the seed of a red fern in someone else’s heart.

 

Make it work! (How PROJECT RUNWAY inspires my writing.)

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Proj Run TimGunn-ProjectRunway-S9On a scale of one to ten, my interest in fashion is probably around a two, and yet I’m addicted to PROJECT RUNWAY, a TV reality show competition for fashion designers. As a writer, I relate to the creative process and the creative challenges the designers face. Last year, as a Pitch Wars mentee, I was struck by the parallels between this writing competition and Project Runway.

These competitors are chosen from a pool of thousands of hopefuls. Obviously, they are mega-talented and dedicated to their craft, the best of the best, and yet 


proj run worst looks

. They can totally blow it. Think your manuscript sucks? Wow, you should see the horrific designs some of these uber-talented designers have sent down the runway.

. They can be SO close, but still “miss the mark.” Sometimes a detail that’s not-quite-right ruins the whole “look.” Editing needed!

. They can create a stunning masterpiece that’s the “winning look” and then land in the bottom, in danger of being eliminated, in the very next challenge. Creating something that sucks doesn’t mean you suck. Try again. As supermodel host and judge Heidi Klum always says, “One day you’re in, and the next you’re out.”

proj run michelle

. They can be sabotaged by their own self-doubt which can spiral into a paralyzing inability to create anything of worth. Conversely, sometimes over-confident arrogance makes a designer blind to obvious flaws in their work. Sound familiar?

proj run judge comment

. They can struggle with feedback and criticism. (If you think rejection letters are bad, you should see some of the criticism the Project Runway judges dish out while the contestants stand humbly before them with nowhere to hide. I don’t think I could ever develop a thick enough skin to stand and face the criticism of Nina Garcia.) Some designers use feedback to hone their vision and put forth the best version of their concept; others ignore valuable criticism that could have saved a design-gone-wrong, and still others let it derail their vision, leading to a half-baked compromise.

Some concepts that play a key role, time and time again, in Project Runway (and any creative endeavor):

proj run best

Subjectivity. More often than not, the judges are in agreement, but sometimes they’re not. Sometimes I agree with them; sometimes I’m way off. (I know nothing about fashion, but I still have opinions!) And once in a while a contestant creates something so mind-blowingly amazing that subjectivity doesn’t seem to exist. That’s what we all strive for.

Balance. There’s a lot about creating fashion that requires balance. (And the same can be said about writing—and life—for that matter!) The balance between 


. (As designer/judge Zac Posen likes to say) Art and commerce

. Sticking with your vision 
 and letting your vision be guided by others

. Confidence 
 and self-criticism

. Planning 
 and spontaneity

. Too “safe” 
 or too “out there.”

proj run teamwork 2

Peers. In spite of jealousy, mean-spirited comments, derision, clashing visions or working styles, it’s obvious that, for the designers of Project Runway, being amongst highly-talented peers is a priceless form of support and inspiration. The same holds true for writers. (Thank you writer-friends, Pitch Wars, and the 2014 Table of Trust!)

Make it Work. Words I come back to over and over again, when writing, revising, whatever the problem, challenge, struggle, doubt, I’m facing. The bottom line, if you’re going to create something, you’ve just got to “Make it work!”

(Thank you, Tim Gunn, and all of Project Runway, for the inspiration!)

proj run tim gunn

FROSH: FIRST BLUSH cover reveal!

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My super-CP (and Pitch Wars co-mentor),  Mónica B.W. is revealing the cover of her hot debut NA romance today! I’ve been lucky enough to read early drafts of FROSH: FIRST BLUSH (coming from The Studio/ Paper Lantern Lit on October 20, 2015). With four unique main characters to fall in love with, the romances are completely unpredictable, and FROSH: FIRST BLUSH will keep you guessing right up until the very end!

Take a peek at this sweet and steamy cover and blurb (below)!!!

FROSHfinal

During welcome week at Hillson University, the FROSH will hit the fan.

Type-A aspiring journalist Ellie plans to take freshman year by storm. But hell-bent on breaking a huge on-campus scandal, she risks becoming one herself—and getting the mysterious, heart-melting QB in serious trouble.

Grant, star quarterback and charismatic chick-magnet, is hiding a life-altering secret. The last thing he needs is an overeager (absolutely adorable) journalist asking questions. He’s got a reputation to protect.

High-society legacy student Devon is ready to catch the football hottie of her dreams. If the tabloids feature her with the “it” boy on her arm, her tainted past will be buried—or so she thinks.

Charlie, pre-med, is done being the sweet and funny geek that girls like Devon ignore. But if he tries to impress her with a new edgy, spontaneous attitude, will his heart end up in the emergency room?

FROSH intertwines the stories of Ellie, Grant, Devon, and Charlie in Mónica B. Wagner’s sexy NA debut series, about falling in love and falling apart.

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