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Sleeping Tigers by author Holly Robinson

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The Gerbil Farmer's Daughter by author Holly Robinson

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How to Succeed in Publishing? Find a Community of Writers

The Nevertheless Writers Panel




Long before I published my first novel, I tried to join a neighborhood fiction writing workshop, only to be told by one member, “Sorry, come back when you get published. We can’t accept novices.”

Yeah, that stung. So did the remarks by one of my first writing workshop teachers in my MFA program: “You write with the depth of a television commercial,” he said, to which I had a normal reaction: I cried.

Meanwhile, my short stories were getting rejected even by journals with subscriber lists smaller than my Christmas card list, and my brother said, “You’ve got to learn to pander to the tastes of housewives if you’re going to sell anything.”

Even after Random House published my first book, during those scary weeks when I had to pimp myself around for blurbs, I faced a few smack downs. Several writers said they were too busy to read it and blurb it. One writer said he thought it sounded like a stupid memoir. Ouch.

I’m confessing this to let you know that there are definitely a few haters in the writing community. You’re bound to meet some of them. However, as Taylor Swift’s new song “Shake It Off” goes, your best bet is to ignore them, “’Cause the players gonna play, play, play, play, play. And the haters gonna hate, hate, hate, hate, hate.”

When you get smacked down, jump up and keep going. To succeed in publishing, you need a lot of cheerleaders and helping hands. You must keep looking until you find your community. Then keep growing it.

Eventually, I answered an ad in a bookstore for a writers’ group, and they were the perfect fit: people out of college, all of us parents with small children, all of us seriously trying to write our first novels. We were together for many years and the critiques and deadlines kept me going. That writing workshop teacher in my MFA program was a loser, but I also found Jay Neugeboren, a professor who gave 110 percent to every writer in his classes and mentored us not just in the craft of fiction, but in how to keep steamrolling ahead, submitting stories and novels until somebody out there said yes. He, along with my best friend from grad school, Susan Straight, led me to my current agent.

Along the way, in person and online, I have continued to meet wonderfully generous writers—both traditionally-published and indie—who have reached out not only when I asked for help, but often before, generously coaching me in everything from scene structure to how to blog.

There are nice writers out there with big hearts. You just have to find your people. Once you do, your community of writers will get you through the dark days, when you think you can’t possibly do another revision or query one more agent or, God help you, hear one more rejection from an editor. That community will be your safety net if you fail and will serve as your springboard to success, too, cheering on your book launches and helping you promote your work in person and online. You will do the same for them.

More and more, the key to success in any business is networking, and writing is no exception. Recently I have been teaming up with other fiction writers to do events, because it’s easier and more fun to gather an audience at a bookstore or library if you present with a partner or a panel. I’ve also joined a cross-genre panel called Nevertheless Writers—a group that consists of five different writers from five completely different genres, fiction and nonfiction—to speak at schools and libraries about writing and publishing.

Yes, those panels take place on weeknights when I’m tired. Yes, we often do them for free. And, yes, sometimes there might be only ten people in the audience. But we love building community and spreading the message that writing can be a solitary pursuit only some of the time. The rest of the time, writers need each other to perfect our craft and bolster our confidence at a time when it seems that art is the last thing in the world anyone is worrying about.

So find your community, join the fun, and ignore the haters. Shake it off.


In Praise of Copy Editors, Publishing’s Unsung Heroes



“I crossed out ‘Tuesday’ because later you say it’s Wednesday.”

“She’s fifty-nine here and fifty-eight on page 102. Which one?”

“If he Googles the land line, why is she answering the call on her cell phone?”


I’m going through the copy editor’s remarks on my new manuscript—the one that will be published by Penguin Random House as HAVEN LAKE in April 2015. And, once again, I can’t believe all the mistakes I made in this book—even after eight or nine revisions, two of which were done in collaboration with my savvy, brilliant editor.

Writers and readers sometimes wonder why it takes so long to publish a book with a traditional house. Here’s why: every step of the process takes time.

First, you send your novel to an agent, who (you hope) likes it enough to shop it around to various suitable editors. An editor buys it (you hope) and goes through the manuscript, suggesting revisions in an editorial letter. You address her queries and suggestions, and then you send the revised manuscript back to the editor. The editor then reads through the new draft and sends it back to you with (you hope) fewer suggestions, catching a few fine points here and there, praising you or telling you to rework certain sections. You do all that and send it back.

Four books ago, I thought the next step would be publication, but oh no. The next step is copy editing, and here’s where the party really begins: a copy editor is someone who takes out her bright lamp, microscope, and fine-toothed comb. She nit-picks through each one of your pages, catching time transitions that don’t make sense, erroneous spellings, accent marks if one of your characters happens to speak a foreign language, word repetitions, name changes or hair color changes you forgot you made, etc. In other words, the copy editor is a fierce, mistake-seeking hound, nosing around in every dark corner of every paragraph to make sure you get things right.

Thank God.

Copy editors are worth their weight in gold, yet hardly ever garner a mention. So here it is, a shout-out to you, copy editors around the world: we writers and readers are so lucky to have you smoothing sentences and paragraphs and chapters. Thank you for all of your hard work.

And for those of you who are self-publishing books, some advice: if you have any extra funds, do yourselves a favor and hire a copy editor. Your books—and your reputation as a writer—will be better because of it.

Now back to my manuscript and the copy editor’s bubble comments in the margin:

“It can’t be Saturday here, because you said it was a school day earlier.”

“Same words in previous sentence. Change here?”

As John Cleese of Monty Python would say, “My brain hurts.” But it’s so worth it. No manuscript will ever be perfect. But, thanks to copy editors, we can get closer.

Story, Setting, and Emotion: Why Places Matter in Fiction




Tomorrow I’m headed to Prince Edward Island for a long weekend. This is no easy feat. From my house in Massachusetts, it takes a full eleven hours to drive to PEI in the Canadian Maritimes, where my family owns a farmhouse built in 1900 that looks pretty much the same as it always has. It will be tough to go up for just a few days instead of several sun-drenched summer weeks, but this time my trip is all about researching a setting for a book.

Our house has the peaked roof and simple lines of most of the Victorian era farmhouses on Prince Edward Island, and it’s surrounded by potato fields that flower white in the summer. The road is edged with bright lupine in spring, in astonishing Disney purples and pinks. In the fall the fields are tinged in red and gold and the flowers are scarlet and orange.

dunes at greenwich PE

The beach is just a mile away, down a red clay road like so many other red clay roads on PEI that lead to secret coves. The beaches on the south side of the eastern tip of the island are soft and white, while the beaches on the northern side are red. There are red cliffs on both sides, dropping in dramatic folds to the Northumberland Straight on the southern shore—across which you can see Cape Breton Island on a clear day—and the Gulf of Saint Lawrence on the north. At the tip of the island, just a few miles from my house, the Gulf meets the Strait near a lighthouse with a decent cafe, and no morning is better than the ones that start with eggs and bacon and strong Northside tea as you watch the surf crash below those cliffs, with occasional seals bobbing about with the cormorants diving for fish.


barn at sunset pei

This part of Prince Edward Island is far from the “crowds”–which, believe me, are nothing like you see on Cape Cod or even around Maine’s coastal towns in summer—who gather to worship at the shrine of Lucy Maud Montgomery, creator of Anne of Green Gables. That red-haired orphan is the subject of the longest-running musical on the island, and draws Japanese tourists by the busload, for some mysterious reason, mostly women, most of them donning hats with red braids attached to have their photos taken.

My house on PEI is an hour away from Charlottetown, too, the birthplace of Canada’s Confederation, a charming town of brick and cobblestones that boasts an astonishing array of restaurants, musical venues, and art galleries. But we see none of that where I go to write.

No, where we are, there are the potato fields in front of the house and to one side. Behind the house is another farm with sheep grazing in the fields. How could I help but make one of the characters in my next book, HAVEN LAKE (April 2015) be a shepherdess, after all of those hours of sitting on my deck and watching the sheep do their thing?

And now, after over twenty years of spending vacations on the island, I am writing a book that is set partly there, and partly in Massachusetts. I’m excited but terrified.

To me, settings are far more than just places in books. I view settings as essential components of every novel, because so often places convey the interior landscapes of the characters and deepen the reader’s experience. In my first novel, THE WISHING HILL, I set some of the action overlooking an old snuff mill where one of the characters worked long ago. The antique building’s Gothic lines, rusty water wheels and stained clapboards seemed like the perfect metaphor for an unrequited love. And in my second novel, BEACH PLUM ISLAND, I used Plum Island as the setting because a barrier island—battered as it is by wind and rain, snow and tides—changes shape constantly, just as our lives change shape according to the external forces we experience as parents and lovers, mourners and creatures who inhabit the earth only temporarily.

Now that I’m looking at Prince Edward Island not just as a sanctuary, but as a setting for my next novel, CHANCE HARBOR, this trip will take on a whole new meaning for me. I’ll be trying to view the island through the eyes of my characters—the colors and cliffs, the lobster fishing and Northeasters, the lighthouses and vast empty beaches will all have meaning, depending on the turmoil I decide to put my characters through.  The eastern tip of this island, which really does feel like the end of the world, is the perfect setting for these characters, who are all reinventing themselves in some way, having to let go of their old lives and forgive the people who betrayed them as they move forward.

Should be fun, but daunting. I want to do this island justice, because this magical place is as much a part of my own inner landscape as it will be for my characters.

(Thanks to my friends Toby Neal and Susan Soule Shulins for their PEI photos!)

Yes, My Daughter Is in West Africa. Yes, I’m Scared.

Taylor on her way to Senegal



People who know me call me adventurous. I have climbed the Andes, hitchhiked around Spain and trekked the Himalaya through thigh-deep snow in March. But those people haven’t met my daughter. Compared to Taylor, I’m a TV-surfing couch potato.

I’ve encouraged and embraced Taylor’s adventures vicariously, from the year she learned to scuba dive in Indonesia to her work with the U.S. Forest Service on a remote Alaskan island. Nope, I didn’t like getting those emails reporting that she had nearly gotten the bends under water, or hearing about her close encounters with grizzly bears, but I always believed that Taylor was sensible and smart and would find her way home.

This, though, feels different. This past weekend, Taylor left as a Peace Corps Volunteer—part of her master’s degree program at Oregon State University—destined not for South America, where I thought they would surely send her because she speaks Spanish, but for Senegal, West Africa. As in, the part of Africa where the World Health Organization is predicting that there will be 21,000 people afflicted with the Ebola virus before it’s fully contained. (If, that is, they can contain it at all.) The Peace Corps pulled its volunteers from the three West African countries with the most cases—Liberia, Sierra Leone, and Guinea—but, since Senegal has so far seen only one patient with the virus, the organization is continuing its work there.

Good for them. I just wish my daughter weren’t one of their volunteers.

Taylor, though, could not be dissuaded from going. She believes in promoting sustainable agriculture efforts worldwide and is invested in learning more about population ecology and agroforestry. Nothing could prepare her better for a career in that arena better than working on projects through the Peace Corps. Plus, everyone she knows who has been in the Peace Corps says the same thing: It will transform your life.

Good for her. But I just want her to come home.

Often, however, we mothers have to step aside and sweep our fears under the rug. I believe, with all my heart, that the Peace Corps is absolutely right to continue their projects in Senegal and other African countries. Those countries need international assistance now more than ever.

And I do know that Taylor will come home transformed, because her world perspective will be both broader and deeper. In return, perhaps the people she meets in Senegal will know more about people from the U.S.–an essential cultural exchange, since we are all sharing the same fragile planet and its limited resources.

I am proud, terrified, joyful and amazed by my daughter all at once, every day. I wish she would come home right now, but I hope she stays in West Africa. If she does, the Peace Corps and her work in Senegal will shape her into the person she is already becoming: a woman who not only wants to do well in life, but one who is committed to doing good in the world.  A daughter who fills her mother’s heart with love.


Marketing Your eBook? 5 Surefire Strategies



Recently, a friend asked if I had any foolproof strategies for marketing ebooks. My first response was less than quotable: “Um, no. I just try everything.”

But, as I looked back at the past year and dug a little deeper into the various marketing strategies I used, I realized that I did, in fact, discover some things that worked better than others. And the best part? They were easy and free! Here they are, in case you want to try them yourself:


  1. PUBLISH MULTIPLE BOOKS. It’s very clear that ebook sales for my first two novels, SLEEPING TIGERS and THE WISHING HILL, jumped when I published my third book, BEACH PLUM ISLAND, clear evidence that you can ramp up your audience reach as you put more books on your virtual shelf.
  2. THINK BIGGER THAN YOUR OWN WEB SITE. Yes, it’s helpful for a writer to have a web site, to blog, to be on Twitter, to do meet-and-greets in bookstores, book signings, etc. But I see the most sales in ebooks when I write something that is then picked up by a popular online site like The Huffington Post. It’s also important for authors to write guest posts for sites that draw a big audience of ebook readers, like IndieReader, Venture Galleries, and Shelf Pleasure. If you do a lot on Twitter and blog regularly, consider joining a Triberr group, which is essentially a gathering place for bloggers interested in reading and disseminating each other’s work.
  3. TRY BLOGTALK RADIO. Authors should definitely consider blogtalk radio shows. A lot of blogtalk radio shows have solid followings, and people who follow them download the podcasts and listen to them on the computer or while they’re at the gym, using their iPhones or whatever. Listeners can immediately click on a link to buy your ebook if they like the show. e.
  4. TARGET SPECIFIC MARKETS. In addition to targeting popular book-related web sites, it helps ebook sales to reach out to specific target audiences who would be particularly interested in the themes in your books. For instance, BEACH PLUM ISLAND revolves around half sisters and a second marriage, so I made myself accessible to stepmothers by writing guest posts for web sites like The Evil Stepmother Speaks and StepParenting with Grace. When my next novel, HAVEN LAKE, is published, I’ll contact web sites targeted at veterans, PTSD survivors, etc., because that’s a theme that runs through the novel.  I’ll also do the same with web sites that draw knitters and people raising sheep, because guess what?  Fiber arts and sheep farming are also featured in the novel!
  5. KEEP ROLLING AND BUILDING A BIGGER SNOWBALL. Finally—and this is probably the most essential strategy—authors should realize that the days of a single book launch event (or even a week of launch events) are over. With social media, you can use a snowball marketing approach. Keep rolling out your words and ideas, and the readers will come!