Young adult author and professional hermit.

DA-0004-9148-3376

David Lynch’s Twin Peaks was quite possibly the most influential bit of television I consumed when I was young. And I was young. I was twelve years old when it premiered and I tuned in for every single episode. Frank Silva’s face at the foot of Laura’s bed was the scariest thing I’d ever seen. I went to a bookstore in the mall and bought a paperback copy of The Secret Diary of Laura Palmer that made me want to be a blonde with a drug problem by the end of high school. I named my cat Audrey. It made me want to be a forensic detective for the FBI, which is why I tried to join the Marine Corps after high school. I ended up marrying a Marine instead, but I never lost my passion for Lynchian darkness.

When the pandemic hit, my kids were housebound and playing Animal Crossing New Horizons on the TV in the living room. I’m aurally strange and the haptics of them rearranging the contents of their pockets, the plop of the bobber when they fished, and the echoey elevator music of the museum were distracting as hell. The siren song of the Switch was strong and I ended up moving onto my middle kid’s island. Things got weird from there. I had to buy my own Switch and start my own island. I HAD to. It took fourteen months to finish collecting all the fish, bugs, sea creatures, fossils, and artwork for the hotel. I did extensive gardening to grow the elusive blue rose and yes, I gasped when I woke up and found it next to my flowerbed. I made millions on the stalk market and populated Harv’s co-op. I did everything I could on the game before realizing the potential for a wildly accurate Twin Peaks replica island. Switching to the communal household Switch, I hijacked the kids’ accounts and started building.

With the exception of creating Snoqualmie Falls outside the Great Northern Hotel, I did very little terraforming. It’s just not in my wheelhouse. Same for custom patterns. I used images to generate some designs and borrowed from other Twin Peaks ACNH islands for the most part. Only a few of them are original. I chose songs from KK Slider’s repertoire that I felt appropriate for specific scenes and added some sound effects, so make sure you have the volume turned up.

Every villager on the island was selected for their significance to Twin Peaks. Judy from Fire Walk With Me, Lucy/Lucy Moran, Norma/Norma Jennings, Maddie/Madeline Ferguson, Doc/Doc Hayward, Bob/Bob, Ed/Big Ed Hurley, Jacques/Jacques Renault, Kyle/Kyle MacLachlan (Agent Cooper), and Ray/Ray Wise (Leland Palmer). I used my kids as Cooper and Harry, and the character for my own account is unfortunately still named Caity, even though she looks like Audrey Horne.

One of the tricky parts of recreating sets from Twin Peaks is the lack of consistency between different seasons of the original show, The Return, and Fire Walk With Me. I stuck mainly with the first season, snippets of the second season, and elements from Fire Walk With Me. For example, there are different homes used for the exterior of the house used for the Palmer residence. The rooms inside the house change as well. The Double R, the Twin Peaks Sheriff’s Department, the Black Lodge, the Roadhouse: they’re constantly changing. There’s a painting of a pine tree hanging in the Sheriff’s Department that’s actually several different paintings over the course of the series. Even the nightstands in Agent Cooper’s hotel room are different as the story progresses. I chose my favorite bits and pieces and was sometimes limited by what was available in the game.

The layout of Twin Peaks was another challenge. My island is random as hell. Jacques Renault’s cabin is tucked back in the woods, but the Log Lady’s cabin is on the other side of the island. The Packard Sawmill is right behind Mrs. Tremond’s house and the beach where Laura’s body was found is at the very northernmost point of the island. Because so many aspects of the sets required interior items, I filled the rooms of my house and my kids’ houses with various scenes from the show. A few places appear more than once, like the Double R, The Hayward and Palmer living rooms, the Black Lodge, and the Sheriff’s Department. You’ll find them in both the player houses and the homes of the corresponding villagers. There are also some locations that are only facades, like the Roadhouse and the Johnson’s place.

Another issue was costuming. There are tableaus from the show speckled throughout the island where the characters’ costumes are different. Deputy Hawk is usually represented by a khaki uniform instead of his cardigan and Mike and Bobby are often a letterman’s jacket for Mike and a thermal under a red tee or a black leather jacket for Bobby. Major Briggs is camping in his uniform and Donna is a pretty generic skirt/sweater combo instead of being scene-specific. Sometimes it’s for quick character recognition, other times it’s a lack of talent for custom design on my part. Hopefully you’ll see what I’m getting at when you visit the island.

There are a few random Easter eggs like snowshoe rabbits, traffic lights, and owls. I had way too much fun.

Waking up in Twin Peaks, the first thing you should do is head down through the rose garden to the welcome center. Have a seat and catch the opening credits on the television, then open the presents I’ve left for you. You’ll need the ladder to climb down to the beach where Laura’s body was found. Put on the trench coat, grab your coffee, and start exploring.

The Twin Peaks welcome center

The Great Northern Hotel (Cooper’s house) is built at the highest point on the island, overlooking scenic Snoqualmie Falls. Audrey Horne is leaving for school out front and Benjamin Horne’s boat is in the back, waiting to head off to One-Eyed Jack’s. The main room is the lobby, including Agent Cooper’s pancake breakfast, Audrey tormenting Julie, and Ben and Jerry Horne by the fireplace. To the right is Agent Cooper’s room with a custom bedspread and a boomerang instead of a gun mounted over the headboard. I made sure to add the kettle, black wooden duck, towel rack, and the infamous bathroom sink from the last episode of season two. To the left is the Black Lodge with Laura’s angel from Fire Walk With Me and a scene from Agent Cooper’s dream. In the back is the perfume counter at Horne’s Department Store, complete with lattice, the flower cart, and a mannequin version of the life-sized cardboard standee for Invitation to Love perfume. Upstairs is the Double R Diner with Shelly and Norma behind the counter. The Log Lady and Major Briggs are talking at the counter (“deliver the message”) and Audrey’s dancing to Angelo Badalamenti on the jukebox. In the basement, you’ll find One-Eyed Jack’s, where Cooper and Ed are undercover and Jacques is running the black jack table with a security camera over his shoulder. The canopy bed where Audrey/Hester hides from her father/the owner in the little white mask is visible in the corner, and behind it is the location where Jean, Blackie, and Emory film the kidnapping video.

The Great Northern Hotel
Room 315
The Black Lodge
Horne’s Department Store
The RR Diner
One Eyed Jacks
Blackie’s desk
Audrey’s ransom video
Meeting “The Owner”

Caity’s house is another mishmash of sets from the show. The main room is the Roadhouse and Julie Cruise is performing on stage. Three Black Yukon Sucker Punches are sitting on the bar, but be warned, they sneak up on you. Behind the stage is the home of Harold Smith, an agoraphobic lonely soul, who raises orchids and makes out with teenage meals on wheels delivery girls. On the right of the Roadhouse is Laura Palmer’s room. Bob is in this one twice: once at the foot of her bed (sort of) and looking in her hiding place behind her dresser for her diary. I wanted to add so much more to this room, but Animal Crossing doesn’t allow a lot of items to be packed into a small area. The picture on her wall was given to her by Mrs. Tremond and her grandson. I’m particularly proud of that detail. To the left of the Roadhouse is Dr. Jacoby’s office where he’s speaking with Bobby about his relationship with Laura. ACNH made this one easy with the fish tank, 3D glasses, hula girl, palm tree, peacock chair, and Moroccan lights. So many fun details. There’s even Hawaiian music playing in the room. Upstairs is the Palmer’s living room, which is another room I’m crazy proud of. I tried to create a recognizable ashtray, but failed. The white horse from Sarah’s vision is present and Leland is about to be exposed as Bob in the mirror on the wall. Maddie is, uh…headed back to Missoula, Montana. Downstairs is the Hayward’s living room, with the tape recorder they used to listen to Laura’s messages to Dr. Jacoby. Leland’s dancing to “Get Happy” with Gersten accompanying on the piano and James is recording a falsetto ballad with Maddie and Donna singing backup.

The Roadhouse
Black Yukon Sucker Punch
Harold Smith’s house
Laura’s room
Laura’s room detail
Dr. Jacoby’s Office
The Palmer’s living room
Maddie’s in trouble
The Hayward’s living room
Get happy
Bob’s coming out of the kitchen any second now

The Twin Peaks Sheriff’s Department (Harry’s house) is post-remodeling (the glass walls were shown being removed after the pilot episode) and Lucy’s at her desk, transferring a call from Pete Martell to Harry on the black phone, not the brown one. Behind that room is the conference room where Cooper is showing Bobby Briggs the video of Laura’s picnic with James and Donna. Her diary is on the table along with a small chocolate bunny. If you know, you know. A chess game with Windom Earle is underway and Waldo’s birdcage is dangerously close to the window. The room on the right is a blend of Jacques’s cabin from the series and FWWM. The birds sing a pretty song and there’s always music in the air. On the left, you’ll find the morgue where Laura spent most of the day on February 24th. Upstairs is the hospital, which hasn’t seen this much activity in years. Nadine’s in a coma, Pete Martell is suffering from smoke inhalation (and turning away his hospital food,) and Ronette doesn’t know where she is or if she is. There’s a man in a smiling bag in the washroom. Downstairs is the basement of the Sheriff’s department where target practice is set up near the storage area. Mike and Bobby are in a holding cell, barking at James across the aisle, and Bob/Leland is reciting a scary poem after Dick accidentally set off the smoke alarm.

Twin Peaks Sheriff’s Department
There’s always music in the air
(Imagine the light flickering)
There’s a man in a smiling bag
Mike and Bobby
One chants out between two worlds…
One through each nostril

A lengthy, wordy tour of the rest of the island, starting from the top: Harriet’s bike is parked outside the Roadhouse just southwest of the Great Northern. Southeast of the hotel is the cemetery where Laura is buried. Beyond the cemetery is the railway bridge that Ronette Pulaski walked across on her way back across state lines on February 24th. Crossing the bridge, you’ll find yourself at the abandoned train car where Laura was tortured and killed. Her necklace is placed on a bloody mound of dirt and (as Margaret said) the owls are silent. Owl Cave is east of the crime scene, and James, Laura, and Donna are filming their picnic on the hill east of that. Behind the picnic hill is the rocky beach where Laura’s body was found by Pete “the Poodle” Martell. The gazebo at Easter Park where James and Donna film Maddie dressed as Laura sits on the far northeast corner of the island. Follow the road west of that, cross the bridge, and you’ll find Twin Peaks High School, where Audrey, James, and Donna are sitting in class listening to the principal announce the news of Laura’s death. South of the gazebo is the rise where Jacques cabin is built. James and Donna are burying his half of Laura’s necklace under a rock in the trees, and the scorched engine oil pool in Glastonbury Grove waits to the south. Below that rise, Mike and Bobby meet Leo Johnson for a drug exchange. Too bad Laura went and checked out on them before they could get her share of the money. Heading west across the river and past the Sheriff’s Department, Agent Cooper conducts an experiment from a dream he had. Further West, Agent Cooper, Doc Haywood, Deputy Hawk, and Sheriff Truman are late for tea at the Log Lady’s house. Her husband’s ashes are on the mantel behind them. North of her house is Shelly and Leo’s place, still undergoing renovations even though Leo is incapacitated. Cooper and Major Briggs are camping just west of the Johnson house. Cross the bridge to the south, where Leo just set fire to the Packard Sawmill. Below that is Mrs. Tremond’s living room. Her grandson is studying magic and she requested NO creamed corn in her meal on wheels. Oh, and in the woods behind Bob’s house, Laura and Audrey are smiling for a picture that will be displayed on Ben Horne’s desk at the Great Northern.

The Road House
The Road House…at night
Laura’s grave
Ronette’s bridge
Tell Harry I didn’t cry
Nice day for a picnic
Wrapped in plastic
What’s up, Doc?
Twin Peaks High School
I changed my mind. I’m not sorry.
You can almost smell the scorched engine oil
Go out for a pass
Tibet
Sorry, Andy
No cake
The Johnson’s house
New shoes
Leo was here
No creamed corn
Behind the scenes of Ben Horne’s photo of Laura and Audrey in knit hats.

Jacques Renault’s cabin (Jacques’s house) is a mixture of the sets from season one and Fire Walk With Me. Waldo, the record player, and the camera are all there, as is the dirty mattress where Leo tells Laura to “bite the bullet, baby.” If you turn up the volume, there’s always music in the air.

Jacques’ cabin

The Hayward’s house (Doc’s house) is a smaller version of the bottom floor of Caity’s house. Eileen and Will are hosting dinner with the Palmers and Leland is dancing to “Get Happy.”

Doc Hayward’s house

The Palmer’s house (Maddie’s house) is about to be the scene of a murder. Bob checks his reflection in the mirror and Sara has another vision of a white horse. Maddie wasn’t killed in her blue bathrobe, of course, but she had a vision of blood on the carpet while she was wearing it a few days prior.

Maddie Ferguson

The Bookhouse (Ed’s house) is tucked behind the museum. I struggled to choose between Ed’s house being the Bookhouse, which needed a villager house, and Big Ed’s Gas Farm. It was much easier to make Nook’s Cranny look like the exterior of Big Ed’s and turn Ed’s house into the Bookhouse. The bed where Audrey sleeps off her drug overdose–“heroin, Harry, THIS close to a lethal dose”–is in the corner. You can’t see her here, but her dad says she looks like an angel.

Big Ed’s Gas Farm
The Bookhouse
Ed’s place

TPSD (Lucy’s house)looks just like the Sheriff’s Department with a few additions for the baby. A sketch of Bob is behind her desk, there’s a box of donuts waiting for Cooper, and the essential pine tree painting is hanging on the wall.

Lucy’s desk

The Black Lodge (Judy’s house) is several little tableaus in one. Bob sits in front of a plate of garmonbozia on a formica table (green is its color,) the Arm shows Cooper the Owl Ring, and Agent Philip Jeffries shows up in the surveillance video behind Cooper. We’re not gonna talk about Judy.

GARMONBOZIA

The Double R Diner (Norma’s house) is a mini version of the upper floor of Cooper’s house. Wood paneled walls and custom wallpaper are accented with a checkered tile floor. The ice cream cone light behind the counter was too perfect to leave out, even in the smaller version of the diner.

Norma’s place

Bob’s house is creepy as hell, in sharp contrast with the adorable Bob villager. I felt bad putting him in that kind of place, but he seems to love it. He’s always dusting, cooking, or snoozing happily amongst the flames.

Such a sweet little guy

Leland’s office (Ray’s house) is a scene created with elements of Ben Horne’s office and other parts of the Great Northern. There’s a ridiculous smorgasbord set out for the Norwegians and the Ghostwood Estate papers are on the coffee table, ready to be signed.

The Norwegians are leaving!

Kyle’s house is special. Kyle MacLachlan lives rent-free in my head as FBI Special Agent Dale Cooper, Paul Atreides, Cliff Vandercave, The Captain, the guy Jessie Spano took for a ride in the swimming pool on Showgirls, a freaking extra on the Changeling, Jeffrey Beaumont, Trey McDougal, his brilliant cameo as a bus driver on Gravity Falls, and (most recently) Hank MacLean, who turned into Dougie Jones at the end of season two of Fallout. He is the most familiar face on my television with his majestic chin and a voice I’d recognize anywhere. His house isn’t just part of this giant homage to Twin Peaks; it’s a shrine to the man behind the man behind the badge. The T-60 armor and his vault jumpsuit sit outside his cabin because it’s just too damn big to fit inside. Despite being strikingly similar to room 315 at the Great Northern Hotel, there are tributes to Kyle all over the place. A portrait of David Lynch, a Dune movie poster, a teddy bear wearing a Washington State University sweater, a keyboard and a base guitar, and a barrel of Pursued by Bear wine. Naturally, there’s also a cup of damn fine coffee, a cherry pie that’ll kill ya, and a chessboard for playing out his game of cat and mouse with Windom Earle.

Kyle MacLachlan’s house
Pursued by Bear Wine
A mix of Kyle and Dale

Just as I was finishing up my island, Nintendo released an update that added a hotel to the pier. Sure, it would have been easier to just ignore it and hope visitors didn’t venture out onto the pier, but I made it The Great Northern South. The Great Northern expanded and opened a second location. There. I fixed it.

img_0080

So there you have it. Thanks for following along and experiencing Twin Peaks through the eyes of a fellow fanatic. Come back soon.

My debut novel is pink. I wrote story about a girl who’s obsessed with forensic science and Dexter–who has an super villain alter ego based on a type of poison–who just happens to want boobs. And it’s pink. Why? Because I didn’t self-publish. My book ended up in the hands of a romance imprint and my darkly sarcastic narrative ended up in pink. I absolutely adore it, mind you, but it isn’t what I imagined for E.

Despite all my prideful individuality and need for nonconformity, I need validation. I knew when I started writing that I’d never let this book see the light of day if I couldn’t land an agent and a publisher. Every author I’ve met around here published their own book and our experiences are vastly different. I’m always getting asked about my cover design, sales numbers, and if I’ll have any books on hand to distribute. I have no idea. I did get to weigh in on the mock-up of the cover art, but that’s the extent of my involvement in the process. I opened an email on my phone while sitting in a waiting room and got my first glimpse of a flesh-and-blood E, and I cried. I burst into tears in front of strangers and openly wept at how perfect she is. But I don’t know how many copies have been sold and I sure as hell won’t be buying a bunch of copies for resale. That’s all out of my hands.

Rewind a little more. Another day, another email, sitting in my car this time. I read an email from the editor with notes about changes I needed to make to my book. It didn’t seem so bad in the beginning. A few little things about time changes and the romantic subplot. No big deal. Then I opened One Drive and saw literally hundreds of notes waiting for me in the margin. I rewrote the entire timeline, completely changed relationships between characters, even altered E’s character arc. Months later, I had a much better novel. I’m glad none of you will ever read that mess and think less of me for it. I’m a little bitter about some scenes that ended up on the cutting room floor, but the editor was ultimately right about them and I learned a lot about writing in the process.

Okay, fast forward back to today. My next project is on submission right now, and I’m trying not to get too excited about the enthusiastic response we’ve seen so far. My agent pitched the book to six different editors from major publishing houses. Five of them answered the next day. All five answers were manuscript requests. Not a single rejection. I have to stay level-headed about this. The reality is that an unholy amount of stories are pitched every day and a stunningly high level of interest is no guarantee that it’ll get purchased and end up in print. And I need that validation. I still won’t decide my work is worthy of publication unless someone else makes it official.

A major factor in my hesitation is that pink cover on The Saline Solution. E’s story is a quick-moving narrative about a girl who quips her way to earning a buttload of cash for a boob job. She’s confident and funny and knows what she wants. She’s all the things I wish I’d been when I was in high school. The rest of the cast consists of her functional family, her healthy friendships, her long-term boyfriend, and her secret love interest. Dead Girl is completely different. Clair is an only child with a single parent. She pushed everyone away to protect them from her depression, and the only static relationship in her life is her friend, Brian. Her story bounces back and forth between her desperate last days before dying and the emptiness that came after. Where E tells you the story of how she got the twins, Clair agonizes inwardly over the pain of being forced to live through death. E is all the things I wanted to be, and Clair is everything I was. I took an enormous risk and wrote something deeply personal. Now we wait and see what happens.

And somewhere halfway between E and Clair, there’s a girl named Maggie. She was the first character I fleshed out on paper and I’m working on bringing her back to life for my third book. Man, I really hope you get to meet her too.

Originally posted September 2013

I’ve learned a lot in the last year. I learned how to drill a stripped screw out of an iPhone. I learned how to do the flick with liquid eyeliner. I learned that breast implants explode in crematorium ovens. And I learned that the WRONG literary agent is a real thing. So this one night, I’m checking my email with one hand and stirring spaghetti sauce with the other when I was caught off guard by a very serious question. Is it time for me to find a new agent? There’s a lot more to this question but trust me, you’re not missing anything by skipping ahead.

Suddenly, I was sitting in my car in the dark (playing Candy Crush Saga at the back of a parking lot outside a coffee shop because it’s the only place far enough away from the kids to have a quiet phone conversation) talking to the RIGHT agent about the right things and realizing I should’ve thought about those things a year ago. I was also realizing I probably looked like a meth dealer or a psycho to any police who drove by, but it was the night of the homecoming bonfire and the cops had more important things to do than harass minivan moms who are just looking for some alone time.

There’s a very important distinction here: the WRONG agent isn’t necessarily a BAD agent. It’s easy to get crazy excited, query every agent on the planet, and sign with the first one who offers representation. I know. I’ve been there. I get that. But you wouldn’t walk into a dealership and buy the first car you see in your price range. You’d want to take the time to make sure you’re making a wise investment. Do you want a manual transmission or an automatic? Something that gets you there super fast or something that you’ll still be driving twenty years from now? What’s right for one person isn’t always right for someone else.

Okay, there’s a really sucky part I need to mention before I get too far into this. Remember when I said “the first car you see in your price range?” Sometimes there are no cars in your price range and you need to work harder so you can get something better. When you find yourself hunting for obscure agents because you’ve been rejected by everyone else, you might want to consider going back to work on your manuscript so you can get someone reliable instead of a clunker. Don’t settle. Seriously.

Let’s say you’re on the lot, cash in hand, and you’re trying to decide which car to buy. Have you figured out what features matter most to you? This is where I went wrong. I had offers from several agents but I didn’t know how to make my decision. It just happened all at once and I wasn’t prepared. I made an emotional decision without doing any research. I ended up with an amazing agent who just happened to be the wrong agent for me. I was like a mother of four who buys a two-seater convertible, or a guy with a long commute who buys a gas-guzzling SUV.

Because I care, and because I love making lists, here are some suggestions to help you start your own list of questions for that all-important phone call. As usual, these are in no particular order–just like my thought process.

1.    Ask about your manuscript. Find out if it’s going to need an overhaul or if there are just minor changes to make before it can go out to editors. This usually isn’t a deal breaker question, but it’s nice to know what you’d be up against if you sign with that agent.

2.    Discuss communication. This is a really important one for me. You should know up front how often you two will be checking in with each other and how to get in touch when needed. Some people like to be left alone, others want lots of hand holding. Some agents prefer email, others would rather talk on the phone. Is it better to send a quick text or is she quick to respond to letters? Loners don’t want to be smothered and hand-holders don’t want to feel like they’ve been left in the dark.

3.    Research recent book deals. Check to make sure the agent is actually selling manuscripts before you hand yours over. Find out who they’re selling them to. If all their sales are to tiny publishers who only do eBooks, it’s likely that’ll be your future as well. You might also want to look at the genre of those sales. Has that agent been selling books in your genre? If they are, they might have a better idea of where to pitch your manuscript.

4.    Look at their client list. Compare the number of published clients (with sales brokered by that particular agent) versus clients who are still working on it. If their client list is mostly newly signed, unpublished authors, your manuscript could be sharing office time with all the others. If their client list is full of unpublished authors who have been with that agent for a while, it’s not a good sign. Either the agent’s dropping the ball or they’re choosing clients with unpublishable manuscripts.

5.    Talk about your other projects. If the agent isn’t excited about the other stuff you’re working on, you might be agent-hunting again before long.

6.    Find out how involved you’ll be in the pitching process. Some agents will come up with a pitch and a submission list without running it past you, while others might want your input. You might want to see all the feedback from editors. You might want to hear only the good news. Whatever your preferences are, make sure the agent is cool with it.

7.    Be open-minded. Maybe there are a bunch of unpublished authors on their client list. They could be working their butts off and have a bunch of stuff in the works that you don’t know about. A huge list of recent sales isn’t a guarantee that you’ll be on that list anytime soon. They may have been on a roll, but rolls end eventually.

8.    Take your time. When you’ve asked all your questions and done all your research, give things a little time to settle before you make your choice. No, you don’t want to leave them hanging forever, but you don’t want to rush into a decision and make the wrong one. If they really want you, they’ll still be there if you need a few days to think about it.

9.    Trust your instincts. If something just doesn’t feel right, don’t ignore it. Little things that make you uncomfortable in the beginning might not get better with time. Does it but you that your boyfriend thinks farting’s funny? Picture him seventeen years later, ripping ’em in the kitchen and teaching your kids to blame their own on you. Trust me. It happens.

10. Be objective. Just because an agent has big name clients and works at a well known agency, it doesn’t mean you’re going to get a seven figure deal for your debut novel. Likewise, signing with a twenty-something agent with a super short resume doesn’t mean you’re not going to end up with a killer publisher and win a Newberry. Respect the young. Listen to them. Don’t be scared of their youth. They’ve got more energy and their spirits haven’t been broken yet.

Don’t just stop with my list. Ask, ask, ask. Talk to references, snoop around online, stalk them on Twitter. Be informed. I’d love to hear other ideas from you guys in the comments. Post away!

One final thought; I use the words RIGHT and WRONG very loosely. It’s really not that black and white. You could sign with the RIGHT agent and still not get published. There are tons of factors that come into play in this industry. I signed with the RIGHT agent last year and I’m signing with the RIGHT agent this year. Comparing them side by side, I think this new one is the RIGHTER agent for my manuscript–just like the old one is the RIGHTER agent for someone else’s manuscript. Both my agents are AWESOME.

Good luck!

Originally posted September 2019

Ten years ago, I did a thing. I wrote a book. I decided to get it published and live happily ever after. If you’re shaking your head or laughing at me by now, you probably already know what I’m about to say. I wish I could tell you I emailed my story to an agent who immediately offered to represent me and landed a million dollar deal with a big name publisher within a week and the movie will be in theaters next year. Heck, I wish I could tell you I got an agent, a publishing deal, and my book is available nationwide right this moment. That’s not what happened. Not even close.

The truth is, it took three years to get an agent for that book and nothing happened. A year later, I signed on with a different agent and still nothing happened. I wrote a second manuscript and we started over with submissions to editors. Life threw me a couple of vicious curve balls and I had to shift my focus away from writing for a few years. Things crumbled down around me and I hit a low point that I never want to see again. Ever. I had a mental and physical breakdown that almost ended everything. But I lived. Somehow, I crawled out of the rubble and dusted myself off. I polished up my manuscript pitch and got it ready to email to my agent. My confidence was shaken and I panicked when it was time to hit send. I didn’t know if I still had an agent after all that time, or if our contract dissolved after a few years of being in the void. Even worse, I didn’t know if I deserved an agent at all. The story that I queried to get representation in the beginning was on indefinite hold and I was working with a totally new project. It hadn’t really been field tested and I was still a nobody. I tried reaching out to an agent friend to see if the new piece was worth bothering with at all. I finally just wrote a painful email that said something like “I know it’s been forever and I’m totally okay if you’re not my agent anymore…” and sent it. Miraculously, she was still on board. We’d had our eye on a certain publisher before my giant writing hiatus and officially submitted the pitch for The Saline Solution in November of 2018. January, 2019, we got an offer. A decade after my first query, I signed a publishing contract.

Ten years. My kids were 11, 9, 6, 4, and 2 when I set out to get published. They’ll be 21, 20, 16, 15, and 13 when The Saline Solution is released. I had kids in elementary school, preschool, and my youngest was being potty trained. Now I have two adult kids in college, two teenagers in high school, and a middle schooler. I went from 31 to 41. It’s been a long time.

What I’m learning is that most of us have very different experiences on the road to publication. So many famous authors were rejected hundreds of times before they got a break. So many. Sure, you’ll find plenty of success stories from authors who were picked up fast and sold their first books to major publishing houses. You’ll also hear about authors who gave up on querying or skipped it altogether and went straight to self-publishing. The factor that I see more than any other—the common element in most of these stories—is perseverance. With few exceptions, most of us have read rejection letter after rejection letter. We’ve been turned down more times than we can count. It takes querying the right agent at the right time, and having that agent pitch to the right editor when the market is right. It takes the stars aligning. The time might not have been right for my book when I wrote it, but it is now. I drafted The Saline Solution before the #metoo movement. It’s more relevant now that it was when I wrote it. The right agent, the right editor, the right time. If I’d given up after letting go of my first agent, or after shelving my first project, or even after my world collapsed, I would’ve missed that window.

When you finish your manuscript, polish it. Polish it again. Get it as clean as you can before you query it. Have other writers read it and really listen to their feedback. Polish your query. If you’re not getting submission requests from your query, figure out why. Go back to the drawing board again and again until it works. Don’t stop writing. Write while you’re waiting. You might find yourself at a dead end like I did and a second manuscript could save your career. Write often. Read often. And, for heaven’s sake, don’t listen to people who tell you no one can teach you how to write. There’s always more to learn. Take classes, read books, find your voice. There are patterns and formulas to all of this. There are rules. What I’ve learned in the last six months of research between rounds of editing has helped me see where my first manuscript went off the rails. I know how to fix it.

When it comes down to it, a great manuscript and a well-written query are more important than a thousand Twitter followers and a professional website. Those can come later. All the flash and glitter in the world won’t make up for a crappy manuscript.

You got this.

Recommended resources in no particular order;

Self Editing for Fiction Writers by Renni Browne and Dave King: Save yourself a lot of time and heartache with this book. Agents and editors will thank you.

Actually, the Comma Goes Here by Lucy Cripps: If it’s been a while since you were in school, this book is a fun refresher with a handy style guide reference chart.

Verbalize by Damon Suede: A unique approach to crafting characters and scenes that really drive your story through creative use of verbs. Activate is a thesaurus of verbs that’ll help you really get the most out of Suede’s advice.

Damn Fine Story by Chuck Wendig: This one’s fun to read even if you’re not a writer. Wendig practices what he’s preaching.

On Writing by Stephen King: Always inspiring, King should be on every writer’s shelf. This is one of my favorites.

MasterClass.com: A subscription gives you access to amazing courses from big names in the industry like Neil Gaiman, Margaret Atwood, James Patterson, and Judy Blume. Well worth it.