Guest Author Post
Nancy Christie
Tell us about yourself and how many books you have written.
I’m the author of nine books to date: two Midlife Moxie novels (Reinventing Rita and
Finding Fran); four short story collections (The Language of Love and Other Stories,
Mistletoe Magic and Other Holiday Tales, Traveling Left of Center and Other Stories,
and Peripheral Visions and Other Stories); two books for writers (Rut-Busting Book for
Authors and Rut-Busting Book for Writers); and the essay collection The Gifts of
Change. In May 2025, I will be releasing my third novel, Moving Maggie, which will bring
the total up to ten!
I’m also the host of the Living the Writing Life podcast, founder of the annual “Midlife
Moxie” Day and “Celebrate Short Fiction” Day, and member of the American Society of
Journalists and Authors (ASJA), the Florida Writers Association (FWA) and the
Women’s Fiction Writers Association (WFWA).
What is the name of your latest book and what inspired it?
The Language of Love and Other Stories is my latest book and fourth collection. After
Mistletoe Magic was released in 2023, I decided to put together another holiday-themed
collection and settled on love stories for a February release—in part because of
Valentine’s Day and also because that is the month my birthday is in, so it’s a present
from me to me!
But I didn’t just want it to be about romantic love but rather all the ways we love people,
and all the paths that love can take, and in some cases, some of the ways love can be
lost. I hope the readers are touched by the stories. It’s available on all retail sites
including Amazon and on my publisher’s website.
Do you have any unusual writing habits?
I always wish I had a clever answer to this, but I am, at heart, just a writer. I do my
creative writing, meaning work on books and short stories, first thing in the morning,
usually starting by 5 AM, and write for a couple hours. Then I go for a walk and noodle
through what I have written and any issues or struggles I have with the characters or
plot. The next day, it’s back at it. I know it sounds very boring and plodding but it’s
actually the best way for me to start my day. When I’m writing, I am completely lost in
the work, and it can be hard to come back to the real world!
What authors or books have influenced you?
Agatha Christie, Margaret Atwood, Shirley Jackson—that barely scratches the surface
because I read primarily for pleasure.
One book, however, that had a major impact on me was The Writer on Her Work, edited
by Janet Sternburg. Reading about other women writers (those I consider far above
me!) and their challenges living the writing life made me feel part of a collective and
helped me recognize that women face unique difficulties when trying to marry life and
art. One entry in particular really had an impact on me: Michele Murray’s “Creating
Oneself from Scratch.” Murray died at 40 from breast cancer. The idea that time is a
finite substance whose extent is unknown until it’s gone hit me hard when I first read her
words, especially because I had put my writing aside due to family obligations. I realized
how dangerous the words “later, later” could be because no one knows if they have a
“later.” So bit by bit I started writing again.
What are you working on now?
As usual, I’m juggling multiple balls. I’m doing promotions for The Language of Love
while planning my book tours for Moving Maggie (my third novel) while writing
Transforming Tessa (my fourth novel) while noodling around an idea for a fifth short
story collection while interviewing authors on my blogs and podcast while doing
copywriting for clients.
I think somewhere in there I’m also sleeping but I’m not sure.
What is your best method or website when it comes to promoting your books?
I don’t know that it qualifies as “best” but here’s what I do. I have a website (a must-
have, in my opinion) plus I post on various social media platforms. I also have a
newsletter, Nancy’s Book News, for readers that comes out once a month plus another
newsletter, The Writing Life, that is geared more toward writers. I do book signings, hold
workshops and give talks to book clubs and organizations. And I send out press
releases to the media, libraries and bookstores about my books and events.
Do you have any advice for new authors?
It’s really important to have a writing community, however small, to keep the isolation
from getting to you. Several years ago, I started Monday Night Writers — our core group
gets together once a month and shares works-in-progress for feedback. I also have
writer friends out of state that I share work with.
Don’t put all your attention on finding an agent or deciding how you are going to publish
or on writing X number of books in X number of months. That’s putting the cart before
the horse. Start by learning your craft and becoming the best writer you can be. That
means taking courses or reading books on writing or getting feedback (not just
compliments!) on your work.
Bottom line? If you want to write, stop making excuses why you can’t write and just do
it. Expect to have your work rejected, because that is just a fact of the writing life, but
don’t let it stop you. Get good feedback and strive to improve with every piece you do.
No matter how long you have been writing, every day you should move the bar a little
higher and try a little harder.
What is the best advice you ever heard?
This came from a writer friend of mine, Kelly Boyer Sagert: Don’t confuse “I’ve never
done it.” with “I can’t do it.” That applies to just about everything in life.
What are you reading now?
I’m working through my TBR pile because I owe some authors reviews that I promised
plus some of them are by authors that I want to interview. So many… so very, very, very
many…
What’s next for you as a writer?
Keep writing novels and another collection and… well, basically, just doing what I’m
doing now!
If you were going to be stranded on a deserted island and allowed to take 3 or 4 books
with you, what books would you bring?
The Writer on Her Work
Agatha Christie’s Autobiography
Shirley Jackson’s Novels and Short Stories
Alice in Wonderland — my copy because I am emotionally attached to it
Guest Author Post
Jim Naremore (part 1)
Sex scenes for writers part 1
Most writers I know agree that there is nothing more difficult to create than a good, effective sex scene. On the surface that could be hard to understand. Sexual encounters and relationships are something most writers and many readers have at least a passing familiarity with, I assume. I know I have more firsthand knowledge of sexual relations and activities than I do about a lot of things I’ve written about, like shooting a gun at someone or attending a séance or doing stage magic or working with puppets, none of which I’ve ever even tried. Yet I have written effective and (I’m told) compelling scenes involving all of those activities, but sex? That’s suddenly really difficult. Why?
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I think it has to do with how we as a society and culture view sex, and with the very unique nature of sex as a human activity. But still, our job as writers, if we are writing about adult characters, even if we are working in fantasy or science fiction, is to write characters that are as fully formed and as believable as possible, and that means they’ve either had or have a sex life, or they want or don’t want a sex life, and that’s part of who they are, even if its not directly part of the story. And lets also be honest: if we are writing about grownups, then sex and how our characters relate to sex is, or can be, very interesting.
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Going back to that idea of “good and effective sex scenes”, it begs a question: what exactly IS a “good” and “effective” sex scene? Let’s start with a truth about writing ANY scene. A scene is only truly good or effective if it serves to advance the story. A scene that does nothing to help propel the plot or storyline should not be in the book. Period. So, a sex scene that exists for the sole reason of being a sex scene (to be shocking or titillating) is simply being gratuitous, and it needs to be edited out no matter how proud the writer is of it (“kill your darlings”). In my most recent novel, American Still Life, I originally had a scene where Skade, the protagonist, goes into a bar, picks up a random stranger, goes to his place and has sex. The scene was not explicitly graphic, but it was graphic enough. And it did have a narrative purpose, to show Skade’s mindset and her extreme disconnection and disassociation with herself. I ultimately cut that scene because it wasn’t vital to the plot. In another instance, there is a scene that occurs directly after a sexual encounter. I could have chosen to show the encounter, but I didn’t because NOT showing it was more effective in conveying the story and the immediate aftermath was far more important than the act itself. In my first novel, The Arts of Legerdemain as Taught by Ghosts, there are (were, actually… I lost a fight with my editor) three different sex scenes, and each “feels” different on purpose. In one scene we have two people who are lonely and attracted to one another, so I used a more natural and romantic (though graphic) tone and language. In another scene one of the participants wants something from the other, they are using sex for a purpose, so the pace and tone and language is harsher and more graphic (“pornographic” as my editor originally claimed). By changing the languaging and the tone and pacing I tried to convey something about the characters and how they were showing up to each other.
Jim Naremore (part 2)
Sex scenes for writers part 2
Sex, like violence, can easily slip into being gratuitous and as writers we need to be careful, but let’s say we’ve got a plot that naturally contains a fair amount of sexual activity. Sex scenes, even if they are necessary to advance the story and are not at all gratuitous are still hell to write. The reason is that sex itself, the act, is impossible to completely describe with words. To use a common word, it is “ecstasy”, a going out of the mind and body for a moment. Language is left behind. Unfortunately, language is all we writers have, so we tend to drop into describing a graphic play-by-play filled with body parts and bodily functions that doesn’t really get to the reality of the energy and emotional exchange of the act itself. Poetry is way better for this work, and that’s why leaning into your most poetic voices by reading a lot of poetry and letting go of a lot of your more formal structure can be far better. In those moments I tend to offer “less is more”, but you know your voice and your flow. And, as writers, we need to ask our characters. I mean that. Sit down and have them tell you what that scene feels like and looks like. Be true to the people on the page, and don’t slip out on them. Ask yourself, “what is the purpose of this scene. What do the people involved want? What are they willing to do to get what they want? How do they feel about it?”
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Of course, there are times or stories that are designed to arouse us just as there are stories designed to make us laugh or frighten us. And here again, the writer is in a tough place. If I’m going to write something to make my reader laugh I usually go to what I find funny or a style I find funny. A lot of humor is out in the open and the styles of humor and how it works are easy to see. But sex and sexual arousal is not as easy to see because we’ve hidden it. I know what arouses me and I know what arouses (some of) my partners, and maybe some of my friends have let slip some information, but in general I’ve got a smaller amount of tools to work with when trying to write a really hot scene. It is very true that a book never truly is complete until it is read because the reader brings the last element. A reader NEVER reads exactly what the writer wrote or even meant, they bring a bit of their own lives to it and that completes the story. The same goes for a sex scene. Its better to be authentic than guess. Just as with any emotion as a writer, you tap into the feeling of it and go with what processes out of those feelings.
Ever since the AIDS epidemic, literature tended to write right up to the moment a sexual encounter began, then the scene faded out and faded back in after the sex was over, like a PG movie. That is beginning to change I think and that is probably good. But still, I think its incredibly important to remember a basic rule that goes for any writing and especially for writing something like sexual action: respect yourself as an artist, respect your story, respect your characters, and most of all, respect your readers. Do that, and anything is possible. We should reclaim this aspect of real people’s lives on the page. And it’s fun, too!
Guest Author Post
Wallace’s Oasis Bordello in Freeze Frame
By Milana Marsenich
Wallace, Idaho, a live and let live town, had sponsored brothels, bordellos, and parlor houses from as early as 1876. The houses of ill-repute didn’t shut down until over a century later when, during business hours at the Oasis Bordello, eight employees of Darlene Murphy fled out the backdoor.
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A false end to prostitution happened in September of 1973 when padlocks appeared on the doors of the brothels and bordellos. Political pressure had caused the houses to temporarily close. Madam Delores Arnold didn’t like turning away customers and couldn’t wait to open again. Arnold ran the Lux in the 1940s and the Luxette in the 1960s. A savvy manager and businesswoman, Arnold developed strict operating procedures for the houses among area madams.
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She led their way toward civic duty and giving back to the community. She bought raffle tickets for fundraisers and donated the money if she won. She contributed to charities, local government, and schools. After the 1972 Sunshine Mine disaster in Kellogg, Idaho, Arnold sent baskets of food to the families of the 91 miners who lost their lives in that tragic fire.
Darlene Murphy or, as she preferred to be called, Ginger, followed Arnold’s operating procedures. Madam Ginger ran The Oasis Bordello in Wallace from 1963 to 1988. Heather Bransetter’s book, Selling Sex in the Silver City: A Business Doing Pleasure, includes two letters to Ginger: one from a former employee and one from a prospective employee. The letters are both tender and grateful, demonstrating the respect that Ginger engendered from others. She kept an eye out for violence to maintain her employee’s safety. Each of their rooms had a buzzer that they could use to call Ginger at any time of concern or danger.
On June 23, 1988, the FBI descended on Wallace with 150 agents. They came for the gamblers but struck fear in the hearts of others. Madam Ginger was tipped off about the FBI raid ahead of time. The women all grabbed a few things and left the building, fully intending to return. The FBI stayed in the town until 1990, effectively ending a century long run of prostitution in the mining town.
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The women never returned to gather their things. The Oasis Bordello remained closed tight for the next five years, until a new owner bought the building. The new owner found everything just as Madam Ginger and the women had left it. Toiletries, books, cards, scarves, that last day’s shopping, price lists of available services, and alcohol still filled the rooms. Undisturbed, the Oasis Bordello was a ready-made museum and is now available for tours.
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Hip-high gates prevent visitors from walking into the rooms, but from the doorways a person can easily see the chairs, bedspreads, curtains, shoes, and private journals. The rooms are as they had been when Ginger and her employees abandoned the building. The feared FBI raid sent the women running and froze that moment in time.
“Expect to Self-Rescue. No Help is Coming”
by guest contributor Allie Nava
“Expect to self-rescue. No help is coming.”
Those were the words that flashed before my eyes as I read the back and forth dialogue initiated in the chat of one of the book discussion groups to which I belong. Apparently an apparel company was using this quote to promote their products. I suspected they were selling outdoor survival products.
We had such a lively discussion about the quote, which at first came across as harsh, or a bit too much of a dose of reality. As our discussion continued, it was clear to most of us that there were echoes of both practical life advice and ancient wisdom captured in that quote. To me, it reminded me of wisdom that could be found in ancient eastern and western philosophies.
For example, Stoic philosophy, with its roots in both Greece and Rome, espouses self-awareness, analysis, and decision-making based on rational thinking about experiences and context. The dichotomy of control (being aware of what is versus what is not in one’s control), is an important initial step in applying Stoic wisdom. It reminds learners that self-reliance and personal responsibility for whatever is in one’s control, along with responsible decision-making, can lead to a meaningful, purposeful life, leading to a greater sense of peace and happiness. It also reminds people that awareness of one’s perspective about the experiences that occur in one’s life, can influence one’s ultimate sense of peace and happiness.
As I dug further myself, I was reminded of other similar quotes or stories I had heard growing up, such as the famous joke story about the drowning man who believed a higher power would save him. When both people and a helicopter came to his rescue, he rejected them saying a higher power would save him, but then he died waiting. As he entered what he thought was the afterlife, he asked why he wasn’t saved, and the higher power laughed saying something akin to (I’m paraphrasing here) “but I did, I sent you people and a helicopter.” This story underscores the need to take responsibility for one’s life, and in a way “self-rescue.”
In my new novel July and Everything After, I chronicle the journey of a woman who tries to shine a light on unspeakable atrocities. She attempts to take responsibility for her experiences and things she witnessed, ”self-rescue”, and the book follows her action-packed journey filled with mystery, crises, many twists and turns, and even a bit of romance.
So as you embark on the rest of your week, I wish you the gift of agency, “self-rescue” from the challenges in your life, and certainly a bit of mystery and romance.
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Author Bio: Allie Nava is the author of bestselling novel JULY AND EVERYTHING AFTER, a modern tale of resilience against extraordinary odds. You can find her online at www.allienava.com and on social media at www.instagram.com/alliestories8 or www.facebook.com/alliestories8.
Kathie Giorgio
FIFTEEN BOOKS IN FOURTEEN YEARS
(and counting!)
I’m one of those writers, the ones who know from an early age what they want to do, and then they do it. I’m told I was telling stories before I could actually write, and then once I could write, that was all I wanted to do.
I sold my first short story at the age of 15. I’d written out the story of Christ in 1970’s slang (it was 1975). With my young and limited experience, the only place I could think of to send it to was the Catholic Herald Citizen, who promptly divided it into four pieces and published it as a serial. I was thrilled!
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Over the next years, I sold many short stories and poems, but the novel remained elusive, much to my frustration. I went through a total of four agents before I gave up and decided to market my latest book myself. Not as a self-published book, but to the small presses. I never ever believed that a writer should pay to have their own work published. We’ve already done the work by writing…we should be paid for it.
It took me just under a year, but I placed that first novel, The Home For Wayward Clocks, in 2010 and it was released in 2011, when I was fifty years old. From my first story at fifteen to my first novel at fifty was quite the roller coaster ride. But what happened then was incredible – 14 more books, for a total of 15, in 14 years. 8 novels, 2 short story collections, 4 poetry collections, and [a] collection of essays. The years of publication: 2011, 2012, 2013, 2015, 2 in 2016, 2017, 2018, 2 in 2019, 2020, 2 in 2022, 2023…and 2024. Looking at those years, even though I experienced it, even my eyes boggle.
So how did I do it?
First, let’s look at the hard stuff. The internal stuff, the attitude. This is what you have to do – and feel – if you want to produce books in a timely manner.
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DETERMINATION
Never give up. Give every idea a chance. You often hear that writers have to have a thick skin, and that’s absolutely true. But I modify that. When the hard hits come – and they will – give yourself no more than 48 hours to sulk. But do give yourself the 48 hours. It’s human to feel like the world is against you, or worse, that the world might be right and you should never have taken up writing at all. But at the end of that 48 hours, get back to work. Send the poem, story, novel, memoir, essay out again. I never give up on a piece until it’s been rejected 10 times. Then I look at it again, make modifications if necessary, and send it back out.
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DISCIPLINE
Take a hard look at your schedule and figure out when you can write. Recognize that it doesn’t have to be a big block of time, but can be in pieces throughout the day. I have students who write on their lunch hours and coffee breaks. Others write while they take the bus or train back and forth to work. Some, who know they would never stick with an early morning or late night schedule, instead get up and write for a half-hour before their alarm would normally go off, and they stay up a half-hour later, thus getting in a full hour of writing every day, but not missing that much sleep. Dump the idea that you have to write for hours and hours at a time. There is time in everyone’s schedules. I’ve produced these books and stories and poems and essays all while running my studio, All Writers’ Workplace & Workshop LLC, teaching an average of 85 hours a week. I also did it while raising four kids and going to graduate school. It can be done.
WORK HARD!
As I work with students, I wait for the moment when they turn to me with wide eyes and say, “This is hard work!” YES! All of the representations of writers staring dreamily into space, receiving gifts from their muses, and smiling before, during, and after writing is a fallacy. Writing is hard work. Don’t expect it to come easy.
Now, let’s look at the actual timing of my books. There was a method to my madness.
By the time I sold The Home For Wayward Clocks, it had been making the rounds for three years, counting the time with two agents and then with just me. By the time I sold the book, I already had the next book, a short story collection called Enlarged Hearts, written. The Home For Wayward Clocks was in production for a year, and as soon as it came out, I turned over Enlarged Hearts to the publisher. For the year that Clocks was in production, and then the year that Hearts was in production, I was writing the next book, Learning To Tell (A Life)Time, the sequel to Clocks. So this means we have:
2011: The Home For Wayward Clocks (novel)
2012: Enlarged Hearts (short story collection)
2013: Learning To Tell (A Life)Time (novel)
But while it looks like I was writing a book a year, I wasn’t. I spent the two years leading up to the releases of Clocks and Hearts on Lifetime. Clocks actually took me 3 years to write, Hearts took 2 years, and Lifetime took 2 years.
Then we have a passage of 2 years, from 2013 to 2015, before we have:
2015: Rise From The River (novel)
2 years to write River. When River came out, I’d just started on the next book, and I knew by then that I typically take at least 2 years to write a book. But I wanted something out sooner than that, and so I compiled many of my short stories that appeared in literary magazines, plus some “never before seen’s”. I also put together a poetry chapbook, with poems that were already written. Consequently, we then have:
2016: Oddities & Endings; The Collected Stories of Kathie Giorgio and
2016: True Light Falls In Many Forms (poetry chapbook)
Two books out in 2016, that I already had written. Which then gave me from 2015 to 2017 for:
2017: In Grace’s Time (novel)
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And again, I was working on the next novel, but knew it would be 2 years before it was done. But something weird happened, that I did not plan. At the very end of 2016, I started writing a blog. It was the result of my being assaulted which led to a pretty deep depression. I began to write a blog called Today’s Moment Of Happiness Despite The News, in which I put down one moment a day that made me smile. 2017 was a challenging year, starting with the assault, then my husband losing his job twice, my daughter being so severely bullied, we had to move her to a new high school, and my being diagnosed with breast cancer. The blog became very popular, and at the end of the year (I’d vowed to write in it every day for a year), my followers said, “Kathie, it’s going to be a book, isn’t it?” And my publisher said, “Kathie, it’s going to be a book, isn’t it?” And so we have:
2018: Today’s Moment Of Happiness Despite The News; A Collection of Spontaneous
Essays
A book which was already written throughout the year before.
Now, while I’d been writing the blog, and in the year Today’s Moment was in production, I worked on yet another novel. I also put together another poetry chapbook, from poems that were already written. Which meant we then go to:
2019: If You Tame Me (novel) and
2019: When You Finally Said No (poetry chapbook)
Whew. Now again, by the time these two books came out, I was working on another novel. But I needed the usual 2 years to get it done. So while working on that novel, I compiled my poetry that had not been published in the two chapbooks and put them into a full-length collection of poems, many of which had been published in magazines. So we have:
2020: No Matter Which Way You Look, There Is More To See (poetry collection)
Which meant I had from 2020 to 2022 to put out my next novel:
2022: All Told (novel)
I also put together another poetry chapbook, made up of a collection of haiku that I wrote during the month of April a year or so before. April is National Poetry Month, and also Autism Awareness Month. My daughter is autistic. So I wrote a haiku a day during that April, celebrating my daughter. Months after All Told, but still in 2022, we have:
2022: Olivia In Five, Seven, Five; Autism In Haiku (poetry chapbook)
I had from 2021 (while All Told and then Olivia In Five, Seven, Five were in production) to 2023 to write my next novel, novel #7, book #14:
2023: Hope Always Rises (novel)
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This brings us to now, when I had the year that Hope Always Rises was in production (2022) and the year it was released (2023) to write my most recent novel, just released on 10/03/24:
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2024: Don’t Let Me Keep You (novel)
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And that’s how I published 15 books in 14 years, all with traditional presses, starting at the age of 50. I’d like to say I did it without breaking a sweat, but oh, I broke and broke and broke again.
It always pays to think outside of the box. While you’re working on your next book, what do you have already written that could be put into a collection? And also, always, always, always write the short stuff. Short stories, poems, essays, short memoir; appearing in magazines and anthologies builds up your writing resume, your reputation, and your readership. Throughout these 14 years, I was consistently publishing in magazines and anthologies. My name was always out there somewhere.
And yes, I am already working on my next novel. And another book of poetry. 16 books in 15 years? Maybe 17? We’ll see.
I hope this helps. Don’t ever give up.
Jen Payne
How One Phone Call in 1996 Led to a Life of Self-Publishing
by Jen Payne, author, Sleeping with Ghosts
Tracey Lampley: Hello Jen. Tell us how your business started.
Jen Payne: I started my business, Words by Jen, in 1993. It was a part-time effort at first, offering writing and “desktop publishing” services to a small-but-growing list of local businesses, artists, and non-profits. By 1996, I had moved my office from the second bedroom of an apartment to commercial office space and was ready to leave my job at a local print shop to dedicate my time to my own work.
Tracey Lampley: Were you advertising? How did people find out about you?
Jen Payne: Back then — pre-Google and social media— one of the best ways to market a business was to have a listing in the phone book. Phone books, for those of you who might not know, were kept in every household and included all of the landline phone numbers in your town. There was a white pages section for home phone numbers and a yellow pages section for business phone numbers and advertising.
In the fall of 1995, I placed a yellow page ad in a phone book that would be in every home within 20 miles of my office.
Words by Jen
Business Writing • Desktop Publishing • Typesetting
(203) 483-5353
Tracey Lampley: Do you remember your first customer?
Jen Payne: The very first phone call I received was from a woman named Dale Carlson. Dale was a well-known New York City author who had moved to a shoreline town here in Connecticut and started her own, small publishing company, Bick Publishing House.
We met over coffee at a local breakfast spot, and had a very long conversation about how we might work together. She was as curious about me and Words by Jen as I was about the strong force of a woman sitting across the table from me.
Tracey Lampley: What do you remember about Dale Carlson?
Jen Payne: Dale was 60 years old when we met, with an impressive resume of writing and publishing experience. She’d written more than two dozen books at the time, was published by Atheneum Books, and had won both an ALA Notable Book Award and the Christopher Award.
She had traveled all over the world, practiced yoga and meditation, was an advocate for folks with mental illness and addiction, read voraciously, and had recently become a licensed wildlife rehabilitator.
Tracey Lampley: And you? Who were you back then?
Jen Payne: I, on the other hand, was barely 30 and just starting out in my career…and my life. I must have seemed so young and naïve to her. Still, something clicked for both of us and we agreed to draw up a contract for “book design and marketing services.”
From that first meeting, Dale and I went on to create more than 30 books, from her first series of wildlife rehabilitation manuals in the late 1990s to her final book OUT OF ORDER: Young Adult Manual of Mental Illness and Recovery.
Tracey Lampley: So, would you call yourselves innovators on the cutting edge of technology?
Jen Payne: Yes. We started on that journey together before independent publishing was a thing, before print-on-demand and Amazon and self-publishing. Dale had taken us out to the leading edge of this new industry, and it was an amazing ride!
She knew, for example, Jan Nathan — the founder of Publishers Marketing Association (PMA) which became the Independent Book Publishers Association (IBPA). Her books were edited by Ann Maurer, who had a long history of editing for well-known publishers, and our team included Jean Karl from Atheneum and award-winning artists like cover designer Greg Sammons and illustrator Carol Nicklaus.
Tracey Lampley: What’s most important about that era?
Jen Payne: During our time together, I gathered a set of design and publishing tools that still serve me well today, including a well-worn copy of The Chicago Manual of Style that Dale gave me all those years ago. From her, I learned about book industry standards for design, how to edit and organize content professionally, what makes for a good cover design and effective back cover content, how to position a book properly for booksellers and libraries, and so much more.
Ask me what inspired me to write books and how I came to start my own publishing company — Three Chairs Publishing — and I will tell you about the 25+ years that Dale and I worked together: the long hours of editing around her kitchen table, selecting art and cover designs, developing a house style, and promoting her books.
The skills I learned from her then I apply now to my own books, and to the growing list of self-published authors I get to work with as Words by Jen. All total, I have had the privilege of shepherding well over 150 books out into the world, from Dale’s books and my own, to a long list of poetry, art, history, fiction, and non-fiction titles.
And to think it all started with that yellow page ad, all so many years ago!
Tracey Lampley: Thank you, Jen Payne, for such an in depth interview.
Photo: Jen and her mentor, Dale Carlson, at the launch of Jen’s first book, Look Up! Musings on the Nature of Mindfulness, in 2014. Sleeping with Ghosts is her fifth book under the imprint of Three Chairs Publishing.