Every writer who's ever tried to get anything published knows the compulsion to check email. It's more than a compulsion; it's like an imperative. There's a pull that feels as undeniable as the tides, if the tide came in every three minutes. I've checked my email at stoplights, at soccer games, in restaurant bathrooms, on the tops of mountains, and on Christmas morning. 

Email giveth, but email taketh a hell of a lot away. Try to get it back.

The road to publication goes like this:

1. Finish manuscript. Email it to people to read it. Check your email for their thoughts.

2. Once your readers say it's good enough, begin querying agents, several at a time, over the course of weeks and months (and sometimes years). Check your email constantly for their verdicts.

3. Once you have an agent (that you got after getting a happy email), go on submission to editors at publishing houses. Their responses will come at the rate of about one every three and a half weeks. Check your email every three and a half minutes for updates.

4. Once you get a book deal, prepare for publication. Wait for your cover, your blurbs, your reviews and promotion opportunities and interview requests. Check your email for all those, too. 

5. Once your book comes out, start over at step 3 (if you have a single book deal) or step 4 (if you were lucky enough to get a multiple book deal.

I've been through all these steps, and while, like any writer, I really love receiving happy good news emails, the whole thing is unhealthy. Deeply, soul-killingly unhealthy. I love writing books, but I was a happier person before I started checking that email inbox so often. Especially while querying (step 2), which initially lasted fourteen months for my first agent and three more months for my second, my self-worth got way too attached to the ding of my email. I let that happen. I let those brief emails that said "not for me" or "not quite ready" define me and my purpose on this earth for far too long. 

Don't let that happen. 

Writing is not my only purpose on this earth, and I forgot that. By all means, write if it makes you happy. Write even if it's merely that you can't NOT write. If you value peace of mind and serenity at all--totally honestly--stop writing for publication altogether if you can.

​But don't write because you need some stranger in New York or L.A. or wherever to tell you you're worthy. You're worthy even if you deleted every word you've ever written right this minute. Try remembering the rest of your life. Take a look at your kids and think about how recently they were tiny and how soon they'll be gone. Hug your spouse or your mom or a dog. Go climb a mountain. Sit on a beach and dip your toes in the waves. Go out and stare up at the stars. Binge a TV show. And read--other people's books, preferably in a genre you don't write so there can be no comparison to your own works and relative ease in being published. 

There's no easy answer. I didn't resist when it was the worst (while querying and on sub), and I don't do as well as I'd like even now. All I can do is keep trying to put down my phone long enough to see the forest and not just the trees--and the sunrise, and my sons' smiles, and the crackle of the fire, and the blue of the sky in the spring. My family and my life.

Ding.

Two days ago, my publisher sent me an email with these words in the subject line: "New Trade Review."

This was my first-ever trade review. My first book was published by such a small press that all the trades opted not to review it. The trade magazines, Kirkus, Publishers Weekly, Booklist, Library Journal, are widely read in the book industry. Library systems and booksellers read them to decide what to order (translation: how many copies will sell). Buzz can be created. The vast majority of books released each year never appear in their pages. 

It's a big deal to get a review in a trade, any review, because that means my cover and my story will show up in the inboxes of everyone in the book world--the same book world that has meant so much to me since before I could see over the library circulation desk. 

It's a little hard to believe. 

My first trade review--and maybe only one, I don't know yet--came from Kirkus. I have enough author friends to know to be a bit afraid to open that review. Kirkus reviews are short, 300 words or less, always contain mostly plot, and can be dismissive, mocking, even rude. They sling around phrases like "not enough" or "fine but" or "less than." Many of the books that got dinged in that way went on to become New York Times bestsellers, but it had to sting. Fortunately for me, the joy and gratitude of learning I'd been reviewed at all still frothed through my veins and propelled me to start reading before I remembered any of that. 

And they liked it! (You can read the full review on the home page of this website.) There was no snark. No comparisons to other works in which THE DARKEST FLOWER was found lacking. Not a single negative anywhere. They said my main lawyer character "burns with a hard and gemlike flame" in service of her client, which, quite frankly, is such a great compliment and so beautifully phrased I wish I'd written it. They said the story as a whole was "a female-forward courtroom drama," which is exactly what I intended it to be. 

I will breathe a huge sigh of relief. Even if the other trades ignore the book entirely, or hate it outright, I've achieved a milestone I never thought I'd see when I despaired that I'd ever get to hold a book in my hands. 

Yesterday, I got a notification from Twitter that it had been seven years since I signed up. I'd resisted Twitter for a while. The word "tweet" as a verb was so precious that it made my skin crawl. I couldn't imagine that anyone would be interested in anything I had to say, but I'd written my first manuscript and had just started querying and I'd learned quick that there was writing intelligence to be gleaned there. 

I started by following publishing houses. After that, the algorithms began suggesting for me other people to follow within my area of interest: literary agents, publishing house editors, well-known authors. I followed everyone I could and followed back anyone who connected with me who had writing in their bio. The staggering amount of information at hand changed my life--and made me serious about getting published. These people were doing it--why not me?

Twitter isn't perfect and probably, overall, has not exactly assisted in calming my already busy life, but I'd never be a published author without it. I met my first critique partners there--in an online writing contest I heard about on Twitter. I learned about inciting incidents, story beats, saving cats, comma splices, to avoid people waking up at the beginning of chapter one, and that using the word "said" in my dialogue tags was preferable to "exclaimed" and "replied." I connected with other writers and exchanged query letters, first chapters, and later, whole manuscripts. I read agents' feeds about query mistakes and what they wanted to see in their inboxes. Publishers shared information on trends and overdone tropes and I learned. Side benefits: I learned early about much-anticipated book releases, discovered Goodreads, and once interacted with Betty Buckley, famed singer of "Memory" on Broadway.

I never took a creative writing class in school, though I took many that required persuasive writing. Without Twitter, I might never have learned all that was wrong with that first manuscript in time to write the better second one that eventually got me an agent. Sure, Twitter is full of political hot air and self-obsessed celebrities and spoilers for every form of entertainment you love. Though it's not how I learned to write, it is how I learned to write what might sell. It's how I found the other writers who would help me make that dream come true.

The word "tweet" still kind of makes me cringe. If you're interested in becoming a published author, though, Twitter is still where I'd recommend you start. Really, it's indispensable. 

You can start by following me: @kbuttonw

This week I posted "blurbs" from other authors who have read THE DARKEST FLOWER.

There's a certain kind of terror that goes with asking busy authors to take the time to read your book. They have deadlines, book launches, and other writing friends' work to critique, not to mention day jobs and families. It is a gift you are asking for-- the most valuable one of all. There's also the terror of sending your manuscript baby out for its first real reviews. Up to this point, it's only been read by close friends, your agent, and innumerable editors, most of whom rejected it. It's terrifying to hit send on an email like that, knowing that these lovely authors may be the first to tell you they hated your book and just cannot bring themselves to blurb it--or maybe worse, even finish it. 

I was beyond fortunate. One hundred percent of the authors I asked enthusiastically agreed to read THE DARKEST FLOWER, and did read it, by or well before the deadline, and they each wrote a truly lovely blurb. A few even reached out to message me privately and that means the world. 

How do I repay them? The gratitude is overwhelming, and needs a direction. Huge gestures come to mind, but skywriting is expensive, ambrosia and nectar hard to come by, and I'm kind of attached to my firstborn child. 

Instead, I did what I would want in return: I bought their books. And I'm urging you to do that too. Their names and most recent works are listed on my home page on this website, on the Amazon page for THE DARKEST FLOWER, and will appear in the opening pages of the book itself when it comes out. 

My first Thomas & Mercer book, THE DARKEST FLOWER, went to copy edits this week. That means I'm done editing it and it's time to turn to writing the sequel.

I've written a lot of books before--one published already, one currently being searched for out-of-place commas as I type, two posted on Radish, and five others existing in various states of finished in my Word files. You'd think I'd have no trouble dashing off a sequel to TDF. I've got the plot and the pitch and the characters. 

Nope. Any writer will tell you that a book to be written "under contract" -- meaning it is already sold and certain to be published -- is a whole different kind of writing. Here's why:

1. The difficulty of starting a new manuscript that always exists: you've just completed/edited/turned in a supremely polished book that reads beautifully, has correct pacing, and no continuity errors (you hope). By comparison, the new book looks like a mess. How did you ever write before? Who on earth will want this slop of rambling, incoherent nonsense with plot holes big enough to fly a 747 through? It is boring. It is offensive. It is trite and superficial and absolutely awful. 

Until it isn't. Nine completed manuscripts and I know it always gets to the Not Awful place. It's just that that place is very, very distant at the moment.

2. The knowledge that this book will be published. There's a certain comfort (also despair, but definitely comfort) about writing a manuscript before you have an agent or a publisher. It is what it is. You're writing the book you want to read. You're having fun with it. All that disappears with an under-contract book. It cannot stay what it is--it has to be readable, marketable, easy to pitch, and the type to build your career. You are not writing the book you want to read--you're also writing the book thousands of OTHER people will want to read. It's great to have fun with it, but it is also a product on the marketplace. This is a job now.

3. If that second book is a sequel (mine is), how will readers react to what you're doing with the characters they liked in the first book? Does it stand up? Does it match the tone, the voice, the structure? At the same time, is it different enough that readers will not feel like they're reading the same book a second time? 

4. If the book you're writing is the finite one under whatever contract you have, will there be another? Will a second contract be for more sequels, or something different?

There are probably another thousand reasons, but those are the main ones. I've written so many manuscripts that I wasn't expecting all those worries, but here I am. I'm still having fun, mostly, seeing where I can take my lawyer main character this time. I always love exploring backstory and conflict. There is no greater thrill for me than developing characters and really showing what they want, what they won't give up, what they're willing to destroy. 

I keep telling myself this is normal. It's normal to be afraid of not measuring up. It's definitely normal to write a first draft that has none of the sparkle or polish of the final draft. I will get there. It's just that I might have to do it with my eyes squeezed shut. 

And a lot of ice cream. There will definitely be a lot of ice cream. 

I turned in my first-pass edits for THE DARKEST FLOWER today: one day early and, I hope, thorough. It wasn't easy, though.

When I was in high school and college, I was a procrastinator. I remember many a night when I stayed up past midnight writing a paper on a book I'd only finished two hours before. I grew out of that in adulthood once I became a lawyer -- I have too much natural anxiety to try that when contempt of court is on the line. 

I am still so thrilled that Thomas & Mercer took a chance on me and this book that I was determined not to be late. I'd get my revisions done a week early and have time to read over what I'd done idly. Things didn't work that way.

Nine days before the edits were due, I got the call we all dread. My mother had become confused sitting out on her porch. She wouldn't eat. Wouldn't come inside. When my father and the neighbors tried to force her out of the direct sunlight, her legs wouldn't work. She'd been admitted to the hospital--during the coronavirus epidemic. I dropped everything -- including my edits -- to rush up there to see her and to help my dad handle things. 

She was tested for coronavirus. Not that. For stroke. Not that. Eventually they found the bacteria in her blood which had traveled from an innocent scrape or mosquito bite scratch to cluster around the heart valve replacement she'd received last fall. There was nothing to do but give her antibiotics and hope. We waited. 

My parents live about ninety minutes away from me. I drove back and forth nearly every day for a week. I carried my computer, but as you can imagine, not much editing got done in full PPE--rubber gloves, mask, gown, and all. Stress--both for my mom and the approaching deadline--grew. 

It's amazing how priorities reshuffle. I'm constitutionally unable to fail to meet a deadline--long years in the legal profession have made it so. I also love my parents. I quit sleeping. I edited pre-dawn and at lunch when I could make it back to work. I missed time -- over a holiday weekend--with my kids and husband. 

I found time to help my father, late one night after we left the hospital, install Disney on his TV so he could watch Hamilton. We watched the opening song together at six in the morning before leaving for the hospital again. 

My mom is hoping to leave the hospital today--stable enough to medicate at home. I got it all done. It turns out there was time for the important things. 

Now maybe I can watch Hamilton myself. 

“When is your next book coming out?”

If you’ve ever published a book (my last one came out in January 2019, in what feels now like another lifetime), then you’ve heard this question. If you were lucky enough to have a multi-book contract, you had an answer.

I didn’t have an answer. I used to say something like, “Ha, ha, someday, I hope!” Then I’d ask after the health of the person’s family, real quick.

It’s the question you don’t want to hear if the honest answer is “I have no idea.” There’s a little stomach-flip that goes along with it every time: the decision to have another book be published rarely belongs to the author. It’s entirely dependent on a publisher wanting to publish it. The question is especially difficult to hear if the true, complete, a-little-bit unhinged answer is, “Maybe never:  I only had a contract for one book, and my agent didn’t like my next book, so I had to search for a new agent for three months, and then it took three more months to edit that book for her, and then I bit my nails to the quick for six soul-killing months on submission, and each rejection from publishers added to my growing despair that maybe I’d already climbed the highest publishing mountain I would ever climb and I didn’t have enough sense to look around and enjoy the view!”

Whew. That was a mouthful, and I promise you it was a fairly miserable state of being, too.

This story has a happy ending, however!

Back in the summer of 2017, I gave in and began watching Game of Thrones, years after everyone else. Easily my favorite character right from the start was Cersei Lannister, and specifically, Cersei Lannister as a mother. Absolutely convinced that her exalted privilege exempts her from the rules and morals that everyone else lives by, she’s entirely without redeeming qualities except that she will do anything for her children. My brain played with the idea. What if that isn’t a coincidence? What if motherhood itself made her so ruthless? We assume that mothers are serene, giving people who put aside everything for their children’s happiness, but yet we all know women who admit in their darkest hours that, maybe, possibly, motherhood makes them just a touch…disturbed.

Possibilities started to boil. If I had a ruthless mother who’d do anything for her children, she’d be in the PTA, of course, interacting with mothers of all different stripes. She’d own the PTA. She’d smile sweetly and teach her kids to say “sir” and “ma’am” and people would get hurt in her wake. I started typing, and Kira Grant was born, along with her lawyer, Allison Barton, yet another mother with motives of her own. THE DARKEST FLOWER is full of poisonous gardens and badly-behaved moms and murder-y fifth-grade graduation parties.

I finished the manuscript in October of 2017 and put it aside because Lying Beneath the Oaks was headed out into the world (publishing takes forever). I’d hoped to send THE DARKEST FLOWER out to publishers in early 2019, but I changed agents and it didn’t go out until September 2019. I got the news it—and a sequel, hallelujah, AND an audiobook—would be published by Thomas & Mercer, a division of Amazon, on Friday, March 13, 2020, the lucky/unlucky day the pandemic closed my children’s schools and started to wreak havoc on all of our lifestyles in earnest.

When does my next book come out? I can finally give an answer: THE DARKEST FLOWER is coming JUNE 8, 2021.
​
Cue the socially distant celebration. And wash your hands.

So, your agent just sent off the manuscript you’ve labored over for months or years, the one that you kind of hate and mostly adore, and said, “You’re on sub!” What’s next? Buckle up. This one is long.

First off: why should you listen to me?
Because I’m kind of an expert at being on sub. I’ve gotten the “you’re on sub!” email from an agent (I’ve had two agents) ELEVEN times. Yes, you heard that right. I have one published book. Having a published book does not mean you’ll never go on sub again, unless you’re very, very lucky.

This whole process is terrible for all but the luckiest of authors. There are people who get instant offers and have all of publishing clamoring to be fortunate enough to work with them. Odds are, however, that won’t be you. You are in for a long and torturous wait with very little incoming information. Remember when you were querying and you could track the agents on your list on Query Tracker, and send a revenge query when you got a rejection? It felt like a little control. Yeah, you have no control now. It’s awful and soul-crushing and you’ll be absolutely certain you’re a no-talent hack and the editors are all at lunch drinking cocktails and laughing at you.

They are not. You are, and will always be, your own worst critic. If your agent thought your manuscript was good enough to go on sub, it was. Hang in there.
The advice is to write the next thing. That’s my advice, too, even though I know it’s hard and sometimes darn near impossible.

How did my agent decide who to send my manuscript to? Did she just fire off queries?

Most agents choose editors they know are likely to enjoy your manuscript, based either on their own personal experience with the editor, or based on what else the editor has acquired in the past, or both. Some agents send what amounts to a query letter, asking if the editor would like to see the manuscript, and then they send to those who request. Others do informal pitches of your work over the phone or at lunches in the weeks prior to sending it out, so that they know who is already interested in seeing it. It’s always done with a lot of thought—agents’ incomes are on the line here, too.

How much will I know about what is going on?

A lot of this depends on the agent. Some will tell you that John Q. Editor at SimonCollins House was absolutely thrilled to get your manuscript and said he’d read it right away. Others will tell you only that you’re on sub.

First off, you’re entitled to know which publishing houses your agent chose to receive your manuscript. Your agent may have discussed this with you or shared the list prior to sending your manuscript out. If not, you can ask for this list. If you don’t want to know, ask for the list after sub is over if your book didn’t sell. You should always keep records of who has seen your work.
Many agents do not feel comfortable, however, sharing the names of the specific editors who are getting your manuscript. This is for several reasons: first, agents do not want you freaking out and stalking these people. The temptation is very real for an author on sub to sit on Twitter and try to glean deep meaning from an editor they know has their manuscript who tweets, “So tired today!” Author:Does that mean she was up late reading my manuscript? Or WAIT. Does that mean she was bored reading my manuscript? Or does that mean she has too many manuscripts and will never get to mine? WHAT DOES IT MEAN? This, as you can see, is a super fast way to make yourself crazy. I know you won’t listen, but if your agent gives you these names, please don’t do this. Editors do not tweet about manuscripts they’re reading.

Secondly, agents often do not give out these names because they’re protecting their own relationship with the editors. Once you know the name of Jane Doe at Random SchusterHarper, you are tempted to follow her on Twitter and possibly try to be her friend. Editors find this super creepy. They tend to blame the agent for this happening.

So what now?

There’s huge excitement when you are about to go on sub. You’ll envision auctions and a lightning fast call from your agent telling you about an editor who dropped everything the second she got your manuscript, read it in four hours, and offered a million dollars to buy it RIGHT NOW. It could happen!

Likely it won’t. Editors receive many manuscripts and have time to read them mainly at night and on weekends. Their workdays are consumed with meetings, calls with existing authors, discussions of marketing, and doing a lot of math. In fact, your manuscript may get put in line behind dozens of other manuscripts that editor is being asked to consider. It may take a while.

I’ve been on sub a lot of times. The fastest responses I ever got were both two days later: one was a rejection that made clear the editor had maybe read the first page and was just not that into it. The other was the eventual editor of my published book, but it was not an offer at that point. The next fastest was seven days. I went on sub once and didn’t have a single response from anyone for 27 days. Prepare to wait, and wait longer if your sub is in the summer or coincides with the holiday season or any particularly well-attended conference for your genre.

Do I see my rejections? What will they be like?

You can see your rejections if you want to. Tell your agent your preferences. Some authors want to see every painful word. Others want only good news. Your agent will try to accommodate your preference. If you see them, most agents will cut and paste them into emails to you (leaving out any portion that is personal or unrelated to your book—remember agents and editors have relationships that existed before you and will exist after you). They come in two varieties, and you can decide which is more painful for you.

The first type is the very brief kind that says “the voice didn’t hook me” or “not for me” or “I just didn’t connect the way I wanted to.” The second type will frequently praise your concept, your writing, and your plotting for as many as two full paragraphs before the “unfortunately” that heralds the second part, frequently using language like “I couldn’t think of a way to pitch it to marketing” or “I just can’t find a vision for how to position it.” (For the record, I think the second kind is more painful.)

What if they love it? How will I find out about editor interest?

If you’re lucky, you’ll receive an email or sometimes a call from your agent saying that Little Macmillan Brown loves your book and wants to offer you a million dollars, hardcover, lead title status, and a world-wide book tour.

Most get the news in dribbles, though. First off, your agent might tell you that Editor X has sent the manuscript for “second reads.” Remember all those people who said “you only need one yes?” Right. That might be true for the agent search. It isn’t true for the editor search. Publishing houses work in teams. An editor may read and love your book, but if she can’t get the sales and marketing people on board, plus her superior, and maybe also her superior’s superior, there will be no offer coming. “Second reads” means that she liked it enough to see if others might also be enthusiastic enough to support her at an acquisition meeting. Sometimes, your agent may tell you that your book is going to “acquisitions.” This means that an editor plans to attempt to get permission from her team to make an offer. This is excellent news, but not a guarantee. I’ve gotten that far twice that didn’t work out, and I know many other authors whose manuscripts came away from these meetings still unsold.

Can I figure out whether anyone is interested in my book by obsessively checking hits to my website?

Lol! You’ll definitely check, but you won’t have a clue from anything you find there. I’ve seen hits from major publishing houses while on sub only to receive a rejection a week later. As I said, I’ve been to acquisitions and seen no sign that anyone looked at my website, even when I knew what day the meeting was. Go on and look if it makes you feel better, but I promise you it won’t really tell you anything.

Will I ever get to talk to an editor? What about an R&R?

Sometimes, editors want to speak to you on the phone before making an offer. It’s not common but far from unheard of. Their primary interest here is to find out that you are A. Not unhinged, B. Pleasant and likely to be easy to work with, and C. Possibly willing to make major revisions.

Which leads me to my next point—sometimes an editor will love your manuscript enough to be willing to work with you to make it more likely to get past all those people on the team. This is a “revise and resubmit,” and there are two types. The casual kind that comes in a rejection (“I loved this manuscript, but I really don’t think I could sell a book where the main character dies in the last chapter. If she revises, I’d love to take another look, but for now it’s a pass.”) and the more formal kind where the editor contacts your agent and asks if you’d be willing to work with her on revisions on an exclusive basis. The latter kind is a big deal. It means that if you accept, your agent will either pull the manuscript from all other editors reading or will give them a short deadline, like two weeks, to decide before she pulls it. I’ve done two of this type of R&Rs and have only two thoughts to share: they are invaluable as a way to sharpen your skills and learn what actual editors expect, and they are really, really painful when the edited manuscript still doesn’t get past the team.

Ugh! This sounds awful! How long does this go on?

Some editors take as long as a year to read a manuscript. Yes, you heard me. Most are faster, but not “fast” by any rational definition. Most of my rejections came in between two weeks after going on sub and five months after going on sub, but not all. So does this mean you sit on sub for a year waiting on one editor? Not likely. Agents know that some editors are “non-responders” and will never get back to you at all. They will not force you to sit in limbo forever. They’ll either start the next round of sub with that book or start a new round of sub with your next manuscript (there should be a next manuscript—remember me telling you you were supposed to be writing it?).

Is it possible my book won’t sell anywhere?

Yes. I hate to have to say this, but I’m guessing if you read this post you’ve figured that out. With eleven rounds of sub and one published book, I’m proof that sub doesn’t always work out. It doesn’t. Sometimes the market doesn’t want what you have. Sometimes editors might love it but sales teams don’t. Sometimes it just wasn’t ready. If that happens, talk to your agent. Review the feedback you got in your rejections. Consider whether to use it to revise. Consider whether you might look at smaller publishers. There is no shame in putting the manuscript aside and starting over with a shiny new one. Everything you put on sub teaches you a little more. Don’t lose faith, though. I know of some NYT bestsellers that didn’t sell in their first rounds. I promise you—perseverance is the key.
​
If I missed something, please don’t hesitate to ask me in the comments!

I’ve written a lot of manuscripts – some are pretty good if I do say so myself, and some are best left as permanent Word documents in the dusty folders on my laptop. They all have one thing in common.

In every one of them, I struggled mightily to make the main character likable.

Likability is the bane of my existence. When I first dared to have someone read my very first manuscript (now permanently shelved, thank you), I discovered that the heroine of that story was unlikable in the extreme. Opinions on this topic were unanimous. This was more than a little depressing: like most first-time writers, I’d written the main character as…me. A woman my age, with my opinions and my thoughts, but with better hair and less squishy thighs.

Turns out my opinions and thoughts were less than sweet. Turns out my internal thoughts are unlikable. I am a complicated person, and I have many qualities. These qualities do not include sunshiny or chipper.

Time passed. I wrote more manuscripts and got an agent. I continued to have problems with likability, and that’s where I got dinged most often. Fortunately, I learned to revise, to watch out for this problem, to delete passages in which the main character thought dark and ugly things, even though we all know real people think dark and ugly things. Real people judge other people harshly. Real people are occasionally careless with other people’s emotions. My main characters began to get so cheery I didn’t know what to do with them.

My writing grew constrained and mired in too much worry about likability.

Anyone who’s read this blog before knows that my road to publication was long. I became too focused on whether my writing would be published, and forgot that it’s supposed to be fun. I have a day job. Writing isn’t how I pay my bills (and likely never will be), so I took a few months to think about things.

There are unlikable characters everywhere. People love them: love hating them, love watching them scheme, love seeing their downfalls and (though we don’t always admit it) their triumphs as well. Think of Cersei Lannister, Lady Catherine de Bourgh, Lucy from Charlie Brown, Joan Collins on Dynasty, Sarah Michelle Gellar in Cruel Intentions, Amy from Gone Girl. The trick isn’t to write every main character as Miss Merry Sunshine. The trick is to make your audience relate to your character.

I decided that writing what I didn’t want to write in the hopes of publication wasn’t for me. I want to write what is fun. If it’s never published, so be it. Maybe I needed to write all those manuscripts to trust myself and my skill enough to write an unlikable character. I gave myself permission to write a character whose thoughts are dark as midnight.

So I did. My newest manuscript is a dual first person point-of-view, and one of the women whose head we’re in is far, far, so-very-distant from likable. I heard criticism: there are always those who want to root only for the “nice” people. I got told to make her less consciously awful and more, say, misguided. Delusional, even.

Early readers also told me Kira was funny and engaging as well as being horrible. People related to her. They rooted for her. I kept her. I stopped chasing that worry that people wouldn’t like her and it’s made all the difference. Her unlikability is what the book is about, in many ways.
​
I had a hell of a lot of fun writing her—and that’s what matters to me.

Okay! It's time for more of the deleted scenes from Lying Beneath the Oaks! If you haven't read the novel, get it now in paperback or eBook (links at right). The below scenes are full of SPOILERS, so don't scroll down if you haven't read!

These are snippets from Molly's life as a teenager before she left Michigan. Most of this information made it into the book, but the story flowed better all in one timeline.

Still with me? Just checking -- you're not going to read SPOILERS, are you? No, you wouldn't do that. Perfect. If you've read the book, here they are!


SIXTEEN YEARS AGO
 
I missed the bus on purpose, skulking in the hallways after seventh period. I’d have a long walk home, but I had to try. I needed her.

Demetrius Taylor left the classroom, his swagger sending his pelvis out the door first. He looked me up and down, lingering on my chest. “She catch you, too? Wouldn’t a thought you’d be cheating, brainiac like you.”

I shook my head.

“All right, then. Later.” He slunk down the hall.

Inside the history classroom, Ms. Sinclair sat shuffling papers in a shaft of orange sunlight that lit up the chalk dust in the air that she’d set in motion when she’d cleaned the board.

“What can I do for you, Molly?”

I stared at her, suddenly aware I’d come burdened with too much hope. Ms. Sinclair cared about her students, more than most, but what had given me the idea, even for a second, that I’d matter enough to her for this?

“It’s…it’s things at home. I don’t know if I can stay there.”
She went still, reminding me of a cornered animal. “Are you being abused? I have to report it if you are.”

“N-no.” A lie, but a necessary one, now that I understood this conversation had been over before I came through the door. “It’s just that things are kind of bad. I might need somewhere…somewhere to go.”

At the crumpled look on her face, I knew. She cared. Other teachers barked out directions or read us passages from the textbooks in a monotone. Ms. Sinclair asked about our lives. She probably bored her friends with stories about the unbelievable hurdles her students jumped. She volunteered in soup kitchens and gave money to the United Way.
But she had a one-bedroom apartment and a boyfriend who liked to stay over.

She wouldn’t help me.

Nobody could help me.
 
 
SIXTEEN YEARS AGO
 
Staying in her embrace wasn’t an option. It was so tempting to pretend there was safety somewhere. Better to sit across from her than to let myself fall into the trap of thinking this was anything more than an illusion. A visit, into other people’s normality.

“Do you mind setting the table, honey? I can’t see well enough when it gets this time of day, now. That home health nurse says I’ll have to go into a home, if it gets much worse. I sure do like looking at your beautiful face, though. How come your mama hadn’t brought you by more often?”

“She’s been busy,” I said, keeping my face turned away, not wanting to upset her by admitting her daughter was busy passing out drunk or high and getting more and more vocal about my need to contribute to the household. Tonight I’d been allowed to come on the condition that I’d raid Grandma’s purse. (“She can’t see nothing, the old bat. Piece of cake,” my mother had said.)

For thirty whole minutes, I’d eat KFC with the one person who cared about me. I refused to be jealous of other girls who didn’t appreciate what they had. Just for today.

The punishment I’d take later when I brought nothing home would be worth it.