Variations on a Theme – A M Carley Interviews Elizabeth SaFleur Part Two

a red rose

Elizabeth SaFleur’s avatar is a red rose

The erotic romance writer ‘Elizabeth SaFleur‘ and I sat down this spring. Although we have been acquainted for years, we discovered something new in common – we each are active in a writer group. Elizabeth agreed to answer my questions, which I emailed to her, about how the “cp’s” (critique partners) in her writer’s posse operate. The group differs in many ways from what I’m used to as a writer in BACCA. And yet, both Elizabeth and I benefit greatly from our groups. Just goes to show!

In this, this second part of the interview, Elizabeth shows how crucial the message ‘stop futzing’ can be, explains what to do when all the members of your group use pseudonyms, and looks at the valuable contributions the other writers have made to her progress. In the first half of our interview, we learned how these critique partners began working together, discussed how they exchange work, and discovered the title of Elizabeth’s very first novel (written at age seven). 

AMC  You write under a pseudonym. How has that affected your relationships with the other writers in your group? Have you met face to face? Do you know one another’s real names? Do you think this has an effect on your sense of security in the group? Did you all agree to protect the confidentiality of the group – “What happens in Vegas…” sort of deal?

ESF  I know two of them by their real names. And, a third by her pseudonym only. After about six months, I told them my real name. But, basically we call each other by our pseudonyms just to ensure the anonymity “sticks.”

These writers know what’s at stake, and have to deal with it in their own lives. So I feel 100% safe with them.

In the beginning, we talked a lot about security and privacy. So, it’s been pretty well-drilled that we would never “out” anyone in this group to anyone outside the group. I feel very secure in this group. In fact, they probably understand where I’m coming from regarding anonymity more than my “real life” friends. These writers know what’s at stake, and have to deal with it in their own lives. So I feel 100% safe with these fellow writers.

I’ll meet two of the cps [critique partners] for the first time face-to-face this summer at a romance writer’s conference. I can hardly wait, as I am quite invested in their work and success, and count them as friends.

AMC  What are the ground rules? Do you have guidelines about how to critique, how you structure your comments, how critical to be, etc.? Or have you collectively found your way with these matters? Do you write up formal critiques, or is it more conversational?

ESF  We have no ground rules, except perhaps this: What will make the work better? As I mentioned, we’re self-policed. Generally, we ask each other where we want input – developmentally, line-edits, just another set of eyes, etc. Each person has a unique perspective. For instance, one of our members is a professional editor and published author of sci-fi/fantasy erotic romance. Another writes regency erotic romance as well as contemporary erotica. All three of them are actually published (or it’s imminent). So, I count myself lucky to be working with them.

We have no ground rules, except perhaps this: What will make the work better?

AMC  Is someone the leader, or is it more collaborative? Do you change leadership/administrative roles from time to time?

ESF  There’s no leader, per se. It’s collaborative, where each person contributes where they can. Each one of us has unique contributions to make, not just in the writing craft and critiquing, but in publishing, marketing, social media and all the other things that go along with trying to write books that someone will actually buy. We share the “knowledge wealth” whenever we can.

AMC  Does the group want or have a public identity, collectively?

ESF  Other than calling us the “writerly posse” there’s no name or identity.

We’re completely informal. It doesn’t work like a normal writer’s group, but rather more like four people who thank the stars we found each other.

AMC  Has anyone ever missed a meeting? Not submitted work when it was due? How does that work?

ESF  Since we don’t have meetings, no one’s missed any. LOL Again, we’re completely informal. It doesn’t work like a normal writer’s group, but rather more like four people who thank the stars we found each other. Given what we write (steamy romance), it’s important for writers who see our work, first, not blush from head to toe and, second, understand what we’re trying to do. Not everyone “appreciates” our genre.

AMC  If you could change anything about your writer group as it is now, what would you change?

ESF  If there is anything I could change about my writing life – or this group — is that I’d be engaged full-time. I hope to get there next year. But, in the meantime, I wish I had more time – time to write, time to critique, time to just chat with these authors more.

I wrote my first novel when I was seven: The Mystery of the Bunny. Oh, yeah, a real bestseller!

AMC  Has being in the writer group affected your writing life? Have things happened with your writing career that might not have, otherwise?

ESF  After reading a new opening chapter of one of my books, one of my cps ended her email critique with this line: Now finish the book! There is a strong emphasis in our group to complete the novel. That’s one of the greatest gifts this writing group has given me. I’d still be futzing with the first 50 pages of Lovely – three years later – if this little band of writers hadn’t told me to STOP FUTZING!

Albercht Durer's 'Young Hare"

Does This Bunny Look Mysterious?

AMC  What are the next steps for you in your writing career?

ESF  Later this year I have a short story coming out in a Christmas anthology through Troll River Publications. My first novel, Lovely, is being reviewed by a publisher. Then I have four more books started and plotted in the series. If everything goes as planned, Lovely will be out in January 2015, with the other four novels published thereafter, spaced six weeks apart. After that? Well, I have an idea for a dystopian “vanilla” romance. There is no shortage of ideas! Just time…

AMC  Anything else before we close?

ESF  Thank you for the interview. It was fun to share the immense contributions my writers posse has made to me and my writing. I only hope I’ve adequately returned the favor to them.

Feel free to drop me a line anytime, too. I can be reached through my site or on Twitter @ElizaLoveStory. Happy writing and reading everyone!

AMC  Elizabeth, thanks so much.

— A M Carley is a founding member of BACCA and provides author services at her company, Chenille Books.

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Variations on a Theme – A M Carley Interviews Elizabeth SaFleur Part One

a red rose

Elizabeth SaFleur’s avatar is a red rose

The erotic romance writer ‘Elizabeth SaFleur’ and I sat down recently. Although we have been acquainted for years, we discovered something new in common – we each are active in a writer group. Elizabeth agreed to answer my questions, which I emailed to her, about how the “cp’s” (critique partners) in her writer’s posse operate. The group differs in many ways from what I’m used to as a writer in BACCA. And yet, both Elizabeth and I benefit greatly from our groups. Just goes to show! In the first half of our interview, Elizabeth tells us how these critique partners began working together, explains how they exchange work, and reveals the title of her very first novel (written at age seven). The second part of the interview discusses how crucial the message ‘stop futzing’ can be, explains what to do when all the members of your group use pseudonyms, and takes a look at the valuable contributions the other writers have made to Elizabeth’s progress.

AMC  First of all, thanks a lot for doing this, Elizabeth. It’s so interesting to compare notes about how various writer groups do what they do.

ESF It is my pleasure!

AMC  What do you write? How long have you been doing it, and how did you begin?

ESF  I write contemporary erotic romance with a very high heat level. Many of my stories include BDSM elements (emphasis on D/s over S/M) that feature alpha heroes and sassy heroines. For years, my characters “talked” to me, asking me to write their stories. After a while they got hard to ignore (especially the Doms. ;-)). When my professional life reached a “satisfaction plateau” (read: I got bored), I started to write down conversations and scenes that came to me. Next thing I knew, I was writing a novel. Now I have a whole series mapped out – The Elite Doms of Washington.

an old-fashioned thermometer

High Heat Level

AMC  How did you meet your writer group members?

ESF  My first critique partner (cp) was found through the Erotic Readers & Writers Association, which has a fantastic, free online writer’s forum. Writers post stories, and other writers will critique them. I had a few flashers (under 200 word) stories published in their gallery. After about six months of posting work and critiquing the work of others, a writer posted she sought someone to critique her novels off-line. Since she writes very similar stories to me, we teamed up. Then, she introduced me to other writers in our genre. Voila! A writer’s posse was born.

AMC  How many of you are in the group? Has the membership stayed the same, or do people come and go? How long have you been together? Does every member send out work for each meeting, or do you rotate on a schedule?

ESF  There are four of us in this “writer’s posse,” which is the only name I’ve ever heard us call our little band of authors. No one has left yet. But, there’s no formal agreement, either. We just help each other out. And honestly I can’t imagine writing without these folks. We’ve been together for about a year. We have no formal schedule, but rather just share work when it’s ready to be critiqued. But, we also know what each person is working on and “nudge” each other when we start falling behind our self-imposed deadlines. We share everything from snippets to whole chapters, from rewrites to the entire novel at once.

AMC  How frequently do you send new material around for critique? Do you limit the word count for material?

ESF  There’s no limit, though each one of us primarily works on about 80K to 100K word novels. An occasional short story is thrown in now and again. I’d say about every other week I’m sent something to read and crit, and they have something of mine. It really keeps things moving!

a police hat with checkered band

This hat is available on ebay in Australia

Our contributions are self-policed. Each person is responsible for ensuring their own writing time isn’t supplanted by critiquing others’ work. But, when we need help, we ask for it. We’re all pretty honest about what we can do. Sometimes, we even help protect the others’ writing time. For instance, one of my cps is on deadline. So, I won’t ask her to do anything new for me right now. Instead, I keep telling her to send me her writing as soon as she can so I can help! When we need time to work on our own material, everyone honors it. So far, it’s been quite balanced.

AMC  Do you meet in real time: on the phone/Skype, or messaging, or online meeting? Or are your interactions time-shifted, using email or other means?

ESF  We do a lot over email, sending documents back and forth. But, we also have phone chats through conference bridges or Google hangout. When one of us suggests numerous edits or developmental shifts, it’s just easier to talk it out.  We also help each other brainstorm when we hit plot roadblocks or feel like we’re losing our “writerly mojo.” I’ve often been talked “off the ledge” by these wonderful cps.

AMC  When you and I first met, years ago, we were both focused on writing songs – lyrics and music. How have you come to write novels?

ESF  I have wanted to be a fiction writer my whole life. I wrote my first novel when I was seven: The Mystery of the Bunny. Oh, yeah, a real bestseller! But, my well-meaning parents and friends told me I should find a “real job.” Back then I was very good at doing what I was told; I had a very successful 30 year public relations career. But as my business grew more successful, I grew less satisfied. So, after turning 50, I decided to go back to my first love – writing.

Find your own writers group or writer’s posse. But, don’t be afraid to share your work outside it, too.

The songwriting was fun. I also tried my hand at screenwriting about ten years ago. But, in the end, my stories demanded to be “born” via full-length novel. Once I started writing in that format, I couldn’t stop. That’s a pretty big clue in my book (no pun intended).

AMC  Have you developed friendships with members of your group, or is it important to you to maintain a separation from the rest of your life?

ESF  I count them as friends. But, we also honor the privacy of each other’s private life. We don’t go into great detail, but we do talk about our pets, our weekend plans and other little things that crop up. I don’t hide things from them, but I also don’t want to burden them with a lot of personal stuff. Our books’ characters’ lives keep us quite busy in that way!

AMC  How has being in your writer group changed your writing? Your attitude about writing? Your identity as a writer and your plans for the future as a writer? For me, being in a writer group – and having a writing deadline to meet – helped me make the time to keep writing, even when the rest of life got hectic. Have you noticed that happening for you?

I don’t think I could have finished my first novel, Lovely, without them.

ESF  I’d say this group has changed my writing tremendously in two ways. First, my writing is better. Without them, I wouldn’t have grown the way I have. You can listen to podcasts, take online courses, reach craft books and more to help your writing. In the end, the only way to get better at writing it by doing it a lot – and having it critiqued in such a way that shows you what you can do better the next time. That’s what these other authors have done for me.

Secondly, I don’t think I could have finished my first novel, Lovely, without them. I might have given up. I knew something was wrong, but couldn’t see it. They could see plot holes, character shifts and other things that can sink a novel. Their generosity in sharing their time and talents helped me not only write better, but finish.

AMC  Do you have any recommendations for other writers out there?

ESF  I do have a few other people outside this group who have reviewed my work. I’d tell other authors to do the same. Find your own writers group or writer’s posse. But, don’t be afraid to share your work outside it, too.  For instance, a gentleman in the UK read one of my earliest drafts of Lovely. It was great to get a man’s perspective – and from someone completely outside my usual set of crit partners.

Feel free to drop me a line anytime, too. I can be reached through my site or on Twitter @ElizaLoveStory. Happy writing and reading everyone!

AMC  Elizabeth, thanks so much.

A M Carley is a founding member of BACCA and provides author services at her company, Chenille Books.

Hampton Roads Writers Fifth Annual Conference

Carolyn O'Neal at the Hampton Roads Writers Conference, 2013

Carolyn O’Neal at the Hampton Roads Writers Conference, 2013

DAY ONE:

It’s a three-hour drive from Charlottesville to Virginia Beach, unless you hit Navy traffic. Then it could take weeks. I was careful.  I left C’Ville at noon on Thursday, Sept 19th so I wouldn’t get caught in the 5:00 rush.   I wasn’t heading to Virginia Beach for a late summer tan or a fishing trip in the Atlantic. I was going to Virginia Beach to attend the Hampton Roads Writers 5th Annual Conference. It ran Thursday, Sept. 19th through Saturday, Sept. 21st. The organization describes itself like this:

Hampton Roads Writers (HRW) is a nonprofit, Virginia Beach, Virginia-based group of professional and aspiring writers, friends, and supporters of the arts who have joined together to promote the craft and passion of writing and the love of reading and literature in Virginia. We aim to encourage readers and writers of all ages and talents, as well as acknowledge and celebrate awareness of local and contemporary authors and their work. We serve as a resource to our community by creating and supporting literary events throughout the Hampton Roads area.


I signed up the minute I discovered I could pitch my novel to a real, live literary agent who represented my genre. Ten-minutes, one-on-one pitch session. I was excited to get on the road. I grew up in Norfolk so driving through Norfolk to Virginia Beach packed an emotional punch: The tunnel, the Chesapeake Bay, the condos thrown up as soon as Norfolk tore down the old Ocean View Amusement Park.

Chesapeake Bay, photo courtesy of the Chesapeake Bay Foundation

Chesapeake Bay, photo courtesy of the Chesapeake Bay Foundation

I drove by my old elementary school and my parents’ house. I noted the new front porch and a beat up pickup truck parked in the driveway. Mom and Dad never would have let their car look like that. I considered visiting their gravesites but this wasn’t the time to wallow in the past. This was the time to get ready for the future.

The Westin Hotel in Virginia Beach was a great choice for the Conference.

The Westin Virginia Beach Town Center

The Westin Virginia Beach Town Center

Clean and friendly, plus the Hampton Roads Writers (HRW) Conference attendees received a reduced rate. As I checked in, I was greeted by a familiar face, Cliff Garstang from SWAG. Cliff was preparing for his first presentation that evening. I don’t remember when or how I heard about the HRW Conference. Probably from Cliff.

Since I was going to the conference mostly to pitch my story, I had e-mailed HRW earlier asking about their refund policy. Lauran Strait, the President of HRW, was great. Her responses were timely and polite. She told me the formal refund policy:

Registration fully refundable until July 26, 2013; from July 27 to Aug 23, 2013 all refunds will result in a forfeiture of $25.00; from Aug 24 to Sept 11, all refunds will result in a forfeiture of $50.00; after September 11, no refunds will be issued.

I let her know that I was driving three hours to Virginia Beach from Charlottesville and had to book a hotel room for two nights. Lauran understood the effort and expense so she added a special caveat.  If the agent I was going to see canceled at the last minute, I would still receive a full refund. Not only that, she also made sure I was on schedule with my submissions. I’d signed up for a couple of events that required submissions, including a “First Ten Lines Critique Session” and an optional (fee-based) 10-page manuscript evaluation by agent Dawn Dowdle. Lauran even sent e-mail  reminders of when the submissions were due.

After settling into my hotel room, I went to register for the conference. I was given an impressive agenda:

Kevin Maurer, award-winning reporter and New York Times bestselling co-author of No Easy Day: The Firsthand Account of the Mission That Killed Osama Bin Laden, and Lisa McMann, New York Times bestselling author of the WAKE Trilogy , the VISIONS series, the UNWANTEDS series, will deliver keynote addresses. Other presenters included fiction writers Clifford Garstang, Lydia Netzer, Jeff Andrews, andChantelle Aimée Osman,  author and Certified Public Accountant Jack Downs, poet Jeanne Larsen, and agents Ethan Vaughan, Jeff Ourvan, and Dawn Dowdle.

Chantelle Osmam, President and Owner of Twist of Karma Entertainment

Chantelle Osmam

I attended my first breakout session Thursday evening, 6:30 – 8:00 PM on the topic of PERFECTING YOUR PITCH, presented by Chantelle Aimée Osman, owner of Twist of Karma Entertainment..

Chantelle was exhausted. She’d just arrived in Virginia after a murderous flight from Arizona. After a couple sips of coffee, she began.

Start with your Teaser Pitch.

Give the genre and 2-3 sentences that provide the agent with the basic idea of your novel. Avoid generic statements. Chantelle used the Wizard of Oz to illustrate a Teaser Pitch:

After a cyclone transports a lonely Kansas farm girl to a magical land, she sets out on a dangerous journey to find a wizard with the power to send her home.

Next, give the agent your Expanded Pitch.

Tell the story in an organized fashion.  Add details, avoid backstory.  Highlight heroes, goals, conflict, risk, pivotal elements, turning points, and the end.

Our farm girl, Dorothy, dreams of going over the rainbow. Through a freak cyclone, she and her farmhouse are transported to Munchkinland.  There, she learns the only way back to Kansas is to meet the Wizard of Oz, who has the power to get her home.  So she sets off on a dangerous journey.  Along the way, she meets a Scarecrow, a Tin Woodsman, and a Lion.   And they travel with her.  However, Dorothy has made an enemy of a Wicked Witch, and she and her three friends  …   (Oz pitches courtesy of Christopher Lockhart.)

Chantelle leaned in close and looked us in the eyes.

“Pitches sell you, not just your writing.”

  • If you don’t appear passionate and excited about your own work, no one else will be. You’re starting a business relationship, so be professionals. Dress appropriately (generally just slightly more casual than the person you’re pitching). Be respectful, appear open to ideas and suggestions. Be flexible. The person you’re pitching to has more experience in the industry, and can help.
  • Practice, but don’t sound rehearsed. Comedy pitches should be funny, thriller pitches should have suspense. Switch up words each time to be spontaneous. Be specific, avoid abstract themes and generalizations. Watch your audience; if they appear bored, change tactic. Be prepared to start and stop for questions or other interruptions. If you fumble, recover. Provide verbal milestones to orient the listener  (“at the midpoint” or “in the final scene”.)
  • Avoid overselling, comparisons, describing every side plot and each character’s backstory, disagreeing.
  • Make sure you have a professional synopsis and other information to leave behind ask ab out how to follow up.
  • When e-mailing the agent, be sure to put where you met in the subject line.  For example, ‘Hampton Roads Writers Conference, 2013.’”

Rules of Synopsis:

A literary synopsis is a condensed statement that  conveys the narrative arc of your  manuscript.  A synopsis shows major characters and events, from beginning to end.

  • Begin at the beginning, end at the end.
  • Break it down into 12 beats. Act 1 (3 segments), Act 2 (6 segments), Act 3 (3 segments)
  • Highlight on main characters
  • Use attention getting/action words. This is not just a recitation of facts.
  • Use 3rd person, present tense
  • Tell entire story, avoid cliffhangers.
  • Have synopsis read by people who haven’t read book and don’t know story. Can they understand plot and main characters?
  • Use normal font, e.g. Times New Roman. Nothing unusual.

That was day one.  Watch for future blog posts to learn about day two’s agenda events, how I pitched my novel, and what I learned from the conference.

Logo for Hampton Roads Writers

Carolyn O’Neal