Category Archives: Interviews

Hollywood Veteran, Writer, and Professor Trai Cartwright Talks Craft and Career

by Lindsey Lewis Smithson

Colorado based writer Trai Cartwright has taught, produced, and learned her craft from nearly every aspect possible. She started her career at New York University’s Tisch School of the Arts, spent time working for Leonardo DiCaprio, founded a youth writing camp, and happened to work in Hollywood for nearly 20 years.  The Castle Rock Writers are proud, once again, to be able to bring Trai, her talents and her enthusiasm, to the Annual Conference at the PACE Center in Parker on November 7th.

Interview with Cheri Gonzales, Swallow Hill Music Director of School Operations

 by Tania Urenda

The vision of Swallow Hill Music is to positively improve the quality of people’s lives through music. How does Swallow Hill Music fulfill this vision with the Young Songwriter’s competition? 

The vision of Swallow Hill Music is to positively improve the quality of people’s lives through music. How does Swallow Hill Music fulfill this vision with the Young Songwriter’s competition?

The vision of Swallow Hill Music is to positively improve the quality of people’s lives through music. How does Swallow Hill Music fulfill this vision with the Young Songwriter’s competition? 

I think the children and teens who we serve provide us with the most honest reaction to the programming we provide. You can tell instantly by their level of enthusiasm what music they absolutely love and also when they find the learning of certain skills completely boring. I’ve found this is most seen in the teen age range, which is the primary age group for the Young Songwriter’s Competition.

The teens who participate in the competition want to be involved. I mostly hear from the participants directly; they rarely contact me through their parents. They go through all the steps of the submission process and are completely on top of deadlines and email responses. I believe our vision is seen throughout this competition through challenging these young adults creatively and professionally through the power and process of music. Once we arrive at the live competition I’ve been able to witness the parents of the contestants listening to what their children have created. That positive reaction and pre and post-show encouragement is also completely exemplary of our vision as an organization.

How does songwriting benefit today’s youth? 

I have always found songwriting to be much like journaling – a way for anyone to express any feelings and organize them in whatever way they choose. I think the concept of just writing thoughts and feelings down is huge for today’s youth, and the concept of actually putting those words and phrases to song challenges them even more. It’s like a beautiful puzzle that fits together just as they want it to.

Besides the prizes awarded by your organization, what benefits do the competitors experience during the competition process?  

The participants go through a submission process and a waiting period to see if they have been selected to participate in the competition, which is based on a point system for various criteria. They also go through a pre-show sound check process and use a green room so they are really experiencing the competition as if it were any other live production.

What is your favorite part of working with youth and their musical passions?

Another program we offer at Swallow Hill Music is our House of Rock program. We offer six House of Rock summer camps for teens ages 13-18 and every summer I witness campers transform over the course of each week-long camp. Not only do they learn more about themselves as musicians but they learn how to work constructively within a group of kids with similar goals and passions. You might see a timid 13-year-old the first day of camp who’s very soft-spoken and nervous and by the last day that same camper is shredding an electric guitar solo at the performance.  

Do you have any advice for young songwriters who might be starting out and those wanting to succeed the in music industry?

I would advise them to never be afraid to try something new or challenging. Say “yes” as much as possible to performance opportunities, because actively participating is the best way to learn. I would also encourage young songwriters to be themselves and not try to write lyrics or melodies just because it’s what’s popular at the time – create material that is completely unique to you as an individual. If that means hitting a trash can as your drum and chanting, do it.

Interview with Thomas Koenigs – 2015 Swallow Hill Young Songwriter Competition Winner

by Tania Urenda

Tania: What school and grade were you attending when you won the Swallow Hill Young Songwriter competition?

Thomas: I was a sophomore at Regis Jesuit High School when I was awarded with the Grand Prize at the Swallow Hill Youth Songwriter competition.

Tania: What was the name of the song you wrote for the competition? What kind of song is it?

Thomas: I wrote a song called, “Beat the Drum,” a positive title for a much darker song. It tells a story, that’s all I can really say.

Tania: Do you consider songwriting an expression of poetry?

Thomas: Of course. Poetic expression can’t be confined to one device. I’ve read and researched Marina Abramovic more than I’d like to admit. During one performance piece, she gnaws into a raw onion. Whatever that artistic expression means, damn, I’ll never know. But that doesn’t matter. Who am I to judge her? Expression does not and should not require justification or explanation. If eating an onion is art, then songwriting better damn well be poetry.

Tania: Did your love of music start with songwriting, singing, or playing a musical instrument? How do you feel that benefited you?

Thomas: It started with listening. I sat for hours with my parents as they worked. I picked up on melodies from The Beatles to The Beach Boys, The Temptations to The Jackson Five. Slowly but surely, I found myself being able to mimic the progressions on the piano and later on the guitar. Being able to strengthen that skill has given me the ability to hum a tune and try it out on various instruments.

Tania: Where does your inspiration come from? Experiences? People? Feelings?

Thomas: My inspiration comes from events. I’ve written some songs about feelings, but I guess I can explain myself much better through someone or something else.

Tania: What process do you use for songwriting, I.e. do you start with a musical chorus or words? What tools help you create?

Thomas: I always have a vague tune in mind, but most of the words are buried in my head. Literally. When it becomes too much, something is bound to fall out. The trick is waiting.

Tania: How many songs have you written? How do you test or share your pieces?

Thomas: I’ve written about 25 songs in total. But quantity is not quality. I try to slip songs in while playing for parents or siblings. My folks don’t sugarcoat. Both are lawyers and very opinionated. If they don’t like something, I’ll get the message.

Tania: Have you experienced failure? Do you have any advice for someone your age who is struggling with rejection or lacks inspiration?

Thomas: Sure I have, and I’m not embarrassed. I used to be really shy about my music, but then someone told me that music is an expression of the self. We aren’t perfect people, but we grow. Good music reflects that imperfection and personal growth.

Tania: What kind of issues do you care about?

Thomas: I care about any issue really. The song I sang at the competition was about Daniel Johnston, Sid Vicious, and Phil Spector, and how brilliant but crazy they were. My most recent song is about Ferguson. I’d have to say I concern myself with issues that many are concerned about.

Tania: What did winning this contest mean to you? What was your favorite part of the competition? Was there an opportunity to network or collaborate with fellow musicians/writers?

Thomas: I felt honored to even be considered for it and even more to win. Though I had fun performing, I had even more fun meeting new people. Swallow Hill is almost like a second home. I met up with people that I can now collaborate with, but also just be with. Swallow Hill people are my people.

Interview with SETH

 

Tania: When and why did you starting writing songs and poetry?

SETH:  First of all, I don’t write songs per se. I have written lyrics for songs. There are three approaches to doing this. One is to write the lyrics, then have someone put it to music. Another is for someone to compose the melody, then come up with lyrics that fit. And the third is for composer and lyricist to sit down together, at a piano or guitar, and hammer out the melody and words at the same time. I’ve done it all three ways. But rarely do I intentionally write lyrics. I have, however, written a number of poems that easily lend themselves to being put to music – and there is a reason these poems work so well.

As to when and why I started; the when is about 30 years ago. The why is a little harder to explain. I began writing fiction years before that, and one thing led to another. I will say this though: it was not reading poetry that led me to becoming a poet; it was the poetry I heard in song lyrics that provided the initial spark.

 

Tania: At the 2015 Castle Rock Writers conference you’ll be teaching a class on The Poetry of Writing Song Lyrics. What can attendees expect?

SETH: The poems I’ve written that can most easily be turned into songs were all composed using a similar technique. I call it “extended metaphor.” You start with a metaphor, say a zoo to describe what your heart is going through. Think of all the things you associate with a zoo: the various animals, the zoo keeper, cages, the ‘Do Not Feed’ signs. As you build your verses and chorus, incorporate as many of those associations as you can make fit. It’s a simple technique, but once you’ve mastered the concept, you’re well on the road to writing great lyrics.

 

 

Tania: How do your strategies differ when working with teens as opposed to adults?

SETH: My strategy wouldn’t differ that much. Teens differ from adults in that they are more open, more adventurous, more willing to take chances. Adults are often hung-up on the notion that there is a right way and a wrong way to write something. Teens—and youth in general—are willing to just jump in and try things. That makes them more fun to work with. But adults have certain qualities teens lack. So working with adults offer other rewards.

 

Tania: What is your favorite part of teaching children and teens?

SETH: There is a quote by Albert Einstein: “Genius is the ability to play.” As soon I read that, I knew exactly what Einstein was getting at. By that stage in my own writing, I could look back and recognize that my best, most original, innovative stories and poems came about when I was just playing around—tinkering with either words or form. . .not taking myself or what I was writing too seriously. Just having fun. It’s in that state of exploratory fun that the most amazing things come out. My favorite part of teaching children is getting them to understand that.

One of my teaching mantras is: the best way to do anything well is to enjoy doing it. The more you enjoy something, the more willing you are to keep doing it. The more you do it, the better you will become at it. That’s automatic. Putting pen to paper isn’t something to fear; it, in fact, can be fun.  Once I get them to grasp that, their writing takes off.

 

Tania: Why do you think songwriting resonates in today’s youth?

SETH: Songwriting has always resonated with youth. Not just with today’s youth. This became especially true in the 60’s after The Beatles met Bob Dylan. After that, songs became more than just about falling love and/or getting hurt in the process. What might differ between today’s youth and when I was growing up, is the advent of rap. Rap has shown the last few generations that rhyming lyrics, and spoken word in general, are viable vehicles to express our thoughts, our feelings, frustrations and outrages.

Being a teenager is one of the most confusing times in a person’s life. Songwriting and poetry are ways to start making sense of what’s going on inside them by putting it down on paper. Adding melody, and singing about it, makes it that much more powerful a form of self-expression.

 

Tania: What advice do you have for a young adult who is struggling to find the creative words or struggling with inspiration?

SETH: Relax. Eventually it will come. Recognize that each failure puts you one step closer to success.

Say, for instance, you decide you want to write sonnets. The first time you try one, chances are it will fall below par. Don’t give up. Next time you try one, it will probably be a little a bit better; the third try a little better still. Then at some point, when you least expect it, something will click. You’ll write a sonnet that jumps out at you. And after that, writing sonnets will feel like clockwork. You’ll still write a few below-par ones, but those will be the exception rather than the rule.

Every time I start a poem or a story and it falls flat within the first few pages, I think Okay, that’s not the way to begin. Let’s try something else. Usually within two to three tries, it comes to me.

 

Tania: In an interview with the Colorado Poet Center during the release of your poetry book, Black Odyssey (2013), you indicated that you’d been writing the book for over 10 years. You explain the changes of your style and diction over that time span and between chapters as being different islands and if you were “traveling from island to island, each island would be different, and somewhat unique, offering its own local color.” Beautiful! You expressed fears of being thought of as naïve or unacceptable because of your unconventional use of different poetry styles in one story. Many times young writers haven’t had their creativeness impeded by the conventional rules we learn later in life. What would you say to first time poets and how could your workshop help them?

SETH: All the greats—your Shakespeares, your Kafkas, your Eliots—either defied convention or took what was commonly done and expanded or tried something new with it. And it came about not by discovering some new revolutionary approach or technique, but from following their own creative impulses. Follow your own intuitions and something uniquely you will emerge. Innovation doesn’t come to you, but through you. Relax and trust. If it’s there, when it’s there, it will come out. You don’t have to do anything but be yourself.

 

Tania: Will you have any of your CDs or poetry books available for sale at the conference? What audience do you feel would enjoy them the most and why?

SETH: Yes, I will have CDs and books available. I like to think any audience would enjoy the CD. The musicianship is superb; the poetry is accessible and varied. Plus the poetry and music are well matched.

As for my book, A Black Odyssey, the people who will enjoy it most are those familiar with Homer’s Odyssey. Also any former English majors and literary aficionados—anyone who has a deep appreciation for literary craft. I take great pride in my craftsmanship. I pay a lot of attention to sound devices and the rhythm of speech, the flow of language; things readers with a literary background will especially appreciate.

Baby boomers also respond favorably to my work. I myself am a baby boomer. We were shaped by what we experienced in the 60’s. Thus we share a common frame of reference and a similar perspective.

That’s not to say people outside these two groups won’t enjoy the collection. The poems and styles are varied, as is the subject matter: everything from love, to death, to soul searching, to trying make sense of this psychotic sea called existence. Most people will find poems and whole sections that resonate with them—if not the entire book.

 

Tania: How do you feel when performing at Mercury Café? When can we find you performing there?

SETH: I host the “Jam before the Slam” every Sunday night from 7-8pm. My band, Art Compost & the Word Mechanics, improv behind my poetry and the poetry of anyone who wants to join in. I find it exhilarating and empowering. There is a communication between the poet and the musicians that goes beyond language. It has to do with feel. When the musicians begin, I feel the music and adapt my delivery accordingly. I don’t think; I feel. When I begin, they feel my intonation and adapt to me. Again, they don’t think; they just feel. It’s almost magical.

The Merc, of course, is in Denver, almost in the heart of downtown. Those living in Castle Rock or Parker have the option of going to my website. Click on “events” and find other places we are appearing.

 

Castle Rock Writers Success Story

Interview with teen author Anastasia Zhivotov – By Susan Rocco-McKeel

anastasiazhivotov

Anastasia Zhivotov

“Without [Trai Cartwright], I’m not sure I would have a book out. Without the [Castle Rock Writers] Conference, I’m not sure I would have made it out of my room.”- Anastasia Zhivotov

Anastasia Zhivotov hit a low point after experiencing what she considered to be a rejection of her creativity in the dance world. “I was bummed, I was weak, I was a zombie.”

After having coffee, a flyer for Castle Rock Writers 2012 Writers Conference caught her eye. “It said all ages and included a few free bribes like pitches …”. She immediately called Alice Aldridge-Dennis, the Conference’s co-director, and introduced herself as a teen writer. Anastasia’s relentless muse combined with her father’s encouragement, and Alice’s information, resulted in scheduling a pitch.

This was August 28, 2012. Anastasia had a pitch scheduled, but no manuscript. She struggled with her writing and then her “computer keys finally got fed finger grease”.
Anastasia met Trai Cartwright, a workshop presenter, at the Conference in October, 2012, and was “in awe”. They exchanged emails. Trai mentored Anastasia through the completion of her book. Anastasia was an eager student who remembers standing in the snow taking notes with a blue pen for an hour after their first edit. “I got a cold of course, but more importantly, I had a plan.”

Her novel, Alice in Reality, graphically scrutinizes the stress leading to addiction in teens. “I want to get the truth out. Drugs and parties happen.” Anastasia imbues her writing with her Russian culture. As she says, she was born in Colorado but raised Russian and her writing voice reflects this.

With an enviable work ethic, Anastasia manages writer’s block by writing. She will continue to wrestle with an idea until she forms a shape out of it. If she is still struggling, she will take a break to do something like cooking and then return to the keyboard.
She says that for her, writing is not only a passion but an extension of breathing for she feels “as if the arts are the only way to be freed.”

Anastasia and her mentor, Trai Cartwright, will address the 2013 Castle Rock Writers Conference attendees during lunch. Alice in Reality is available from Amazon and Trafford online.
-Susan Rocco-McKeel; November 12, 2013

Castle Rock Writers holds a yearly conference in the Castle Rock area, open to writers from youth to adult from all over the front range.  The conference includes a variety of workshops, agent and publisher pitches, a keynote speaker, and a conference book store where participants and workshop leaders may place their books.

The conference is a one-day event held at the Douglas County Events Center at the Fairgrounds in Castle Rock.

Student Interviews


Julianne Marsh – Interview Tania Urenda

As a 9th grade student at Mountain Vista High school what type of reading do you generally enjoy the most away from school? Are there certain genres that you prefer over others and why?

Julianne: Away from school, I really enjoy reading the whole Young Adult section. I mean, dystopian, fantasy, realistic fiction, paranormal–they all appeal to me. I guess what I read really depends on how I feel on that particular day. The one constant is that it’s all YA, but I do dig those adult murder mysteries and horror stories.

What are the last two novels that you chose to read? How did these resonate to you and your friends?

Julianne: The last two books I read were continuations of two series’ that I have grown to love. The Infinite Sea by Rick Yancey and  The Blood of Olympus by Rick Riordan were the two I finished this week. My friends and I all love both of these authors, and these new books were not a disappointment.

What are your current writing aspirations? What do you like to write? Which genre? Do you have one major project or many smaller ones?

Julianne: I like to say that I don’t settle down when it comes to writing a certain genre. I have a lot of ideas that do not correlate with each other whatsoever. I am trying to find a good genre where I can satisfy all of my ideas, yet it’s my strong point. Right now, I’d say realistic fiction is what I’m working on. Project wise, I work on one major project, but I keep tabs on all my ideas.

With homework and other activities, when do you find time to write?

Julianne: It’s difficult to find time to write, that’s for sure. However, if I tell myself “I will write today,” I can do it. NaNoWriMo and weekends are times where I get a lot done.

What inspires your writing? What do you love about writing?

Julianne: I think that reading inspires my writing. I want to create something that others, and myself, can read and really be drawn into the story. I love that with writing you can make a world different from your own; there are no limits.

Do you have a writing mentor? If you do, could you tell me about them and how they have inspired you to write. If not, do you feel that this would be beneficial to your budding writing career? Who is your biggest fan and supporter?

Julianne: I do not have a writing mentor. However, I have good friends that happily give me their thoughts about what I’m writing. I think that when I’m further along in writing projects, having a mentor would be beneficial to making it better. My biggest supporters are probably my friends who edit my work. I edit theirs as well, so it is sort of a critique group.

When complete, will you try to publish your work? If so, what means do you feel would work best for you, traditional publishing with an agent and publishing house or digital self publishing?

Julianne: I would really love to publish my work. I’d say I would prefer to go through a publishing house rather than self-publishing.

What are your writing/publishing goals for the next 5 to 10 years?

Julianne: In the next 5 to 10 years I would love to have had a book published. A lot of work can be done in this time period, so I think I can do it. Also, I really want to have written a lot of diverse things, whether it be horror or a cute romance story.

This year you attended the Castle Rock Writers conference. How do you feel this helped you as a young writer?

Julianne: At the conference, I believe that I learned a lot more about the actual publishing process and what goes into the process of book-making. That was incredibly cool.

Writers attend conference for many reasons, among the reasons are networking  and pitching ideas to agents and publishers. Did you have the opportunity to make connections with some of the workshop leaders, board members, agents or attendees?

Julianne: I was in the Young Adult program, so I connected with more teenagers with similar aspirations. I also met an author and an agent. Everyone was very friendly and open and I feel very welcomed into the world of writing.

Grace Wilson –  Interview By Susan Rocco-McKeel

Gracie Wilson is a delightful young woman who attended the 2014 Conference’s youth sessions. As a writer in 10th grade, Gracie said she thinks the most important thing for people to know about her is that she is “just as passionate a writer as some who have been writing their whole lives.” Although she has explored writing in many genres, her current favorite is historical romance.

Tragedies inspire her. “Take the Titanic, for example. There were almost two thousand people on board. As a writer, I feel that it’s my duty to preserve each and every one of their stories. Every story is different and spectacular in its own bizarre way. The possibilities are endless. If you look up a list of Titanic’s victims, there is something like: “#47. FEMALE, DARK HAIR, YOUNG, GOLD WATCH, NOTE IN POCKET SIGNED E. H. CONNELLY.” Imagine the possibilities of that story! Why does she have a watch? What’s her name? Who’s E. H. Connelly? And the craziest thing is that it’s all real.   I find myself wanting desperately to make the right guess of something close to it, of how that young woman’s life ended.”

There are many authors she reads and admires but the one she respects the most is Jodi Picoult. While Gracie finds many of Picoult’s topics uncomfortable and disagrees with the morals of some of her characters, Gracie praises the method Picoult employs to tackle tough issues, especially Picoult’s extensive research.

“[Picoult’s] work brings up issues in my own life and brings my fear to the surface.” Despite the controversial topics, Gracie finds herself engrossed in Picoult’s stories. Gracie believes this is the hallmark of an accomplished author.

Gracie is committed to practicing her craft as a means to grow as a writer. She “hope[s] to express in [her] writing something powerful, something that will make people stop and think and wonder and go about their lives in a different way.”

Annie Borelli – Interview by Jean Jacobsen

How long have you been writing or expressed an interest in writing? Where are you at in your writing carrier? What is your favorite subject to write about? Which genre do you write in?

Annie: I have been writing books since about third grade. Right now, I am working towards publishing my first book. I like to write most about kids my age. I write in a variety of genres- contemporary, science fiction, and sometimes fantasy.

Describe a couple of the classes you attended at the CRW conference. Was this your first year to attend?

Annie: I attended the CRW conference for the first time with my friend Julianne. We went to two young adult classes and two adult classes. The young adult classes were fairly plot-oriented and the adult classes involved the publication process.

Would you attend another CRW conference? What would be of interest to you as future workshops in writing?

Annie: I would love to attend another conference! I really enjoyed visiting each of the classes and hearing the speaker. As far as future workshops, an in-depth explanation of the publication process especially for teen writers would be awesome.

Interview with Agent Gordon Warnock

California Agent Gordon Warnock
of Foreword Literary – August 18, 2014

Gordon-big

www.forewordliterary.com

Interview by Tania Urenda, agent coordinator
& co-author of Chronicles of Douglas County, CO (July 2014)

Self-promoting is essential in today’s writing market. Authors need a strong platform which usually involves speaking engagements, social media, networking and being an expert in your field or book. What are some of the most time efficient strategies your busiest authors have used to promote their books? Is it possible to fit family life, work and a budding writing career into a 24-hour period?

Gordon: Absolutely. The classic time complaint holds little water because thousands of new and established authors write, work, publish, promote, and live their lives every year. But as with most aspects of this business, there is no magic bullet that will instantly gain optimal results for everyone. It really varies depending upon the strengths of the author and which outlets the material naturally fits. We have a few clients who are absolutely killing it on Instagram right now. And then on the opposite end of the spectrum is the one without any form of social media whatsoever who maximizes her speaking events by tying in local and national traditional media. Regardless of the tools you use, you’ll start seeing the best returns if you approach your writing like a business. Stop thinking of yourself as an author, and start thinking of yourself as an authorpreneur.

Writers Conferences are an exciting and sometimes nerve-wrecking experience for any level of writer. It’s often said that writers are writers, not speakers, for a reason.  Pitch sessions with an agent or editor can fumble if authors come on too strong or are too nervous. What is the best way for an author to approach you when trying to sell themselves and their book? Do you have any horror stories from your earlier years of being an agent or writer that you could share?

Gordon: I have horror stories from a couple weeks ago, mostly of folks who just didn’t prepare. Make it a dialog. One person should not be speaking the entire time. Talk about your manuscript for maybe half of the session and then be prepared to answer questions. Know your manuscript inside and out, know the genre you’re writing into, know your qualifications as an author, and know what your plan is for the success of the book. And to save both you and the agent a lot of time, research the agent before you sign up to pitch. You don’t just want an agent. You want the right agent. I literally had a pitching writer get frustrated and say, “I thought you represent fiction.” I do, but not all of it. In fact, it’s a small portion of my list, and I say so right on my website. If I don’t rep your genre, there are a lot of other agents out there you’re better off contacting.

At the Castle Rock Writers Conference you’ll be presenting a workshop on how to hook an agent and doing some limited critiquing. What are the most common mistakes writers make within the first five pages of their manuscript or proposal? What’s your biggest pet peeve?

Gordon: There are so many mistakes that make an agent stop reading. You have to be compelling, and you have to present tension or at least some sort of imbalance that creates intrigue and must be righted through reading on. If you open with the info dump, large blocks of exposition, or back story, you’ll lose the reader right away. You also have to be on your A game as far as the prose is concerned. This is our first impression of what you can do as a writer, and I simply can’t stick around for 50 pages to see whether or not you have skills, especially if you spend those pages convincing me otherwise. Just as a browsing reader does in a bookstore, an agent must make decisions within a certain window. If I have a pet peeve here, that might be it–writers who don’t understand that or complain about the agent passing on a manuscript without reading the whole thing. Readers often don’t make it through a book before putting it down (or back on the shelf at B&N). That’s just the nature of things.

Fiction writers strive to make characters original and lifelike. In other interviews you’ve also expressed this important aspect of writing.  What are the best ways for doing this?

Gordon: Study humans. We’re an interesting breed. Give your character real human quirks, and don’t base them entirely off of one person or character you’ve read. For example, I get a lot of people pitching me “the next Holden Caulfield.” There already exists a Holden Caulfield. Give me someone new. Really stretch your creative muscle.

In non-fiction writing the author must be a known expert in his or her field and have legitimate credentials. Are there any subjects you feel are underrepresented in the publishing field, ones that are on your bucket list?

Gordon: Not really. They usually end up on my client list instead of my bucket list. For example, I think libraries aren’t given the attention or priority they deserve in society, and I now have an amazing project with the author of the viral photo essay, “This Is What a Librarian Looks Like.” I’m working on the book, Neil Gaiman is narrating the documentary, and we’re getting great support from libraries internationally. We’re making it happen. Also realize that publishing is a multi-faceted ecosystem. There’s a lot more going on than just the projects agents work with.

As a founding partner of Foreword Literary, your agency has been at the forefront of the evolution of traditional publishing into the digital age. Many thought this would herald the end of paper books, publishers and agents. Obviously the end of the world is not coming and bookstores are alive and well, so what new and exciting things do see in the future for your agency and the authors you represent?

Gordon: Mostly things I can’t talk about at the date of this interview. I have the luxury of working with some of the brightest minds in the industry, and we’re always cooking up new ideas and new ways for our authors to succeed in this ever-changing, highly competitive marketplace. As for things that can be talked about, we have an amazing list of fall releases. Here are a few Sept/Oct highlights:

DRAGON’S BREATH AND OTHER TRUE STORIES by MariNaomi is out Sept. 9th. If you’ve never had comics profoundly touch your heart, check her out. She’ll make you feel.

FALLING INTO PLACE, the debut by 18-year-old phenom Amy Zhang, is out the same day. This one has received crazy good press, and there’s plenty more we can’t mention.

THE BOOK OF KINDLY DEATHS by Eldritch Black is out Sept. 16th. Having grown up on Goosebumps, I’m a tremendous fan of this twisted storyteller. 

The first in the TALON series by NYT bestseller Julie Kagawa releases on Oct. 28th. Universal optioned it and Chris Morgan is writing the screenplay. 

MARTYR, the first in THE HUNTED series by A.R. Kahler, releases the same day. Keep an eye on this author. He’s a rising star. 

If you’ve done any research into the publishing field, you will have heard about the massive slush piles that loom in the darkest corners of every agency. How often do the slush piles see the light of day and how much better are the odds of being represented after a pitch session at a conference verses being found in a slush pile?

Gordon: Yeah, I’ve researched that a bit, and in my experience, you’re much more likely to get a request from a conference. But that means nothing if the work doesn’t deliver on the promise of the pitch. I’ve signed (and sold) way more from the slush than I have from conferences, though there are gems to be found in all methods of submission. Except from the one where you slide the manuscript under the restroom stall. You’ll never get a book deal that way.

Gordon will be participating on an Agent Panel on Friday, October 3rd, 2014 for our Pre-conference event, “Reading Through the Slush Pile, Agents Share their Thoughts.” He will also be accepting a limited number of verbal pitches and written critiques during the 2014 CRW Conference and presenting the workshop, “How to Hook an Agent.” Conference date is Saturday, October 4th, 2014. Look under the Conference page for more information.

Getting to Know Author Laura Pritchett

 

     Laura Pritchett, novelist and professor, is the winner of the PEN USA Award for Fiction, the Colorado Book Award, and the Milkweed National Fiction Prize. In addition to novels, she has written short stories, essays and nonfiction. Holding a Ph.D. in English in Contemporary American Literature from Purdue University, her writing career also includes coaching and instruction as a faculty member at Pacific University’s low-residency MFA Program and Denver’s Lighthouse Writers.

Her latest novel is Stars Go Blue, which Library Journal calls “a brilliant novel, filled with heartache and humor.” Aging and estranged, couple Renny and Ben have been living at opposite ends of their northern Colorado ranch when Ben is diagnosed with Alzheimer’s. The connection between the characters and the land threads its way throughout the narrative. Regardless of the genre, Ms. Pritchett says that place is important in her writing because she finds her “solace, center, and [my] ideas while outside, engaging in the natural world.”

Ms. Pritchett first wrote about Renny and Ben in Hell’s Bottom, Colorado. She knew she would continue their story, even though it took a decade. Her raw, piercing prose tackles some of life’s most painful losses including the death of a daughter and the increasing loss of Ben’s memory and independence to Alzheimer’s.

Drawing from her personal experience, when Alzheimer’s was stealing her father’s language, Ms. Pritchett said her father became poetic. She wanted to convey this lyrical communication and the story using Ben’s point of view but Ben’s confusion could confuse readers.  Adding Renny’s point of view provided the voice of a tough, hard working woman wearing down under the pressure of constant caretaking. It also gave structure to the narrative. Ms. Pritchett believes that her characters are heroic in the way they bear up to life, making choices from their core, even when Ben’s mind is under siege from Alzheimer’s.

Reading Ms. Pritchett’s’ heart-wrenching passages, I wondered what the experience was like for her as a writer to live a long time with the character’s painful experiences. While she acknowledges that the passages are “difficult,” she was “invigorated and happy to be writing the real stuff of life” because she is not a fan of what she calls the “dessert stuff.”

“Writing, for me, also helps me understand things—I write what I’m curious about, what I need to process or ponder. In other words, it’s always a joy to write, even difficult passages. Because I’m interested in real life.”

Ms. Pritchett is the keynote speaker for Castle Rock Writers Conference 2014: Write Around the Rock on October 4, 2014. Readers will find more information at www.LauraPritchett.com .

Based on an interview with Laura Pritchett by Susan Rocco-McKeel, Castle Rock Writers Conference Team member and co-author of Chronicles of Douglas County, CO (July 2014)