An Excerpt from "No Outlet"

An excerpt from "No Outlet"

originally published in Midwest Literary Magazine (July 2011)

copyright 2011 Eva Glynn Stephens

As soon as she turned onto the winding roads of her past, Sarah felt the stress of the day begin to fade slowly away, and some of the tension that had tightened her temples and pulled her shoulders into tight knots began to dissipate. As she started the slow, curving seven-mile journey to her family’s summer house, which she always thought of affectionately as home, nestled deep within the lush woods of the southern Ohio river banks, Sarah thought she might be able to forget everything--the terrible fight she’d had with Shane, the unexpected loss of her job, the newest rejection letter from a New York lit agent who didn‘t feel that her manuscript held much merit--at least for the weekend. Life would resume on Monday morning, but for now, on this perfect, starry, summer night, over a hundred miles away from the disappointments that had plagued her as of late, this would be her reality.

Dark had fallen, and the crooked lanes, surrounded on either side by woods that stretched for miles, that snaked their way along the old ridge were laden with deep shadows. Sarah’s car, a small and sensible older-model two-door sedan, purchased on a part-time secretary and fledgling writer’s salary, trundled along at an unhurried pace, the headlights cutting through the deep forest gloom. Here and there she glimpsed patches of indigo night-sky and the edge of a full, white-hot moon through the canopies of the ancient oaks, elms, maples, and redbuds that grew rampant in the otherworldly, country setting. But even as dark as the night was, without the aid of streetlights and neon signs to light her paths, Sarah knew she could find her way home. She knew the area, so comfortable and familiar, well, and had been spending weekends at the ancestral retreat since she was a child. Further up the ridge, she would come to the old Christmas tree farm, long since abandoned and overgrown with weeds, and then she would pass the
Shillings place, which had stood empty since the mid-nineties, but for now, there was nothing but the woods and the things that resided there.
Sarah began to relax even more and rolled down her window. A light, cool breeze, scented with the pungent aroma of pine and the sweet perfume of wild honeysuckle that grew of its own volition along the ridge, wafted through the car, ruffling her long, sandy-blonde hair. Sarah took a big breath of the cleansing country air, and that’s when she saw the headlights in her rearview mirror.

"Bewitched" by Eva Glynn Stephens

I love a good mystery, and if there is anything I enjoy more than reading one, it is writing one. That is why I am absolutely THRILLED that my debut short mystery, "Bewitched", has been accepted for publication in Over My Dead Body! Mystery Magazine.

"Bewitched" features an old friend of mine--the one and only freelance private investigator, Detective Frances Miller, who will receive her own accolades in a future blog post.

A is for Ava

A couple of months ago while sitting at my computer, inspiration of the strangest sort struck. I had just spent time reading to my children, and as I glanced down at the picture book that hadn't yet been put back on their bookshelf, I started to think about what I'd just read, which, somehow, led me to wonder what would happen if there were storybooks for adults?

Not that the concept of storybooks for adults is a new one. I knew it would be important to take an it's-been-done-before idea abd give it an original facelift.

By the end of the evening, my idea was transformed into Book One, A is for Ava, from a new series of alphabet storybooks for adults, entitled Mother Grim's Nefarious Nursery Rhymes, featuring my Orphans of Oddfellow Manor.

The concept behind the series: To issue 26 books, letters A -Z, over a period of two years. Each book will feature an Oddfellow Manor Orphan, and tell his/her grim and dour story. 

The cover art for A is for Ava was created by Barbara M. Logan, who I have worked with in the past, and look forward to working with on many future projects. (She did my eBook covers, and they are AMAZING!)

Each alphabet storybook will be limited to a first run printing of just 50 copies. I might issue a limited hardcover edition for each, but for now, the books will be issued in paperback. 

A is for Ava will be issued on August 15, and can be purchased directly through my website (http://www.evaglynnstephens.com), and Book Two in the series, B is for Bailey, will be released in mid-October. 

Fan Mail In My Mailbox Makes Me Happy

I got my first piece of fan mail two days ago! That was EXCITING!

The letter, which was highly complimentary of my work and my website, gave me a lot more than joy and a head rush. It gave me knowledge and an understanding that my work has merit, and actually brought pleasure to another person!

This is going to be one of those first times I will never forget.

Thank you, Onyx, for taking the time to write. Your words were truly appreciated!

REJECTION: Deal With It!

Someone once said, "Every rejection letter received means a writer is one step closer to success."

Hmm...pretty words. True words, but it sure doesn't feel like success is right around the corner when a rejection letter comes.

I'm a writer, so, as you might imagine, I've received my fair share of rejections. The first one hurt--a lot. I took it VERY personally. In fact (as embarrassed as I am to write this), I took it SO personally that I ripped up the first three chapters of my manuscript, and vowed (loudly) that "I will never write again!"

Wow.

There was something about that lit agent's red-penned note that read "Not for me, thanks" at the top of my query letter that went right through me. After I destroyed about 75 pages of my book, while accusing the guy of being unable to recognize talent if it walked up and slapped him across the face, I felt a little better--and sort of stupid. But after my fifteen minutes of diva-esque ranting, I got a grip, and went back to my computer.

As soon as I realized that rejections really AREN'T personal, I was able to accept them, and move on. It wasn't fun to read them, and there was a natural disappointment when my work was declined.

But rejection is a normal part of the writer's life. I learned to deal with it.

My personal least favorite rejection line, one that seems to be a favorite among agents and editors? "Please understand, this is n objective decision". Translation: "I don't like it, but maybe someone else will."

When I first began my hand at writing on a professional level, my rejections were very terse an impersonal, the worst being the word "Pass" scrawled callously across the top of a query letter. As annoying as that was, though, I began to realize that, at the minimum, my queries were being read, and had stayed out of the dreaded slush pile, which was a positive sign.

As time went on, my rejections became more personal. I was actually being referred to by NAME as my work was being declined. Bonus!

Finally, the ultimate in "good" rejections began to arrive. Not only were these addressed to me, by NAME, but there were also personal notes from editors included. "The story is intriguing and I enjoyed reading it, however..." followed by gentle tips on what s/he would rather see, and then a GREAT final paragraph: "If you are willing to submit this with a different slant, one that would be more suited to our magazine, I would be willing to take a look at it. Please try our magazine again soon." The best part of the rejection? Actually HAND SIGNED by the editor who had chosen to pass on my piece. I felt as if I'd been crowned Queen of the May.

It was after receiving those "good" rejections that I began to receive acceptances. 

Looking back on my career, I can honestly say that with every rejection I received, I grew more determined and began to write better. Maybe it was the old "I'll-show-you" mentality. Who knows? Whatever it might have been worked. I am now  a published (and paid) author.

A very famous 25-year, New York based lit agent, while discussing the rejection process, once admitted that lit agents--even seasoned and successful ones--make mistakes. He confessed that he had rejected a writer, based on his "objective" opinion, and was regretful later when that person went on to become writing successes.

I took some comfort in that interview. It reaffirmed my belief that, even if a piece I'd written was rejected, the writing WAS good...it was JUST as good as when I'd submitted it. The rejection wasn't MY problem, nor did it reflect on my ability to tell a great story.

An agent or editor is a writer's very first critic. Fledgling writers need to remember that these formidable figures in the publishing world are mere mortals with diverse tastes. A writer must also remember that, even if s/he has written the Great American Novel, not everyone is going to like it.

Writers need to be realistic and thick-skinned, determined and motivated; they should use every rejection letter as a learning process. Use them to write better. My advice? Save every rejection letter, refer back to it, and watch the transformation they undergo. When you do this, you'll be able to understand how every rejection takes you one step closer to success. 

"No Outlet"

My story, "No Outlet", a psychological thriller, was recently accepted for publication in Midwest Literary Magazine, and I am absolutely thrilled and humbled to have my work included in this publication.  

Discussing POV

For some reason, point of view, also known as narrative point of view or viewpoint comes up quite frequently during discussions between writers, and as I've noticed when I make a trip to certain forums, boards, and circles, the topic can actually grow quite heated.


Two of the most FAQs regarding point of view seem to be:

1. "Which POV is best?"

followed by...


2. "Why should I (or shouldn't) I use a certain POV?"


I have a very definite opinion on the above questions, but before I share that with you, I'd like to discuss the three most discussed viewpoints, and their definitions.


1. First person point of view (or first person narrative): Readers are given a first-hand account of a story's events. The story is narrated by one person, normally the book's main character.


If a writer chooses to use first person POV, s/he needs to keep in mind that ONLY the storyteller knows what is occurring, what has occurred, and what MIGHT occur. Unless the protagonist is a psychic, he will not be able to see into the minds of his fellow characters. First person POV is extremely limiting, but I believe it can be used very effectively for certain stories.


I have heard first person POV described as an "up close and personal" technique, and I agree with that. Many writers (and I'm one of them) agree that this POV is really effective when used in ghost stories, mysteries (especially those narrated by a detective), confessionals, and gothics. First person narrative became widely recognized when the gothic romance novel was born.


2. Second person point of view (or second person narrative): Readers are essentially drawn INTO the story, often becoming a part of it. The word "you" is a common theme throughout second person POV. For example: You are walking down a dim corridor when a bright light suddenly appears in the distance.


Some writers choose to blend first and second POVS throughout their story, using "I" versus "you", in emotional comparisons. When a writer does this, the reader AND the narrator are both characters in the book. Normally, although not always, second person POV is used in a non-fiction setting. In a fiction atmosphere, second person viewpoint was used when Choose your Own Adventure were popular. As a child, I was a huge fan of those, but as an adult, I do not want to be pulled into a time, place, or setting that I'm unfamiliar and/or uncomfortable with, and then be told how I feel or what I should do. And as a writer, I am strictly anti-second person POV. The concept can be awkward and tricky to pull off, and my advice to fledgling writers? Avoid it.


3. Third person point of view (or third person narrative): Readers are given the opportunity to look into every character's lives; they become privy to their actions, thoughts, and observations as an unknown and omnipotent narrator tells the story using character names and pronouns such as "he", "she", "they", and "it".


Generally, third person point of view gives the writer a lot of flexibility. It is a limitless viewpoint, and the one most commonly used.


So, which is the RIGHT POV to use when penning a story?


Second person narrative aside, when it comes to viewpoints, I don't believe there is a "right" or "better" narrative to use when a writer is telling a story. I think both methods are very effective, but a POV choice should fit the manuscript and writing style.


If I am writing a very complex and multi-faceted novel with a large character population, then normally, I will use third person narrative. However, I enjoy writing in the mystery genre, and my detective tales, which feature PI Frances Miller (who  readers will meet at a later date), are ALWAYS written in first person narrative. Readers don't need to know anything about the characters until Frances snoops around and divulges their information. In this way, my reader can follow Frances through dark alleys and into smoke-filled pool halls, sharing the adventure with her. These books revolve around Frances' world, and only she knows that place. Because of this, I would not be comfortable with some unknown Peeping Tom attempting to tell her stories.


Another popular argument is that first person narrative shows agents/editors/publishers that a writer is a mere novice.


I highly disagree, and I'm certain that Ernest Hemingway (The Sun Also Rises), Emily Bronte (Wuthering Heights), and Ayn Rand (Anthem) would concur. Viewpoint, in my opinion, has nothing to do with ability or talent. If someone is a good writer, s/he will be able to tell a great story through anyone's point of view.


The POV truth is this: third person narrative simply grew in popularity, but now that first person POV is making a reappearance on book shelves, I would say either viewpoint is just fine. Unless...


...a writer is explicitly TOLD to use a particular POV. If that's the case, then disregard my opinion and do as you're told.


Some editors of both small and large publishing houses have a preference when it comes to POV. Opinions are objective, of course, but when it comes to "breaking in", I strongly suggest a writer follow the guidelines set before them. The most important thing for a writer to remember is that s/he is presenting a piece of work, and this should be done in a professional manner. If an editor specifically requests third person narrative only, a writer should follow the criteria. Don't attempt to show them what you can do; show them what they want to see.


I recently read this piece of advice from a popular online crime magazine that is no open for submissions: "Please follow our guidelines carefully, and, if you are going to break the rules, DO IT WELL!"

Allowing Your Characters To Go Where They Will

Once upon a time in a small northern Ohio village there lived a writer who had a blog, which was rarely updated because the writer did not log in to her Dashboard with an regularity or frequency.


My apologies.

When I logged onto the site today, I was horrified to see that it had been FOUR MONTHS since I've posted. So much for self-promoting through the written word.

But enough of that. I came on to address a subject that I think may be of interest to other writers out there. This post is probably geared more toward the fledgling writer rather than the seasoned one, but you never know. Even I, who have been writing since I could pick up a pencil, have fallen victim to this.

Every writer knows how important characters are to a story. They must be named properly, developed well, and become as real as a living, breathing human being. When they open their mouths to speak, a reader must believe what they say. Forced dialogue is SUCH a no-no.

So, here you are, the writer, sitting before your keyboard. From the deepest recesses of your mind, you have pulled this person. At first, it is nothing more than a blob of brain matter, but as your mind spins and your fingers move along your keyboard, "it" begins to take shape..."it" becomes gender-specific, and suddenly, he is a person, with a name, character traits, hair and eye color, and a distinct personality. He has purpose, problems, and is embarking on some sort of journey/adventure/mission.

And now that you've created this person and even given him the process of thought, what would make you think he wouldn't have free will?

It's strange, but characters--even those in fiction--really do have minds of their own. No matter how tightly you may pull the reins on them, they will buck you and sort of gallop off in the direction in which they are meant to go. And, trust me, it is always the right direction.

Normally, I am very open-minded when it comes to my character's desire to turn left when I have initially planned to make a hard right. I have learned over the years that it is better to sit back and enjoy the ride rather than attempt to climb behind the wheel. My character leads and I follow, helping him out here and there along the way. Kind of like a GPS, I suppose. And when the trip is over, I am always quite happy with where we have gone. 

However, about six months ago, I threw my own advice right out the window as I was writing my short story, "Safety Boy".

I had the concept: a dark comedy-vampire tale-horror spoof featuring a pair of very unlikely vampire slayers. Names came easily. Personalities? No problem. My conflict began when Brian "Safety Boy" McCoy showed me that he had a mind of his own.

As I was writing (and laughing at my own cleverness), Safety Boy's tale, as amusing as it was, simply wasn't going the way I'd thought it would. I would type. Pause. Read what I had written. Frown. Hit backspace. I was confused. Why wasn't this going well? The words were in my brain. There shouldn't have been a problem.

I stepped away from my laptop, left the room, and suddenly, it dawned on me. I had been very frustrated with Safety Boy because HE was trying to tell ME, his creator, where to go. I had devised Plan A, but he had a few plans of his own.

Back to the computer I went. My first draft went to Document Heaven, and I pulled up a blank document. Settling back more comfortably in my chair, fingers poised over my keyboard, I gave Safety Boy permission to drive, and we were off.

The result? A truly fabulous story, which has become my new pet project. As soon as Safety Boy's tale had been told, I submitted it to an editor, and within 48 hours, it had been accepted for publication. "Safety Boy" will be published in about two weeks, and the prospect of seeing his tale in print is extremely exciting--and just more than slightly gratifying.

What would have happened if I had not allowed my character to go where he wanted? Who can say? Would "Safety Boy" have been published? I'm confident enough to say probably, but would it have been as good? I can answer that with a blunt and unabashed NO.

I know, too, that if I had remained stubborn and had not given Safety Boy the freedom to wander, then I would never have been able to embark on an exciting new project--a series of books, entitled THE ADVENTURES OF SAFETY BOY, based on my original short story characters and their exploits into the world of the undead. In retrospect, I am shocked at where I had originally planned to take Brian and his best friend and brother in slaying, Thomas Horr. And I am really, REALLY glad that I had the sense to "listen" to Safety Boy's insistent nagging voice, even though, while writing his tale, I was privately thinking, "Shut up, dude. I know what I'm doing," and "Who does this kid think he is? I'm the writer here."

In conclusion, fellow writers, I encourage you to give your characters wings with which to spread and fly. And always, no matter what, allow them to go where they will.

Where did January go--and why has it been so long since my last post?

 I’m really looking forward to this year (well, the next 10 monmths of it since I somehow lost track of January, although that isn’t difficult to do since my youngest child just happened to choose to arrive mere days after the New Year. This, of course means that I have precisely 13 days to recuperate from Christmas, clean up the remnants of a New Year’s Eve party, store away the leftover bbq spare ribs and sauerkraut, and pack up the holiday décor before I bake a birthay cake and wrap even more presents in preparation for yet another party, all of which can be a horror story in itself.)


Oh, and did I mention my middle child? His birthday is right in the middle of this blustery, snowcapped month, and I have my work cut out for me as I prepare his medieval knight themed party, complete with a castle cake and gold bar favor boxes. I’m pretty sure I’ll be able to get some sleep by April.


But birthday parties and sleep schedule aside, February is going to be a very busy month for me, on a professional level. And I certainly cannot complain about that!


To begin with, my newest short story, “Safety Boy” has been accepted for publication, and, if all goes well (fingers crossed), his twisted tales may just develop into a series of novellas.


So, as I wait for my galley proof to arrive, I have been working to embark on my newest adventure: the eBook. Or, in this case, to be more precise, the eStory.


Two of my previously published short horror stories, “As it Lies Sleeping” (Dark Things III) and “Guilt” (Dark Things V), and one previously unpublished story, a black comedy with a pinch of horror added in to spice it up, “Velvet Elvis and the Buckskin Rug” will be packaged into eBook format, and will go on sale around the first of March--or even sooner, if I'm lucky.


I'll blog more about the eBooks soon.