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Friday, April 29, 2016

Getting Editor Revisions

by Robin Caroll

It’s the same for me every single time I turn in a manuscript. I hover at my computer, checking email every 3 minutes for a note from my editor. Doesn’t matter if it’s an editor I’ve worked with several times or a new one. Doesn’t matter if it’s a publishing house I’ve partnered for several books with or if it’s my first with them. I’m literally waiting with baited breath for editorial feedback.

And when it finally comes, I have the same sensations as I always do: excitement to see how the first person besides me feels after interacting with my characters; dread to maybe confirmation I’m a hack; and energized to make my book the best it can be.

Even after close to 30 books, I still manage to go through the same emotions…and then the same steps to deal with all of them.

When I get my edited manuscript back, I scan through it and read all the comments quickly. Then I let myself vent. Usually to my husband.

“What does she mean this phrasing is awkward?” and “The pacing isn’t off in this scene!” and “How can she not see the hero’s motivation? It’s so obvious!” are all things I have vented. Just a few of the many. And my husband, being the good man that he is, nods his head, hugs me, then takes me out to dinner. Which also helps move into the next step…

Take a Day Away From the Manuscript
Since the family and I go out to eat, it’s easy enough not to go right back to the file when I get back. I force myself to ignore the manuscript (and revision notes) for 24 hours to let my subconscious work through what I read.

When I return the next day, the comments make a lot more sense than they did the previous day. For some reason, the first read of edits usually feel like personal attacks. After that, they feel more like good insight and suggestions.

Remember We’re Partners to Make the Book the Best Possible
When it’s time to start revising, it helps me to remember that my editor and I are working together to put out the best version of my story as there can be. If I’m unsure of her comments, I ask. I’d rather be clear on what I need to do. It's my editor's job to tear apart my manuscript like the pickiest critic ever and find every nitpicking detail anyone could even think about causing a pause in the reader’s experience. It’s my job to polish until it shines. How to do that? Here are my tips:

1-Start Simple
Complete the easy stuff first. Word choices. Active vs passive. The little things the editor pointed out that I can fix in less than a minute. Once I get those done, I always feel so productive.

2-Fix Character Issues
Yes, my precious “babies” have issues I need to fix. After the simple stuff, I work on the character issues the editor has pointed out. I created these people, so I should be able to step into their skin and smooth out roughness that the editor pointed out. Which finally leads to…

3-Fix Plot Issues
Once the easy stuff is completed and then the characters are shining, I move on to the last stage: plot issues the editor has found. Sometimes that means stripping apart my timeline and rebuilding. Sometimes I need to weave in more, or sometimes cut. A lot.

When revisions are all said and done, I usually take a day to let the story “rest.” The next day, I read it through, making any final changes before saving and sending. But once it’s done and gone, I move on. Because, after all, I’ll be getting line edits soon!

I’ve learned that the harder I work on a book, the more satisfying to hold the final product in my hands. Every time I work with an editor, I learn and grow as a writer. Hopefully, my craft improves from each editor's insights. And it’s time to start on the next book, as deadlines loom!


Torrents of Destruction
As a white water rafting guide, Katie Gallagher must battle the forces of nature on a daily basis. When sabotage becomes apparent on a weekend rafting trip, Katie must determine who she can trust—and who has their own agenda.

Hunter Malone has a mission on a business adventure trip on the Gauley River, a mission that didn’t include a spunky guide who could handle the class-five rapids better than he’d ever imagined. But can she handle the truth?

Born and raised in Louisiana, Robin Caroll is a southerner through and through. Her passion has always been to tell stories to entertain others. Robin's mother, bless her heart, is a genealogist who instilled in Robin the deep love of family and pride of heritage--two aspects Robin weaves into each of her 25 published novels. When she isn't writing, Robin spends time with her husband of twenty-five+ years, her three beautiful daughters and two handsome grandsons--in the South, where else? She serves the writing community by serving as Executive/Conference Director for ACFW. Her books have finaled/placed in such contests as the Carol Award, Holt Medallion, RT Reviewer's Choice Award, Bookseller's Best, and Book of the Year.

Thursday, April 28, 2016

Pilates for Your Imagination

Peter Leavell, a 2007 graduate of Boise State University with a degree in history, was the 2011 winner of Christian Writers Guild's Operation First Novel contest, and 2013 Christian Retailing's Best award for First-Time Author. Peter and his family live in Boise, Idaho. For entertainment, he reads historical books, where he finds ideas for new novels. For relaxation, he writes westerns. Whenever he has a chance, he takes his wife and two homeschooled children on crazy but fun research trips. Learn more about Peter's books, research, and family adventures at

ImaginationTo create a picture without using your senses.

Does crafting the perfect sentence—both grammatically correct and rhythmically pleasing—get you published?

Does owning a bank account with free refills get you published?

Does marrying the CEO of a publishing company get you published?

Help your odds at getting published—write a stellar plot. I don't want to read a book you published through manipulations. I want to read a stellar book, one the publisher was forced to publish because the plot was brilliant.

You’re going to need an imagination, and no bottomless bank account’s going to buy one. Here are a few tips to exercise your plot-making skills.

—Daydream. In pictures, not words. If you can’t, I’m sorry. So sorry.

—Imagine a smell. Then imagine a taste. Next, a touch. Now a sound. And finally a picture. Anything. Then try combining two. Can you mix three? All five?

—Read. Turn off the blasted TV. Throw it over a cliff.

—Study gorgeous paintings. Make the figures move. Give them a story.

—Think of a sarcastic statement to everything around you. WARNING: Choose what comes out of your mouth carefully.

—Talk to children—toddler to teen. Brainstorm anything with them.

Make your main character your imaginary friend.

—When telling stories to friends, work it. Make it funny, visual, and expressive.

—Spend time with creative people.

—Don’t resist. Observe people. Make up stories about them.

—Don’t keep your imagination in your comfort zone. Challenge yourself. Be curious. Be daring. Be naughty.

You’re responsible for your education. Work it!

Wednesday, April 27, 2016

Of Moose and Men ~ by Torry Martin

by Yvonne Lehman

I want to introduce you to one of the most delightful books I’ve ever read. Here are a few of my writers group members talking about Of Moose and Men (… lost and found in Alaska).

Well, Torry Martin is one of the most delightful persons I’ve ever met. The hardest part in writing about Torry is that he’s so multi-faceted, multi-talented, it’s hard to bring it down into a few words.

In a few words: Torry is an award-winning actor, screenwriter, comedian, speaker and teacher at writers conferences, and has co-written screenplays for for several films.

Of Moose and Men is about his years in Alaska which he says were his hardest and the happiest. This book is filled with stories that can make a person laugh out loud (really loud! And for a long, long time! Even ROTFLOL!), cry, be scared to death, and think seriously about life.

In the preface, we’re told to “Bundle up in your long underwear and grab your bunny boots because we have just crossed the Canadian border and entered Alaska.” Then when you do, just a few of the things you encounter are: a moose getting its head stuck in Torry’s window. A reindeer trapped in his kitchen. A bear almost preventing him from leaving his cabin. And, he once woke up frozen to his floor. The amazing thing is not that we encounter such things, but the way in which the stories come to life in such hilarious, serious ways.

Torry experienced plenty of miracles and mishaps, blunders and misfortunes, in the wilderness. He came face-to-face with God and was changed forever.
I don’t think you’ll be disappointed to journey with Torry as you read Of Moose and Men! It’s published by Harvest House Publishing and available on and at Christian bookstores nationwide.

Torry says of this book’s co-author, Doug Peterson, “He makes me sound smart! Not an easy feat, mind you!” Doug is a Gold-Medallion-winning author of 60+ books including 42 for Veggie Tales series and 4 historical novels, and writes for the University of Illinois.

Torry Martin has 8 books of comedy sketches published by Lillenas Drama Publishing and is also the creator of the character of Wooton Basset for Focus on the Family’s Adventures in Odyssey. He has written 11 full feature length scripts with co-writer Marshal Younger, including the comedies The Boonies, Helen of Troy, TN, Heaven Bound and The Matchbreaker. His most recent acting roles were in the Taylor Swift parody of The Office, Hallmark’s The Ultimate Legacy, and the feature films Heaven Bound, The Resurrection of Gavin Stone, The Matchbreaker, Skid, and “Mountain Top. Visit Torry at
Twitter @torry_martin, and Facebooktorrymartin.


Tuesday, April 26, 2016

Do You Have a Story or Does the Story Have You?

by Alton Gansky

WE'VE ALL HEARD the question many times: “Where do you get your ideas?” This has led to quips from authors meant to be funny and to show the silliness of the question asked. Sci-Fi writer Neil Gaiman used to reply, “From the Idea-of-the-Month Club.” I’ve heard a dozen other such responses. Writers tend to hate the question, perhaps because it is so difficult to explain to those who do not routinely traffic in story creation.

There is something mystical about story making, something that defies description. Some novelists are idea machines; others can only manage one or two book-worthy stories. Idea wrangling is part of being a working writer. We search for ideas liked Forty-Niners searched for gold near Sutter’s Mill.
Ideas are not the exclusive domain of the novelists. Inventors need ideas. So do nonfiction writers. We writers must not only have brains buzzing with stories, but we must be able to weed through them to find those that fit us, fit the market, and fit our readers. That ain’t always easy.

Having just reread that last sentence, I am reminded of our tendency to think of the writer “coming up” with an idea. Back to the lead question: Where do you get your ideas? As time continues to drag me downstream in this life it occurs to me that maybe I’ve been thinking about this process all wrong. Maybe we don’t “get” ideas. Maybe ideas “get” us. Think about this quote from Stephen King:
“Let’s get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn’t to find these ideas but to recognize them when they show up.” (Stephen King, On Writing, Scribner, 2000, p. 37)
In that last sentence, King hits the nail on the head. We don’t find ideas, we recognize them.
As I’ve been thinking about this, I’ve been forced to ask if we haven’t been saying things backwards. Do we have ideas, or do ideas have us? Do I have a story or does a story have me? That’s not as mystical as it sounds. I’ve noticed that the stories I’ve done best with have haunted and hunted me. I didn’t sit down and say, “I think I’ll come up with a new idea.” Instead, I tripped over them. They sneak into my brain through my subconscious, crouch for a time, then spring up and say, “Look at me!” Then like a child who sees a toy in the store he wants, starts badgering his mom with unrelenting pleas.

The idea for my first novel, By My Hands, was waiting in the car for me. I found it there right after I left Children’s Hospital in San Diego where I had just made a ministerial visit. My book, A Ship Possessed, surfaced from a newspaper article about a WWII sub that ran aground in South Korea. The premise for Angel came for a verse in Galatians. And so it goes. All of these ideas as well as almost all other ideas have found me—I didn’t find them.

Still I had to do something with them. Fantasy writer Terry Brooks wrote:
“Here’s another news flash for everyone who has ever asked a writer where he gets his ideas. Or she. Getting ideas is the least difficult part of the process. What’s hard, really hard, is making those ideas come together in a well-conceived, compelling story. So many of those ideas that seem wonderful at first blush end up leading nowhere. They won’t sustain the weight of a story. They won’t spin out past a few pages. They won’t lead to something insightful and true.
“Ideas are like chocolates, as Forrest Gump might say. You never know what you are going to get.” (Terry Brooks, Sometimes the Magic Works, Ballantine Publishing Group, 2003, p. 66).
It is great to have an idea. It’s better to be had by an idea.

Alton Gansky is the author of 45 books or so and co-host of Firsts in Fiction podcast.

Saturday, April 23, 2016

Social Media - A Writer’s A Fresh Vision

By DiAnn Mills @DiAnnMills

Tweet this: Social Media - A Writer's Fresh Vision

When a writer grows tired of social media and dreads creating a blog or
post, it’s time to create new ideas. So how is this accomplished when a writer feels like she’s scraping the bottom of inspiration?

Writers can’t find fresh vision while sitting in front of a computer screen.

We need to:

  • Climb out of our comfort zone.
  • Do something different.
  • Free out hearts and minds of all things mundane.
Look at nature with awe and wonder
The following suggestions may excite you to explore new ways to build your followers while filling the needs of your present ones.Grab your keys and take a drive through the country.
  • What do you see in nature?
  • Snap a picture and create a meme. Add a humorous or serious line that reflects the writing life.
  • Take a short video.
  • Relax and allow your imagination to soar.
Slip into your walking shoes and explore a new walking trail.
  • Listen to the sounds of nature.
  • Observe animals in their own habitat. Stand still and watch how they live and move.
  • Make your own path and note the satisfaction.
  • How does the weather affect your attitude?
  • Use Instagram!
Dig in the dirt—pull weeds and plant flowers.
  • How does beautifying the exterior of your home open your mind?
  • Are you hands dirty or are you wearing gloves?
  • Translate the before and after pic into a meaningful post.
  • Forget about time and embrace the outdoors.
Express your creativity
Express your creativity in another venue—dance, paint, sculpture, needlework, photography, play a musical instrument, etc.
  • Play soft music while your hands are busy.
  • Can each step be an instructional video?
  • What analogies can you weave?
  • Does the project spark new interest in social media?
Talk to God about your lack of enthusiasm and interest in promoting your work. He does have answers.
  • Read Scripture as though having a conversation with God.
  • Pray for direction in your writing career dilemma.
  • Be sure to listen.
In each instance above, the writer is encouraged to allow the surroundings nurture and energize her creative spirit. A writer who can free herself of the familiar allows the gift of communication to take a new direction. The experiences can be blended into social media messages that heighten the awareness of the writer’s brand, deepen the value of what is offered to followers, and speak to followers in a fresh new way.

How do you find unique material for social media?

DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels.

Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards; and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.

DiAnn is a founding board member of the American Christian Fiction Writers; a member of Advanced Writers and Speakers Association; International Thriller Writers, and the Faith, Hope, and Love chapter of Romance Writers of America. She is co-director of The Author Roadmap with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country.

DiAnn has been termed a coffee snob and roasts her own coffee beans. She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas.

DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at

Friday, April 22, 2016

Don't Let Fear be Your Writing Foundation

by Edie Melson @EdieMelson

I was texting back and forth with my good friend and prayer partner, Beth Vogt, last week—sharing a struggle I was having with a series of blog posts. As we talked, it dawned on me that instead of writing with courage and faith, I was writing from a place of fear.

Fear of failure.

Fear of expectations.

Fear of others and how I might be perceived.

No wonder I was having such a difficult time. The revelation stunned me. If there’s one thing I pride myself on (and that should have been my first clue I was about to fall flat on my face), it’s the thought that I’m not afraid of anything.

As I travel and speak to writers, that’s one of the first things I share with them. “You must approach this writing life with courage. Be brave and willing to try things that seem scary.”

So what did I do to overcome this roadblock?

First, I took it to God in prayer.
1.  I took it to God in prayer. His word is clear on the fact that we’re not supposed to fear. I acknowledged what I’d been doing and turned my fears over to Him.

2.  I made a list of all the things I was afraid of. I didn’t just think about them in my mind. I put them on paper. Know what I discovered? Most of the things I was worried about looked pretty silly on paper.

3. I looked at the things that weren’t silly and turned them upside down. For example: I was afraid someone I loved would misunderstand my motive. To turn it upside down I considered the possibility that someone God loved would see Him more clearly. Yes, what I was fearful about could happen, but so could the other things. After looking at things differently, I decided it was worth the risk.

I've chosen to spread my writing wings and soar.
4. I gave myself permission to write from a place of courage. I turned away from those voices that warned of the bad things that could come. Instead, I spread my writing wings and soared into the freedom of wordplay. I recaptured the joy of writing from my heart, exploring the whisperings of God in the depths of my soul. I rediscovered writing from a place of grace.

Today I’d like you to take a long look at where you are with your writing. Ask yourself if you’re writing from a place of grace or a place of fear. Then leave a comment below, committing to a new season writing from grace.

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Don't Let Fear Be Your #Writing Foundation - @EdieMelson on @NovelRocket (Click to Tweet)

Edie Melson—author, blogger, speaker—has written numerous books, including While My Soldier Serves, Prayers for Those with Loved Ones in the Military. She’s also the military family blogger at Her popular blog for writers, The Write Conversation, reaches thousands each month, and she’s the Director of the Blue Ridge Mountains Christian Writers ConferenceConnections: Social Media & Networking Techniques for Writers is a print expansion of her bestselling ebook on social media. She’s the Social Media Mentor at My Book Therapy, the Social Media Director for Southern Writers Magazine, and the Senior Editor for Connect on Twitter and Facebook.  

Wednesday, April 20, 2016

Crafting The First Line of Your Novel

By Rachel Hauck

There are times we don't want to craft a novel. We just want to write one and be done with it.

But those books are closet books no one wants to buy or read. Those are the books that draw rejection slips. 

Books are crafted. They have to be thought out, at some level, and orchestrated to some glorious, perfect end.

Books must be a continual flow of the story with daring obstacles that knock the protagonist off course, that challenge is resolve to get to the bottom of the story problem.

In the midst of the story there are overarching themes and questions. The infamous "story question" is the rudder to you vessel.

Will the heroine achieve her dream to star on stage and screen?

Can true love last through the decades? Or will it fade away?

Can one wedding dress be worn by four women and never fade, wear out or need to be altered?

There are other questions I ask as I'm writing:

What can the protagonist do in the end she couldn't do in the beginning? 

What does she want? 

What is this book about? 

Why? I ask "Why?" a lot. When ever I make a declarative statement I follow with a why to get to the deeper meaning.

But all of these MUST be asked and answered in some form to really craft the best possible opening line.

The opening line must indicate some truth, problem or question about the story. It must set the hook, draw the reader into the story.

Far too often I read opening lines that are merely a physical action to begin the opening scene. 

"Judy waved to her neighbor as she walked into the house." 

Okay... unless she's in garden wars with the neighbor and the next line is, "She dreamed of haunting that woman on a dark and stormy night," waving to the neighbor isn't all that engaging.

It doesn't draw me into the question, the emotion of the story.

Let's look at Judy in the midst of a yard war with her neighbor.

"Judy waved to that crazy Linda as she made her way inside the house. If that woman stepped one foot in her yard this gardening season, she'd haunt her like a ghost."

Now we get a sense that something has gone on between the two women. And frankly, I'm a bit intrigued. What's going on? 

Opening lines must set the emotion and feel for our books. 

From Conversations with a Book Therapist, Susan May Warren offers this advice:

A Voice. I don’t love starting with Dialogue, because we don’t know who is talking, but sometimes it can be effective in first person.
For example, “Call me Ishmael.” (Moby Dick), or maybe something from contemporary literature, “If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into if, if you want to know the truth.” (The Catcher in the Rye, J.D. Salinger).
This works because we are immediately introduced to the character and get into their head. Ultimately, we are wooed by their personality.
Rachel Here: I'm not a fan of opening in dialog either, but I opened Once Upon A Prince with, "What did you say?" because I felt like it drew the reader in to the same question as the heroine. "Yea, what did you say?"

Author great Gabriel Garcia Marquez said this about the first line:

“One of the most difficult things is the first paragraph.. in the first paragraph, you solve most of the problems with your book. The theme is defined, the style, the tone. At least in my case, the paragraph is a kind of sample of what the rest of the book is going to be."  Gabriel Garcia Marquez…1992 Nobel Prize for Literature (100 years of solitude).  Sold over 10 million copies.
Persona. Start your story with the description of someone iconic. Someone that stands out in our minds.
“There once was a boy name Eustace Clarence Scrubb and he almost deserved it.” (The Voyage of the Dawn Treader, C. S. Lewis.)
RH: Isn't that a great line?!
Or, “Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.” (Gone with the Wind, Margaret Mitchell).
Note that both these voices are omniscient, but you could build a strong character introduction through the voice of a POV character.
Consider the opening to John Irving’s, A Prayer for Owen Meany. “I am doomed to remember a boy with a wrecked voice – not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother’s death, but because he is the reason I believe in God.”
If the character will have a profound impact on your story or your POV character, perhaps start with a snapshot of that character.
Reminiscing.  Many coming of age stories start with a step into the past, some statement that sums up where the character finds themselves today.
Susie did this in Everything’s Coming up Josey. “It’s important to acknowledge that Chase was right and if it weren’t for him I might have never found my answers.”
Basically, it’s a summary of the past, spoken from the present. And the rest of the book is about proving or revealing the impact of this reminiscence.
Here’s one from The Great Gatsby, F. Scott Fitzgerald. “In my younger and my more vulnerable years my father gave some advice that I’ve been turning over in my mind ever since.”
A Statement. I like to start stories with a sort of starting place. A statement of opinion or fear or hope.
Jane Austen does this in Pride and Prejudice, “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.”
When you make a statement, you are setting up the story question in a novel. You’ll spend the rest of the book making a comment about or proving your statement.
 I did this in How To Catch A Prince. My opening line, "With each passing day, she remembered she had a secret," set the stage for a huge secret the heroine harbored in her heart.
Secrets always draw us in, don't they? What is the secret! We want to know. 
In Princess Ever After, my opening line was a statement and it indicated exactly what I wanted the reader to know about my heroine at the beginning of the story:
"She'd found bliss. Perhaps even true love. Behind the wheel of a '71 Dodge Challenger restored to slant-6 perfection."
This line says my heroine wants for nothing. She's found her passion, her life's goal. Why would she need anything else. Why would she want to go anywhere else? 
Well, the story is about challenging that very same opening line!
Let your opening line set the tone of your book. It should grab hold of the theme, the want, the story question in some way. 
Change up the way you do it now.
Instead, open with what they are thinking, feeling, experiencing. 
I've bought books based on the opening line. And rarely am I disappointed. 

Here are a few first lines from some award winning authors:

"She’d come 3000 miles to burn to death." by Susan May Warren
Susie says, "I like this because we are immediately worried, but also, wonder what she’s doing there.  It makes the reader want more." From Where There’s Smoke—out in June. 

"Gabe Talmadge felt the backside of his navel rubbing against his spine. An interesting sensation, he thought before losing consciousness." by Robin Lee Hatcher.
Robin says, "I think it works because the reader knows in a few words that Gabe is in desperate circumstances. I love it for that same reason." From The Shepherd’s Voice (winner of the RITA Award) 

"The Kansas sky matched Piper Kendall’s mood—gray and stormy." by Deborah Raney.
Deb says, "We learn where the story is set, what the day is like, how the character feels, and I think we also learn a little about her just by hearing her unusual name." From a work in progress, Going Once, Going Twice.

"Annabelle Grayson McCutchens stared at the dying man beside her and wished, as she had the day she married him, that she loved her husband more." by Tamera Alexander.
Tammy says, "It encapsulates the heroine’s dire circumstance and her most urgent regret in that moment." From her novel Revealed.

"When it comes to burning bridges, I am the Queen of Kerosene." by Julie Lessman
Julie says, "I like it because I think it's somewhat funny and pretty much sets the tone for the rest the book as far as being a story about forgiveness." From Isle of Hope

"There was a time in Africa the people could fly." by Sue Monk Kidd 
Great opening—sparks interest and makes you want to read on to see how the author answers that unspoken question. From Invention of Wings.

It was a bright cold day in April, and the clocks were striking thirteen.
—George Orwell, 1984

I write this sitting in the kitchen sink.
—Dodie Smith, I Capture the Castle

The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting. —Stephen Crane, The Red Badge of Courage (1895)


New York Times, USA Today and Wall Street Journal bestselling author Rachel Hauck lives in sunny central Florida.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time eight years ago.

Rachel serves on the Executive Board for American Christian Fiction Writers. She is a mentor and book therapist at My Book Therapy, a conference speaker and worship leader.

Rachel writes from her two-story tower in an exceedingly more comfy chair. She is a huge Buckeyes football fan.

Here latest novel, The Wedding Chapel landed on Booklist's Top Ten Inspirationals for 2015.

Visit her web site: