A: Ted and I were an author-editor team for many years before we wrote Kiss and Burn. Ted and I made a good team because we have healthy respect for each other’s skills. Ted’s most recent novels have become increasingly dark and violent, so they have alienated a handful of his early readers. He desired to recapture these readers with stories that were more similar to early favorites such as, Blink of an Eye and Thr3e. When he called to ask if I would help him do this by writing with him, it was an opportunity I couldn’t pass up. New authors have a treacherous uphill battle when entering the marketplace. To be able to partner with someone of his caliber was a gift to me.

Q: How will your solo novels be distinct from your novels with Ted?

A: In many ways my solo novels will be similar to the co-authored books, which should create continuity for readers. Ted and I intentionally created novels that hearkened back to Blink and Thr3e, which were popular among Ted’s female readers. The co-authored novels are stories I wanted to tell: supernatural thrillers with strong Christian themes featuring strong female protagonists. My stories will share these features. They’ll continue to be commercial page-turners, but they’ll also be distinct from Ted’s solo fantasy and thriller brands.

I think of Ted’s novels as parables. They say to readers, “The kingdom of heaven is like this,” or, “The love of God is like this.” I see my novels as fables, stories that explore the value of a character’s choices. Such stories say to readers, “What is the significance of one choice over another? What is the impact on a physical life? A relational life? A spiritual life?” The answers won’t always be black and white. Kiss is a fable about losing and finding memory. Burn is a fable about dying to self. Never Let You Go is a fable about forgiveness and bitterness.

The action of Ted’s novels is largely physical. In my novels, the action will be more psychological and spiritual, driven by relationships and feminine sensibilities. If Ted’s stories are like the films 300 or The Gladiator, mine will be like the psychological thrillers House of Games or Hitchcock’s Sabotage.

In my novels, the suspense will driven by high spiritual/moral stakes but not necessarily darkness and death. Christians face issues more terrifying than death on a daily basis.

Q: Did you and Ted have conflicts while writing your novel?

A: Of course we did! We have differences of opinion over every novel, even as a writer-editor team. We have different perspectives on just about everything. But these aren’t bad conflicts. Instead, they’re part of the creative process. Ideas have to be beaten up, reinvented, and sometimes thrown out. There is no better way to do this than with someone you trust.

Q: Would you ever consider collaborating with a new author?

A: That’s a long way off for me. At present I’m focused on defining and solidifying my solo career.

A: If you’ve read C. S. Lewis or anything about Irish history, you’ll know that “thin places” is a Celtic idea. It describes locations in the world where the veil between physical and spiritual realities is so thin that a person can see through it—or perhaps even step between the worlds. Figuratively speaking, thin places represent moments of spiritual revelation, a connection between the seen and unseen elements of our lives.

The Irish girl in me has long been fascinated by this concept. My married name, my maiden name, and my given name are all Irish, so perhaps it was inevitable. As a young adult I spent half my waking hours in the Pentecostal church, and I came away from that tradition with an unshakable belief in the existence of an active spiritual world. I was a high-school sophomore when my mother gave me a copy of the new book This Present Darkness, and the imagery of the spiritual world invading this one stayed with me.

Early in my editorial career Dean Merrill challenged me with a critique of books published in the Christian marketplace. The weaker ones, he said, cause readers to say, “Amen, I agree with you!” The stronger ones, on the other hand, cause readers to say, “I never thought of it that way before.” I hope my exploration of fictional thin places will cause readers to think of their spiritual and physical lives in new, desegregated ways.

Q: Are the rules changing in what’s acceptable for fiction in the Christian retail market?

A: I don’t believe the rules are changing so much as the market is fragmenting, and by that I mean the definitions of “Christian reader” and “Christian story” are continuing to multiply. Conservative Christian readers who buy conservative fiction defined by overt themes, Christian characters, and an absence of sticky cultural wickets still exist. Publishers who serve these readers continue to do so unapologetically, as they should. But there is more room now than there was even ten years ago for stories that wander into the gray, ugly, murky areas of the human condition. There are more authors, publishers, and readers who seem to want to explore these themes. These are newly identified markets, though, not new rules for pre-existing markets. The more important question, maybe, is how Christian readers are reallocating their limited resources (time, money) among all the choices they now have.

Q: With vampires, werewolves, and zombies making the rounds, what subjects/areas are still off limits?

A: It seems that sex is still taboo, even married sex. So is “questionable” language, the discussion of which gets humorous and even ridiculous at times. As storytellers keep mastering the craft, however, even these layers will likely be included in stories embraced by the Christian retail market–but only when they are used carefully and intentionally, for the sake of the story and with tremendous respect for the reader. Though it’s trendy elsewhere, there’s little tolerance in this market for pushing the envelope just because someone thinks it should be done.

A: Sorry, but my editorial work is presently limited to projects I’m hired to do for royalty publishers.

Q: What should I do if I want to become an editor?

A: Read everything you can get your hands on. Read broadly across genres and media. Read books about how to write well.

Keep a journal or blog about what you read. Name what you like and dislike about the material and (more important) try to examine why. Learn how to name techniques, strategies, styles, devices and so on, as well as the effects they create.

Learn how to write well. Write, write, write!

Learn about the different kinds of editorial careers. There are dozens. Not all editors are proofreaders. Apply yourself to a category that matches your skills.

Pay attention in English class–learn all the grammar rules.

Look for opportunities to put your skills into practice. Take jobs and internships that require you to communicate in writing. Join yearbook and newspaper clubs. Take creative writing classes. Learn how to tutor your peers (much of being a good editor is about being a good teacher).

Write to editors of your favorite books, publications, and Web pages. Get their advice on pursuing the career and make professional contacts at the same time.

If possible, seek a degree from an accredited institution that has well-rounded journalism, publishing, or English programs. The amount of schooling you need depends in part on the kind of books you want to edit. If you want to edit academic works, you should seek a Ph.D. in a field you love. If you want to have a hand in theological material, pursue an MDiv or a ThD. If literary fiction, you’ll want a masters or doctorate in literary theory or creative writing or specific literary era, and so on.

A: Every author’s journey to publishing is unique and requires patience. It’s important  to find an agent who can place your manuscript in the hands of acquisitions editors. Finding an agent to take your work can be as difficult as finding a publisher, but agents are on the lookout for new talent. Study the agent listings in market guides and explore agent Web sites to find those who represent manuscripts in the same category as yours. Ignore “agents” who require payment from you before they sell your work to a royalty publisher. (That’s unethical.) I highly recommend attending writers conferences, where you can meet agents face-to-face, discuss your goals, and explore where you might fit.

Q: How can I improve my manuscript before I submit it to a publisher?

A: Here are some ideas: 

(1) Remember, first drafts are almost never ready for publication. Sometimes first book concepts are NEVER ready for publication, and their main value is in having begun to teach you how to write. If you send early drafts of your book to publishing houses “cold,” you’re likely to get lots of rejections. Read as much as you can about the craft of writing and what it takes to get published. There are many, many good books on these topics. The ones that will help you most depend on whether your manuscript is fiction or non-fiction and what market it’s for (e.g., religious or general, children or adult, and so on).

(2) Form a focus group of people who fit the profile of the reader you hope to reach. Ask them if they’d be willing to read the manuscript and talk with you about it. Many people enjoy doing this. Don’t surround yourself with friends who will worry about hurting your feelings. You want unfettered honesty.

 (3) From a group of friends who are committed writers. Meet regularly, read each other’s work, talk about the craft, inspire each other to be better.

 (4) Submit your manuscript for review to a legitimate manuscript critique service, such as The Christian Communicator.

 (5) Invest money in a writers conference. Search for one that is staffed by agents and editors who have sold/published books like yours. You’ll have the chance to meet these people face to face, get feedback on your project, and possibly have the opportunity to sell your work. In addition, you’ll get valuable classroom teaching. Finding ways to build personal relationships with people who work in the industry will be helpful to you if you’re serious about a writing career.