When I was relatively new to the idea of actually becoming a published book author vs short stories in anthologies type of writer, I wondered what would happen if I was offered a contract that had stipulations that were not in my best interests. I thought I was so hungry for the chance to get my name on an actual book I could hold in my hand, that I would accept almost any terms.

Fast forward to the era of e-publishing and more forward thinking ideas. I signed two contracts that didn't ask for the moon or place me into a situation where I felt I had given far more than I could possibly take. I liked the new publishers--fast turnarounds, readily accessible by email, and although my name wasn't on an actual book, it could be, if the reader chose to get it printed instead of reading it on a screen.

And now I get to make harder choices. I no longer have that overwhelming desire to get published under any circumstances, which should make for easier decisions. But as a writer who wants to actually make money from my writing, I need to do more than finish and polish manuscripts. I need to have acceptances and more published works bringing income.

However, acceptance doesn't mean compromising my writing integrity, nor does it mean giving away all my rights. It also no longer means comprehensive rewrites to me. Revisions, of course. A truly gifted editor will always make a manuscript into a better book. But completely changing the tone of a work, and making the characters act in ways that are, well, uncharacteristic for them--no.

That's where experience, and maybe the knocks of the writing life, come into play. And where I feel comfortable in not taking perhaps the easiest path, but the one that fits my own perceptions of fairness for any writer.

So, in the end, passing up a contract wasn't such a difficult choice after all, and made perfect sense to me. I believe the best comment came from a coworker at my day job, when she said well, I could now say that I had turned down a contract, and that was another "first," along with first acceptance,  first contract, first work with an editor, and first publication.

Which made my decision even more right for me.

Progress was made on all fronts. GHOST SHOP and HOOK, LINE AND SINKER both passed the 100 page point, which always feels to me like a large hurdle has been conquered. The critique group I moderate made some hard decisions and produced excellent pages. Manuscripts faltered and others developed.

The painting inside my house matched the production of my pages--stop and start; surge forward and falter to a temporary stop. What looked like a reasonably small and easy job (the half-bath with one wall of wallpaper) turned out to be more trouble than any of the other larger rooms. Who would believe that one wall could contain 3 layers of wallpaper, which when peeled back, revealed pink paint and even glue holding one section of paper in place? By the time the wall was bare, gouges had been made in the drywall and a lot of spackle was used before primer, then 2 coats of paint. The result was well worth the effort, but the time involved was at least twice as long as predicted and the labor much more intensive than ever imagined.

Sometimes novels are the same way as that bathroom--digging into drafts and throwing at least half of said draft away while chipping away to find the bare bones and the nuggets that really need to stay. I would never wish removal of glue on anyone, whether it's the framework of a novel or something sticking to your drywall, but when the offending debris has been relegated to the trash, what remains can be built upon until it becomes like new again--polished, shiny and well worth the effort.

2012 already has several goals pending: using the final cans of paint waiting in the garage on my living room ceiling and walls, stripping wallpaper from the kitchen, and finishing the first drafts of both GHOST SHOP and HOOK, LINE AND SINKER.

I'm hoping for a smooth ride on all fronts, but characters and walls can be unpredictable, so I'm keeping my fingers crossed.

I always think of wearing multiple work hats as a juggling act. Keep all the balls in the air, and you will end up with completed manuscripts, a steady paycheck from the day job or jobs, maybe some time off and hopefully, your sanity.

I recently read an article about keeping series characters and their novels fresh, and how to keep producing quality, timely product. Not easy, but I recognized many of my own working methods or tricks among those used by prolific, successful writers. Good to know I'm on the right track, however moving slower than I would like. So many legitimate interruptions crowd my days, and trying to prioritize has resulted in things like not updating this website, not posting to Facebook, and not completing the first drafts of the two novels in progress.

However, other progress has been made, and sometimes, even I have to admit that I'm not superhuman, and that I will get everything done...just not immediately. That said, it's time to review and revise certain goals, so I can reach the finish line on my feet, not my knees.

I'm taking a couple of leaves from my own coaching in order to accomplish this. That old adage of "don't do as I do, do as I say" has to be turned on its ear.

2010 was the year I devoted to completing the final draft of INDELIBLE. Mission accomplished. During the last three months of the year, I started work on a new romance, HOOK LINE and SINKER, and a psychological suspense, GHOST SHOP.

Working on two novels at the same time could present a challenge, but since one of GHOST SHOP's protagonists happens to be a very disturbing serial killer, who I have to channel in order to write segments in first person, being able to deal with other characters' issues with their complicated personal and love lives actually provides me with a sometimes more-than-welcome break.

HOOK, LINE and SINKER is set in Houston, Texas, where I lived for 14 years. Sara Holliday finds herself overwhelmed by not only taking custody of her nine year old nephew, Jefferson, and his Mastiff after the sudden deaths of her sister and brother in law, but also dealing with a promotion and a devastatingly handsome new supervisor, S. Brandon Mead III. Sara and Brandon get off on the wrong foot when Jeff accidently hooks Brandon at the San Jacinto River one sweltering summer day, and the complications keep coming from then on...

GHOST SHOP is set in Portland, Oregon, where I now live. Exploring the city for everything from body dump locations to home turfs for my characters continues to give me the opportunity to learn even more about my new home town than perhaps I would have over the last few months. I have also had to deal with losses along with my characters. Sunny Weston loses her best friend, metaphysical shop owner, Tina Mason, in a freak accident. Detective Ashton Haines loses even more when his youngest daughter, Amy, is found murdered. Serial killer, Carlton Briggs,narrates a chilling historical revelation of his crimes that threads its way through the book until it immerses itself in the chase to find him before he murders more of Ash's family and friends.

2011 promises to be a productive, if disturbing year.