Interview with Scott Hawkins author of The Library at Mount Char

Scott Hawkins is forty-five and works as a computer programmer.  He’s been a member of AbsoluteWrite since 2006.  He lives in the Atlanta suburbs with his wife and seven dogs. The Library at Mount Char is his first novel. Scott has also been instrumental in keeping Absolute Write’s server running for close to ten years now.

What was different about writing and publishing a novel versus writing and publishing a technical book?

Just about everything was different. For me, writing the technical books was very much like writing a couple dozen research papers back-to-back. That can be satisfying in its own way, but it’s not really the sort of thing I’d do for fun.

cover of Scott Hawkins The Library At Mount Char
Scott Hawkins. The Library at Mount Char

When fiction writing is going well I think it’s the best thing ever. I wrote the bulk of The Library at Mount Char over a period of maybe three months, in the summer of 2012. It was all I could think about. I was burning vacation days. On weekends I’d get up at two or three in the morning and write until six at night. In that period it was like the floor dropped out from under me—I was totally immersed, and I couldn’t type fast enough to keep up.

That said, there was a pretty long preparation period leading up to those three months. That part had a lot in common with technical writing. It was very much a “drink coffee and stare at the screen until drops of blood form on your forehead” process.

What’s your writing environment like ? (Where do you write? What tools ?)

I just moved into a new place with a semi-finished room in the basement. That’s where my office is.  I work on a Windows 7 PC. I can’t really type on a tablet or laptop—my hands are too big.

Scott Hawkins' writing space

Mount Char was done with MS-Word, a spreadsheet, and a bunch of Miquel Rius spiral bound notebooks. Miquel Rius makes great stuff—the only place I know to get them is Amazon, but they have plastic covers and color coded graph paper. I use Uniden micro-fine rollerball pens (black ink) and/or Pentel 0.5 mm mechanical pencils with HB lead for handwriting notes.

Lately I’ve been experimenting with Scrivener. It’s got some neat features, but I’m not completely sold on it yet. Probably this is just inertia because I’ve been using MS-Word for so long.

What’s your writing process like? Are you an outliner, a pantser, do you keep notes on characters . . .

I generally start by trying to make up random scenes without worrying too much about how it all fits together. I don’t work in order. With Mount Char, the first couple scenes I came up with were a guy going out for a jog, and a neighborhood picnic that went bad. Those ended up pretty much dead center and near the end, respectively. I also do little character sketches, or notes on setting, stuff like that. When I’ve got around forty thousand words of scenes that feel like they have a pulse, I lay them out and try to arrange them into some sort of narrative.

Then it’s a question of adding connective tissue to hold the scenes together, and polishing.  Does each character want at least two things, preferably conflicting things?  Do they sound distinct from each other?  I try to make sure that no one likes anyone else—remember how in Empire Strikes Back every time two characters came on screen they’d hug, or whatever?  I hated that. I thought the first Star Wars where they all hated each other was a much stronger script.

I also try to be absolutely ruthless about cutting stuff that doesn’t work. The slush pile does not give a crap how much time you spent trying. The only thing that matters is whether it works. I have literally 70,000 words of different versions of the first chapter of Mount Char.  That’s not an exaggeration. I worked on nothing else but that one chapter for something like six months.

The last thing I did before submitting Mount Char was cut.  The completed draft came in at something like 155,000 words. I read somewhere that the upper limit for a first novel is 110,000 words.  That turns out to be misinformation, but the exercise of cutting helped the book a lot. I eventually got it down to 125,000ish, and it was much, much stronger. Going forward, I’m going to make a point of cutting every first draft by twenty percent.

Does it feel different to you to write code versus writing story?

Oh yeah, totally different.  They’re complementary skill sets, I think—I can get done with a long day of programming and be totally rested and ready for some fiction work. The reverse is true as well—I’ve been a full-time writer for the last few months, and I’ve noticed an itch to do Javascript on the weekends.

What do you wish you had known before you wrote The Library at Mount Char that you know now?

I’m surprised by how strongly the advance readers have reacted to the violent scenes. That was a blind spot on my part. Violent scenes just don’t bother me at all, not in movies and certainly not in fiction. To me they’re sort of like Christmas decorations—they help set the stage, but they’re pretty much emotionally neutral. The evidence indicates that that is not in line with majority opinion.

My agent had me tone down a couple of scenes before we submitted it to editors, and my editor had me tone down a couple of others. I figured that if they both agreed the violence was a problem I should probably listen, but I was privately a little worried that the end product would be hurt by being too watered down. That was a miscalculation on my part.

I think the ability to write viscerally horrifying stuff is a useful tool to have in the chest.  I’d argue that violent scenes tend to focus the reader’s attention in a way that few other things can. But going forward I’m going to make an effort to be more aware of the likely effect a scene is having in an average reader. Stuff that I think of as a 5 or 6 out of 10 might seem more like an 8 or 9.

That said, even knowing what I know now, I probably wouldn’t have toned the violence in Mount Char down much more. Not all books need to be PG-13. There’s plenty of PG-13 entertainment available, and I may well write some of it myself in the future. But this was a violent story. If I hadn’t alienated a few people in the telling, I think I’d be doing it wrong.

What kind of background reading or research did you do for The Library at Mount Char?

Well, in the early stages I watched a lot of femme fatale movies—Malice, The Last Seduction, Body Heat. You can kind of see that influence in the first couple of chapters, but it didn’t really play out the way I was initially expecting. It never does, honestly. For me research mostly just confirms that the brilliant idea I thought I had was in fact kind of dumb

But it is fun.

Is there a soundtrack or playlist for The Library at Mount Char?

As a matter of fact, yes.  You’re the first person to ask that.  I’m really not a very music-oriented guy, but I have seven dogs, all of them big.  A lot of times when I’m writing I like to put on something to drown out the ongoing squirrel alerts.

I have exactly one song per chapter, and I listen to it on continuous repeat—usually for several hours at a time. I like it loud. My wife has asked that I do this with headphones on.

The chapter where you meet the librarians was Tusk, by Fleetwood Mac. The chapter where the burglar gets introduced was Sing, Sing, Sing by Benny Goodman. The big fight between the protagonist and the antagonist was Dead Man’s Party, which I’m pretty sure I’ve heard more times than Danny Elfman at this point. Crazy on You by Heart—the live version—got a whole lot of play. Towards the end I made an MP3 that had just the first 45 seconds or so, and listened to that on repeat.

And just because I really want to know, is Petey OK?

As it happens, I’m working on a short story for my Website that answers that very question.  SPOILER ALERT.

Petey’s fine.  He ended up with a lady in Detroit who’s taking good care of him.

Any particular books about writing that you’ve found helpful?

Dozens. I’ll buy any on-writing book that I see.  Some are better than others, but I always learn at least a little something.

Far and away the very best one I’ve found is Writing the Breakout Novel by Donald Maass. If you want to write commercial fiction I can’t recommend it strongly enough. Maass is himself a successful literary agent, and he puts out a lot of writing books.  They’re all good.

A couple of my other favorites are the Art of Fiction by John Gardner, and Dynamic Characters by Nancy Kress.

I also think it’s important to learn about the business side of things—that’s what brought me to Absolute Write in the first place. Janet Reid’s blog and QueryShark are both excellent for getting a feel about how the business works.

What have you read in the last year or so that you were impressed by?

For fun I read a lot of nonfiction, business books and biographies. There’s one about the collapse of Enron called The Smartest Guys in the Room that I really liked. Michael Lewis’ latest, Flash Boys, was interesting. Regardless of whether you’re a Mike Tyson fan, I think everyone will agree he had an interesting ride. His biography Undisputed Truth was a good read.

As far as fiction, The Girl With All the Gifts had an interesting take on zombie stories. There was a novella written by Stephen King and Joe Hill together called “In the Tall Grass” that was as good as anything I’ve seen from either of them—they were not screwing around with that one. That is a horror story.

Last year I picked up one called The Orphan Master’s Son at the airport, of all places. It’s kind of a fable about modern life in North Korea. It won the Pulitzer Prize. My God that book is amazing—it’s like getting hit by a sledgehammer every twenty minutes. It’s absolutely pitch black dark, but everyone who aspires to put words in a row for a living should read it. That is how it is done.

What do you wish someone would ask you that they haven’t?

“So, Scott, can you tell us a bit more about your wife’s role in the process?”

Thanks for asking! My wife Heather truly is a key player in this, and I rarely get a chance to give her props. She’s not a writer herself, but she reads a ton, probably more than I do, and she can point out the exact paragraph where something stops working. That by itself is ridiculously valuable, but it’s also true that she isn’t one to mince words. I’m one of those people who if you say something like “this is good, but” I often don’t hear anything after the ‘but.’ So having someone with a good eye who’s prepared to be, ahem, candid, is a gift from the angels.

When she and I first started dating I had a first-draft-ish version of my third novel. I kind of weaseled her into reading it. She made it maybe twenty pages in, then it set it down. Eventually I asked her what the problem was and she said “well, the first bit was okay, but right about here—” points to a particular page “—it started to suck.”  That’s more or less a direct quote.

I said “hmm.”

Then she said “fix it and I’ll take another look.” We went back and forth for a while about what, exactly, was sucking, then I took another pass. Eventually it got to a point where that book got a bit of love from agents—not quite enough to take me on as a client, but I did have a couple of “send me what you come up with next” golden tickets.

I gave her the draft of Mount Char on Labor Day a couple of years ago.  When she said it was good, I knew she meant it.  And when she said the third act sucked, and I needed to fix it, I knew she meant that too.

What’s your favorite charity?

My guest dogs come from We Are Rescue. We Are Rescue is a no-kill animal rescue organization

You can read more about The Library at Mount Char at Boing Boing, and Kirkus Reviews. And here’s Scott Hawkins at Whatever.

Absolute Write Forums Upgrade and Brief Outage

We’re going to have a short break in Absolute Write service from 9 am Saturday, May 9 2015, to 9 pm, Sunday, May 10 2015, Pacific Time.

We’re upgrading the software for the forums. It will be a little different, but mostly the same (only better!).

What you can do to help is, just in case, save a copy of your avatar. We expect the have them all lined up properly, but just in case, save your avatar.

While you wait for the forums to be back up, we suggest you write.

If you want to track our progress as we introduce new hamsters to our established server hamsters, you can hang out with us

  • on Twitter:

  • on the Absolute Write Facebook page

  • And of course, AW Chat will still be running. We do Word Wars, weekly writing challenges, occasional sentence workshopping, and the hungrier you are the more likely we are to be talking about food.

Note our special Contest during the server upgrade!

While You Wait: A Writing Prompt Contest!

While you wait for AW’s forums to return after their spiffy upgrade, here’s a contest you can participate in right here.

Come up with a writing prompt that your fellow AWers can work on while they wait for the Forums/AW Water Cooler to be back after the upgrade.

Keep in mind that we have all kinds of writers at AW, our members write fiction of every conceivable sort, screen plays, poetry, and non fiction, ranging from how-tos, to biography, history, memoir . . . you name it, we have writers who write it, so keep that in mind when you’re creating your prompts.

We will select the best writing prompt entered as a comment to this post, and judged by the Absolute Write mods.

The winner of the best prompt will receive a hardcover or ebook (winner’s choice) The Library at Mount Char, a novel from Penguin Random’s Crown coming out June 15, 2015 by our very own AW Technical Guru and all around amazing guy, Scott Hawkins.

The Library at Mount Char is Scott Hawkins’ first novel. Kirkus Reviews called it “A spellbinding story of world-altering power and revenge from debut novelist Hawkins.”

You can read more about The Library At Mount Char here.

Start entering your best writing prompts (no more than 3 entries per person please) in a Comment below. We’ll be moderating comments, but will do that as quickly as possible, so those of you following along can actually start writing in response to any prompt that appeals.

We will close entries on Monday, May 11, 2015 at 9 AM Seattle time.

We’ll have a special thread on AW for prompt-inspired writing.

Interview with P. N. Elrod

Cover of P. N. Elrod's The Hanged Man. Tor Books. May 19, 2015.Accomplished writer and editor P.N. “Pat” Elrod is the author of 24 commercially-published novels, more than 20 short stories, and the editor and co-editor of several collections. In her copious spare time, she freelance edits and critiques.

What is that editors do and don’t do?

That depends on the editor and the kind of editing involved. I have worked as an acquisitions editor—reading the slush pile—as well as what I call regular editing—working on a manuscript—and in developmental editing: throwing ideas at writers to see if they can think  how to fix a problem.

Acquisitions is a rough job. They don’t call it slush without good reason. I have to pace myself and not read too much or I get depressed. I don’t like rejecting stuff, knowing all too well what that feels like, but it’s binary: the story is publishable or it is not. It’s the kind of stuff we publish or it is not.

I’m thrilled when I find something I can pass upstream. It might not get past the next editor, but it makes my job worth it. Editors WANT to find something they love and can share with others.

For me, regular editing requires concentration on details. I am relentless on my own writing; I take pride turning in a clean manuscript to the publisher. When it’s as clean as you can make it, then the real errors are easier to spot.

Developmental editing is essentially feedback that leads to rewrites if the writer is inclined to accept suggestions.

You don’t find as much of that going on now, only for certain books. I see it mentioned in Publishers Weekly, but never had it happen to any of my books. Gone are the days when a writer turned in multiple drafts and a supportive editor offered feedback and suggestions over the course of several months or even years to bring it up to speed. The books need to take off and fly from page one, especially in genre fiction.

Editors want a book that’s strong enough as-is to sell to the Suits upstairs. A nascent work needing rewrites won’t impress that bunch. They want a book that will make money for the company. A book that uses up an editor’s time in repeated rewrites is not cost effective.

This is general stuff and may not hold true for a small presses. They don’t publish as many books and may have more time to groom a work, but don’t count on it. Always strive to send your best stuff. It’s not enough to be the best in your writing group, you have to be as good or better than your favorite writers who have books in the stores.

Back when paper submissions were the norm a writer might get a scribbled note with “Almost there, keep writing” and vague as that is, would fall down sobbing in gratitude. With e-submissions you don’t get that. The publisher whose slush I read said to not send feedback. Too many writers shoot back an email anxiously asking for more comment, more detail, but the editor above me said, “We don’t have time to open a dialog.”

She’s right. I’m on their clock and have to get through dozens of submissions. In the time it takes me to review six stories another twelve have appeared in the IN box. On one especially busy night it was fifty new stories.

How do you know when your book is ready for an editor?

You probably don’t.

Many writers think that the harder they’ve worked on a book the more ready it must be, but publishers don’t give extra credit for effort. They look only at what’s sent. They don’t care if you opened a vein over the keyboard, the bottom line is, “Can these words make us money?”

The best course for any writer is get as much feedback as possible from as many people as possible before sending anything out or shopping for a freelance editor.

It’s preferable to get feedback from writers. Friends and family (who may not be writers) love you and don’t want to hurt your feelings, but another writer will tell you the truth.

“Don’t tell me how much you like it, tell me what’s wrong with the damn thing so I can FIX it!” I said a dozen times over on my first novel. Thankfully a few very brave friends offered things I could use. I didn’t like what I heard, but it turned out they were right. I fixed things. The book sold.

Even now, I’m tetchy about feedback, but it’s a necessary evil. You put on your game face and take it. Writing ain’t for wimps.

What can writers do to make the editing process smoother?

Turn in a clean, proofed manuscript. This is Writing 101 and part of the job. You turn on the spell checker and leave it on, those little zigzag lines under a word are your friends.

You learn correct grammar and punctuation. It’s not rocket science. Get and read The Elements of Style. I got a used Chicago Manual of Style some years back, and I use Google. But you need to learn this stuff or you won’t know when you’ve made an error.

The less work you give an editor the better. You want her focused on your story and characters, not your sloppy spelling and worse grammar.

The editor is not your enemy. She has the same goal as you: making a good book better. You’re two strangers working together, and most of the time you’re on the same page.

A good editor/writer team is one where both are able to listen to each other. I’ve been very fortunate. I find the best professionals on both sides are those who listen and don’t arbitrarily discount an idea. A not so good idea can lead to something brilliant, so long as it’s not instantly shot down.

Don’t be a writing diva, but don’t be a pushover. Many times I had editorial suggestions that were wholly wrong, but I learned to make a note and find my own way to fix a problem.

If the writer reaches an impasse with an editor, then it’s time to call your agent. It’s good to have someone in your corner who has your back.

The rules are different when dealing with a freelance editor hired for a job, the writer is running the show, not the publisher. However, if the editor spots a problem, then it’s wise to hear them out. That problem could be the tree the writer missed because of the surrounding forest.

What are good questions to ask a potential editor?

One thing not to ask is if the editor likes your book. That’s right up there with, “Do these pants make me look fat?”

Don’t put your editor on the spot. If they like your book you’ll pick up on it. If they don’t, allow that you’re not the only star in their sky and don’t take it personally. Stick to the job. If they spontaneously gush, be happy, and don’t let it go to your head.

A writer with a commercial house is assigned an editor who may or may not be the one who bought the book. Let them know how you prefer to work, ask when is a good day for phone calls, and confirm their correct email address. Ask them if there are things that drive them crazy and take notes. Make sure you are clear on deadlines. Ask their procedures. The usual thing is turn in a final draft, it’s copy-edited and sent back for approval, and you put in any changes. The next time you see the MS it’s in galley form.

I had a bad time with one house, assumed I’d get one more look on a book after the copy-edit, same as at other houses, but the next time I saw it was in galley form. I freaked, since there was little chance to do a rewrite on trouble spots. But that was a work-for-hire situation and may not reflect the rest of the industry.

At another place I never saw galleys. It was a small press and the MS went straight to formatting. The next time I saw that story was in the finished book and they had the wrong title on it. Stuff happens.

When I’m dealing with a new editor at a commercial house I warn her on what a pain in the butt I am as a writer and how to “handle” me. (I know my shortcomings!) I ask them to point out a problem and trust me to fix it, don’t rewrite it themselves. If they spot a really bad problem and have a solution, make me think it’s my own idea. Seriously, I fall for that one every time!

I do the same thing as an editor when I’m meeting writers over the phone. I tell the writer I’ll just point out a problem and leave it to them to fix it. Most are hugely relieved. So am I. It’s less work for me!

A writer seeking to hire a freelance editor has to get as much information as possible.

If the editor familiar with the genre? What books has she edited? Contact the writers of books she’s edited and ask them about their experience. Is she a member of recognized editing organizations? Is she willing to do a couple sample pages?

Just because someone has a degree in English doesn’t mean they know squat about editing.

I see plenty of sites where that degree is the only thing on their resume. Maybe that person can do a decisive analysis of Jane Austen, but not how to build a scene, end a chapter, or spot word reps.

Having a solid background in publishing is a necessity and it better not be from working in the mail room. You should be able to call a publisher and ask if that person was in their employ as an editor and what they did there. The freelancer is on a job interview. Don’t trust what’s on the website—verify. There are a lot of sharks in the pool. A true professional won’t mind your curiosity and will encourage it.

Check the websites. Spelling and grammar errors are a red flag. Check them on Absolute Write, Writer Beware, and Predators and Editors.

It works both ways, a freelance editor should have questions for the writer. I want to know if they’ve sold anything and where, if this is to be indie-published or if they’re planning to submit it to a commercial house. If the latter, I tell them to learn to self-edit and get feedback, they don’t need me.

I’m not an editor who can suck it up, work on a badly written book, and collect payment. If a piece of writing isn’t ready, I turn down the job. It’s terrible for my bank account, but I can sleep at night.

I look at the MS and at anything the writer has previously published. If the stuff isn’t ready, it’s a given that the writer is not going to get my best effort. I will say no.

In one case, and only one, I didn’t check things as carefully as as I should have, accepted the job, and it ended badly. I was 10K words into the edit and realized I could not finish it in good conscience. The book was too seriously flawed. The writer just wasn’t ready to publish, and yet he’d done so several times over with his indie books. This was one of a series, so the flaws were all through it like an infection.

I gave him five pages of comments on the flaws—hey, he could always take those books down and rewrite—charged him only for the work done and sent the file back. He paid for the work, but I’m sure he was pissed about it.

Since then I’ve been more careful. I recently edited a pretty good, though flawed book for an indie writer. She had some plot holes and a few bad habits, and I pointed them out in a summation feedback when she got the edited MS. It was a mini-lesson in writing. I didn’t have to do that, but I thought it might help for future books.

She had the option to tell me to go to Halifax and instead thanked me. Seems she didn’t know about those problems and was happy to sort them out. I hope she comes back. I’d like to see how she’s improved.


Do you have a favorite book about writing?

I have several, starting with Lawrence Block’s Writing the Novel: From Plot to Print. I was in a bad dry patch, unable to write, and this was the only book that got me out of it.

I also like Save The Cat, by Blake Snyder. It’s about script writing, but good for novelists, asking the same questions any writer needs to answer: What’s the book about? What’s the hook?

It comes with software which I found useful for plotting a steampunk Tor is releasing this summer. I have the devil’s own time plotting, so I like a road map of the story before starting it. I don’t always stick to the map, but it gives a starting point.

But the best books on writing are often those of other writers. When I hit a dry patch it’s time to dive into the library and feed words into my starved brain. I’ll pick old favorites and enjoy those again. They’re usually the books that inspired me from the start. Most retain that magic or have gotten better with age.

P. N. Elrod Offers Critique

Picture of P. N. Elrod's dog Fuzzy.
P. N. Elrod’s dog Fuzzy.

That’s right, P. N. Elrod the multi-talented author of The Vampire Files urban fantasy series (among many other books and genres) is offering critiques.

This isn’t something she does lightly, and this is a rare opportunity to have a sample of your writing critiqued by a pro.

Elrod is offering critiques to help pay the bills for her miracle dog Fuzzy; that’s Fuzzy in the picture. Fuzzy’s medical bills are in the triple digits. P. N. Elrod is offering critiques to help pay them down.

Here are P. N. Elrod’s terms for a critique.  They’re reasonable, and yes, affordable for even the frugal. She’s also put up some items—Doctor Who Goodies, and original cover art painting—for sale in P. N. Elrod’s Garage Sale (scroll all the way to the bottom to read Fuzzy’s story).

Even if it’s not for you, if you have writerly friends who might benefit from the knowledge of a working writing professional, please spread the word!

NaNo WriMo 2013 Is Coming

National Novel Writing Month (NaNoWriMo) starts November 1. The basic idea is to engage in BIC (Butt In Chair) and write fiction. The goal is to finish 50,000 words by midnight on November 30. By successfully completing 50,000 words by the deadline, you win, (you get a badge!), and have a draft of a novel. Or that’s the idea.

The goal is less one of writing a novel than it is of writing 50,000 words in a month, or roughly, 1,667 words a day.

From the NaNo WriMo FAQs:

  • Write a 50,000-word (or longer!) novel, between November 1 and November 30.
  • Start from scratch. None of your own previously written prose can be included in your NaNoWriMo draft (though outlines, character sketches, and research are all fine, as are citations from other people’s works).
  • Write a novel. We define a novel as a lengthy work of fiction. If you consider the book you’re writing a novel, we consider it a novel too!
  • Be the sole author of your novel. Apart from those citations mentioned two bullet-points up.
  • Write more than one word repeated 50,000 times.
  • Upload your novel for word-count validation to our site between November 25 and November 30.

I like very much the attitude behind NaNo WriMo that what’s important is that you’re writing, and writing regularly. It is, as some writers have said, permission to create a first draft without obsessing over style, with the idea that later you will revise at your leisure.

Here’s an interesting thing: you’re permitted to use an outline, or notes that you’ve created ahead of time. But they discourage writers from starting with a draft or even a partial draft, and here’s why:

But bringing a half-finished manuscript into NaNoWriMo all but guarantees a miserable month. You’ll care about the characters and story too much to write with the gleeful, anything-goes approach that makes NaNoWriMo such a creative rush. Give yourself the gift of a clean slate, and you’ll tap into realms of imagination and intuition that are out-of-reach when working on pre-existing manuscripts.

Note by the way that NaNo has created a special forum for “rebels,” that is, people who aren’t writing a work of fiction. There’s an FAQ for that too; Am I a Rebel?

There’s even support for local NaNo WriMo groups. We have a lot of AWers who are NaNo veterans, and we even have an AW NaNo WriMo and Beyond subforum. MacAllister Stone has written about her own participation in NaNo WriMo, and the difficulty of maintaining a schedule.

What advice do you NaNo veterans have for first timers? What works for you in terms of finding time to NaNo?

Adrienne Rich (1929–2012)

Adrienne Rich’s obituary in the Los Angeles Times.

Adrienne Rich was one of the first poets whose words made my heart falter.

While some of her politics are very different from my take, many years later, her essay from 1980 “Compulsory Heterosexuality and Lesbian Existence” had a very profound effect on me, since I read it as a student, just figuring out what it meant to be a woman and an adult in a culture that wanted to restrict my choices.

Rich became more moderate with time, but there are some powerful ideas in that piece, and even those I didn’t agree with, made me think very hard about how I wanted to be.

Her poetry is incredible. “Diving into the Wreck” was the first thing of hers I read.

The world is a poorer place for her loss, but richer for her words.

Requiescat in pace Adrienne.

Absolute Write Email Problems

As a side effect of our server move, email sent to or from Absolute Write is currently not functioning. We’re working with our ISP to solve the problem.

In the meantime, if you need to contact MacAllister or have a question or problem using the forums, you can reach Mac by using this address:

macallister4modstuff AT gmail.com

Thanks for your patience.