The Celwyn Newsletter Issue 23

In this issue, an interview with:

• Historical fiction writer Jeanette Watts
• More than twenty authors who were interviewed in past issues of this newsletter answered the question: If you had to start your writing career over again, knowing what you’ve learned, what would you do differently?
• Also in this issue, another great article by editor Jennie Rosenblum, a useful how-to from Gina K. Mitchell, and part III of the serialized story, In Memory of the Sibylline.

An Interview with Jeanette Watts

How would you compare your book, My Dearest Miss Fairfax, to other styles of historicals?

This question is tricky in my case. MDMF is a retelling of Jane Austen’s Emma, which is not actually historical fiction. Austen is writing about the present day, making observations about human nature and social norms, and living in a time when the only way a woman could better her life was through marriage. 

So many things are left unsaid in her novels, because her readers already knew what she was talking about. 

While retelling the story of Emma from the point of view of a different character, I have to explain a lot of things to my readers which Austen did not have to explain to hers. An example: women used curling papers and tongs to make curls when preparing their hair for a ball. There is also the importance of being able to curtsey gracefully. When buying things at local stores, their purchases were not put into shopping bags. They were wrapped in brown paper and tied with string.

Those levels of detail are richer in my book than in the original, because my readers are very different than hers. Our goals in writing for our readers are different. At the time, Jane Austen pioneered a fairly new art form. Novels had not been around all that long when she was writing them. She confronts social issues, and asks pointed questions in the novels that inspired her writing while telling love stories about memorable characters; I am educating people about the past while doing this.

Find My Dearest Miss Fairfax: What Jane Austen’s Emma didn’t know on Amazon

Editing!!! With Jennie Rosenblum

An Editor’s Tale of Fixing a Plot Hole 

As an editor, I consider myself the story’s first reader—a stand-in for the audience, tasked with spotting anything that could trip them up. Authors bring beautifully crafted worlds, characters, and plots, but even the best stories sometimes have small gaps that could shake a reader’s trust. One such moment happened recently with a manuscript I was editing.

The story was compelling, with a subplot about two characters who lost touch for over a decade only to reconnect. Their reunion was full of emotional layers, including a twist: despite their years apart, one had quietly kept tabs on the other, tracking their successes and struggles without their knowledge.

It was an intriguing dynamic, but by the end, one question nagged at me: How exactly had they kept up with the other all these years? The manuscript offered no clues, and readers would notice. Without context, the behavior appeared overly convenient—or, worse, a little creepy.

I flagged the issue in my notes, but it felt too important to leave it there. When I asked the author, “So one character has been keeping tabs on the other for years, right?”

“Yes,” the author said. “It’s what makes their reconnection so meaningful.”

I hesitated. “It does, but… the story doesn’t show how. Readers will wonder how they know so much about each other’s life without contact. Was it social media? Mutual friends? Events? Right now, there’s nothing to anchor that connection.”

The silence that followed told me I’d hit on something important. Finally, the author admitted, “I hadn’t thought of that. I assumed readers would just fill in the blanks.”

Ah, the dreaded blank spaces! Writers often want readers to infer things, but gaps can become distractions without the right hints. I explained that readers are naturally curious, especially about characters’ motivations. If the devotion wasn’t grounded in something believable, it could undermine the emotional payoff of their reunion.

To the author’s credit, they didn’t bristle at the critique. Instead, they got to work, and we brainstormed possible explanations. Luckily, there was already a nugget in the story to pull from. A quick flashback got readers up to speed.

When I read the revised draft, the difference was striking. Those small additions didn’t overwhelm the narrative—they enriched it. Suddenly, the actions felt like the perfect blend of loyalty and restraint, and the character’s realization of the other’s devotion carried so much more weight.

By the time the book reached beta readers, their feedback confirmed what I’d hoped. They adored it. The story was stronger, the emotional beats landed harder, and all it took was a little extra attention to those invisible threads that hold a plot together.

As editors, we don’t just fix commas and tighten sentences—we build bridges. Sometimes, those bridges turn a good story into one readers won’t forget.

Authors: If you had to start your writing career over again, knowing what you’ve learned, what would you do differently?

Jen Paquette, author of Heart of Stone. Establish a writing routine sooner and leave it open to some adjustments.  I’d have a regular schedule for writing time that doesn’t depend on anything else (no “I’ll write IF” statements). Anne E. Ball, PHD, author of Embracing Calm. I would hire the professionals who do things I can’t do well—cover designers, copy editors, book formatting, etc. Bob Van Laerhoven, author of Scars of the HeartIn Flanders, they say I’m eccentric and a lone wolf in literature. In the beginning, I tried to hide it. I should have showed it earlier. Sandra Cox, author of Sheriff Tyree. I wish I had started and stuck with Westerns instead of genre-hopping for so many years.

Benjamin X. Wretlind, author of Aebris Storm. I’d get feedback sooner, be kinder to myself, and work on handling both criticism and creative ups and downs with more emotional intelligence. Mim Eichmann, author of A Sparrow Alone. To answer your question, I would have begun my writing career twenty years earlier! Dorothy Anne Spruzen, author of The Knight, the Gnome, and the Fox. I started taking my writing seriously on my 60th birthday and earned my MFA in Creative Writing at 65. My advice? If you feel the pull, go for it. Don’t wait around. S. W. Raine author of Rise of the Sky Pirate. I’d make sure to correctly build my audience of ideal readers instead of aiming for any and all readers.

Anita Dickason, author of Deadly Business. Nothing! I have far exceeded any expectations I had when I wrote that first book. Richard Koreto, author of the Cadieux Murders. I’d keep in mind Mickey Spillane’s dictum: “The first page sells this book. The last page sells your next book.” Hilary Tiefer, author of The Secret Ranch. If I were to begin my writing career over, I would do careful research before using a small press, making sure the publisher was ethical. K B Jackson, author of Until Depths Do Us Part. If I could start my writing career over, I would make sure I had a better understanding of the market, of my genre, and I wouldn’t pants my way through my first draft.

Peter Angus, author of Fabyan Place. I would begin my second (and third) immediately! It is easier to edit a page with writing on it than one that is blank! Joel Flanagan-Grammarmann, author of Fairy in the Land of Exhile, I would get a professional cover from the start, not a year in. Nick Savage, YA author of So We Stay Hidden. Third, I wish I had taken the time to get proper feedback on a query letter and taken the time to write a proper one Bill Gunn, author of the Two Terrors of Tule Lake. Since I write historical fiction, I would conduct more subject research. I would ‘paint’ a more visual landscape to draw a reader in.

Steven B. Graziani, author of Sorcerer’s Door. I’d focus on writing short stories to find my voice before penning a first novel. Linda Norlander author of Death of a Dream Catcher. I would learn more about social media and book promotion. Lyra Saenz, author of The Nocturne Symphony. I would push harder for ARC readers and celebrate myself more on social media. Now, that I am more myself on SM I get more engagement and more readers. Heather Weidner author of Deadlines and Valentines. I would have definitely started much earlier and have joined a writers’ group. I have learned so much from my generous author friends.

JC Gatlin, author of Hangman. Get involved in writing groups to critique and provide feedback on my work, as well as attend writing conferences and workshops to learn my craft. Tricia LaRochelle, author of Sun in my Heart. Don’t let anyone tell you that your work isn’t good enough. Find a sturdy support system that you can rely on. Naching Kassa, author of Master of the Shade, I would definitely work on editing and polishing my work. My first effort was and is cringeworthy! Stacey Wilder, author of Cayman Conundrum. Join a writer’s group with published authors. Believe in myself. Trust the muse. And just write for the love of it.

Marni Graff, author of Death in the Orchard, I’d definitely plant the seeds earlier in terms of marketing the book way before its publication date Morgan Moreau, author of the Coming Rebellion, I would spend time developing my brand and presence. It’s important for an author to connect with an audience.

How to Write a Thoughtful but Short Book Review From Gina Rae Mitchell

The Celwyn Series YouTube channel

What is New with the Celwyn Series?

What is new with the Celwyn Series?

Swango (book 6) is available everywhere. If you would like a list of past events in the previous books as reference while reading it,(recommended), visit my site and contact me for the list. https://loukemp.com/about-the-author/

Mini-blurb: Pelaez is back, they find Mrs. Nemo, and Captain Nemo is a bit upset. The magician’s first encounter with Swango is told as they plan for the Nautilus’ journey to the Castell de Ferro in Spain where Doctor Jurik Lazlo is hiding. Captain Nemo has been searching for him for a long time.

For book 7,Lucky and Mrs. Nemo, here is the unofficial blurb.

On Findbar, they’ve added another scientist. Dr. Martha Gluck (aka Lucky) who is a character, literally and figuratively. She enjoys a lively gunfight, doesn’t faint at the sight of magic, and accepts danger as a jolly good time. She finally draws the line when she meets up with the broadsword wielding ghost, Mrs. Spencer.
An educated guess is that it will be out in fall 2025.

There’s no title for book 8 yet, but soon.

Link to The Sea of the Vanities