Category Archives: Writing

Kari Bovee

Kari Bovee is the author of the historical novels Girl with a Gun, Peccadillo at the Palace, Folly at the Fair, and Shoot Like a Girl from Bosque Publishing.

Meredith Allard: When and why did you begin writing, and did you always write historical fiction?

Kari Bovee: I’ve journaled and written stories for as long as I can remember. When I first started writing novels, no, I didn’t write historical fiction, but I’ve always written mysteries. My first few novels (that shall remain nameless) were contemporary mysteries. I’ve always had a love for anything historical, so I decided to take my two interests and merge them.

M.A.: I’ve always had a fascination with Annie Oakley. How did you come to write about the girl with a gun? What makes her a good topic for historical fiction?

K.B.: I love learning about amazing and empowered women in history and those are the types of women I want to feature in my novels. We’ve seen depictions of Annie Oakley in plays and movies, but I always thought they portrayed her as rather one dimensional. Several years ago I saw a PBS American Experience special on her and I realized what an incredible person she was. Her life as a child was not an easy one, but she discovered early on she had a talent for something. Shooting. She shot game to help put food on the table and to sell to local merchants. After she won a shooting contest against Frank Butler, who became her husband, she started utilizing her talent and eventually became one of the most famous women in the world excelling at a sport that was dominated by men. And she did this without compromising herself in any way. She didn’t try to bend to anyone else’s ideal of what it was to be a celebrity, or a performer, or a person. She made her way in the world without being anyone other than herself, and that was tough for women in the 1800’s.

M.A.: What makes your book(s) different?

K. B.: I’ve taken an iconic woman in history and used her self-empowerment, celebrity, and integrity to make her a really good amateur detective. I think I’ve also put some fun into writing about historical people and events. I’ve tweaked some of the history for the sake of the story, but I think I’ve stayed true to who Annie Oakley was as a person, even though I’ve put her in some interesting situations.

M.A.: All authors have a different path as they seek publication. What was your journey to publication like?

K.B.: Long! I’ve had a couple of agents throughout the years, but couldn’t break into the world of traditional publishing. I opted to go with a hybrid publisher to get my feet wet, but now have my own imprint and publish my own books. That said, I didn’t go into independent publishing without thoroughly investigating it and learning as much as I could about it. And, I would never put a book out into the world without having a team of professionals helping me with editing, cover design, etc. It’s a lot of work, but I enjoy having ultimate control over my books and career.

M.A.: What are the joys/challenges of writing historical fiction for you?

K.B.: I love doing research, and I do quite a lot of research before I work on a particular project, but it makes the writing a little slower. Things come up when I’m writing and then I will have to stop and look into it to make sure I’m not completely off base. Right now I am working on the second book in my Grace Michelle mystery series and I find that I have to stop writing and look something up for historical accuracy. If I’m not careful, it’s easy to go down a rabbit hole and get completely distracted. I think the enjoyment I get from writing historical fiction comes down to learning about people, places and events I might not have explored before. It’s a constant education and I love being a student!

M.A.: What is the research process like for you?

K.B.: When I decide what it is I’d like to write about, I start looking into things like historical setting, the clothing of the era, word usage and slang words or phrases. I usually have real-life historical figures in my books, whether they are the protagonist (like Annie Oakley) or secondary characters. Even if they make a cameo appearance, I need to do a little research on them to make sure I get their “essence” correct. If the book centers around an event in history, like the second and third books in the Annie Oakley series, I need to look into those events. Folly at the Fair takes place at the World’s Fair in Chicago in 1893. Most of the buildings that were built for the fair are no longer there, so I had my work cut out for me. I was able to find a great book that explained the history of the fair, the layout of the grounds and the buildings, and what each attraction was like. It was great fun to go back in time and imagine myself participating!

M.A.: Do you travel for research? If so, what role does travel play in your writing process?

K.B.: I have not traveled specifically for research, but I’ve been to many of the places where my stories are set. So, I guess it works in reverse for me. But with the internet it’s pretty easy to get whatever you need for research. For the book I am working on right now, I had planned to go to Los Angeles/Hollywood for research but then COVID-19 happened. I’ve been to LA many times, but I was looking for specific buildings, streets, neighborhoods, etc. so, I decided the next best thing was to find a map of Los Angeles in 1924. I was thrilled to find one in mint condition on Etsy. Saved me a lot of time, money, and my health!

M.A.: Which authors are your inspiration—in your writing life and/or your personal life?

K.B.: I’ve been inspired by so many. In my writing life, of course the Grande Dame of mystery, Agatha Christie, is a great source of inspiration. I also like Elizabeth George, Phillipa Gregory, C.W. Gortner, Anne Perry, Deanna Raybourn, Rhys Bowen, and the works of Larry McMurtry.

When I’m in the mood to completely escape reality I like to read some of the 19th century classic authors like the Bronte sisters, Jane Austen, and Elizabeth Gaskill. I never get tired of them!

 I’ve found Elizabeth Gilbert’s Big Magic a wonderful source for inspiration and creativity, and I’ve been working through Julia Cameron’s The Artist’s Way this summer.   

M.A.: What advice do you have for those who want to write historical fiction?

K.B.: Like with any genre, I think you need to be emotionally invested in it to do it well. If you don’t love history, or love reading historical novels, it might not be the way to go because the research is so integral to the process. And if you are one of those writers who love to do research more than anything else, keep in mind that you are going to have to sit down and actually write at some point!

M.A.: What else would you like readers to know?

K.B.: I’d love to hear from them! If they want they can go to my website at www.Karibovee.com and subscribe to my newsletter to become a part of my community (and get the prequel novella to the Annie Oakley series, Shoot like a Girl, for FREE.) There is also a contact form where they can send me an email.

I also have a Facebook Group called the Kari Bovee Fan Club https://bit.ly/3533tqR  and I’m building a community there, too. In both places they can find out about all of my news and upcoming releases, get to know my horses and dogs, and I also have a lot of fun giveaways, so some come on over and join me!

Instagram: https://www.instagram.com/karibovee_writer/?hl=en

Facebook: https://www.facebook.com/KariBovee/

Twitter: https://bit.ly/2KWUoay

Pinterest: https://www.pinterest.com/karibovee/

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9 Tips for Submitting to Editors

After I was invited to speak at the Henderson Writers Group, I had to decide what I had to offer that was useful. As the executive editor of The Copperfield Review, an award-winning literary journal for readers and writers of historical fiction, I realized I could offer tips on how to make submissions stand out so they had a better chance of being published.

Most writers write with the intention of being published. Not all writers. A few years ago I taught a creative writing workshop for adults in California and I had a lovely older lady as a student. She was taking my class because she wanted to write her life story for her grandchildren and she wanted to write it well. But most writers want to submit their work to magazines, journals, agents, and book editors so they can be published.

Every day writers give editors many reasons to say no to their submissions. If you can help your submission stand out from the crowd, in a good way, then you can increase your chances of getting a yes and being published. Here are my best tips for submitting to editors.

Don’t…

9. Cc every editor you’re submitting to in one email

Most editors understand that writers are sending simultaneous submissions, meaning that writers are sending their work to several journals at a time. Even so, it’s important for writers to take the few extra minutes to send a separate email to each individual editor. It looks more professional, like the writer cares about presentation. Cc’d submissions look lazy, quite frankly, and other editors I know agree with me. Every time I’m included in a cc list with other editors, inevitably a few of the other editors will email me and ask “Did you see that email?” Then they’ll follow the question with something like “What a jerk!” or some other expletive I won’t include here. I don’t look too closely at cc’d submissions, and neither do other editors I know.

8. Misspell the editor’s name

7. Confuse the editor’s gender

Make sure you spell the editor’s name correctly, and check to see if the editor is a boy or a girl. If I had a dollar for every time I received an email addressed to Mr. Allred I could have bought out Borders and prevented it from going out of business. I’ve seen my name as Allston, Allen, Allan, and every other variant of All— you can think of. On The Copperfield Review The Staff page, my name is there, spelled correctly, and you can see at a glance that my gender pronoun is ‘she.’ It’s the same for other editors or agents—the information is on their websites. Just three weeks ago we received a submission addressed to “Dear Sirs.” There isn’t a single “sir” on the staff of Copperfield. That submission was laughed right into the no-thanks file. Details are important. Really.

6. Resubmit a new version of your work 

Whether your work is accepted or rejected, don’t resend a new version to the same editor. If your work was rejected, it wasn’t right for that editor for various reasons. It isn’t anything about your talent or even that particular story. Different editors have different preferences, that’s all. Keep sending the story out to different editors. But don’t send it back to the same editor, even if you’ve reworked it—that is, unless the editor has specifically said to send it back after you’ve made revisions.

That goes for work that’s been accepted too. It’s happened where we’ve accepted a piece for publication and then the writer says something like, “I’ve reworked my story. Here’s the new version.” If we accepted it, then we thought it was fine. We don’t need a new version. At Copperfield, we stopped accepting new versions because we were doing twice the work—formatting the original we accepted, then formatting the new one. Now on our guidelines it says writers need to send in the version they want to see online since what they send us (if it’s accepted) is what’s going up. Send in your best stuff the first time, and that will make the process easier for you and for the editors.

5. Forget to let editors know your work has been accepted elsewhere

I took a quick poll of a few editor friends of mine. I asked them what their number one pet peeve was concerning submissions, and every one said they’re most annoyed when they choose a work for publication and then find out the work has been accepted elsewhere.

The issue isn’t that the work has been picked up by another journal. Nearly every editor I know is a writer too, and we’re thrilled when other writers are published whether it’s in our journal or someone else’s. The problem occurs when we aren’t told a submission is no longer up for consideration. At Copperfield, we spend a lot of time reading and rereading every submission we receive. If authors don’t tell us their work has been accepted elsewhere and we spend time considering their work, we’ve just wasted hours, and, like many of you, we don’t have hours to waste. A simple e-mail is all it takes. No long explanations required. But it is expected, professional courtesy to let editors know your work is no longer up for grabs.

Do…

4. Send in your most polished work

I’m a writer too, and I know what it’s like to be eager to be published. It takes discipline to keep reworking a piece until it’s polished and ready to submit, especially since the revising process could take weeks or even months. You don’t need to rush the submitting process. Literary journals, agents, and publishers aren’t going to disappear (maybe publishers will disappear if you believe what you read).

Run your work by a critique group. Take writing classes. Read some great short stories and examine their greatness. Develop an ear for well-written dialogue. Unwieldy or unnecessary dialogue is a common problem in submissions we see at Copperfield. Give yourself time to grow into the writer you want to be. I know we live in the “I want it now” era, but there’s no rush. You’re on no one else’s timetable but your own. Make sure your story is the best it can be before you send it off to editors.

3. Proofread your queries and submissions

It’s important to proofread for typos and other boo-boos. It goes back to showing editors, agents, and anyone else you’re submitting to that you’re serious about writing. You’re not sending in something you wrote off the top of your head, and you took the time to read and reread to check for mistakes. Sometimes it’s hard to catch your own mistakes because your eyes see what they expect to see, and they expect to see what you meant to write. Maybe you meant to write ‘she’ instead of ‘the’ but your finger went to the right instead of the left and…you know how it goes. And spellcheck, while a great tool, isn’t perfect.

It’s helpful to have another set of eyes proofread your work for you. Whether it’s a friend with a firm grasp of language and spelling or you hire a professional editor, someone else will often catch those pesky typos before you do, and that will help you create a professional looking draft most editors will be happy to consider.

2. Read previous editions of the journal/publication to see what they publish

Sites like New Pages or the Literary Magazines page from Poets & Writers are great resources for finding journals that publish stories like the ones you’ve written. When I first started writing historical fiction I searched for journals that published that genre, but I couldn’t find any. As a result, I started my own—The Copperfield Review. With so many journals online these days, it’s easy to click through their stories to see what they like to publish, and it helps to whittle down your list of possible submissions.

The Copperfield Review is a journal of historical fiction. You’d be amazed at the countless submissions we’ve received over the years that were not at all historical in nature. Writers waste their time sending their non-historical submissions to us. That’s one more rejection letter they wouldn’t have received if they had checked our website. Even a cursory glance would show that The Copperfield Review is a journal of historical fiction.

If you write science fiction, seek out science fiction journals. If you write mystery, humor, romance, inspirational, literary—whatever it is, there’s a journal out there that publishes it. Send your work to those journals because you’ll have a better chance of being published. And if such a journal doesn’t exist, start your own. It worked for me.

1. Follow the submission guidelines exactly as stated

As a writer myself, I understand that sometimes submission guidelines seem petty, even vindictive—you know, a way to make writers more miserable. What does it matter if it asks for a third person bio? What does it matter if I send in seven poems at a time instead of three? But those guidelines exist for a reason, and editors notice if writers don’t follow them. You’re going to have to trust me on this.

Maybe the problem is the word guidelines, which sounds more like submission suggestions. The guidelines exist because the editors need some semblance of sanity, a method to our madness, to help us weed through hundreds of submissions per edition. For example, we don’t accept file attachments because we caught viruses when we did. We only accept three poems at a time and we have a word limit for fiction and nonfiction because we’re a tiny staff with day jobs, families, and other life obligations. We ask for a third person bio because books, newspapers, and magazines use third person bios. I understand that to authors it might not seem like a big deal whether they send in a bio in first or third person, but it makes a difference to us as we put each new edition together.

For writers who want a one-size-fits-all file that will work as a submission for fifty different journals, I’m afraid that’s not likely. Submissions that follow the guidelines are the ones we look at seriously for publication. Writers careful to follow our specific guidelines at Copperfield are showing us that they take their writing seriously, they care about presentation, and they’re making the process easier by giving us what we’ve asked for. All I can say is a hearty “Thank you!” to those writers.

It isn’t so hard to send in a strong submission. It boils down to being professional, sending in your best work, and following the guidelines. If you can do those things, the sky is the limit for your writing career.

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Meredith Allard is the Executive Editor of The Copperfield Review. Join Meredith online at www.meredithallard.com.

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