January 5, 2018

Leeds UK Author Event - 3 March 2018!

Hello, daahhlings. It's been a long, long while. But guess what?

It's Flapper Friday!

And I've got a FREE ticket to the Leeds book-signing event burning a hole in my fishnets!

For a chance to win, dears, simply comment at my author page on Facebook with your favorite 1920s slang term. To be eligible, please ONLY share your comment on my post here: .

I'm leaving the contest open through tomorrow (Saturday, the 6th) and will select one winner at random. In the meantime, you can find more event details here: https://www.eventbrite.co.uk/e/leeds-uk-author-event-2018-tickets-32387845919 (hosted by Hourglass Booksigning Events). In addition to the daytime signing with me and loads of other authors, there will be a Flappers & Gangsters-themed after-party at the same location!

So, if you're in the UK this spring, I hope you can make it to the signing and/or party! Meeting in Leeds would be the bee's knees!

September 14, 2017

NEW RELEASE! Coattails and Cocktails, by Rumer Haven

by Rumer Haven

Genre: Historical Mystery, Romantic Suspense
Publisher:  Fallen Monkey Press
Cover Designer:  RoseWolf Design
Release Date: September 14, 2017

A body clearly shaken, but not stirring…

Summer, 1929. Murder isn’t on the menu when Chicago tycoon Ransom Warne hosts a dinner party at his country estate. But someone’s a victim—and everyone’s a suspect—when drinks and desires lead to disaster.

Hollywood starlet Lottie Landry has returned home to celebrate her engagement. She’s famous for her on- and off-screen romance with co-star Noble, but, privately, she’s having second thoughts. As her former guardian, Ransom doesn’t approve of the match. Yet his own affections raise questions when his wife, Edith, suspects him of having an affair—just as Noble suspects Lottie. Stirred into the mix are Lottie’s friends Helen and Rex, a young journalist and football hero who can feel tension building in the Warne mansion like a shaken champagne bottle.

And once the cork pops, a body drops.

Coattails and Cocktails is where Agatha Christie meets The Great Gatsby, a whodunit spiked with new love and old baggage, public faces and private vices. Filled to the brim with romance and mystery, it’s sure to intoxicate.




August 24, 2017

Cover Reveal: COATTAILS AND COCKTAILS, by Rumer Haven

Very excited to share this with you, Flappers!

by Rumer Haven

Historical / Romantic Mystery
Releasing September 14, 2017

A body clearly shaken, but not stirring…

Summer, 1929. Murder isn’t on the menu when Chicago tycoon Ransom Warne hosts a dinner party at his country estate. But someone’s a victim—and everyone’s a suspect—when drinks and desires lead to disaster.

Hollywood starlet Lottie Landry has returned home to celebrate her engagement. She’s famous for her on- and off-screen romance with co-star Noble, but, privately, she’s having second thoughts. As her former guardian, Ransom doesn’t approve of the match. Yet his own affections raise questions when his wife, Edith, suspects him of having an affair—just as Noble suspects Lottie. Stirred into the mix are Lottie’s friends Helen and Rex, a young journalist and football hero who can feel tension building in the Warne mansion like a shaken champagne bottle.

And once the cork pops, a body drops.

Coattails and Cocktails is where Agatha Christie meets The Great Gatsby, a whodunit spiked with new love and old baggage, public faces and private vices. Filled to the brim with romance and mystery, it’s sure to intoxicate.

~*~  Add it on Goodreads!  ~*~

  ~*~  Find me on Amazon!  ~*~

August 20, 2017

FIRST PLACE WINNER! What the Clocks Know

I'm ridiculously excited to announce that this weekend, my last novel, What the Clocks Know, won first place in General Fiction for the 2017 Red City Review Awards!

You can see the full list of winners in each genre here: http://redcityreview.com/2017-winners/

And here's some of what Red City Review had to say in their 5-star review:
"Rumer Haven presents a twisted paranormal story in her latest novel. Keeping to a small-foiled cast, Haven features Margot, a young woman whose vulnerable state is intensified by her paranormal experiences. . . . A unique approach to Haven’s writing style is her use of red herrings. Taking advantage of her principal character’s vulnerability, Haven keeps her audience often confused as they are trying to figure out if Margot is suffering from a mental condition, is really experiencing the paranormal, or both. By using this literary tool, Haven is able to not only produce a consistent narrative flow, but also provide a flurry of unexpected character scenes up to and including the story’s close. What the Clocks Know offers paranormal enthusiasts a refreshingly gripping yet keenly deceptive read."
They also previously had this to say about Seven for a Secret:
"An intriguing tale that twists together the paranormal with a witty rom-com, Seven For a Secret is both a ghost story and a romantic escapade. . . . By pairing the modern-day story with intriguing elements from the 1920s, including ghosts and tantalizing trysts, Haven crafts a spellbinding plot that is sure to keep readers enraptured. . . . The story unspools at the perfect pace, layering more and more upon the reader as they move along the narrative. The comparisons that are drawn up between how women were treated in the early twentieth century to how they are viewed in the modern era is an especially fascinating element of the book which the author pulls off quite well. By blending genres of romance, historical fiction, and the supernatural, Haven pulls readers into her story with ease, as her talent for constructing such a juicy novel displays itself readily in every chapter."
You can find the full reviews here:

What the Clocks Know 

Seven for a Secret 

Thank you, dear readers, for your constant support!

June 1, 2017

Upstate 8 Literary Festival: Keynote (Part 5 - CONCLUSION)

In Part 4 of my keynote speech, I addressed why we write and how that entails writing what we don't know as well as what we do. I cautioned how we must also assume accountability for what we create, so writing the first draft is merely the first step of a longer process. And on that note, I finally conclude this keynote series! Thanks for listening to me babble on and on if you've made it this far. ;)

As your own editor, you need to be a “self-conscious” one. I don’t mean self-conscious as in insecurity-ridden—I think we’ve all probably mastered that one just fine. What I mean is to be conscious of the kind of writer you are and the audience you’re writing for.

Step back from your draft and look at it as a whole. Does it achieve what you want it to? Is this is what you wanted to write? Also, is this what your readers will want to read? How will they experience it?

Because, we can’t forget about the reader if we eventually want to share our work. Arguably 80% of its meaning will come from the reader, not us.

No matter how much they might lose themselves in our writing, readers still form their own interpretations based on their personal experiences and attitudes. So, we want to strike a chord with them through our work so they can make their own meaning from it. 

In many ways, our writing is self-examination. We see ourselves in our words every step of the way. But consider, too, how our writing can hold a mirror up to our readers, confirming or challenging their perspectives and possibly showing them another way of living and thinking. As much as your writing might be for yourself, it could also help your readers make sense of themselves, others, and the greater world around us. 

And while I’m on the topic of others reading our work, allow me to drill this into your heads:

Everyone needs an editor.

Everyone needs an editor.

Everyone needs an editor. 

I stress this not only as a writer whose manuscripts desperately need editing, but as an editor who’s prepared dozens of manuscripts for publication. Even the strongest stories with the strongest grammar need more work than you’d realize. Whether it’s idea development, pacing, style, or the nitty-gritty of sentence construction and continuity, everything you write needs another set of eyes. For as solitary as the act of writing is, we can’t do it alone.

Everything we write becomes our dear, sweet baby, and we can be ever so proud of it—and of ourselves—but it’s downright diva to think we’re above having our work critiqued. I know it’s scary, though. Writing is such a personal passion. Such a vulnerable one. What we write is who we are, and who likes hearing they’re anything less than perfect? So, frankly, every time we hand our work over to others, we’re giving them the power to upset us.

It’s hard to control how other people will respond to our writing, but we can control how graciously we respond to their feedback. It’s okay to admit we’re not perfect, and we’ll never improve unless we accept our limitations by accepting help from others. I actually feel more confident knowing that. Because I know I’m not alone, and once I can own my weaknesses, I can work to strengthen them.

As an editor, it never ceases to amaze me how much easier it is to identify issues in someone else’s manuscript than my own. As a writer, I’m simply too close to my story to see what others can. So, I welcome having my work edited. And I welcome editing others’ work, even if it takes me away from my writing—because it’s a thrill to help someone else share their story with the world, and I in turn learn so much from their talent and creativity.

Also, editing’s not just fixing what we’re doing wrong but learning what we’re doing right. As a teacher and an editor, I have always balanced my criticism with positive feedback so that my students and authors feel good about their work and remain confident in their voices and what they have to say. That’s why I end every editorial letter with this:

“It’s an act of great trust when a writer shares his or her work with someone else and opens it to commentary. I thank you for this trust and hope my feedback demonstrates an understanding of your work, your style, and what you’re seeking to achieve.”

Because here’s the thing: No matter what, your writing is for yourself. Even when you’re sharing it with the world. Keeping an audience in mind doesn’t mean forgetting who you are at heart. 

There’s endless advice out there for what we writers should and shouldn’t do. But, ultimately, there’s no one-size-fits-all formula to writing a good story, sketch, narrative, essay, poem, or play. We each bring something unique to the craft, and that’s something we should celebrate in our writing as well. 

You can only be the writer you are. So, listen to your voice, and find your way of smelling the flowers.

May 30, 2017

Upstate 8 Literary Festival: Keynote (Part 4)

In Part 3 of my keynote address, I described my writing process yet emphasized how this will vary for everyone. I also recommended reading as essential to writing, and then questioned why we write in the first place. So, in attempting an answer to that...

Anaïs Nin once said, “We write to taste life twice, in the moment and in retrospect.” 

That’s a lovely sentiment, isn’t it? Tasting life twice…what a sweet gift that writers get to enjoy.
Whether we’re writing fiction or non-fiction, we draw from life experience in some way to fuel our work with authenticity and heart. Who we are impacts what we write as well as how we write it. You and five of your friends could look at the same tree and each describe it differently.
It’s meaningful, not egotistical, to consider how your sense of self informs your writing. And it’s when you stop being yourself in your writing that it can start sounding inauthentic and cliché.
Because, they always say, Write what you know.” And I agree with that, even though we have to write what we don’t know. I mean, I don’t know about you, but I’ve never been suspected of murder or haunted by a ghost. I haven’t lived in Victorian London or 1920s Chicago. I’ve never been a twenty-five-year-old man or an eighty-year-old woman. For that matter, I’ve never been a panda or puppy lost in the forest! But I’ve written characters who are, which means I rely on research, observation, and imagination as much as experience. I have to know what I don’t know, and then make the effort to know more about it. 
Writing what we know isn’t about writing our autobiographies. We can draw from events in our lives, but what we know is more about what we feel, how life experience has shaped us emotionally. We can harness that emotion to help us empathize with experiences outside of ourselves, and we can express it in a way that helps others empathize with us, too. The best way to engage our readers is to make them want to take the journey with us, inserting themselves into the experience even if they’ve never lived through anything like it either.
So, in tasting life twice, why not spice it up with more flavor? Why not challenge yourself to know what you don’t know and expand on experience? In many ways, my real life has offered the inspiration I’ve needed to get started, yet the story inevitably evolves from there, trekking into terrain unlike anything I’ve personally known. I simply fit true elements into fictional contexts to communicate something entirely new. It’s like dismantling a clock and using its gears to build a time machine.
Ernest Hemingway similarly said, “From all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive.”
We also infuse authenticity into our writing through our powers of observation. For most folks, the world becomes too familiar as we age, losing more and more of the wonder it once held for us as children. Back when we questioned everything, were so curious about all of the things.
Writers, though, are blessed with the ability to hold on to that wonder. We notice subtleties, noticing people and how they behave, wondering where they’re going or coming from, how they got that scar above their eyebrow or why they’re smiling to themselves when they think no one’s looking. We might notice a tree and think it looks kinda sad and lonely, or maybe something about it seems hopeful and safe. We notice with a painter’s eye that clouds aren’t just white or grey, or how the mood of a room shifts as the sun rises and sets. We notice what a gust of air feels like in our lungs, through our hair, and what it smells like, and what memories those scents can conjure. How the rustling leaves sound like a waterfall.
We behold the world with wonder, and not only are we richer for it, but we’ve been called to write it down so that others can see the world through our eyes and maybe notice it as if for the first time. 
There’s not always beauty in this awareness. We might instead reveal the darker side of humanity through gritty poems or prose. There might not be a happy ending. But there will always be Truth, so long as we write what we wonder at, and do so through our genuine voices and ability to empathize with what others might have to say, too. That is what makes our writing authentic and universal.
Unlike the negligent Dr. Frankenstein, however, we do need to be mindful of what we bring into being. Our writing inspires us, speaks to us, surprises us, yes, but it also relies on us to nurture and shape it, to find a suitable place in the world for it.
So, when you finish drafting your work, you’re really only just beginning

Sorry to break it to ya. But luckily, editing is a creative process, too.
More on that in Part 5, the conclusion of this keynote series...

May 26, 2017

Upstate 8 Literary Festival: Keynote (Part 3)

In Part 2 of my keynote speech, I shared my meandering path to becoming an author, from corporate consulting to teaching to moving across the ocean and finally writing in earnest. But like any job, writing is WORK. So, to continue...

Films would have people believe that we writers are reclusive, brooding creatures, feverishly scribbling with ink-stained fingers by candlelight, dashing off masterpieces in a burst of inspiration as our Muse sings softly in one ear and her sister strokes a harp in the other.
I know friends have found my life very Hemingway and romantic, the expat writer crafting stories in foreign cafes when I’m not at my typewriter up in a garret or a turret or something...when, in reality, I’m most often in my flat at the computer, wearing yoga pants—maybe a sock-monkey hat—squished into the tiny second bedroom that also triples as my office and my husband’s closet. Writing is my work, so sometimes I just have to do what it takes to git ’er done. No frills.
Never mind getting published and marketing books after the fact—the writing and revising alone is work. All of it.
And that does psyche a lot of people out. Understandably so! What’s more intimidating than staring down a blank computer screen or sheet of paper?
But whenever I’m asked for advice on how to start writing, my response is pretty basic: “Start writing.” The only way to do it is to, you know, actually do it. You can’t sculpt anything without the clay. There’s nothing to polish and perfect without a first draft. A really rough, rambling, rookie first draft. That’s what you cut your teeth on.
So, just write. Write about everything; write about nothing. Watch people and things; observe behavior and sensory detail. And when you first write something down about it, don’t put the pressure on yourself to make it perfect. That all comes in due time. For now, just let go.

Getting in the habit of writing a little something every day warms you up and gets you into a groove. Stretching and flexing your creative muscles is just like exercising—the more you do it, the more energized you feel and the more you want to do it and inhibitions drop away.
I’ll admit it: My own process isn’t pretty. (Definitely not any prettier than me in a sock-monkey hat.) My creative process is messy and mental and just plain mean to me sometimes. Because all of my stories originate from a very scattered place: my brain. And the only way to get them out of my head is to kick up a windstorm in there and blow the ideas out onto paper.

And I do mean paper. I write my manuscripts on the computer, I do, but they always start as pen-to-paper. I don’t know why, but something about the physical act of handwriting dislodges ideas in a way that typing at the computer does not. And, honestly, I don’t even try to be organized about it—as soon as I have the bud of an idea, I go all-out brainstorming—writing any and all thoughts that come to mind onto any and all scraps of paper I can find—so then I can eventually look back at them from a bird’s-eye view and begin connecting the dots.
From there, I tidy it all into an outline. Granted, nothing neatly divided into tiers of A, B, C, 1, 2, 3 like I used to teach my students for five-paragraph essays. They’re more like back-of-the-envelope bullet points, but guidance nonetheless. Just enough to give me a sense of the story’s shape and direction without confining my creativity.
It’s definitely different for everyone, but I personally need to allow for some organic flow, balancing structure with spontaneity. I wouldn’t enjoy the writing process nearly as much if I plotted everything meticulously in advance. That gives me the breathing room I need to change my mind if I end up wanting to head somewhere else.
It also allows for those odd-and-wonderful moments of pure writing magic, when it’s almost like the characters are whispering the next scenes in your ear. As if the story already exists on some level, independent of you, but you’ve been chosen to tell it. When this happens, it’s a little haunting but so amazing. When, truly and almost inexplicably inspired, you just write without knowing where it’s going and end up creating something better than it ever would’ve been if you’d thought about it too hard.
Those are the moments when writing feels easy. But since you can’t force the magic, you need to enforce the method. 

Ultimately, you need to find the method that works best for you, and surely your process will evolve with experience, just as mine continues to. But even setting our own expectations requires discipline as we make time for our writing and revise it until it becomes the best version of itself.  
I wish I could say that I write every day, but I don’t. At least not creatively. Otherwise, sure, I’m writing. I write emails or text messages or social media posts (or keynote speeches). But creatively, some days I just don’t feel it. The story goes quiet and the characters don’t speak to me.
Those are discouraging times, and I always feel guilty. Because we can’t just sit around and wait for inspiration. We need to try to show up on the page in some way. 

Sometimes I do so by revising what I’ve already written. Or, I take to pen and paper again to brainstorm. Or I don’t write anything at all but still think through my plots and characters away from the computer. I’ve had some great revelations hit me while I’m shampooing my hair in the morning or falling asleep at night. I’ve even gotten pages of material just from walking through the old Victorian cemetery near my flat and reading the gravestones.
So, whatever works. Go for a walk. Ride your bike. Sketch or color some pictures. Just because you’re not literally writing doesn’t mean you aren’t still “writing” in your mind—just as long as you do at some point jot down your thoughts before you forget them. Even writing just five minutes a day is better than none. You wouldn’t train for a marathon by running twenty miles your first day. You start small and do what you can to show up on the page.
Still, at those honest-to-goodness times when I feel too tapped out to create anything—well, then I show up on someone else’s page.
I read.

I sincerely believe we cannot be good writers unless we’re good readers. Every time we read, it’s an investment in our writing. On one level, we can observe how other writers structure and develop their work and craft their language. On another level, we can simply lose ourselves in the experience of someone else’s written world, rediscover the joy to be found in words and imagination to remind us why we’re writing our own pieces and recharge us for when we’re ready to return to them.
Because, why do we write? Why should we? 
I'll explore that next in Part 4 of this keynote series...