Learning to Stay with the Work

October 2023 – That is when my education in writing historical fiction began. I have learned much about writing historical fiction since then, and I am still learning. It began with attending a workshop led by Colin Mustful, publisher of History Through Fiction. During the workshop we were invited to have a piece of our writing critiqued by Colin. I sent him a piece of writing I had produced years earlier. My writing was truly terrible. But it gave me a place to begin.

I wrote my first full draft over the next year and a half, coached by Colin. That process taught me discipline as much as craft, I wrote almost every day, and I welcomed the coaching and criticism rather than feared it. With each round of feedback, my work improved slowly. Only later did I understand that drafting was in many ways the easy part; learning how to revise was more difficult. I was hoping it’s like child birth in so much as enjoying the journey, forgetting the pain, and being eager to do it again.

In September of 2025 I turned in my first draft to the editor. She spent weeks with the manuscript—preparing a thoughtful critique letter, marking up the pages, and creating a detailed book map. Her letter was kind; her comments were direct. I fixated on the negative and skimmed past the positive comments. I wanted to cry. I felt like a failure, flooded with thoughts about not being good enough. What made me think I could become a writer? I was a genealogist, trained in facts and documentation, attempting to step into creativity. It felt as though I was working against my detailed oriented fact-finding brain. The words that stuck with me were info dumping, too many details that don’t move the story forward, needs development, and conflict, tension, and stakes largely missing.

The last one was poignant. The editor figured me out without knowing me. I am and always have been conflict adverse, ask anyone who knows me. My Seitz family had plenty of conflict and tension, but I didn’t show it in my writing. I let a character off the hook without holding him accountable. How was I going write about real life conflict, and tension, when I avoided conflict, if possible, in my own life?

I didn’t know where to start. I was attached to my story, to my ancestors and the factual historical details of their lives. Colin talked me off the ledge. He said I didn’t have to make all the changes suggested by the editor but if I wanted readers . . . well, you can guess. Being emotionally attached to my manuscript wouldn’t serve me.

Besides being extremely detailed oriented, and conflict adverse I’m a rule follower. I spent several days rereading everything the editor sent me. I wrote detailed questions to ask her. When we spoke, I found she was incredibly kind and supportive. Afterward I thought, just maybe I could do this after all. She sent me detailed notes of our call and I got to work.

I determined I needed to edit, move around and possibly rewrite 2.2 chapters a week to meet the deadline. I printed out a calendar and wrote in chapter numbers and notes for each week to stay on task. The holidays slowed me down a bit, but I managed to stay mostly on track. Life gets in the way, and some days were harder than others. My manuscript expanded, adding a chapter and scenes, and then it contracted by cutting two chapters and merging scenes—over and over again, like a crack in a wall widening and narrowing with the seasons.

When I was halfway through the first revision, I had an aha moment regarding my antagonist. I had delayed revealing who she truly was, making her look angry much of the time. Revisiting four earlier chapters allowed me to develop her character on a deeper level, so her personality was established long before her marriage, pregnancy, and the 1839 expectation that she wear a maternity corset in public—one she resisted as a more modern woman than her much older sister.

my writing support group

There were days when self-doubt crept in, telling me I’m not good enough. In those moments, I would talk to Melissa, a creative and insightful member of the History Through Fiction team. We would talk through where I was stuck. Having someone to exchange ideas with and receive feedback from, along with taking a break made all the difference.

In June I sent Colin my third draft of my manuscript. He had read it chapter by chapter before I turned in my first draft to the editor but not the entire manuscript after all the changes. To say I was nervous was an understatement. I still felt insecure but was excited for him to read it in it’s new form.

I wouldn’t trade this experience for anything. I’m supported by the History Through Fiction team, who believe in me and my writing. They are a community of individuals who I have come to care about as friends. I am deeply grateful to each of them. They cheer me on—showing up consistently, reminding me that my writing matters.