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Back in the same room after last week’s voice notes, Kelton is fighting off the sickness she warned us about and admits she didn’t touch her edits. Instead, she spent the week making a mock cover for her rom-com out of a stack of old magazines. Krisserin, meanwhile, queried three agents at 8:20 a.m. on one agent’s deadline day without rereading her letter.

Now that the pages have actually been read, they get into the notes. Krisserin explains how she cut Parasocial’s opening to fit a 10-page limit without losing the twist, and what’s different about querying this book a third time. Kelton hears why her book sounds exactly like her, why her main character needs a reason to want so much more, and why her heroine needs to know where she is in the room. That opens up a bigger conversation about present tense, flashbacks, and dual timelines, while Krisserin’s IAIA mentor pushes her to write in a tense that feels like writing with her left hand.

Plus: hyperrealistic animal puppets, a bird twist, Katabasis as a literal guide to hell, and a spirited fight over the one-line pitch for Dungeon Crawler Carl.

Write to us:
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Follow us:
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Follow Krisserin and Kelton:
TikTok: @krisserin, @keltonwrites
Instagram: @keltonkin, @keltonwrites
Kelton's Substack: Shangrilogs
Krisserin's Substack: krisserin.substack.com

Music by Golden Hour Oasis Studios

Krisserin and Kelton are both trying to figure out how to write when the writing routine stops working. Kelton is deep in structural edits and considering sending Krisserin the first four chapters of her rom-com for a gut check, while Krisserin abandons the fantasy of a perfect morning writing practice and manages to get 1,200 words down wherever she can. They talk about writing dialogue, learning from Patricia Lockwood’s Priestdaddy, looming MFA craft essays, and the small miracle of having writer friends who will send your book to their agents.

Then journalist and author Mimi Montgomery joins to talk about her debut novel, Murder Bites, and the extremely non-linear path it took to publication. Mimi started writing the book around 30, squeezing it in before work and on weekends, and eventually queried an agent who loved her voice and line-level writing but delivered one fairly significant piece of feedback: the plot was basically nonexistent. Mimi explains how an outline of what the book could become got her signed, why rebuilding a murder mystery after you’ve already written it is not a process she’d recommend, and how another major revision during submission finally led to a book deal.

They also get into writing with an eight-month-old and a full-time job, the usefulness (and emotional devastation) of reading your submission rejections, what Mimi learned from Carl Hiaasen, and why trying to manufacture the perfect high-concept hook can make you lose sight of the thing you actually control: your own weirdness and point of view. Plus: bougie dog bars, Kevin Wilson’s legendary Airbnb writing method, whether anyone can actually justify a $3,000 writing retreat, and the realization that your husband’s hobby may, in fact, be supporting your writing career.

Learn more about Mimi Montgomery:
Website: mimimontgomerywriter.com
Instagram: @mimi_montgomery
Substack: Kind of a Lot

Her novel Murder Bites is available now wherever books are sold!

Books Mentioned in this Episode:
Murder Bites by Mimi Montgomery
Priestdaddy by Patricia Lockwood
Lost Lambs by Madeline Cash
Battleborn by Claire Vaye Watkins
Lessons in Chemistry by Bonnie Garmus
Nothing to See Here by Kevin Wilson
Understory by Chloe Benjamin
Alan Opts Out by Courtney Maum
Rabbit Cake by Annie Hartnett

Write to us:
officialpenpalspod@gmail.com

Follow us:
Instagram: @penpalspod
TikTok: @penpalspod
YouTube: @PenPalsPod
SubStack: penpalspod.substack.com

Follow Krisserin and Kelton:
TikTok: @krisserin, @keltonwrites
Instagram: @keltonkin, @keltonwrites
Kelton's Substack: Shangrilogs
Krisserin's Substack: krisserin.substack.com

Music by Golden Hour Oasis Studios