These Wicked Games Page 8
’Tis the season to be scary. Have a safe and happy Halloween!
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October 20, 2006
Mary Reed McCall
Finding Your Focal Point
“A focal point during labor is a certain item that you look at…to encourage you. Basically, the focal point can be anything…the idea is to have something that you can think positively about.” (Excerpt from The Pregnancy HelpDesk.)
Writing a book is often compared to giving birth—and in many ways it is a similar concept: The tiny kernel of an idea blooms into a completed story, fleshed out with characters, plot, and emotions, leading up to printing out your “baby” and sending it off to be considered by an agent or editor.
Sometimes—most of the time, if you’re like the majority of us—you repeat this process again, and again, and again, hoping for lightning to strike…
On the long road to getting the “Call,” I found it extremely useful to have a writing focal point…something to remind me of what I was striving for during those dark moments of doubt and rejection.
Since the Big Apple is the publishing center of the world, I opted for a NYC coffee cup, purchased when I was chaperoning a field trip there. This cup is deep blue, with the Manhattan skyline emblazoned in silvery white all the way around it, and whenever I was feeling depressed about my lack of a writing career, or a particularly difficult rejection came in, I would force myself to look at that cup and say in a kind of mantra, “You don’t know it yet, New York, but sooner or later, you’re mine.” *G.*
It sounds corny now, but it really worked and helped me to stay in the game, especially during those times when I was tempted to give up altogether.
So, can you think of (or do you already have) a focal point for your writing—and if so, what is it?
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October 21, 2006
Leda Swann
Real Life Romance
Brent and I (a.k.a. Leda Swann) are living our own real life romance. Last week we ran off to a tropical island and got married, barefoot, on the beach. Sun, sand, a hunky man, and a bottle of champagne—what more could a woman want out of life?
It was a magical day—and one that will provide a rich vein of emotion to tap into when writing our super sexy romance novels:-).
Not that we have any plans to suddenly write contemporary novels set on tropical islands—Victorian England is definitely where our heads are at. But it’s the surge of happiness I felt as I walked along the petal-strewn path, the break in Brent’s voice as he recited his vows, the warmth of his hand in mine—those are the feelings that will make it into our writing.
Deeply felt emotions, both of joy and grief, are what make our lives and our writing powerful. We’ve shared our happy story, but we’d love to hear stories from all of you—happy stories or sad stories—of emotional experiences that have affected you as a person and as a writer.
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October 23, 2006
Karen Ranney
The Scottish Diaspora
I love Scotland.
I think it stems from my childhood, when my next door neighbors were from Scotland and taught me how to do the Highland Fling and the sword dance. Or it could have been earlier, when I heard the sound of bagpipes for the first time and burst into tears. Whatever the connection is, I’ve always had it. I mean, really, how many teenagers do you know who run away from home—to Scotland? (In case you think it was a transatlantic escape, we were living in France at the time.) I’ve never met a nicer group of people than the Scots. They made me feel at home and instilled in me a lifelong respect.
I once read something about the Highland Clearances, where the writer stated that from that period forward, there’s always been a Scottish Diaspora—the Scottish soul’s longing for its homeland. Although I’m one hundred percent American, there’s something about Scotland that calls out to me. Perhaps my ancestry, perhaps a genetic link, or perhaps it’s nothing more than the romance of Scotland pulling at the romance in my nature.
Is there some location in particular that calls to you?
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October 24, 2006
Karen Hawkins
The Writer’s Paradox
Hi! This is Karen Hawkins, and I want to discuss the dreaded Writer’s Paradox.
I love being a writer because I love People Watching.
Writers are the true observers of the Human Experience. We hear the tension in a raised voice and the anger in silence. We taste the crispness of a fall day and the comfort of a soft easy chair. We notice the tremble of a lip or the flash of surprise in someone’s eyes. In order to represent the Human Experience correctly, we must be observers.
The Writer’s Paradox is that when you’re observing, you aren’t participating. For a writer, watching life and not living it can lead to creative drought.
In order to keep my creative well full, I jump into life with both feet. In the past year I joined a flag football team, set up my own glass studio, and met one new person every week. Now I can’t wait to get to the keyboard and start writing!
What about you? What things do you do to keep your creative well filled? How do you avoid the Writer’s Paradox?
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October 25, 2006
Lucia Macro
Communication Is the Name of the Game
I was lurking on the discussion boards, and noticed a question from Katie, who asks what to do to prepare to meet with editors.
Usually I meet new authors at writers’ conferences. If you manage to snare an “author/editor appointment,” you get ten minutes to tell me all about your book, but I also want you to ask questions about anything new or different I’m looking for. The answers might give you insight into what I want to acquire. Remember to relax—if you’re polite, we’re going to like you.
When working with published authors, communication is the name of the game—by phone, e-mail, even snail mail. I’m the central point person for everything that goes on with your book; you might be surprised to learn that the one thing I seldom do at the office is read.
I’m often asked how I became an editor. The answer is embarrassing—I became an editorial assistant more than twenty years ago because I could type quickly, read a lot, and Glamour magazine had an article called “What to Do with Your Liberal Arts Degree!” I’ve never regretted it, and continue to be faithful to Glamour too!
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October 26, 2006
Laura Lee Guhrke
Where Do You Get Your Ideas?
Whenever I’m asked this question, I don’t ever know how to answer. Most of my ideas just pop in, sort of like unwanted relatives. They are terrible pests who nag me, take over my life and eventually become books. But what happens when the ideas aren’t coming?
I always have characters floating around in my brain like so much flotsam, but I don’t always know what to do with them. That’s when I start cooking. For me, kneading dough or slicing vegetables is a great way to get creativity flowing. While cooking, I talk out loud, inventing dialogue and asking questions, and pretty soon I’ve got enough raw material to begin a story. Last year when I went through this, my family got Christmas cookies, and I got the idea for And Then He Kissed Her. That book is done now, and the book I’d intended to write next wasn’t working for me, so I spent last week making apple pies. This week I have an idea I love and an opening chapter written.
Einstein got his ideas in the shower. Edison took naps. I cook. How do you jump-start your creativity?
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Jane Friedman, President and CEO, HarperCollins
October 27, 2006
The Power of Community
How rewarding that our first effort in reaching out to the romance community has been so successful! No surprise to me, as we do publish the best list of romance writers. But how exciting to see the 20,000 posts to the forums and that there have been 4 million page views. What an incredible community for us to share new initiatives with, receive feedback from,
and look to for new directions in the wonderful world of romance.
Everyone has worked so hard, and I applaud the incredible submissions and comments. I understand that many of you have lost sleep, neglected chores and spouses, and even eaten one too many bon bons, but I hope it was all worth it.
To follow up on the success of this event we are launching a writing event for teens today! If you have a teenager (ages 13–21) in your house or on your block, be sure to tell them about the event going on at www.HarperTeenFanLit. com. The first story line has just been decided, and I think it will be a fabulous tale.
Back to romances: we are eager to support our newly uncovered community. The boards and blogs will stay up, so please continue to read and post, as I will. And, I’m sure you are all as excited as I am to find out who the grand prize winner is. My mantra is “onward and upward.” Stay tuned for more from Avon.
PART THREE
Writing Tips
Acing Your Audition
It’s your very first scene that will sell your first book, whether to an editor or a reader. If you were an actor, your opening scene would be your audition. Welcome to Short Attention Span Theater! At the most, you probably have one to three pages to hook your reader’s attention, so every opening scene should be put to the following three tests:
1. Does it pose a burning question that can only be answered if the reader keeps turning the pages?
2. Does it give the reader the sense that in a single moment your character’s fate is about to be altered forever?
3. Can you visualize your opening scene on a movie screen, and if so, would you be willing to pop down $8.50 at the box office to see what happens next?
With my October 2005 Avon release After Midnight, I tried to accomplish all three of these with a single line of dialogue: “Our sister is marrying a vampire.” If you can answer yes to all of these questions, then you’re well on your way to one of the most exciting roles of your life—best-selling author!
—Teresa Medeiros
The Art of Storytelling
One obvious truth often overlooked is that storytelling = story + telling. Those two aspects, story plus telling, encompass the essential work of a storyteller.
While most understand the concept of dreaming up a story, however one may actually come to it—whether by inspiration, muse attack, or simply dreaming—the truth is that a well-trod, even weak story can be rendered exceptional in the hands of a gifted teller. A strong story is good, but effective telling is essential to bring any story to life.
And telling isn’t writing. Effective telling has more in common with how a film or TV drama is shot—the selection of scenes, the camera angle, the created atmosphere—than with the specific form of words.
Dan Brown’s Da Vinci Code is an excellent example of a story exceptionally, and highly effectively, told. Be creative in your telling, but above all, be effective.
—Stephanie Laurens
Be True to Yourself
Don’t let anyone tell you how to write a book. Every single writer has a different process they use. This is the only steadfast rule I ever give to any writer. Whatever gets you from point (a) to (b) to (c) to the end is the best process for you. Don’t worry how others do it. If you’re in a rut, then try another method, but don’t throw yourself into a panic because Betsy Bestseller writes a certain way and you don’t. Be true to yourself and the book and you’ll never go wrong.
Case in point, I’m normally a linear writer, but when I wrote A Dark Champion, I had to stop after Chapter 3 and then decide how I wanted the mystery aspect to go. Instead of working from beginning to end, I worked end to beginning so that I could build the red herrings and surprise the reader.
—Kinley MacGregor
Character Interviews
Having trouble with your characters? Try interviewing them. It sounds crazy, but it works. Pay attention not just to the words, but how they’re being said. Is she snapping at you or is she fairly open? Is he flirtatious or does he resent that you have the nerve to even ask him questions? This is a stream-of-consciousness sort of thing so don’t overthink it. Go with the flow, relax, and have fun. Two tips: (1) avoid yes-or-no questions in your interview, because you’ll only get yes-or-no answers; and (2) listen to your characters’ answers. They will reveal things you don’t expect, and if you don’t jump on those you might miss something important.
—Victoria Alexander
Chasing Trends
Don’t worry about market trends, eventually they’ll find you. Write the book of your heart, every time. Sure it helps if the book is marketable, but don’t chase trends. By the time you catch one, it’s already passed. I’ve built my entire career writing books that were unmarketable. When I first submitted A Pirate of Her Own, my best friend (a NYT best-selling author) chastised me for writing a pirate book at a time no one was publishing them, “and even when they were, Sherri, no one bought a book set in 1791.” Not even my agent at that time would send it out. It languished for over a year before I sent it out on my own. The first publisher who saw it (HarperCollins) gave me a three book contract, and A Pirate of Her Own is still in print seven years later and is now in its ninth printing. Had I listened to the nay-sayers, Kinley MacGregor would never have been born.
—Kinley MacGregor
Develop, Exercise, and Protect Your Voice
As a storyteller, never forget that although your medium may be printed words on a page, you are nevertheless telling your story. Your voice shines through in how you assemble your words—your sentence structure, paragraphing, use of different types of words—the cadence of your literary speech, so to speak. It is the quality that makes each storyteller unique, and is your strongest selling point. Successful authors, whether deliberately or instinctively, nurture and develop their voice. Pick up any major best-seller and you will find a distinctive voice.
So be aware of and strengthen your voice—don’t allow the well-meaning advice of others to weaken it, influence it, or alter it. All too often allowing others to microedit your work will homogenize your voice. In terms of establishing a career as a storyteller, your voice is your greatest asset.
—Stephanie Laurens
Don’t Let Anything Keep You from Your Goal
There will be pork in the trees by morning. Every author I know has the voice of doom and gloom in their head at some point (okay, usually a lot). Whether it’s a bad review, a rejection, or just PMS, we all think we’re never going to publish or to publish again. Whenever that voice starts telling you that so-and-so will happen when pigs will fly, grab that voice by the throat and laugh, then say, “Yeah, well, there’s going to be pork in the trees by morning.” The only guarantee we have in this business is if you don’t submit it or finish it, then they (editors or readers) can’t buy it. So write and submit until you’ll be blue from it. You are the only one who hears those characters in your head. Only you. Don’t let anything keep you from your goal, whatever that goal is. There’s no such thing as a small dream, so dream big and pursue it.
—Kinley MacGregor
Find Your Own Private Idaho
Writing takes a lot of concentration, and to really tap into the well of creativity, I think it helps to understand your biological clock. Sure, I can crawl out of bed at dawn to work, but since my brain doesn’t really kick in until dusk, getting up early doesn’t help me. Instead, I do noncreative work during the daytime. I used to be a programmer, so I’d work my job until five, then go home and cook, get the kids ready for bed, and then settle in around 9:30 P.M. to write. Even though that only gave me an average of four hours a night to work, I was able to do twenty quality pages every night because I had no distractions and my brain was active. Every book I wrote up until Born in Sin was written while working full-time and raising three children under the age of seven.
—Kinley MacGregor
First Meetings with Impact
In most romances, the first meeting between the hero and heroine sets in motion th
e emotional plot. The more clearly impactful and dramatic that meeting, the more believable it is that it represents a major turning point in the life of the hero and heroine, and the more gripping and interesting the romance that evolves. The reader becomes committed to following the romance from that point.
An aspiring author recently told me she was “amazed that you’re allowed to get away with four pages of backstory before the hero and heroine meet.” My immediate mental response was, “Only four pages? Which book was that?”
There’s a very real difference between setup for the first meeting and backstory. If you have not given sufficient information about one or both of your principal characters for the reader to feel empathetic enough to comprehend the impact of the first meeting before it occurs, then you will have a weak first meeting, and you’ll have to explain the importance of the meeting in retrospect, usually a less effective alternative.
—Stephanie Laurens
How Do You Set the Stage?
Ever open a book and find it impossible to put down? Some writers capture us from their opening line. A favorite of mine comes from Christina Dodd’s Someday My Prince:
At the ball celebrating her twenty-fifth birthday, Crown Princess Laurentia scrutinized the leering, timid, swaggering, toe-dragging, eloquent, stuttering sea of black and white evening wear and thought she had never seen such a pitiable pool of suitors in her life.
And they were hers. All hers.
What’s your line?