Editor, Silhouette Bombshell
Q&A Session
<LBarone> Tonight's chat is with Natashya
Wilson, editor for Bombshell
<LBarone> Tashya, why don't you
tell us a little about yourself and the line
<Natashya>
Sure! I hope everyone's been
able to find Bombshell in their local stores to at least page through it, see
what the books are like. They're heroine-led,
plot-driven stories featuring those sexy, savvy women who have what it takes to
get things done. They may have special skills or a never say die attitude...
...they may be specially
trained or they may be every day, average Janes
who make a difference--so many possibilities!
Bombshells deliver compelling, high-stakes,
fast-paced stories about women you'll want to get to
know--or be <g>
As for me, well, I read
a
<LauraB> what is your favorite aspect of the bombshells?
<Natashya> Probably that, while they all feature that
strong, appealing heroine, each story is unique--I never know what to expect,
so it keeps me on my toes as a reader and as an editor.
<donnell> Thanks -
Assuming you do accept paranormal elements in Bombshells - how big a part can
that play? Is there a limit?
<Natashya> Basically, each book
should be based on today's world. We've got a vampire who owns a night club in
NYC, a futuristic crime fighter who lives in Chicago 2100--that story, KISS OF
THE BLUE DRAGON--probably involves the most world-building that we've got. We
want stories set in a contemporary world readers can still relate to. But we certainly have room for
paranormal elements. Other paranormal elements include artifacts with power and
heroines with super abilities. In each case, the story
is still set in today's world.
<Heather>
Do bombshell heroines have to be in the middle of high-paced action throughout
a good majority of the story, or can it be a
more emotional intensity with a bit of action thrown in. In other words,
do they have to know how to kick butt from the get go, or can they grow to that
point by the end of the book?
<Natashya> We've got different
amounts of actual action--there is certainly room for variety. However, the heroine should be PROactive from
the get-go. The more cerebral mystery-type stories aren't
what we're looking for at this time. I think the amount of action depends on
the heroine and the situation, but the story must be
fast-paced and convey a certain sense of urgency.
<susan> I have a cup
cake eating congresswoman looking for her father's blackmailer. She's average, but confident enough to try anything. Her
tactics are unconventional, though effective. Is that okay? Is humor okay
<Natashya> Humor is definitely OK. Check out this month's Stella, Get Your Gun for an example of one of our
lighter-toned books. Sounds like your gal has the
right attitude--the rest will be up to your style. Unconventional sounds like
fun!
<Donna> What is the length of a Bombshell? And
what are the heroes like? Strong, powerful, or overshadowed?
<Natashya> Bombshells are 80,000-90,000 words. And we want strong, appealing heroes who are worthy of our
heroines! The key is to be sure the heroine and the
high-stakes plot drive the story, not the developing relationship with the
hero. We've got lots of room for surprises--she may
start off with the wrong man before finding the right one, or may fall for a
suspect, whatever you can throw at us and surprise us with. But
the romantic subplot should be compelling and tantalizing!
<Marge> One
of the ladies here mentioned wanting to get back copies. Where can she find them?
<Natashya> You can order any
titles that are still available through eHarlequin.com. You can also try Amazon, they seem to have good resources for people who
can't find older titles elsewhere. But eHarlequin should still have all the Bombshells available. I've actually noticed that stores near me are hanging on to
a few months worth of titles, probably because the books are so new.
<Marge>
thank you
<LauraB> <Asking for Trish> I
understand you are looking for "techno thrillers" for the Bombshell line.
How would you define this type of story?
<Natashya> Hmm, that didn't come
from me--not that we're not looking for techno thrillers!--but I'm not sure how
to define them. I think of The Net, or James
Bond--computers, gadgets, technology and realistic technological detail being
part of the story. For instance, Digital Fortress is a fantastic--and over the
top--techno thriller, in my book.
<susan> Are there any
plans for mini-series within the line? If so can a
book end with a question? ie
one segment of plot is left hanging?
<Natashya> We have several
miniseries in Bombshell, including the Athena Force continuity series. As a
rule, every book should stand on its own. However, shaking things up, we did
start the whole Athena Force series with a book that leaves many questions. Other
miniseries include Vicki Hinze's War Games, Lindsay
McKenna's Sisters of the
<Vickie>
Thinking about The Net, would you have considered this movie a Bombshell, if
you had received something like this?
<Natashya> The Net--yes, that's
one example of an ordinary woman thrown into extraordinary circumstances, who
rises to the occasion and doesn't give up.
<Vickie>
Thanks
<LauraB> <Asking for Trish> You
mentioned paranormal elements being allowed, but also wanting realistic
stories. How do you see them woven into the story, or are they going over the
top and leaving behind the “reality”?
<Natashya> I suggest you have a
look at AKA Goddess, by Evelyn Vaughn, and Urban Legend, by Erica Orloff--these are examples of books with paranormal
elements that are still based in reality. Our Luna books are examples of books
that would not work--they go to other worlds. We're
open to near-future stories, so long as they don't cross into alternate
worlds--that's science fiction. If you include paranormal elements, you need to
include a logical explanation for the reader as to how they came about, why
they exist--don't just say there are vampires without
providing a realistic (although made up!) explanation. Make it credible, bring it to life for your reader.
<donnell> I have a
semi-dark revenge story with a surprise ending in which the heroine finds
nothing she believed in was actually true - does that sound like a possible
fit? How dark can it be?
<Natashya> There's a lot of room for darkness here--so
long a the reader will still feel satisfied and not
depressed! But your twist sounds intriguing, that
certainly would be something we'd consider.
<donnell> Thanks!
<Natashya> I think when you get dark and gritty, you've still got to provide the reader with something they
can relate to, something that compels them to root for the heroine.
<Marge> I know the line was stabilizing when it first started. Have
the books settled into what you want?
<Natashya> This is a tough
question! The line will always be evolving. If you look now, you'll
see a lot of special agents and cops and PI's. As we turn to 2005, you'll see some very unusual occupations, such as a CPA and
an orchid-hunting botanist. Each book is something that we want, in its own
unique way--and some will be more unusual than others.
(not that CPA is unusual, just...unusual in
Bombshell!). But we're basically looking for
compelling, heroine-focused, fast-paced stories with high-stakes plots--that
hasn't changed. As we get "older" and see what went over with readers
and what didn't, we may adjust what we're looking for,
but that's going to take some time.
<Vickie> I'm glad to see there's room for ordinary people. Like a
CPA.
<Natashya> There's room for tons
of stuff. We really want unpredictable, compelling stories. Of course...she's no ordinary CPA! She's
a Bombshell!
<Vickie>
LOL. Thanks!
<LauraB> <Asking for Trish> Word is that Bombshell
is doing well and has had good sales. Can you comment on that and tell us a
little about what you think is making the line a hit.
<Natashya> I think readers are
looking for something a little different, something with a twist. Bombshell
plays to what's very popular in entertainment right
now, such as Alias, CSI, Crossing Jordan, Lara Croft, Buffy, Kill Bill, and so
forth. We’ve got lots of potential for growth, just
need to keep reaching out to readers and getting them to pick up the books. So
far, results are encouraging, and I won't be satisfied
until I--I mean, we--take over the world. I'm not a
marketing expert, but I suspect that many of our current readers are loyal
romance readers looking for something different, and we're thrilled to offer
that. I also think we can reach out to people who
might not try a romance and offer them something special too.
<LauraB> <Asking for Trish> I've
heard both that you're looking for stand-alone books from first-time authors
and that you're eager for good series ideas from authors, whether established
authors or first-timers. Is it one of those areas where it "just
depends"?
<Natashya> That's about the size
of it! This is a great line for new authors because we're
new and hungry for books. It's tough to sell a series
as a brand-new author, but if it's fabulous, I want it.
<Marge>
We're about out of time, Tashya, but on behalf of
FCRW, thank you for your time and expertise. Heather had to leave, but she asked me to convey her thanks as well. It's
been very enlightening and FUN!
<Natashya> Thanks Marge, and thank everyone for being
here! If you've got a potential Bombshell, please send
it. If you've read Bombshells and have comments,
please write to me, I really want to know. If I can answer more questions in
the future, I'd be happy to do that. You're all welcome! Good night!
Protocol
has ended. Social chat followed. Return to speakers list
Writing A
Chick Lit
Q&A Session
The Definition of Chick Lit
The first thing everyone wants to know is, What is Chick Lit? And if you ask a
dozen editors, agents, and authors, you'll get a dozen different answers. The
answer, to me, boils down to 3 things: Tone, Voice, and
Attitude.
The book credited with spawning the industry is almost
iconic now, and when I mention BRIDGET JONES' DIARY, everybody will get exactly
what I'm talking about.
Bridget is not your traditional romance heroine, by any means. She's overweight
and overstressed. She
drinks too much, smokes too much, and has sex with the wrong guy.
But we love Bridget with all of her flaws, faults, and
foibles, because Bridget is us. At least, she's many of us. Those of us who've ever had dead-end jobs, tyrant bosses, or critical,
obsessive, bad-smelling colleagues (oops, that last was a bit personal!).
Those of us who've worried about our weight or looks or
height or hair or ugly feet or bad skin, or all at the same time. Those of us who are
afraid nobody will ever want to marry us at the same time that we're afraid
that somebody will. (Sex
with the same person for the next fifty years??? Euwwww!) LOL!
Basically, the tone of the book is the tone of CL - it's
real. Flawed and funny
and real - like a favorite girlfriend is talking to us and telling us about her
life. How is it possible to empathize so deeply with such a flawed
character? It's
Tone. It draws
us in, makes us feel like we're sitting down for a snarky
little gossip with a close girlfriend who tells us everything and knows all of
our secrets, too. It's
delicious and dishy and real -- warts, flaws, bikini
waxes, and all, and we love it. or we hate it. :) CL
is an acquired taste
Voice: I'm not even
going to attempt to define voice, because there have been tomes and treatises written
on what it is and how to discover your own. Trust me, if you write enough, your
voice will shout up off the page at you. And, as my brilliant agent says,
Editors Buy Voice, Not Plot.
The best way for you to discover what chick lit voice is
all about is to read extensively in the genre. It's hard to walk in a bookstore
without being surrounded by hot pink covers (and one adorable swimming-pool
blue one with a girl floating in a rubber raft, but I digress into shameless
first novel release geekiness <g>).
In addition to Helen Fielding, BRIDGET's
creator, you might want to try Marian Keyes, the fabulous Irish author who is
surely the Fairy Godmother of chick lit. Her many books explore family
relationships and romance along the way of the central protagonist's journey to
find herself. Michelle
Cunnah's 32AA was last year's Romantic Times' BookClub's Top Chick Lit of the Year award winner, and
deservedly so. Jane
Green, Megan Crane, Kristin Billerbeck (who writes
Christian Chick, and we will discuss all the subgenres of chick lit soon - I
promise!), Bettye Griffin, Donna Kaufmann, of course SHOPAHOLIC's Sophie Kinsella, and
many, many more are on the shelves.
Attitude: This is
Not Your Grandmother's Romance. <grin> A little sarcastic, a little snarky, a bit cynical, and maybe with a budding world-weary
view, the chick lit heroine suffers greatly when judged by traditional romance
standards. Some
chick lit heroines are called anything from whiny to selfish to brittle, distant, or downright bitchy,
because they are too busy fighting to stay afloat in the modern world of work
and dating to have time.
But make no mistake, there are many sweet and nice
heroines in chick lit.
They're usually the ones who start out their books being dumped
by their boyfriends and dumped on by their bosses.
But the most important part of the chick lit attitude is
that it's all about the protagonist making it. She's got humor, she's got courage,
and probably a closet full of shoes and a few very close friends to help her
through the tough times.
As she faces thosee tough times with
all of her strengths, she journeys to her own self discovery.
If you were wondering, Where's the Hero? -- there are almost always romantic
elements in chick lit.
But getting the guy is the icing on the cake. (Or getting the icing on the guy and
then eating the cake, which would be even better. . . Oops. Digressing again.)
Q&A Begins:
<LBarone> If the hero is wearing
the icing, then anything goes in CL?
<Alesia> LOL! CL
is definitely about breaking the rules. Most of the conventions you may be used to if you write traditional romance do not apply.
For example, Jules in IDLE never meets Sam until page 50 or so. It's also written
in first person present.
<LBarone> wow, that is different than
traditionals
<Alesia> Also, there may or may not even be a romance in CL. If there is, it may
or may not even be with a man. Or it may be with more than one man. Remember how Bridget had
to go through Hugh Grant to get to Colin Firth? We should all be so
lucky!! :)
<Molly>
What tense would you use here? Would first person past be okay?
<Alesia> You should use whatever tense fits your story. Much of CL is in first person, because
it takes you inside the protag so well. But past or present
is up to you. And I've definitely seen third person CL. And alternating 1st and 3rd. It's totally up to
you and what fits your story. My agent initially didn't like IDLE in first
person present and I toyed with changing it, but for my story, it killed the
energy. We
ultimately had 4 houses in the bidding, so that worked
for me.
<Marge> What publishers are looking for CL?
<Alesia> EVERYBODY is looking for CL. I have a list complete with contact
info I will post to the loop after this chat. Most houses have their own
imprints now. As
I'm sure I've mentioned, I'm launching
<LBarone> What is the one convention
in the books you like most about CL? The least?
<Alesia> My biggest problem is that I hate whiny
protagonists. I hate 'em in
romance and I hate 'em in CL. I'm
a 'take charge of your own life' kind of girl, and whiny helpless women make my
teeth hurt. Unfortunately, many early CL authors tried so hard to emulate
Bridget JONES that there is/was a lot of that on the shelves. I just don't write whiny protags. Not all
CL is funny, but mine are very funny (which maybe
sounds bad, what I mean is that humor is my strength and I play to it). so much
of my humor is situational by what my protag is going
through and I also use a great deal of character-driven humor but all of my protags are always trying their best, in spite of
everything that life dumps on them and life dumps a LOT of my poor characters!!
<evil grin>
<Alesia> I should mention subgenres. the CL voice is really popping up everywhere.
We're seeing Christian chick - faith-based
stories where, as my friend Kris Billerbeck says, all
a girl really needs is a nice Christian boy who doesn't live in his mom's
basement -- and a Prada handbag
Ethnic chick - think
DIRTY GIRLS SOCIAL CLUB with
Mystery chick -
mysteries and thrillers with the CL voice. Although Janet Evanovich's
Stephanie Plum would probably take exception to me calling this a
"new" subgenre
And of course, YA chick - like my SUPER
WHAT? series
Or the darker, edgier teen lit like GOSSIP
GIRLS
Oh, there's
also a surge in paranormal CL these days - like MJ Davidson's UNDEAD AND UNWED.
<Alesia> I also want to add a plug for our new
online CL chapter of RWA - CL writers of the world. In just a few months, we
have nearly 300 members, dues are only $16 for now, and we have online LIVE
chats with editors and agents and other industry professionals at least twice a
month. Im the VP/co-founder and it really is worth
your time, if you want to write in the genre. We have many of the hottest
authors on our loop and active. www.chicklitwriters.com if you want to check us
out. End of commercial. :)
<Marge>
tell us a bit more about the hero. What's he like?
<Alesia> Well, the term hero is misleading, in a way. Remember, the basic
distinction between romance and CL is that CL is about the protagonist's
journey and there may or may not be one or more romances in it. In romance, of
course, the main story is the relationship. So the guy
in CL can be anyone you want him to be. In IDLE I have an extremely hunky head
of a construction company guy who basically melts
Jules's panties off with a glance, according to her. He's
the strong silent alpha male type and she is always the center of a hurricane
and drives her nuts. IDLE is closer to traditional romance than many CL books because
Jules's and Sam's relationship gets a lot of play. My Christmas anthology is pretty much a romance written in a
chick lit tone. But guys in CL don't have to be alpha.
Or even available. Red Dress Ink seems to put out one
book a month where the love interest is married. Being married, I don't care for those. But everyone
has their own taste. Oh, I meant the love interest is
married to SOMEONE ELSE.
<
<Alesia> It's very freeing but very scary for
people who want structure.
<
<Alesia> yes!! Both of them!!
:) IDLE is
usually on the front or 'beach read' table in bookstores. And
SUPER WHAT? is in teen fiction under my pen name Jax Abbott.
<
<Alesia> thanks.
<LBarone> what made you decide to write chick lit?
<Alesia> If you're writing CL, e-mail me if you're
interested and I'll send you a copy of the synopsis I used to sell IDLE. I decided to write it because I love it! you
know how people always tell you to write what you love to read? I discovered it
and it was like, AHA! At
last! Somebody
is speaking my language! A little sarcastic, slightly snarky, very real. and it fits my voice perfectly. Voice is always
what editors tell my agent they love about me, so it's
good to find a place I fit!
<LBarone> Isn't that the truth! Something
we all look/strive for
<
<Alesia> I think she predates CL even and Janet E. may say differently, but
she certainly has the Tone, Voice and Attitude of a CL
protag. I adore her!!
<
<Alesia> I'm writing a series of CL legal thrillers
and I think of my protag, Alex Vaughn, as the
Stephanie Plum of lawyers. Love, love, love Stephanie.
<
<Alesia> :) Alex
doesn't have a gun.
<
<Alesia> but she has a hunky ex-seal PI after her. Yummy
<
<Alesia> I don't think anybody is like Ranger. LOL!
<
<Alesia> any other questions? please feel free to ask me anything,
even about business stuff.
i'm glad to share anything I know
<Alesia> oh, speaking of business. CL advances for first books range from
$10 - $30
<Alesia> with most in the $10-$15,000 range
<
<Molly>
Now I remember. What
is your e-mail address?.
<Alesia> alesia@alesiaholliday.com
<Alesia> website is www.alesiaholliday.com
<Alesia> please enter my contest, too, because I'm giving away a TV and a
karaoke machine to celebrate IDLE's release
<LBarone> What is your typical
writing day like?
<Alesia> aargh. well, I just went through a rough 2
months with a terrifying cancer scare and a biopsy and surgery so I"m just now this week getting back to my routine (cancer-free,
i'm happy to report!!!!!)
<LBarone> thank goodness!
<Alesia> but I get the kids off to school, then take the dog for a run and
get breakfast while I watch the news. then i do
e-mail and catch up with my Board duties for CL chapter and PASIC chapter. I'm usually ready to start writing by 11 (so not a morning
person). I usually try to write 2-3K words per day. First I edit the pages from the day before, and input them
to get in the flow then I jump in. If i'm
up against a deadline (or past one, like now), I'll also write in the evening
while husband and kids are locked out of office and after kids' bedtime. I
mostly don't write on weekends but am going to start
doing at least an hour because I waste so much time Monday getting back in the
mood
<AnitaTooke> Why do you think the
demand for CL is so high right now?
<Alesia>The demand is so high because the books are flying off the shelves. CL
really speaks to a new generation of women who wanted books about themselves. the market research said that buyers treat buying a CL title
as just adding a few dollars to what they would have paid for a fashion
magazine. Publishers are saying printing CL titles is like printing money. the flip side, of course, is that everyone is trying to
write it so if you have a story to submit, make sure it's different enough to
stand out. all the agents and editors are saying NO
more girl in the city hates job, serial dating stories. they
want creative plotting and a really unique voice and if you have an ethnic
background to draw upon in your work, that's very very
marketable.
<LBarone> do you work on one story at a time or switch beteen cl and ya?
<Alesia> I can only write one book at a time. I'm amazed at people who can do more
than one. I
have to be totally inside the characters' world even more so, with YA, I have
to be 15 years old.
It's a very schizophrenic thing! my kids
will come home and I'll say, We're, like, so Totally having pizza for dinner
tonight and they know i've been writing Jessie
<
<Alesia> LOL!!
isn't being a writer great?
<
<Alesia> getting paid for our mental illnesses.
<
<Alesia> :)
<LBarone> LOL! Like the way you think :)
<LBarone> any other questions?
<LBarone> Alesia, thank you so much
for your time and sharing your knowledge with us tonight
<Alesia> Well, back to work for me! Thanks for chatting with me, and if you have a question you think of later, just
e-mail me!
Protocol
has ended. Social chat followed. Return to speakers list
Chat With Wings e-Press
Executive Editor,
Q&A Session
<
<LauraB>
<
<LauraB> How long have you been an editor?
<
<
<
<
<E_J> do you have a degree or
practical experience
<
<
<
<vlwking>
Does Wings have a specific amount of books published each month or year?
<
<vlwking>
Are they a mix of contemporary and historical or how does that work.
<
<vlwking>
Thank you.
<E_J> how do you get your submissions
- synopsis or ms - mainly
<
<vlwking>
I don't know much about e-publishing, so how does the process work in terms of
after the book is finished?
<
<vlwking> How
do the authors get their books? How do readers get the stories, etc.?
<
<vlwking>
Do the readers have to go to the website to download?
<
<Marge> Hi,
<
<LBarone> Do
you have any pet peeves -- things writers are submitting that you just wish we'd forget we know?
<
<judypeters>
What plans do you have for Wings in the next several years?
<
<
<
<LBarone>
could you tell us what your favorite hero type is?
<
<LBarone> What is the one plot line you think is over done? The one you'd like to see more of?
<
<LBarone> that's good to hear :) thanks
<Marge>
Do you expect to be applying for RWA recognition?
<
<Marge> thank you
<E_J> has an editor do you have any
'rules' that you follow or is it strictly what appeals to you
<
<dolores>
How many editors do you have on your staff?
<
<dolores>
thank you
<vlwking> I'm
sorry. I have
to leave. Thank
you,
<
<E_J> if all flows well - how long
between submission and publishing?
<
<judypeters>
Can you tell them some about the cover art for our books?
<
<judypeters>
Just bragging on our artist!
<E_J> as an author ever given their
art work to go with the book
<
<
<
<LBarone> We have time for one more question. Do you have any parting
words for someone who might be considering Wings?
<
I hope I've answered all your questions but
if you have others, write me at: stephens.lorraine@att.net
Protocol
has ended. Return
to speakers list.
Harlequin Intrigue author, Gayle
Wilson
Q&A Session
Gayle,
why don’t you start by telling us a little about yourself.
Okay, I'm from
<LauraB> Gayle - The first question on the floor is from Heather -- How long
did it take you to sell your first romance?
<Gayle> Well, I thought it was a traditional
Regency, so I sent it to a Regency house. They rejected it, but told me it was an historical. Then I
sent it to Harlequin, and after seven months, they asked for revisions and
bought it.
<LauraB> Could you tell us what a
typical writing day is like for you?
<Gayle> Oh, goodness! My 93 year old MIL lives with us, so
I'm a care-giver as well as a writer. I usually write in spurts, while I'm tending to her and the animals. I try to write at least 5 pages a day, but sometimes I'm writing them at
<Marge> How long does it take you to complete an Intrigue?
<Gayle> Usually three to four months, depending
on what else is going on in my life. This year it's
been how often the grandbaby is sick and can't go to daycare. <G>
Sometimes I help out with my dh's business, so that's
time off from writing, too.
You know the drill. <G>
<LauraB> Do you have plans to try a BombShell?
ga
<Gayle> Ah. . . I don't plan to do a Bombshell. I think I could,
but I've got enough balls in the air right now.
<G>
<E_J> do
you need to set up a mental atmosphere to generate tension in the story
<Gayle> EJ, what do you mean by a mental
atmosphere? In the reader?
Or in the character? Or in me?
<E_J> to
create the scene - I think in black and white - old
movies
<Gayle> Absolutely, you need to set up an
atmosphere. There's
a bit in the handout about that. Think how well those old B&W films did
that. Lots of shadows and darkness and unknowns lurking around the corner.
The reader is already tense when the danger finally arrives because she's been primed to expect it!
<HeatherW> I have a questions
about endings. With suspense as well as other subplot driven romances, which
ends first? Does the romance get resolved or the murder, for example, first?
<Gayle> The rule of thumb is that the external
conflict should be resolved first, BUT rules are created to be broken. (Don't
tell Marge I said that.)
<HeatherW> LOL
<Gayle> I've done it
both ways, but usually I resolve the suspense first and then the romance last.
Readers seem to like the last bit to focus on the H&H, as well they
should.
<Marge>
Do you have a system for planting clues? (and I hear
that!)
<Gayle> LOL. Not really a system. I sometimes have to go back and put
things in so the reader will have a fair chance. Sometimes the clues are just there.
You know that I'm a pantster, and I do that in RS as
well as anything else.
I just wing it and then fix what needs to be fixed as I go.
<Marge> So you don't have them set in your mind as you write?
<Gayle> Absolutely not! Nothing much is set in my mind as I
write. I do a
lot of going back and touching up the canvas, so to speak. That's what's lovely
about writing on a computer.
I can't imagine writing a book on a typewriter. How did those guys
do it!
<vlwking> I'm sorry it took me so long to get into the
chat--computer problems.
Here's my question. In your notes we read, it says that
your characters may be on the verge of making love when the danger interrupts.
How do you do this without making the scene seem contrived.
<Gayle> Well, I'm not
sure it doesn't sometimes seem contrived. You might let the reader know that
the danger is at hand, but the characters don't know. Or you might make it a huge surprise to all.
<vlwking> I like the
idea of letting them know that danger is at hand. That would work.
<Gayle> Honestly, I hadn't thought to much about
it seeming contrived. I
just think of it as another roadblock or complication you throw in their path, just as you do with the suspense plot.
<vlwking> Thanks, Gayle
<Gayle> If something goes wrong while they're
working to solve the mystery, then we don't think that's contrived. We expect it. I
think if they don't get to "resolve" the sex,
then that's just another roadblock. <G>
<vlwking> That makes
sense.
<Gayle> Maybe! <G>
<Marge>
You said the characters need down time, which I understand. How besides in the love scene do you
do this?
<Gayle> Quiet times to talk. To get to know one another. Or do you consider
that a love scene?
<Marge> No. I mean aside from the romance.
<Gayle> They may also
be talking to other people about the mystery, but not really in danger. They're out pursuing clues, doing research, meeting the
other characters
<Marge>
Ok. Like at the police
station for instance? Thank you
<Gayle> Sure. Or at the home of the local doctor. Or the morgue. Lots of fun places.
<G>
<HeatherW> Ok, a little bit off the subject, but you
piqued my curiosity. I'm a Pantster too, and I'm wondering how long it takes a
published pantster to write the first draft. Most
plotters take a bit longer than I do, and I'm
wondering if that's the norm? (Im paranoid about this
LOL)
<Gayle> Up until this current book, I would have
said that I don't write drafts. Usually I correct and polish as I go
along, so that when I get through, I'm pretty much
through. This one isn't working out that way, and I'm not sure why. It's very scary. I feel compelled to
just rush through and tell the story without doing all that endless polishing.
I'm not sure it's working, and I'm very nervous. See, no matter how many books you
write, something always happens to make it a terrifying experience. <G>
<HeatherW> ty
<LauraB> What sets an Intrigue
apart from an IM?
<Gayle> Intrigue always have suspense. IM's may not. Intrigues are more
a 50-50 split on the romance/suspense. IM can have what I
call "suspense light". Both the hero and the heroine
have to take an active part in solving the thing with Intrigue. And both have
to be connected to the danger in some way. (I mean
connected before the action starts). They each have their own connection to what's going on and they join forces to figure it out or to
defeat it. I think those are the main differences. Intrigues do more straight mysteries
than IM's (Books where you have to figure out Who done it.)
<Marge>
Do you do any pre-writing at all? Like profiles, GMCs,
etc. ga
<Gayle> I write a synopsis that bears little
resemblance to the story.
I don't do charts, graphs, profiles, or any of that. I do stuff in my
head, I guess, but it's pretty nebulous. I'm a true pantster. Oh, and if I didn't have to write that synopsis to get paid, I wouldn't!
<vlwking> Any no no's in an Intrigue? For example, how gritty can it be, or
how much bad stuff will they accept?
<Gayle> Vickie, I've done some pretty bad stuff
in Intrigues. Torture,
threatened children with violence, shoot people ALL the time.
<vlwking> LOL okay that answers my question. Thanks
<Gayle> I've never been
questioned on gritty stuff, but I've been questioned on language a couple of
times.
<LauraB> Are paranormal elements allowed in Intrigue?
<Gayle> They are doing A LOT of paranormal right
now! A
<Laura_B>
cool! thanks
<vlwking> What about view points? Who can have one?
<Gayle> Generally in Intrigues we stick to the
H&H and the villain.
In a series with on-going characters, I've
had the characters from a previous book in the series have a POV, but only if
it's a series (I think). That POV comment isn't a hard and fast rule, BTW. Others may do it
differently. Just
to clarify.
<vlwking> Thanks.
<Sandra>
Alicia Rasley says there's a difference between a
villain and an antagonist.
Have you found this to be true?
<Gayle> Probably not in RS. To me an antagonist is anyone who
opposes the H&H. It
could be the heroine's family who doesn't want her to marry the hero. The villain is a
bad guy. In RS,
the antagonist is generally the villain. Does that make sense? In other words, in straight romance,
you can have antagonists who aren't villainous.
<LauraB> Gayle,
do you have any suggestions for someone who might be considering an Intrigue?
<Gayle> Read the line, especially the new
people. As I said, they like paranormal right now.
Make sure the H&H are both involved in the danger. He doesn't
need to always be rescuing her. She needs to take an active part.
<Marge>
Do all you villains have redeeming qualities? And what do you classify as a
redeeming quality?
<Gayle> No, they don't. I love a really evil villain. <G>
<Marge> lol you would
<Gayle> Some do, I guess. Maybe ideology would be a redeeming
characteristic. If
they believe in a cause, for example. But then you get into things like
terrorists, so. . . I
guess I couldn't go there. Make 'em
bad to the bone. <G>
<Gail>
I'm still 15 minutes ago wondering why Gay thinks she needs to polish anything. And I love evil
villains, too.
<Gayle> LOL. Oh, honey, if you only knew! You
should see my first pass at a chapter. <G>
<Gail> And you do it without plotting? How much of the bones of the
story do you have for the synopsis?
<Gayle> Hey, I don't recommend my method. It's terrifying, as
I said. It just
happens to work for me--usually! <G> I've
written 20 page synopses and a one page synopsis. I write what I think they'll make me
write before I can get that part of the advance.<G> I know just what you
said. The bare bones.
I know the set-up. The
inciting incident. The
characters. Sometimes
I know who did it.
Sometimes not.
<Marge>
You should all know that I have the utmost respect for Gayle but this panster vs plotter is a good-natured bone of contention we kid
about all the time.
<Gayle> LOL. We really do. We have for years!
<Marge>
Dolores would like to know if you'll tell us who your
editor and agent are.
<Gayle> My editor is Tracy Farrell. My agent is Meg Ruley
<Marge> ty
<Gail>
I'm a plotting panster. I need turning points and switches
before I can write a synopsis. And usually that's all the plotting I
do. But not
know who the villain is?? That's
amazing
<Gayle> Gail, I thought I was the only one who
did it this way until I went to a Tami Hoag workshop and she said that. I was thrilled! She
also said that the first few books she wrote, she kept waiting for someone to
say, "Give the money back. You don't know what you're
doing." I had felt the same way. After all, I was just making it all up as I went along. For some of us, that's
how it works.
<Marge> If it makes you both feel any better, Tony Hillerman never knows who the villain is until the end of
his book and he's a panster, too. And
he's won the Edgar.
<Gayle> Makes me feel
better! <G>
<Marge>
good
<Gail>
Are you planning on writing any more historicals? The Hussies miss you.
<Gayle> I want to. Harlequin is kind of pushing me to RS. I've got a single
title out April 1 called IN PLAIN SIGHT and then three books under contract for
HQN. So. . .I don't know when I'll get back to the
Regency! And boy, do I miss the Hussies!
<vlwking> Gayle,
you did a great job in the handout that we read. Thank you.
<Gayle> You're very welcome. Y'all e-mail me if you have any other
questions. I'm
going to be out of town for a couple of days, but I'll be back this weekend.
<E_J> I've added it to my reference file
<Gayle> Thanks, EJ. Hope it proves useful in the future.
<Marge>
Thank you so much, Gayle, for coming
and for the great handout.
We really appreciate it.
<Gayle> It's been fun. Y'all invite me back again. Hope to see you in
<Laura_B> Gayle,
any parting words of wisdom
<Gayle> Words of wisdom? Just. . .keep on writing. And enjoy it!
<Gayle> Love to all!
Protocol has ended. Social chat followed. Return
to speakers list
Writing
Multiple Romance Subgenres
Harlequin SuperRomance
author, Sherry Lewis
I've
spent some time thinking about the topic of writing across romance genres, but
it's such a broad topic, I'm not sure I'll touch on what you want to hear, so
I'm really counting on all of you to ask questions!
I asked
the members of my longest running workshop to tell me what they'd want to hear
if I did a workshop on this subject, and they came back with a few suggestions,
so that's where I'm going to start.
One
asked, How is writing a romance different from writing a mystery, different
from writing a time travel in terms of mind-set, creative process, & plot?
I think
that every genre and sub-genre has its own language, its own rhythm, its own
feel. Short contemporaries are far different
from long contemporaries in terms of pace, rhythm, and language,
and those are different from romantic suspense.
Romantic
suspense is as different from traditional mystery as night from day, and time
travel is completely different from fantasy romance.
This is
one reason I've never been a big supporter of the common
wisdom to brush up a manuscript that's been rejected, lengthen it or shorten
it, toss in a ghost or take the ghost out, and submit the manuscript to an
entirely different line.
Submitting
to a line that is similar in tone and texture is fine, of course, but I've
heard editors comment about manuscripts that have obviously been redone, and I
would never advise another author to put herself in that position.
I think
it would take a fairly new editor without much
experience not to recognize a short contemporary that's been turned into a long
one, or vice versa.
There's
a big difference in the world view of the readers of the various genres, as
well.
When I'm
writing a long contemporary romance, I'm writing to people who believe that in
spite of a few problems, life is generally good and love conquers all. The characters are rarely cynical people, and if one
appears cynical, there is good underlying motivation for the attitude.
In
tradition romance, the characters believe in the human race and they're fairly upbeat people as a general rule.
When I'm writing a time travel romance, I find that I can be a
little more cynical about life, but I still have to write with the belief that
love conquers all -- even to the point of leaving behind everything that is
familiar, everyone the character loves, and settling in happily in a new time
period.
That's
personally very difficult for me to believe, so when I write time travels, I
tend to make the traveler something of a loner, with very few people to leave
behind. And the one time I didn't, the loss of
his loved ones was an ongoing problem during the book.
Still and
all, in time travel romance, the overriding belief must be that anything is
possible.
In
romantic suspense, the life view may be even more cynical, and though love doesn't necessarily conquer all, it is a great healer.
When
writing straight mystery, love doesn't really play a
part in the world -- unless love, the quest for it or the determination not to
lose it, is the catalyst for the murder.
Characters
in these books don't have to believe that love
conquers anything -- and neither does the author.
Obviously,
if the life view is different for each type of book, it's
important to make sure that you're in the right mind-set when you approach the
book.
If you
have a somewhat cynical view of life and you're trying
to write short, sweet contemporary without a lot of success, that difference
may account for some of the problems you're experiencing.
If you've been raised to believe that sex before marriage is
wrong and you're trying to break in to the market writing sizzling hot books,
you may have trouble finding the success you want.
And
if you see nothing wrong with a good roll in the hay on the first date, but
you're trying to break in by writing for a sweet market, you just might have
the same problem.
What you
write must be consistent with what you believe to be true of the
world.
Now, the
truth is, that most of us have more than one side to our personalities, and that's where getting into the right mind-set becomes
important.
I'm
capable of feeling both cynical and optimistic about the world and the people
in it, and making sure that I'm in the right frame of mind is vitally important
when I move from one genre to another.
If I've
just finished writing a murder mystery, that is the time for me to do my next
mystery proposal -- while my mind and is still in that frame.
The first
thing I'll do before sitting down to write a Superromance
is to read one or two Superromances just to get back
into the right frame of mind and to begin to feel the rhythm of the book I need
to write and the world my characters are going to live in.
It's also
important to keep in mind what constitutes a book in the genre or sub-genre
you're writing. Short traditional romances are
generally all about the relationship and everything else might just be window
dressing.
Issues in
the characters lives in a short traditional might only provide motivation for
the character's thoughts, feelings, and decisions. In
a longer romance, such as a Superromance, those
issues will be more fully developed into
subplots.
When
writing a time travel romance, for example, the focus is partly on the romance
and partly on discovering the new world the character has stepped into. You can't ignore one for
the other, and since readers come to those books for both, writing about a
character who accepts the new world *too* easily would be a mistake.
Likewise,
when writing romantic suspense, the focus is split between the romance and the
suspense plot. Depending on the publisher and
the line, the focus might be split 70/30 or 50/50 or even 30/70.
Understanding
the conventions of the genre is important when you begin to plot, and vital
when you begin to write.
Knowing
what secrets you need to reveal and when to reveal this is crucial to plotting
in any book, and especially true when you're writing
about suspense of any kind.
One of
the biggest mistakes I've seen over the years I've been teaching and critiquing
is when authors reveal too much too fast and then find themselves with 100 or
200 pages to fill, and no secrets left to divulge.
The
motivation has all been explained, the back story
revealed, the characters are so instantly attracted there's nowhere else to
go.
No matter
what kind of book you're writing, there are mysteries you must preserve for the
reader. In a romance, the end of the book is
already determined before the reader even begins to turn the pages. The only thing left to you as an author is the
question of why?
Why is he
so angry? Why doesn't she want a man in her life? Why hasn't he spoken to his father in twenty years.
If you
answer those questions in the first chapter in an attempt to create sympathy or
reader identification for your character, you're just
about guarantee yourself a saggy middle.
And if
you get the characters together too soon, you're doing the same thing. Even if you love hot sex scenes, they can become
boring unless they're moving the story forward -- and having sex again usually
isn't a forward movement, it's lateral.
Any book
where the characters move sideways for scene after scene is bound to feel
slow-paced and boring, no matter what the characters are doing in those scenes.
Romantic
comedy is another genre that's tough to write.
An author
can write about very serious subjects and treat them with humor if she goes
about it in the right way, if she doesn't sacrifice honesty for humor, and if
she protects those moments that *aren't* funny.
Nothing
can spoil an otherwise great romantic comedy faster than trying to infuse
inappropriate humor into a scene that doesn't call for
it just because the author feels a need to make people laugh.
You need to
keep in mind what the focus of your book is and then make sure that every scene
impacts that central focus in some way. No
matter what you write, you should understand where your central focus is -- the
romance? The murder investigation? The discovery of a new world?
If you're working with a genre that requires half and half --
which is harder than it should be! -- then each scene needs to impact both the
relationship between the characters and the suspense plot or the discovery of
the new world, or, occasionally, you can have one scene impact one plot and the
next scene impact the other.
You
should also know the conventions of your genre so that you know whether the
readers are typically looking for books that impact them in the head or the heart. Mystery readers love to read books that impact their
heads -- that is, they usually like to read books that require them to think
through a puzzle. Romance readers like books
that hit them in the heart.
If you
try to write a mystery using hit-em-in-the-heart
words and phrasing, you're unlikely to meet with
success, and a cerebral romance that leaves the heart out of the equation
probably isn't going to go anywhere.
Atmosphere
is also extremely important. That walk home from
the picnic late at night under the stars and the canopy of leaves should feel
romantic in a romance. The same location should
feel at least slightly threatening when you're writing
a mystery, a gothic, or a work of romantic suspense.
With any kind of book, the most important key is to remain
true to the characters, to remove yourself from the
book and just tell their story.
Now,
since I think the real value of any workshop comes in the questions and
answers, please feel free to ask whatever you'd
like!
Question and Answer
Session:
<LauraB>
What is the one thing you find hardest about writing
in different genres, other than mindset?
<SherryLewis> Well, it would be actually making
that switch. It
can sometimes take me weeks to get the category romance out of my head and out
of my pages, and then weeks more to get them back in when I'm
switching back. I plot things exactly the same way for anything I write,
Because I believe that a good book is a good book is a good book, and the
construction is very much the same. But switching mind-set, vocabulary and
pacing is really the hardest.
<LauraB>
Do you have something you do to help clear your thoughts or is
it just wait it out
<SherryLewis> I don't
really have time to wait it out. So when I'm trying to
switch between genres I'll usually read something, listen to music, watch
movies, etc.
<Heather>
Hi Sherry! I came in late so
forgive me if you covered this but you talked about tone of mystery vs romance how do you keep it together when you meld the
two genres in a romantic suspense?
<SherryLewis> Oh, that is SO hard. I just finished one
and it's really hard.
I found that I had to have a very clear vision of which plot each
scene was impacting most and make sure I used the
right tone for that scene. And I found that I had to change my suspense plot
several times to make it believable to me that the hero and heroine would take
private time out to talk, to share dinner, to share looks, so that I could
believe they'd fallen in love by the end.
What I did
was that I wrote each scene and then went back over it several times trying to
work enough suspense and romance in there to satisfy readers. I'm still crossing my fingers that I
did okay. But I
think the biggest mistake many writers make is to think that you have to write
it perfectly the first time. For me, the magic always comes in revision. Always, always. ga
<dolores>
Heather asked the question I was going to ask about the balance between the
mystery and the romance.
I also wanted to know what publisher would you submit a cozy
mystery to?
<SherryLewis> Well, I
write cozies for Berkley Prime Crime, but I know that other publishers are also
interested. In fact, let me look at a few I have
sitting right here.
<dolores> I think those will help thanks.
<SherryLewis> That should
give you a good idea of who is publishing cozies.
<dolores> Yes. thanks
<Marge> In
a category, the h/h meet in ch 1. What bout a ST romantic suspense
<SherryLewis> Well, of course, that depends on the
category. I
write category for Superromance, but I have written some where the h/h don't meet until chapter 2 or even later.
Laura Abbott wrote one where they didn't meet until chapter 4, I believe. In a ST romantic
suspense, I think you'd probably want them to meet
within the first 1/4 of the book, but as long as it's working, I wouldn't get
too hung up on rules.
<Marge>
Thank you God! ....
and Sherry.
<SherryLewis> In most of
my time travels the h/h don't meet until chapter 2 or 3. In a romantic
suspense, remember that the romance is only part of the story. It's not
everything. So
if you're focused on setting up the suspense first, and it's working, and you
have enough tension to keep the reader turning pages, I don't think most
editors would turn it away.
<Heather> I write mostly medieval or fantasy romance, but I sometimes
like to venture into contemporary. I have been told
(ahem) that my medieval voice carries into that genre as well. Do you find this
happens alot and is there a
fix? ga
<SherryLewis> Yes, it does happen a lot, and that
is why making that switch is so tough and so vital. There is a fix -- I would
surround myself with everything contemporary while you're
working on contemporary. Take down your faerie pictures and put away the Celtic
music. Listen to rock and rap and anything that will
remind you that you're writing about the here and now.
The music of
the time period often matches the rhythm of the
writing, so when you're writing contemps you don't
necessarily want that same lyrical flow that you want with a fantasy. If you're writing contemporary urban, then you need to feel the
punch so your dialogue and your atmosphere reflect that. If you're
writing about romance on the ranch, then stick in the Garth Brooks and crank
it.
But you want to infuse the rhythm into your
brain so that the words you put on paper reflect that. A few years ago, I read
a contest entry that blew me away set around a fire in a tribal village. The author had the
rhythm down so perfectly, I could hear the drum beat
in her words. That's what you're going for with
everything you write -- the rhythm of the setting, of the time period.
<LauraB>
of all the genres you write in, which is your favorite and why?
<SherryLewis> Oh, that's tough. If you're
going to make me choose, though, I would have to say mystery. I think mystery
is my favorite because that's what first made me want
to write. I wanted to be Carolyn Keene and write Nancy
Drew books. But romance also has a special place in my
heart. When I write romance, I'm writing to my daughters and their friends,
trying to show them what true love really is and what I hope they’ll find. ga
<Donna> Do
you have an agent-or have you always gone through it by yourself?
<SherryLewis> I had an agent when I first started,
but I'm on my own at the moment.
<Donna> Is it important for a newbie to have an agent in your
opinion?
<SherryLewis> I actually prefer to conduct
business myself, but maybe that's because my
experience with my agent wasn't all that satisfactory :) It depends on what you're writing and who you're targeting. I don't know that it's
necessary to have an agent if you're writing category romance and targeting
Harlequin/Silhouette. On
the other hand, it doesn't necessarily hurt you if you
have a good agent.
<Donna> I write historical romances-medieval mostly, a little
regency.
<SherryLewis> I think it's
really an individual choice, but if you're not specifically targeting category,
you may want to consider it.
<TaraGreenbaum>
You recently critiqued a ms of mine, which, thank you
again. :0) Anyway
with all the extra things you do, when do you find the time to write? :0) Really my question is, how much writing do you do each day?
<SherryLewis> I remember your manuscript! I was happy to see
come into the room tonight.
<TaraGreenbaum> :0)
<SherryLewis> I have had to cut way
back on critiquing for other people because a few months ago I was
critiquing more than I was writing. I do teach internet classes --- (We're
doing powerhouse scenes in March, btw <g>) But writing has to be my first
priority.
I write no less than 10 pages a day, and I
try for two scenes, which is somewhere between 12 and 15 pages. I keep a time
sheet to make sure I'm not slacking!
Back when I worked full time my goal was 5 - 10 pages per night, and I
usually made it. Not always, but I always got further than if I hadn't had a clear goal. Is that what you wanted to
know?
<TaraGreenbaum>
Yes :0) Thank you!
<Lauren> I am unsure if my first romance is category. Can you define?
<SherryLewis> my first
question to you would be -- what do you like to read? And are you writing
something that sounds like what you read when you read for pleasure? It took me a long, long time to figure out the tone that I needed to
find when I write my Superromances -- to realize that
the readers of those are less cynical and more hopeful, and that my books
should reflect that.
<Lauren> Yes, thanks. I started reading
romances with Nora Roberts. Now I read most
everything, tho I admit to not having read any
category.
<SherryLewis> I think the definition of category
has less to do with subject matter than it has to do
with tone. So you didn't read any of Nora's Harlequin books?
<Lauren> I'm very eclectic. My first novel,
now done is a romance from my deepest desire for myself. Yes
actually I have read some of her Harlequin. I forgot!
<SherryLewis> LOL. My guess is that if you don't read category, you probably aren't writing category.
If you love to read category, then you probably quite naturally have more of a
category voice. That's a VERY general statement,
though, and not always true. For most of us, though, our fiction instinct is honed by what we love to read.
<Lauren>
Okay. I agree.
<SherryLewis> We pick up
pace and dialogue and tone and atmosphere without even knowing that we're doing
it.
<Lauren> So it sounds like my next step, after I conquer the dreaded
synopsis, is to find an agent. Yes?
<SherryLewis> Well I'd
probably submit to publishers and agents. Some people can make a sale to a
publisher easier than they can find an agent. I know
many writers who have picked up agents after they made their first or second
sale without one.
<LBarone>
You said the definition of category has less to do
with subject matter than it has to do with tone, could you expand on that?
<SherryLewis> Sure. That was a hard lesson for me to learn. I sold my first
category romance very easily and on a fluke. I found myself in really
deep water as I tried to write my second and even deeper water as I
approached my third.
I hadn't read
any category at all, ever!
(It really was a fluke!) So I was at a loss. As I started reading other Supers by
other authors, I mistakenly decided that what made category romances categories
were stories that didn't get into really serious subject matter. Obviously, I hadn't done enough homework.
But the next
2-3 books I wrote really tanked because I didn't know what I was doing. It was only later,
after beating my head against the wall over my career for months on end that I
went back and started reading again and realized that many category books were
about very deep issues -- and that the deeper issues about family dynamics were
what I loved most. But
I also realized that the tone of those books -- creating people who had been
through or were walking through deep issues but who hadn't become completely
cynical -- were what set the categories apart.
I discovered that I could write about
missing children and domestic abuse and other deep issues as long as I
remembered that the people in my books had to be somewhat optimistic. Sometimes
that meant removing the issue from the hero and heroine
and moving it to a third party, and sometimes it just meant digging deep into
the character and finding his or her deep-seated optimism -- the thing that
would allow them to move toward love in spite of their trials.
After I researched even more, I discovered that the difference
between comedy and tragedy is defined the same way. Comedy isn't comedy simply
because it deals with funny situations. Sometimes comedy deals with very deep
issues, but it's the attitudes and outlooks of the
people involved that make it funny. Does that make sense?
<LBarone>
yes, thank you so much
<Marge>
Book of your heart -- did you write one? Was it published? ga
<SherryLewis> Book of my heart...... Yes, there are
a couple I could qualify as being books of my heart -- both were extremely
difficult to write. But there's another book of my
heart that's still waiting. The BIG book of my heart
is waiting for me to have enough skill to do it justice. Oh, and yes, they were
both published -- the mini books of my heart :)
<Marge>
The ones that were published.... If you'd been asked
to revise them a lot, would you have/
<SherryLewis> I was asked with one, and I did make
some revisions, but I put my foot down when they wanted to impact
the integrity of the story. That was my third romance, and I was still too
afraid to be too tough <g>
The second
one..... No, I couldn't. I was over six months
turning it in because I kept trying to change the hard parts and the characters
become very snotty with me. If my editor has asked for
revisions, I would have had to just pull the book and pay back the advance.
Luckily, she didn't ask me to do a single thing to it.
That should have been six months late. I had to extend
the deadline twice. It was not a good time. Very nearly ruined my career with that publisher.
<Marge>
Thank you
<LBarone>
You mentioned plotting all your books the same way.
What is your system - long synop, story
board, etc
<SherryLewis> I use a
system I made up myself back in the olden days :) My
first step is to take the story apart completely and look at each thread
individually. My pet peeve as a reader is any book
that leaves me unable to believe what the author is telling me, so I unthread
the story in my head and decide exactly what I need to show the reader to make
him or her believe what I know to be true about the characters.
Once I have
done that for every plot and subplot that's twisting
around in my head, I braid them back together again using a sort of story board
(I call mine the PortAPlotty) and either different
colors of font on the computer or different color sticky notes if doing it by
hand.
The colors
help me make sure I'm weaving the stories in
consistently enough to never have to really jog the reader's memory about a
story line. If I'm plotting a romance, one line will,
of course, be the relationship between hero and heroine. Another might be the
hero's trouble with his son. Another might be the heroine's
career. And so on.
In a mystery,
the threads are usually everything I need to show the
reader to convince her that Suspect #1 could have committed the murder. And Suspect #2 and so on. That way I know I'm
always telling the truth -- and I get the clues and red herrings in there and
hidden well.
I've used the same system for 11 years now,
and even though I've occasionally looked at other methods, this is the one I
keep coming back to because it works for me.
Once I have the threads pulled apart, I also can find the turning
points for each story much easier. And then it's a
matter of spacing those turning points across the PortAPlotty
to get the story's pacing down right.
<LBarone>
Our time is about up. Thank you so much for all the
great info you shared with us tonight. This information was invaluable.
End of
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Executive
Editor, for Tender Category, Mary Teresa Hussey
Question and Answer Session
Please
welcome Silhouette editor, Mary Teresa Hussey. MTH, would you like to introduce
yourself and your line
I am Mary-Theresa Hussey, Executive Editor. I oversee the Tender
category of Harlequin and Silhouette--that means Harlequin Romance, Silhouette
Romance, Harlequin Flipside and M&B Medicals. I am also the editor in charge of LUNA Books, the new
fantasy imprint developed by Harlequin Enterprises.
I've been with the company since September 1989--so a long
time! I have been in on the ground floor of Luna, starting in October of 2002
when we got the go-ahead to buy our first fantasy
novels. And we've just launched with the first
one--Mercedes Lackey's THE FAIRY GODMOTHER. So it's been an exciting and eventful year!
LUNA
(www.LUNA-Books.com) Is one trade title a month
(though TFG by ML was a hardcover to launch). These are fantasy novels with
romantic elements running through them. They are less romantic than the popular
paranormal romances--the relationship is incidental--but there is a
relationship so they are more romantic than many of the books currently out
there.
We are
aiming our books at women who enjoy the scope of grand fantasy novels with some
romantic elements and who aren't finding enough of
what they want (because some of it is there). The books are 100-150,000 words,
and are fantasies--no futuristic, sci-fi yet. We have done contemporary
fantasies--wizards and magic in this world and in other worlds. There are
historical novels coming up but the worlds have magic in them. The heroines of LUNA are the focal part of the book. And they grow in magic and abilities over the course of the
story.
We're concentrating on getting great stories and packaging them
really strongly. I think if/when you see our covers,
they are striking! Our art department is doing a great job. We are working with
our PR and Marketing departments to spread the word. We had done some giveaways
at renaissance festivals to lead up to this and tried to create a big buzz
otherwise.
And so far the initial response has been really strong for the program
and the books! TFG reached 213 on Amazon's hardcover bestseller ranking on
January 4th And it has been a featured
title in both Amazon and B&N in the SF and the Romance areas. We've launched our website this January, that's had a lot of
positive feedback too. We had our quiz done to help start interest--what LUNA
character are you, and are also doing a round robin of writing in a world we
made up. So that we can increase reader interest and
participation in the line.
We
hope by doing all of those things that not only will readers pick up the first
book but also want to see what other LUNA titles are available. Whew!
The
next book (Feb) is THE CHARMED SPHERE By Catherine Asaro.
This is kind of a spinoff from the novella she wrote
for us in CHARMED DESTINIES which came out 11/03. The
novella is a Sapphire finalist!
Ready for the questions!
<Heather> I'm
writing a title that is directed for Luna... no one else lol,
but I'm concerned about the romance/suspense division of Luna books. My
hero/heroine are not always together, and when they aren't
they're not necessarily thinking about them. Is this ok with Luna?
<Mary-Theresa>
Heather--yes, it's fine if the characters aren't
always thinking about the other. In fact, it's kinda essential. If they are thinking
about the other, than the focus is obviously on the romance and not necessarily
on the story and development.
<Heather> so she can be off doing her
thing for a couple of chapters? LOL
<Mary-Theresa> Yes,
they can be separated because of the needs of the
story drive them that way. The romance is the bonus to the resolution of the
plot not the focus.
<kat2write> Any
absolute no no's for this line like angels or vampires?
<Mary-Theresa> I have no objections to angels or vampires if they were
handled in a fantasy not paranormal way. There needs to be an openendedness to the story. (Not sure if that is the word!)
So for instance a world pervasive with vampires like Hamilton or Armstrong
would work. But where the story is a continual meeting
and resolution of individual couples like the Feehans,
that's not quite right for LUNA
<Marge> Can you define what you mean
by "grand fantasy?"
ga
<Mary-Theresa> Hmm.
well, we're trying to have it mean that it's bigger
than the individual story, the world is larger, the scope is bigger, and so
there's something beyond the borders of the book. It's got
a realer, more believable sense rather than just one element of fantasy. ga
<Heather> I
just wanted clarification about something MTH said a minute ago. Sorry, but I didn't understand.
<Mary-Theresa> Go ahead. That's what I'm here for!
<Heather> a world pervasive with
vampires would work but the feehans wouldn’t. I am blond so be patient
and gentle <lol> it takes me a bit to understand
what that meant. ga
<Mary-Theresa> Because
the Feehans are all individual romances with
different couples meeting and falling in love. So
there's not really a sesne of the continuity of it.
They are great stories and I enjoy them, but it's a
new couple/romance each time and so that's not LUNA.
<Heather> so you would want the same
h/h for several books?
<Mary-Theresa> We'd have one couple meet and come together over three of
four books perhaps. Or if it was a stand alone title,
it wouldn't be so much about the romance in her books, every time the story
needs to be about the hero and heroine and her realizing how she fits into his
life it's a personal, romantic journey. There may be some outside elements to
face, but each scene brings forth the relationship. In a Luna, it might have a
similar theme, but the story would be turned outward,
toward the plot, the world, the characters as individuals, not as couples. Make sense?
<Heather> very much so . thank you.
<Mary-Theresa> Those are great stories and I have most of them. But they are romances and we are fantasy. ga
<Vickie> Not sure
I quite understand openendedness. Is that what you
just meant when you explained to Heather about couples coming together over a
few books. Don't
know what that unregistered copy thing is.
<Mary-Theresa> There needs to be
resolution of the plot--or the setup for the continuation of the story if it
will have a sequel, So that part comes to an end. But it doesn't have the closed ending that is necessary for
a romance--the promise of the happily ever after it's more of a mainstream
feel.
<kat2write> I too a blond, even if it
is assisted by my hair dresser. So concerning Luna, can a story involve a plot around
murder conspiracy and reincarnation?
<Mary-Theresa> Yes to the murder, and
potentially to the reincarnation. I wouldn't really
describe that as a fantasy element in the fantasy sense of the word.
Reincarnation can be a real belief, and so doesn't
lend itself to the fantasy/other world feeling it could seem more historical or
like an average mainstream.
<kat2write> What if the heroine drifts back and forth in time - reliving parts of
her past that may reflect her future?
<Mary-Theresa> Kat--my gut feeling is
that isn't a fantasy but a paranormal novel.
<Blair> what about going into another
place kind of like Brigadoon but only a Mayan ancient city
<Mary-Theresa> That
would be more in line of a fantasy--but now our little trick question (and I
know it's a bit pedantic) would be how do they travel there? Through a druidic
stone portal is fantasy, through a scientific
apparatus is science fiction
<Blair> through a cave, looking for
someone else and they come across a thriving ancient
city
<Mary-Theresa> If
there's a magic in the cave that draws them across, that would be considered
fantasy by our needs
<Blair>
what about humor.
any ?
<Mary-Theresa> Definitely humor! TFG has a lot of
humor--and so does Laura Anne Gilman's and potentially
PC Cast's. And others have elements that made me smile
even if they weren't as wry as the others.
<Heather> (gasp) PC CAST
<Mary-Theresa> Heather--yes, she's doing GODDESS BY MISTAKE'S great granddaughter's story
or granddaughter perhaps? It's about 150 years after
the Fomorian war. It will be a 12/04 title--ELPHAME'S
CHOICE
<Marge> Are
you accepting unpublished authors and what type of submission do they send you?
<Mary-Theresa> We
have contracted at least two previously unpublished authors. For those authors
they had originally sent in the partial and we asked to see
the complete and after reading the complete we went to contract.
<Marge> How long should the synopsis
be?
<Mary-Theresa> As long as it needs to
be!
<Marge> LOL I like you!!!!!!
<Mary-Theresa> Realistically,
for 100,000 words, probably at least 12 pages double spaced. If the world is intricate,
it might need to go up to 20. But save some of it for
the story!
<LBarone> MTH
-- could we open the questions up to include your other lines?
<Mary-Theresa> Sure! I'd
love to encourage Bombshell in particular!
<Heather> one last Luna... do you prefer
a query or a partial/query
<Mary-Theresa> I'm
happy to take a partial first. It might take a month longer for a response, but
at least it's a fair representation of the writing. (working on catching up on submissions really hard!) The
(slush) piles are a bit uneven. Some that were easy to reject are gone fast.
The ones that require real thought and I want to read
are sitting on my floor mocking me. So I admit to
being inconsistent. But if it's from before October
and hasn't been responded to yet, it's because I've liked the idea at least and
wanted to personally get back to it. But remind me! Because some things have never arrived. They might have gone
to the old address or disappeared into some
<LBarone> You mentioned Bombshell. Could you tell us what you're looking for?
<Mary-Theresa> If you watch Alias, or
Red Cap or Crossing Jordan or Buffy or She Spies or Relic Hunter, than you're
seeing potential Bombshells. The female characters on Mutant X or Andromeda
have the toughness, capability and smarts that
represent the character. It's a little like Luna in
that the romance is variable--it's not as solid as an IM or Intrigue. But there's the potential for something, even if it ends up
wrong.
<LauraB> So you want a heroine
who can kick butt, but what about her causes?
<Mary-Theresa> Causes?
<LauraB> to rid the world
of vamps :) Meaning are there any issues that she shouldn't deal with?
<Mary-Theresa> Well, there can be that
save the world quality, but if you've also watched Crossing Jordan, you know
that she's going to save one person--or at least get justice
<LauraB> so you're looking for
the human side as well
<Mary-Theresa> Or
on Red Cap--don't know if anyone gets BBC America, but I love that show!--she's
going to hunt down the bad guys--and drive fast doing it! They are open to
vamps--there's one series set in the future about one
hundred years. the author has created a kind of
psychic cop--a little like Minority Report but they aren't vegetables (and with
her own spin, of course)
<LauraB> what about martial arts? Should she use them or stay away
from them
<Mary-Theresa> For
martial arts it depends on the story. If she's a spy,
than she should know them. If she's a cop, she might
know how to avoid them. And if she's a CSI or ME or
coroner, then she might have nothing to do with them. All those are possible.
Catherine on CSI, or Sarah--they could be Bombshells. Karen Sisco
is the perfect one, too! They've got the smarts,
strength, attitude, don't take the guff, but there's a sense that they wouldn't
turn away from the right romance. We say these are aspirational
stories--where you'd really like to be that heroine
and experience her day.
And FYI, they are a new line, these are around
90000 words and they are looking for titles for the end of this year even!
There are many openings for the right story. Send in the partials, and we can
see if it's heading in the right direction.
<alesia>
Thanks. And
apologies for being late - I'm not smarter than my spam blocker, apparently.
Are you open to any humor in the Luna line? I have a gritty paranormal series but
the heroine is very chick lit attitude.
<Mary-Theresa> Yep, we've
got Laura Anne Gilman's heroine who definitely has a wry turn of voice
and phrase and some other contemporaries that also reflect that been there done
that, don't touch the leather feel so that's a possibility for sure. (also good for Bombshell!)
<LauraB> MTH -
while everyone is thinking of quesitons, could I ask you a couple questions about flipside
<Mary-Theresa> Yep!
<LauraB> Are you accepting first person stories?
<Mary-Theresa> Yes--we've
got at least two of them already under contract for Flipside--they'll be in
July 2004. One is first person heroine, the other
alternates chapters with first person hero and first person heroine. Lots of fun and attitude! We're
open to more as well.
<kat2write> How
do Flipside and Duets differ?
<Mary-Theresa> Duets were a little more focused on the physical comedy and the
romantic comedy angles. Flipside are more of a chick-lit lite
romance. It's more the heroine's story, and her search
for herself and her identity and the perfect shoes and the perfect man and
learning when you need to settle for what you got
<kat2write> define your concept of chik lit
<Mary-Theresa> young-ish heroine--20-32, has a knowledge of where she wants to
go and is trying to get there but perhaps not quite managing to get it all
together dealing with work and friends and family and trying to have a love
life and a life in general with humor, attitude, some self-deprecation and a
spirit of hopefulness. She's somewhere between Carrie on Sex and the City,
Grace on Will and Grace and Rachel on Friends
<Marge> How much of the story has to
include the romantic element in Flipside?
<Mary-Theresa> There should be a
romance in Flipside, and you generally won't go a full
chapter without meeting him. but the end of the book
might end more on a first kiss/date/move in rather than a proposal (though
proposal happens a lot in the story too)
<Marge> So
you want the h/h throughout the plot.
<Mary-Theresa> He should be a real
feeling guy, not just a convenient thing to force the
heroine to grow and adapt. Yeah, he should show up by chapter 2 and they can
dance around each other. It's more like what everyone
thought RDI would be like when we started it--and then we surprised them with
what we did!
<
<Mary-Theresa> fine by me--
<
<Mary-Theresa> it might depend. If it
keeps happening and he's blocked it might begin to
feel contrived and forced, so that won't work and it won't work as the sole
conflict. Lack of communication conflicts--not being able to say something
simple are the flimsiest of conflicts and aren't
really convincing. It might be played for laughs at first and lead into
something else, but it wouldn't be that easy to make
it be the conflict that lasts the whole book. Okay?
<LBarone> we're down to the last couple of minutes. Do you have any
parting words for us?
<Mary-Theresa> Hmm, parting words? BUY LUNA BOOKS!
<G> Although I'm still looking for books, I
actually am comfortably inventoried. Though of course
that's always in flux.
BOMBSHELL is really looking for new books
Intimate Moments is looking for new authors
Harlequin Romance is looking for new authors
M&B Medicals are looking for new authors
<Mary-Theresa> Those
are the ones who are most eagerly searching for the next stars. Of course all the lines continue to look for new authors and
acquire them each year. And go to our
website--www.eharlequin.com and then to the Learn to Write channel. The
<Marge> Are the tried and true hooks
still being used -- secret baby, marriage of convenience etc
<Mary-Theresa> yep, they still sell!
They are popular in most of the category lines we're avoiding some in
Flipside--no single parents, babies we want a more contemporary feel<and
they might not have them in Bombshell, but the rest have them.
<Marge> I had heard that Desire and
American aren't using them now
<Mary-Theresa> I know Melissa loves
pregnant heroines, marriage of convenience, alpha/rich
heroes (for Desire) But that she is not as fond of single parents where the
secret baby is over two. That's not to say she doesn't
publish them--just that they have to be convincing and I know American is
looking at marriage of convenience and other popular hooks. Multiple babies does well for them.
<LBarone> MTH - Thanks again for giving us your time and
taking our questions. Think you're going to have a few more
queries show up :)
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