2004 FCRW Chat Transcripts
Executive Editor,
Q&A Session
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<LauraB>
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<LauraB> How long have you been an
editor?
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<E_J> do you have a degree or
practical experience
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<vlwking> Does Wings have a specific
amount of books published each month or year?
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<vlwking> Are they a mix of
contemporary and historical or how does that work.
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<vlwking> Thank you.
<E_J> how do you get your submissions
- synopsis or ms - mainly
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<vlwking> I don't know much about e-publishing,
so how does the process work in terms of after the book is finished?
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<vlwking> How do the authors get
their books? How do readers get the
stories, etc.?
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<vlwking> Do the readers have to go
to the website to download?
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<Marge> Hi,
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<LBarone> Do you have any pet peeves
-- things writers are submitting that you just wish we'd forget we know?
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<judypeters> What plans do you have
for Wings in the next several years?
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<LBarone> could you tell us what your
favorite hero type is?
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<LBarone> What is the one plot line
you think is over done? The one you'd like to see more of?
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<LBarone> that's good to hear :)
thanks
<Marge> Do you expect to be applying
for RWA recognition?
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<Marge> thank you
<E_J> has an editor do you have any
'rules' that you follow or is it strictly what appeals to you
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<dolores> How many editors do you
have on your staff?
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<dolores> thank you
<vlwking> I'm sorry. I have to leave. Thank you,
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<E_J> if all flows well - how long
between submission and publishing?
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<judypeters> Can you tell them some
about the cover art for our books?
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<judypeters> Just bragging on our
artist!
<E_J> as an author ever given their art
work to go with the book
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<LBarone> We have time for one more
question. Do you have any parting words for someone who might be considering
Wings?
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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 Protocol. Social
chat followed. Return to speakers list
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 UK editors have a topic there for questions about Harlequin Romance or
Medicals and other editors have areas they chat about.
<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 :)
Protocol
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