FCRW Chat Transcripts

FCRW Chat Transcripts

Associate Senior Editor, Patience Smith

Question and Answer Session

Wednesday, 19 November 2003

Please welcome Harlequin editor, Patience Smith. Patience, could you start by telling us a bit about what you edit before we get going?

I should introduce myself officially: I’m Patience Smith and I’m the Associate Senior Editor for Harlequin and Silhouette Continuities. What does this mean? I manage out-of-line (as in outside of Silhouette Romance, Silhouette Special Edition, etc.) continuities such as Fortune’s Children, Code Red, Welcome to Tyler, Montana Mavericks, Family Secrets and many more. This doesn’t mean that I don’t acquire for Harlequin and Silhouette lines, only.

I have to read just about everything now, including all submissions that writers send in. It's been a real gift to really get to know the different lines. Although the newer ones are debuting this year and next year. And are just getting going. So, I would like to give a brief overview of Harlequin and Silhouette. Many of you already know everything. You’ve done the research, read the books and have even submitted. Bear with me for a paragraph or five: For your reading and writing pleasure, Harlequin and Silhouette has a variety of styles.

For tender romances, pick up: Silhouette Romance, Harlequin Romance, Harlequin Flipside, Harlequin Heartbeat (the medical romances).

For passionate romances, you’ll enjoy: Harlequin Presents, Silhouette Desire, Harlequin Blaze, Harlequin Temptation.

Home and Family romances include: Silhouette Special Edition, Harlequin SuperRomance, Harlequin American Romance.

Silhouette Intimate Moments, Silhouette Bombshell and Harlequin Intrigue are part of the Suspense and Adventure category.

There’s also Red Dress Ink, Luna, Harlequin Historicals and Steeple Hill.

You can find all the guidelines on eHarlequin.com. Phew! I’m sure I’ve missed something . . . . But there's more. . .

I know many of you are familiar with the submission process. You’ve written a book and sent it out. Many of you have written numerous books, talked with other writers and have critique partners, have joined contests, attended conferences. You’ve read the newsletters and magazines that give helpful tidbits. This is all great! Keep doing these things!

Submitting and dealing with rejection can wear a person down, but I hope you all find that place inside that forces you to keep going, keep refining your work, think of new stories and never, ever let one measly rejection letter stop you. Even when you say to yourself, “I’m finished, I have to quit, I have put so much effort into my work and nothing is coming from it,” I hope you have instant amnesia the next morning and begin again.

Published authors deal with rejection also and a barage of negative thoughts. As I often realize in my own work, which does apply to your work, the process of writing (and editing) is a special gift. I try to focus my attention on this process, more so than the actual outcome (perfect book with beautiful cover with shirtless stud smiling at reader). Isn’t writing the book itself an incredible, life-affirming journey?

Of course, yes, having your work published is great, too, and I do love finding new authors. I guess what I’m saying is that through all of this—the agony and the ecstasy of writing (and there is rarely middle ground)—I hope the process itself brings you joy and connects you with others who are going through the same thing.

One of my greatest pleasures in working at Harlequin is to be able to share my successes and frustrations with my colleagues who are going through the same thing. With all the forms, meetings and story reports we deal with on a day to day basis, I have to say, my favorite thing to do is to sit in my chair and read and edit. It’s the first thing I do every morning when I get to work. It’s grounding and helps me through the day.

So. . . that’s my speech. I could talk at length about character, plot, voice, etc…but you all are better teachers for your peers. I guess I just feel that a pep rally was more what I felt like doing. I would love to answer any questions you may have!

Q&A

<Heather> Can you tell us the first thing that will cause you to toss out a ms into a rejection pile?

<Patience> First and foremost, if the submission is not appropriate for any line. I can usually tell within the first ten pages, but I read on because sometimes submissions pick up speed. If there's an amazing flow to the work, I turn pages. GA

<Vickie> I've heard the hero and heroine have to meet by page 2 or 3. Is this standard for all Harlequins and Silhouettes? GA

<Patience> They don't HAVE to meet by a certain page. But if they're meeting very late in the story, I gotta wonder if the writer is avoiding the romance and building in too much backstory at the beginning. GA

<Pamela> Patience, what is your house most interested in right now and the very near future? GA

<Patience> Great stories. The different lines have different likes and dislikes, but the bottom line is a great story with interesting and complex characters. GA

<Heather> I'd like to know the distinct differences between the lines you edit personally. ga

<Patience> I have about 15 authors right now and they write for Silhouette Romance, Silhouette Desire, Silhouette Intimate Moments, Harlequin Intrigue, Silhouette Special Edition and Steeple Hill. There are a whole lot of differences right there. GA

<Tara> If you were looking for an agent, what would you look for and do you have anyone that you can recommend. I hope this is Okay to ask. :0) GA

<Patience> I can't recommend a specific agent, but you should interview agents at conferences, read some of the authors they represent. <Patience> Get your body of work together and send out letters. But conferences are great for this. GA

<Tara> thanks

<Maria> As a new writer with only one or two manuscripts, is an agent something you should have, or should you just submit directly to the publisher? GA.

<Patience> It's up to you. We do accept unagented manuscripts and agented. Some prefer to have one, others prefer to represent themselves. GA

<Heather> With Paranormals being so hot lately, do you see any paranormal elements creeping into the more traditional lines like SSE? ga

<Patience> I see paranormal elements creeping into Silhouette Intimate Moments. I know that Leslie Wainger has been open to romances with a paranormal element in them. It's all how it's done. Oh, in Special Edition, well, I haven't seen paranormal elements in that line, but they may exist. Ga

<vickie> With Flipside being so new, can you already tell if it's going to be a success? GA

<Patience> They have GREAT covers! I think Flipside will be a hit. Wanda Ottewell has been managing the line and is doing such a great job. Romantic Comedy is everywhere and I hope that this translates into success for the line. ga.

<Pamela> Is the historical line interested in any American post Civil War set historicals? Would they be willing to look at such?

<Patience> Most definitely, American post Civil War would be an appropriate setting for Historicals. ga

<LauraB> Patience, would a plot element such as the heroine having a miscarriage pre story opening be a no-no? GA

<Patience> Not at all. Maybe in a romantic comedy but definitely in, say, a Special Edition or SuperRomance. They deal with grittier topics. GA.

<Donna> With historicals, doe the plot have to be inventive and fresh or does the publisher trash stories with the same old situations? By the way ladies, I did not receive a raffle number. GA

<Patience> Inventive and fresh is always good. But we do have similarities in plot. Definitely. Heroine stranded in the West and finds herself in a mail-order marriage, etc...As long as the story keeps me flipping the pages. GA.

<Heather> I have a basic question which probably would apply more to something like Mira. When they say this book is a lead title for a certain month, what does that mean exactly? ga

<Patience> I'm never quite sure about this since I haven't worked on any Miras. I think you should probably ask one of the Mira editors this question. Miranda Stecyk, Martha Keenan, Amy Moore-Benson. They would be able to explain this better. GA.

<Lydia> If a book has elements of Intimate Moments and Intrigue, would the editor make the determination, or must the author be very specific? GA

<Patience> If the author can't decide if it's IM or HI, the editor will surely know. Sometimes the lines overlap. GA.

<Lydia> Thanks! GA

<JoAnn> Would your historicals consider a 10th century Viking story? GA

<Patience> Yes. Vikings are good. GA.

<Heather> Can you give us any info on Luna? ga

<Patience> Luna is the Fantasy line and Mary-Theresa Hussey is managing this line. The books are longer and are debuting in January 2004. Stacy Boyd is Associate Editor for this line, as well. The best thing to do would be to check out eHarlequin.com. I have to confess my ignorance when it comes to the Fantasy genre, but the covers are beautiful and Luna is definitely looking for submissions. GA.

<Tara> What is the difference between the Blaze and Temptation lines? GA :0)

<Patience> I think of Blaze as very passionate and Temptation is slightly naughty and flirtatious. That's my internal radar for those two lines. It's probably not the most eloquent way of putting it. GA.

<Pamela> That is part my question. How is the Luna line doing? Does it have Sci-Fi and Futuristic Romance, also and are these (Sci-Fi & Futuristic) gaining speed or hitting the ground?

<Patience> Well, we won't know how the line is doing until well after the launch in January 2004, but there's been a lot of buzz and Mary-Theresa is very enthusiastic. I think she may even get me to read one. GA.

<Pamela> GA and Thanks

<Heather> Can you tell right off if an author is character driven or plot driven? If so, is there one that is more preferred over the other? GA

<Patience> For the most part, the stories should be character driven. A plot will not be so interesting without meaty characters. I've read books where the plot was complex but I couldn't get into the characters so I didn't care where the story went. I would say, focus on the characters first and they will figure out where you need to go with the plot. GA.

<Heather> also, i have a question about spec. edition. It's the one line I've never been able to pick apart its elements

<Patience> Fire away.

<Heather> Ive read them from basic great character plots like Susan Mallery's hometown heros to Brenda Novaks Dear Maggie which was suspenseful. How can these two sort of books fit in the same line and be so very different? ga

<Patience> Brenda Novak writes for SuperRomance (I'm a HUGE fan of both her and Susan Mallery's work) so there's a difference right there. I think of Special Edition as a close-up of a woman's life.

<Heather> I guess my question was what separates those two lines? They are so very close with alot of titles

<Patience> A close-up during a very important time in a woman's life. And Special Edition focuses on the romance and the characters. SuperRomance will focus on the community as well as the romance. I always wind up loving the secondary characters in SuperRomance and follow them along with the story. ga

<Heather> thank you

<Tara> You said that Luna is definitely looking for submissions; do you know if Blaze is as well? Or is it one of the harder lines to get into? GA :0)

<Patience> Send to both! We're all lookin' for books. ga. :D

<Tara> thanks

<Heather> Patience, can you restate the lines you edit personally? The first part of the chat isn't visible to the late comers

<Patience> I can acquire for all of the lines, but I mostly work on the Silhouette lines, Steeple Hill and Harlequin Intrigue. I get submissions for other lines, though. ga.

<Heather> thank you

<Dolores> If an editor rejects a manuscript because it is "repetitive" what does that mean? ga

<Patience> Repetitive to me means that the story doesn't cut to the chase enough. The writer puts in things that the reader doesn't care about. The reader wants to get to the heart of the story as soon as possible. ga.

<Dolores> Thanks

<Gilbert> Does Super, Sp Edition, Steeple Hill, Har Intrigue allow children in the stories?

<Patience> Definitely. We have lots of kids in our stories. They are the future. :) ga.

<Heather> what's the worst thing a writer could do after signing with HQ? (late deadlines, etc) ga

<Patience> Lateness isn't fun. I guess one thing that bothers me is when an author feels I'm trying to do harm to her writing career by editing her work. I'm only trying to help. ga.

<Heather> thank you.

<Donna> If a writer has Harlequin buy a book, does that only extend to that one book or does the writer have a contract for more books? GA

<Patience> A writer could have a one-book contract or a multi-book contract. It all depends. ga.

<Tara> How many new authors does Harlequin hire per year? And is there a number of how many can write for one line?

<Patience> I don't know those specific numbers. I bought one new author in 2003. Michelle Celmer who writes for Silhouette Desire. ga.

<ej> ? how about main charaters over 50 - baby boomers graying - good for any line when other requirements are met. ga

<Patience> I think we might have done a few over 50 characters. I've seen it in Love Inspired. I don't think it's common, but it can be done! ga.

<Gilbert> You said it depends? Multi-contract or single contract for books--what determines that? GA

<Patience> Well, if you're a brand new author, I think it's unlikely that I'll offer a six-book contract. We like to see how an author performs in that line, what their output is (if they publish one book every three years or 12 in one year). But my philosophy is that any sold book is a victory. ga.

<Heather> How is an author chosen for an anthology? ga

<Patience> Excellent question and I must confess limited experience. I had three veteran authors come up with an idea for an anthology and that's how it happened. Sometimes, editors will think of a special project and think of authors suited to that project. Each anthology is different. ga

<Gilbert> Process for approving buying one of our books. Can you give us a general rundown on the process. do you sit around a table and vote after one of you likes it you all have to like it? GA

<Patience> No, there's no sitting around a table. Each individual editor will read the book, then if it's great, she will write a memo to the senior editor of the line, the senior editor will read it and make the decision. Sometimes, I've been unsure of a submission and will ask for a second opinion before I give it to the senior editor. ga.

<LauraB> Is there a rule against an author writing for more than one line -- a new author that is :) ga

<Patience> There's no specific rule. It depends on the author. I have one author who can easily write for more than one line. She writes a book every other month. If the author is prolific and keep up the momentum. If I think an author is spreading herself too thin, I advise against doing this, but it depends on the writer. ga.

<LauraB> thanks

<Heather> This has been very informative

<Patience> My pleasure! This was fun!

<Heather> any last comments before the raffle?

<Patience> Great! Last comment: keep writing. <Patience> If you didn't keep writing, I'd be out on the street.

<Heather> If you will pick a number between 1 and 13, we'll see who gets to send to you for evaluation

<Patience> I pick........4

<Dolores> I won I won Thank you

<Patience> My pleasure! I will look for your submission, Dolores.

<Dolores> Thanks. It'll be on it's way to you soon.

<Heather> I'll privately send the submission info to Dolores, Patience. Thank you again

<Patience> Happy to be here.

<Heather> LOL, One last question. the inevitable

<Patience> Sure.

<Heather> what is your turnaround time? (and she thought she was getting out of here without answering that one LOL)

<Patience> Mine is fairly fast. Three months for complete manuscript, though, I try to be quicker. For partials and queries, much sooner. I don't get many submissions anymore, so I tend to be fast.

<Heather> WOW you are fast!

<Patience> I always think of how much waiting is involved for writers so I feel bad if I hang onto something for too long.

<Heather> Thank you again Patience. You can go if you need to fly.

we really enjoyed having you

<Patience> It was great to be here. I should probably pay some attention to my cat. He's threatening to walk across the keyboard. Thanks! Bye everyone!

Protocol has ended. Social chat followed.

Paranormal Author, Karen Fox

Writing The Paranormal

Thursday, 16 October 2003

I'm the author of eight books--all of them with some paranormal element or another. I sold my first book--a futuristic--in 1996 to Leisure. My second book, also a futuristic, was a RITA finalist (didn't win, though). I've wanted to be a writer all my life, but didn't really get into it seriously until 1992. Family took up a lot of time before that. I did four Fae romances for Berkley that I really enjoyed. And the second book of a three-book series is out now, which involves the Three Graces from Mt. Olympus. It's called A TOUCH OF CHARM. I offered one as a door prize, but I'm not sure how that's going to be handled. I was also just elected as Region 4 Director for the RWA Board and I'm looking forward to that. So now you know I'm not only insane, but crazy, too.

Okay--Writing the Paranormal Romance

Thanks to a growing interest in the paranormal stimulated by LORD OF THE RINGS and HARRY POTTER, paranormal romance has hit its stride in the publishing world. Publishers that previously said "no paranormal" are now asking for it and new lines are being created to feature such books.

Authors like Christine Feehan, Maggie Shayne, Sandra Hill, and Susan Krinard are enjoying wonderful success with their paranormal stories. This type of tale allows the reader to escape into another world, whether it's based in reality or completely different, yet the ultimate goal of true romance remains constant.

But what is a paranormal romance?

There are many different types now--ghosts, immortals, time travel, space, vampires, werewolves, witches, and futuristic, but the core of the story is still the romance between the hero and heroine.

It's not enough to plunk down a ghost into a story and call it a paranormal.

In order to have a paranormal romance, the paranormal element MUST be vital to the story. If you can take it out and the story remains, you don't need it. The paranormal element needs to be woven throughout in such a way that your story collapses without it.

Paranormal heroes and heroines are fascinating to readers and writers because they live outside the norm and are just a bit dangerous to love. In many books, the paranormal hero is the ultimate alpha hero. Just look at Susan Krinard's werewolves, Sandra Hill's Vikings or Christine Feehan's Carpathians.

They strike a balance between the slightly dangerous and the admirable. The tortured, outsider hero becomes even more tortured and more of an outsider when who...what he is affects the possibility of romance as well.

In some cases, writers figure that making the hero or heroine a paranormal creature is enough conflict. True, falling in love with a ghost can be a problem, but you need more. Take the story of Angel and Buffy. He's a vampire with a soul. She's a vampire slayer. You have built-in conflict right there.

But beef it up a bit.

If he ever experiences true happiness, he loses his soul and goes back to the heartless creature he was centuries ago. Now that's hard to overcome and in fact, Buffy and Angel don't overcome it, though their love for each other remains even while they're separated.

In my Fae romances, I usually have either the hero or heroine be a faery, which does add a certain amount of conflict. But I also try to add more to the mix. In CUPID'S MELODY (January 2003), my Fae hero, Nic, is trying to find his reincarnated wife, but he knows if he chooses the wrong woman, he's condemned to the rest of eternity serving the evil Queen Titania. This makes it a bit more difficult when the woman he's falling in love with isn't the one who's his reincarnated wife (or so he thinks).

However it's important that the paranormal hero or heroine remain someone the reader can relate to. Give him or her real fears that touch all of us whether we commute to work on the subway or fly through the air like a superhero. Use the senses to help the reader experience the world in the same way your characters do.

Another difficult part of having a paranormal hero or heroine sometimes is figuring out how to resolve the romance. If you have a ghostly hero, do you kill off the heroine so they can be together? That usually doesn't go over well.

Maggie Shayne usually has her mortal hero or heroine become a vampire as well, though in a recent release, EMBRACE THE TWLIGHT, she manages to have her hero and heroine each remain as they are yet still have the promise of a future together.

In my Fae books, I generally have the Fae hero or heroine become mortal as the rules I've set for my world don't allow for mortals to become Fae. I did stretch that a bit in CUPID'S MELODY where Nic's reincarnated mortal wife is given immortality but not magic.

This brings me to my second point--world building.

In order to have a paranormal element in your book, you must create the world that goes with that.

The world must make sense and be consistent throughout, especially if you write more than one book in this world.

Christine Feehan's Carpathians have a history that remains the same through every book. Each book begins with the same premise--the Carpathian (usually the hero) must find his one true soul mate or risk going insane. Though each story is different with the personalities of the hero and heroine taking over, the main elements remain.

All of Maggie Shayne's vampire books follow the same rules. Only those mortals with the Belladonna agent in their blood have the potential to become vampires. Their powers and weaknesses don't change from one story to another.

So, point number one in world building. Be consistent.

Point number two is be thorough.

Don't decide to throw in a few paranormal elements, then lose the rest of the mythology. It helps to base your world on a known culture and weave around that. Use the setting to reflect the tone of your book--dark and creepy or light and funny.

I read many, many books and articles about faeries before I began writing my Fae books. I found quite a bit of discrepancies between them so I was able to pick and choose the elements I needed to create my world. My Fae have magic and are immortal, but they don't necessarily flit around on wings or steal babies. I put limits on what they could do.

In all cases, magic wasn't the solution to the romance.

This is important to remember.

Superman didn't do well until the writers invented Kryptonite. Magical, super-powered beings need to have weaknesses. This makes it easier for readers to relate to them and adds conflict.

Point number three: Decide if your paranormal element is normal for your world or not. Are vampires and werewolves accepted into the culture as in Laurell K. Hamilton's Anita Blake's books or do they have to be explained and accepted as in Maggie Shayne and Susan Krinard's books? Either way you decide, make the reader believe it. Vampires don't normally walk the street, then keep in mind that when you're persuading your hero or heroine to believe it, you also have to convince the reader.

Just announcing, "Hey, I'm a vampire" and having the other person say, "Okay" is not going to cut it.

Now if she sees the vampire hero drinking someone's blood AND having no reflection, she might be a little easier to convince.

The last point I want to mention is to ensure what you're writing is a romance at all times. Don't give up the sexual tension to explain in depth about your world's government. Don't get caught up in the fun aspects of the paranormal, no matter how much you'd like to. Don't lose the romance. Keep it front and central throughout the book. Allow the paranormal elements to play their role, but always, ALWAYS remember that the reader wants to feel the emotions, the growing attraction, the desire, the love. Whether you have a vampire, a werewolf, a faery, someone traveling through time or set your story in the future, the ultimate goal is finding that one true love and that's what keeps the reader turning those pages.

In addition, be sure to write the satisfactory ending that the romance reader expects. As I mentioned above, killing off a heroine so she can be with her hero was not a satisfactory ending for me when I read it in a book. Another ending I found lacking was in a wonderful time-travel destroyed by the ending in which the hero is returned to the heroine through reincarnation into another man's body.

Didn't work for me. Find a way that allows your couple to live happily ever after despite the conflicts (paranormal or not) that they've endured.

With your book completed, the trick now is to sell it.

At the RWA Conference in July 2003, almost every publisher mentioned wanting paranormal romance. Ballantine, St. Martin's, Berkley, Bantam, Pocket, Warner--all these major publishers are open to paranormal while Avon is slightly less so. Leisure and Zebra have been open to it all along. ImaJinn, a small press, only wants paranormals.

Harlequin and Silhouette, who at one time wouldn't touch a paranormal romance, is even opening its doors to this sub-genre. They're reprinting many books from their defunct Shadows line with a Dreamscape flash. Silhouette has gone so far as to create two new lines--Luna, which will feature fantasies with only a hint of romance, and Bombshell, designed to feature the tough, kick butt heroine and her romantic interest (usually as a subplot). Many of the purchased stories feature paranormal elements.

Harlequin Romance has a flash for soulmates, paranormals about heroes and heroines destined for each other, and for mermaids. Silhouette Intimate Moments and Harlequin Temptation are even stating that paranormal romance is okay. Harlequin Flipside is open to paranormal as long as it's not the hero and heroine.

Now rush to your computers and write on, knowing that many publishers out there are asking, even begging, for paranormal romance. Who knows--it might be your story they're waiting for.

Q&A

<Heather> I 'm writing a faery romance at the moment, too, and am having difficulty getting across to judges etc that my faeries dont flit about on wings. How do you tell the reader that without hitting them over the head. With author intrusion? ga

<KarenFox> I guess it would be in how you introduce them. My Fae could produce wings if necessary but I didn't introduce them into the stories with them. In fact, I only addressed it in one book where the hero wasn't convinced that the heroine was a faery so she produced wings, shrank in size, and flitted about the room to prove it.

<Heather> durn. Mine can't do that LOL

<KarenFox> Perhaps have someone expect wings and have your faery explain how that's a myth. Hope that helps a little.

<Judy> Length of the paranormals you write (word count)? 95,000-100,000 ? GA

<KarenFox> Yes, all of my paranormals have been in the 95,000 - 100,000 word range. GA

<Heather> I cant go back to scan the beginning but I saw you said something about whether or not what yo're writing is paranormal is a "ghostly" element or trivial element sstill going to classify as a paranormal? If it doesn’t drive the story? ga

<KarenFox> That would depend on how central the "ghost" is to your story. If he's a major player in getting the hero and heroine together (or is the hero and heroine) then it becomes a paranormal. But many Regencies have ghosts around as secondary characters in the background.

<KarenFox> My friend Pam McCutcheon, who wrote BELLE OF THE BALL, the first book in the Three Graces series asked that question, too. The paranormal element in this series is very slight so she's entering her book in the historical category of the RITAs.

<Heather> if the element is a telepathic quality in the hero or heroine... is that a paranormal? Or empathetic quality

<KarenFox> Could be. I hate to sound wishy-washy, but it would depend on the book. I can visualize a romantic suspense with a telepathic hero that could possibly fly as a romantic suspense.

<Heather> its a medieval but their powers are what bring and hold them together

<KarenFox> If the powers play a major role, then I'd consider it a paranormal.

<Heather> aha! Thank you

<Pamela> Karen, Do you try to use established myth-information (no pun intended) when writing or do you expain away the things that get in the way of romance?

<KarenFox> A little of both actually. I try to anchor the story in some of the known mythology, but I also create a world that works with what I want to do.

<Pamela> Like mermaids, what about their tails, etc.

<KarenFox> I immediately think of SPLASH. When in water, the heroine had a tail. Out of water, she didn't. You could play with elements like that. If you have a reasonable explanation for why and when tails appear or don't, go for it.

<Pamela> So just tweak the myth to fit your story?

<KarenFox> Exactly. Give the reader enough to draw them in, then make it your own.

<Heather> just a quick ? regarding synopsis. How much should you focus on the paranormal aspect vs the romance itself in a synop? Should it be treated as a romance synop or a paranormal roamnce synop? ga

<KarenFox> In my opinion, the romance must be central in the synopsis. But you still need to provide enough information about the paranormal element to assure the editor you can handle it.

<Judy> Word count? GA

<KarenFox> Word count for paranormals? Depends on the line. Most publishers want around 95,000 - 100,000. But Harlequin and Silhouette will want counts to fit each specific line.

<LBarone> Are there any elements considered off limits or a no-no to editors. ga

<KarenFox> That will vary according to each editor. However, at NYC, I heard from several that they're not as interested in time-travels right now. Where it used to be light and funny, now publishers are leaning more toward dark and dangerous.

<Heather> Ok, I cant scroll up, but re: you publishers. Do you have a preference as to how they treat you as an author, who's the better of the houses sort of advice?

<KarenFox> Wow, each house has its strengths. Leisure doesn't pay much, but they have great distribution. Berkley pays better, but their distribution sucks. St. Martin's is great at getting behind an author. Bantam can do a lot for an author, but I've also heard that they really like to rewrite books, too. Of course, it will depend on the editor, too.

<Heather> so ... you wont name your favorite then? LOL

<KarenFox> My favorite out of the ones I've had is Gail Fortune at Berkley. She's wonderfully supportive, but slow.

<LBarone> Karen -- could you tell us about your typical writing day? ga

<KarenFox> I work full-time outside the home but I've managed to convince them to let me work four long days. So, Monday through Thursday I work from 6 a.m. to 4 p.m. I don't do much writing in the evenings. I will edit sometimes though. I save my free Fridays for my first draft writing. If I have an idea of where I'm going I can do a complete chapter that day. Then Saturdays and Sundays depend on what's happening with the family, but I usually try to write some those days, too. As you can guess, I'm not a fast producer. It takes me about six months to complete a book.

<Judy> How did you break in? Contests? Submitting to editors directly? An agent first? GA

<KarenFox> Contests, actually. I entered the Pikes Peak Writers Conference contest and had a published judge who gave my entry perfect scores. She liked it so much, she introduced me to her editor and agent. I ended up signing with the agent. The editor passed. But the agent sold that entry within a year.

<LBarone> What is the one piece of advice you wished someone had given you when you first started writing? ga

<KarenFox> One of the things I've discovered is that luck plays a big part in selling a book. While you do have to be a good writer, you also have to have the right book in front of the right editor at the right time. Knowing that makes it easier not to give up.

<Judy> How do you plot? Outline? Are you a seat of the pants writer? GA

<KarenFox> I tend to be a bit anal. (I'm a web programmer in my day job). So I plot. I need to know where I'm going. I've only written one book by the seat of my pants and while it came out okay, it was sheer torture writing it.

<Trish> Do you read other books besides paranormal? Who is one of your favorite authors?

<KarenFox> I read almost everything, but I prefer paranormal. As you have probably guessed, I love Maggie Shayne's books--even her non-paranormal ones. Nora Roberts is a favorite as well as Susan Elizabeth Phillips. They have the ability to create such wonderful characters.

<Trish> How long were you writing before you sold your first book? g/a

<KarenFox> I started writing stories as a child--rewriting episodes of Star Trek and Man from U.N.C.L.E. But I didn't get serious about sending my books out until I discovered my local RWA chapter-Pikes Peak Romance Writers. Once I learned the business side of things and got into a critique group, it went fairly quickly from there. I joined PPRW in 1992 and sold in January of 1996.

<Judy> How many books did you complete before you were published? Contests # entered? Did you always do well in contests? GA

<KarenFox> Judy--I did enter several contests, especially ones that had editor judges or were seen as prestigious. The book that finally sold was my fourth complete manuscript. And I did usually do well in contests, which helped me to keep on writing.

<Heather> The Beacon Contest is coming up again... Will you enter LOL (have to get that plug in) :)

<KarenFox> Hey, I probably will. I love my two Fae books I had out this year so I'm anxious to see how they do in contests.

<Heather> Great! I 've already got bids on judges for them LOL

<Trish> Where you get ideas for your story plots? And do you create your own worlds for each series?

<KarenFox> Oh, golly!! From everywhere. My Fae books actually started from seeing a drawing of Robin Goodfellow in a book. He was gorgeous and that set me off. He became the hero in my first Fae romance--PRINCE OF CHARMING. I did create a world for all of those books. My two futuristics were set in the same universe but different sections of it. I saw a newspaper article not too long ago about twins having the same DNA, which has given me some ideas, too.

<Trish> Are futuristics popular right now with the publishers? g/a

<KarenFox> I believe they're coming back due in part to the success that Robin D. Owens is having at Berkley with her Heart series of futuristics. Leisure has always published them and is still asking for them. Robin's book was Berkley's first attempt at a futuristic and it did very well so I expect they're more open to it now.

<KarenFox> Thanks so much for having me tonight. I've really had a great time!!

Protocol has ended. Social chat followed.

Romantic Comedy Author, Beverly Brandt

Plotting Steps

Wednesday, 17 September 2003

Note: Due to technical problems, this chat was not recorded. Please enjoy the notes provided by Ms. Brandt.

Character Growth—Bridget Jones

1. Ordinary World - “It all began on New Year’s Day in my 32^nd year of being single. Once again, I found myself, alone, going to my mother’s annual turkey curry buffet.”

This is Bridget’s ordinary world—her life as it is when the story begins. In these two sentences, you find out exactly what the problem is. Bridget is tired of being single. You use the ordinary world scene to show the “before” picture of your protagonist’s life. Keep in mind that this is not supposed to be an entire day of following your heroine around, showing the reader what a boring job she has or anything. It’s just a fraction of a moment where you shine the spotlight on the problem that is going to be solved by the time you write “The End” on that last page.

2. Inciting Incident - Bridget meets Mark Darcy, who her mother is trying to fix her up with, and they do not immediately hit it off (to put it mildly). Bridget overhears Mark insulting her to his mother, and she is devastated. That night, she goes home and writes in her diary that this is the year that she resolves to drink less, smoke less, and will stop fantasizing about her boss, who is the wrong sort of man altogether.

The inciting incident is that instant in time when everything begins to change for your character. In a mystery, this might be the scene where the protagonist discovers the dead body that’s stuffed in the closet. In the romance, it’s typically the first meet.

3. External Conflict Begins to Rise - Bridget starts flirting outrageously with her boss, played by Hugh Grant (for the life of me, I can’t remember his character’s name right now!). This goes against the vow she had just made to herself to start leading a different life. In this plot line (Bridget’s character growth) the “antagonist” is her own attraction to her current lifestyle; the drinking, the smoking, the attraction to bad boy Hugh. By continuing down this path, she is driving herself further away from what would make her happy—being in a healthy relationship with someone who can love her for herself.

4. Intensify Conflict - Hugh asks Bridget out but she refuses, knowing full well that she’s just taunting him. Before the release party, she spends hours trying to make herself more attractive to Hugh. In so doing, she is just causing more problems for herself.

5. Protagonist Engages - Disaster ensues at the publishing party. Bridget feels like an idiot around all the seemingly intelligent partygoers, and then flubs her introductory speech in a public and humiliating way. Just as Mark Darcy is making a move to comfort her, Hugh scoops in and whisks her off to dinner. Before this event, Bridget and Hugh may never have gotten together. Yes, they were flirting, but Bridget wasn’t full committed to going out with him yet. The night of the publishing party, however, Hugh became her knight in shining armor. He comforted her when she was feeling stupid and inadequate. This is her motivation to sleep with Hugh and to start imagining that they can have a life together.

She is now fully committed to the Hugh path—a 180-degree reversal from what she stated were her goals in the beginning of the book.

6. Antagonist Bites Back - Hugh and Bridget go for a weekend in the country and, in the afterglow of lovemaking, Bridget tells Hugh she loves him. I know, you’re all groaning by now. Dumb mistake. What she wanted in the beginning—to find someone to love her—is not going to happen here. Her confession to Hugh makes him run back to London to the arms of his American girlfriend, who Bridget discovers in his apartment, naked.

7. Reversal - I didn’t see a reversal in Bridget’s character growth plot line. I did see a very nice one in the romance between Bridget and Mark Darcy, but that’s another discussion!

8. Point of No Return - Because of Hugh’s infidelity, Bridget decides to quit her job. She has finally made the decision to stop being a victim. Her exact words are, “I will not be defeated by a bad man and an American stick insect.” She throws away her “How To Be The Woman Men Want” self-help books, gets rid of her cigarettes and booze, and moves toward making herself a better person—without a man.

9. Crisis - At her birthday dinner, Mark Darcy shows up and helps her cook dinner for her friends. Things are going swimmingly, when Hugh comes back and tells her that the American stick insect has left him—because she knew that he couldn’t get over Bridget. This is the worst thing that can happen to Bridget at this point. She’s attracted to Mark, but he’s so uptight and she hardly knows him. Hugh is her weak spot and he’s offering himself to her. How can she choose?

Editorial note: What follows is perhaps the funniest fight scene I’ve ever watched between Colin Firth (who plays Mark Darcy) and Hugh Grant. This movie is worth watching for this scene alone, IMO! J

10. Dark Moment - At the end of the fight scene, Bridget accuses Mark of having an affair with Hugh’s fiancée (a lie that Hugh told her to gain her sympathy the night of the publishing party). Mark walks away, leaving Bridget with Hugh.

In a great dark moment, Bridget kneels down next to Hugh on the broken-glass spattered pavement and he says to her, “If I can’t make it with you, Bridge, I can’t make it with anyone.” And Bridget tells him that isn’t enough for her anymore. So, knowing that this means her goal of finding a mate is defeated, she makes the right decision and walks away.

11. Climax - Bridget is beaten. She ends up back at her parents’ house on New Year’s, hanging out in her pajamas while her parents get ready to go the Darcy’s house for a party. And that’s when her mother tells her that it was Hugh who had the affair with Mark’s wife, not the other way around. And Bridget realizes what a mistake she’s made. So, she races to the party and tells Mark she likes him—right before his parents announce that Mark is leaving for N.Y. and that they are hoping for an engagement between Mark and one of his co-workers.

Bridget, in usual Bridget-fashion, blurts out, “No,” in front of the whole party. She’s continuing on against all odds. She now sees what would be right for her and she stands up for herself by telling Mark that she doesn’t want him to leave.

12. Resolution - Mark leaves for N.Y., but comes back. Unfortunately, he discovers some unkind things that Bridget wrote in her diary about him and leaves her apartment while she’s changing into some sexy underwear. She sees him leave and races out into the snow after him. And, of course, she catches him and he kisses her, and she says, “Hey, nice boys don’t kiss like that.” And he says, “Yes, they fucking do!”

She just never knew what she was missing by always choosing the bad boys!

What I love about this scene (besides Colin Firth at his cutest!) is how it circles back to Bridget’s ordinary world, where she’s trudging to her parent’s house in the snow. In it, she was passively waiting for Mr. Right to come along. In the end, she’s racing out after Mr. Right. The lighting is different—the snowy world brighter.

As you can probably tell, I love this movie. I think Helen Fielding did a better job with the screenplay than with the original book (of course, this is just my opinion!), because Bridget has some character growth in the movie that she didn’t have in the book itself.

Desire Author, Kristi Gold

Writing Contemporary Alpha Heroes

Wednesday, 20 August 2003

Well, it took me seven years to get published. I sold in 1999, saw my first book hit the shelves in 2000. Since then I've sold 16 more Silhouette Desires. I've been a little busy. But I always tell people I write by the seat of my pants and I write fast to see how the book end.:)

And now if we're ready, I'd like to talk about my favorite subject--men. Specifically Alpha heroes.

Okay. First of all, I'd like to say that when I speak about the contemporary alpha hero, that means the alpha who would be considered politically correct in this day and time in any subgenre. Not just the alpha in contemporary romance. They were a little tougher back in the early days of romance when the phrase bodice ripper was coined. I don't think bodices are being ripped today, unless maybe it's by mutual consent.:)

And for those of you who might be interested, I have an article on my website that covers some of the points I'll be making tonight. It can serve as a handout and I'll give the link at the end of the session.

Okay, in order to talk about alphas, we have to identify alphas. Therefore I like to play a little game title, you guessed it, Identify the Alpha.:) I'll do this with movies since I'm assuming we all read widely and that makes it difficult to peg down heroes from books. If you come across a movie or actor I mention that you haven't see, get thee to the video store! (after the chat, of course:)) And if you think of any you'd like to share during discussion, jot them down.

First--The Charmer: Matthew McConaughey acting in just about anything typifies the charmer, IMO. Specifically in the Wedding Planner where he is considered a nice guy, but he still has that bad-boy charm, which IMO means an alpha doesn't necessarily have to come off as a tough guy to be considered alpha. I think he possesses sort of a bad boy charm, and a drop-dead smile.

The Rebel: Heath Ledger in Ten Things I Hate About You (yes, I have a teenage daughter). He illustrates the rebel perfectly (if you can get past the unruly hair:)) because he doesn't conform he delights in his questionable rep, yet he puts aside his pride to sing to the heroine in a football stadium to win her over. If you're so inclined to watch this movie for the first time or again, pay close attention to the way he touches the heroine. It's innocent, but it's deadly, and it's a fun exercise to take this and try to write it to convey that alpha mystique.

The Ultra-Alpha: From one of my favorite movies (discounting all the violence) Daniel Day-Lewis in Last of the Mohicans. Great hair, great body, who could ask for more?:) He is a born protector by virture of the conditions of the times and the responsibility of returning Cora to her father during a war. Yet in one scene, he talks about legends and stars and moons, revealing a more sensitive, thoughtful and very sexy side beneath the tough exterior. They did very well conveying him and the moment Cora becomes lost to him.

The Rake/Rogue: I would be remiss if I didn't mention the most infamous alpha of all, Rhett Butler. He's rogue, charger, rakehell (insert your favorite here) all rolled into one. He is the ultimate alpha prototype, and I will discuss him a bit more in terms of his character a bit later.

Okay, now that we've done some identifying, here are a few points I would like to present on what I've learned when writing today's alpha hero without--as I so fondly term it-- making him seem like that other word that starts with an A.:) I will also add that because I write for Desire, alpha heroes are preferred or as they term it, larger than life.

1. When An Alpha Speaks, People Listen.

Alphas do not have to always be moody and brooding, a common misconception IMO. They definitely do not have to hurl demands or insults to be an alpha in every sense of the word. Consider this. It's not always what they say but what they don't say that at times conveys the alpha edge. It's the mystery, the oh-so-sexy strong silent type that keeps the heart pumping at a furious rate.

It's the charmer who relies on double entendre to knock the heroine off-balance. The brooder who can render a woman senseless with an unexpected smile (this would be Robert Redford, too, another fav:)) IMO, a hero who demeans a heroine just because he so chooses is no true hero at all. Which brings me to the next tip.

2. Motivate The Man.

As we all probably know, a writer can get away with a lot as long as a character is motivated. If you take a look at what drives a hero’s need for control, it usually has to do with those internal demons/conflicts arising from the past or present. He can be charged with protecting a heroine from danger, or protecting his own emotions due to a broken heart, but again he should never be so verbally abusive that he instills fear and hate in the reader as well as the heroine.

As an aside, if you're getting dinged up over an alpha hero from either contests, submissions or critique partners (i.e. I don't care for your hero) then definitely check his motivation first. A reader needs to know and accept him as an honorable man.

For example, I had one book that began in the physical therapist heroine's POV when she's charged with treating a dynamic surgeon who has suffered a career-threatening injury to his hand. This was tough because he wasn't a very nice guy in the beginning. I had to show the reader his abject pain through the heroine's eyes until the next scene when you learn through his POV the reason behind the accident that hurt his hand. He'd lost a favorite teenage patient who was awaiting a transplant that never happened. He's wounded, inside and out. Of course, a wounded alpha cannot become all sweetness and light suddenly in the book. A gradual tearing down of a hero's emotional walls by the heroine lends itself to reality, and also leads me to the next aspect.

3. The Alpha Meets His Match

If you consider the movies I've cited and the women who were out to tame the men involved, they're fairly strong, Scarlett in particular.

However, IMO, a woman pitted against an alpha doesn't necessarily have to be some high-powered exec or a woman who can kill dinner with her bare hands.:)

She can still have an inherent softness, maybe even some naiveté, but she has to have certain strong facets in order not to be totally run over by the alpha train. A sense of humor is great, but a sense of self is most important. She also becomes aware that the alpha guy has an Achilles heel.. a side he rarely reveals to anyone, yet she's intuitive enough to see a glimpse. Look out!

4. The Chink in the Alpha Armor

I learned early on in my career that there are good ways to make an edgy hero sympathetic give him something to care about, something that reveals his vulnerability, be it a pet or a child or a strong compassion, even a career choice. Back to Rhett. Think about how he acted when Bonnie was born. That was a wonder to behold. And her death was basically his and Scarletts downfall. (and how many of you have re-written that ending?:))

Bottom line: it's not what the alpha is or not what he does: it's who he is that drives him. Honor is by far one of the most heroic qualities. Heroine's find honor hard to resist and so do readers. Now maybe Rhett was a little slow on the honor uptake, but he did come around.

5. Chemistry and the Alpha connection.

Chemistry has to be prominent in romance, and those alphas are just the type who can take it to the limit with only a look. The heroine, of course, will be the hero's one true weakness, or at least in terms of the romance. This will eventually give your heroine a sense of power, and isn't that fun? And love scenes.. even if only a kiss provide great opportunities for showing the hero's vulnerability. An in-control man who loses is control is a wonder to behold.

6. When He Falls in Love...

He's more apt to emotionally withdraw. They might not be able to express that love in the beginning, but when they finally come around to saying the words, that could be the crowning moment in your story.

And lastly....

7. An Alpha Mix.

Although there's much to be said for the alpha prototype, I strongly believe that the best heroes are those who strike a balance. They're tough on the outside but compassionate and caring on the inside... and vulnerable.

It might take a bit to uncover that softer facet of their personalities, but that in itself is the challenge and the joy of discovering what makes an alpha hero tick. Some can be brooding, others can be charming but regardless of how you, as a writer, decide to handle your alpha hero, never, ever forget what part of him a woman will covet the most.... his heart.

Q&A

<Trish> Mel Gibson - when he played William Wallace. It showed both his tough, macho side... and with the Queen - his softer side.

<Kristi> I agree, Trish. I think Mel can play just about anything and although he's got that alpha edge, he can be very charming.

<E> ! favorite action - Sean Connery - even reading the telephone book :) GA

<Marge> Okay. I saw a movie last night with Sean Connery. It was called Just cause and he was definitely the alpha

<Kristi> Sean is always alpha, and I'm sorry I didn't think about him, E! What a man!

<Judith> any hints on how to first present alpha hero so he still remains a likeable character if clashing with heroine initially. ga

<Kristi> Again, Judy, it's the motivation that's paramount. I've seen lots of books where the h/h banter back and forth angrily, but there has to be some hint if humor isn't involved, IMO. I've had heroes who open there mouth and innuendo comes out, but the heroine has to see something redeeming in them I think disagreeable can work well if it's not abusive (can you tell that's my pet peeve?<g>)

<LauraB> I like the broody hero, but how do you keep him from being too stoic at times? ga

<Kristi> Well.... I have a broody sheikh coming out in Sept., but he's also somewhat of a charmer. Every now and then he says something amusing although it's usually suggestive. Of course, they all need to have character growth along the way. And usually the heroine facilitates that in my books, whether he wants it or not. So I say it's usually the heroine who softens the reluctant hero. And he can't stay mad all the time. Of course, I like stoic....:) GA

<LauraB> What is your writing schedule like to produce the number of books you have in such a short time?

<Kristi> Well, I write best during the hours between 10 pm and 3 a.m (4 a.m. right now because I've got an Aug. 30th deadline). I revise and do the business things in the morning. 3 pm is nap time. 5-10 is family time. I slack on weekends unless I'm really behind, like now.

<Trish> What is protocol for a seemingly reluctant publisher? They've had my manuscript since November last year, and the last communication I had with them was a letter, telling me it was recieved favorably. Now... they've moved to a new building recently.... and when I called to give them my new phone number and address... they told me they would be getting back to me soon. That was in June. I'm not sure how to proceed. GA

<Kristi> Trish, I pitched my first book to Desire at a conference in July of 1998. They bought it in July of 1999. You can send a friendly follow-up letter in a month or two, but in the meantime. keep writing more books. I wrote two more during that waiting phase and that resulted in three quick sales. It's good to be ahead of the game.

<Trish> Thanks! That's what I'm doing! :) It's just very hard to wait, knowing a publisher has it -- has requested the full... and nothing is happening.

<Kristi> And if this is Silhouette, it will take some time for them to get back with you. Did you specify a particular editor?

<Trish> Oh, yes. I had an appointment with her at the Denver conference. It's Genesis Press... in Mississippi

<Kristi> Believe me, that wait is painful. But no news is good news. They moved too??

<Trish> Yes.. in June.

<Kristi> Hang in there and my advice is to send a friendly follow-up letter in a month or so. Marge, any advice here?

<Trish> They did tell me that it's been "read" by numerous people...and met with favorably. So, I guess that IS good news.

<Marge> Just what you said. A move for a publisher is a big thigng and reorganization takes time.

<Kristi> That is VERY good news.

<Trish> That's what I was afraid of. I'll sit tight and wait... and follow up next month with a friendly inquiry.

<Kristi> Yep, that reorg is tough on everyone, especially editors.

<Marge> It sometimes takes a whiel to get through the editorial process.

<Marge> Add that all up and you've got a waiting period.

<Kristi> That's why I distracted myself by writing more books. I was very shocked when they called because I'd heard nothing over that year. Never even knew they'd passed it up. And if you keep writing, you'll have more to offer. I'm a firm believer in that.:)

<Trish> Thanks a lot, Kristi. I feel better now. :)

<Kristi> You're welcome, and again, hang in there! I'll keep my fingers crossed.:)

<Trish> I agree 100% -- doing that now.

<Marge> I sent a partial to HQ in June and I'm still waiting to hear. Reorganization has slowed it down.

<Judith> How many books do you try and produce a year? GA

<Kristi> Usually I write four Desires, but because I agreed to do two continuities, I'll have five books out next year. And I'm starting to feel it... ask Marge.:)

<Marge> Pooped?

<Kristi> But three of those are in my own mini-series and they're putting them out back to back. That's a good thing, so I'm not complaining at all. But I am a tad pooped.:)

<Judith> When you got accepted for Desire were they open for you to write in other lines or were you told to write only in Desire? If other lines, could you use you real name too? GA

<Kristi> Actually, my goal was to write only for Desire. I think they really want to build you in a line before they consider letting you jump. At this point in my career, I guess I could propose writing for another line. But I love writing Desires. And I most definitely would continue to write as Kristi Gold for the name recognition that I hope I'm building in Desire.

<Judith> At what point in your career did you start selling on submission rather than producing the entire book? Or do you still produce the entire book? GA

<Kristi> Judy, I sold on complete manuscripts my first two books, then on proposal (3 chapters and a synopsis) for most. The continuities are synopsis only. I like writing at least one chapter before I write on the synopsis (which sometimes only remotely resembles the book once I'm done. It's that seat of the pants thing.:)) Does everyone understand what I mean when I say continuity? I forget not everyone knows category romance.

<Terri> Did you always know you could write this fast or was it something you've learned about yourself ? GA

<Kristi> Terri, I think I learned this early on. I started out writing REALLY big mainstream romances (110,000 plus) so that was good practice for writing series romance.

<Judith> I heard that Desire is filled--not looking for new writers, true? GA

<Kristi> That's really hard to say as they have bought at least two a year for the past few years, so anything is possible. They're always looking for solid talent. I think they were saying that when I submitted my first, too.:)

<Marge> At the NY corporate hour they said all lines are looking.

<Kristi> I think they have to continue looking.

<Leanne> What is continuity? ga

<Kristi> It's a series of books written by individual authors that center around common threads and themes. My Sept. book is a continuity, Dynasties: The Barones...

<Leanne> Okay, I've read several of those. Thanks. ga

<Kristi> We receive an outline of the storylines, basic character sketches, then we're charged with making the story our own. It's more difficult, IMO, than writing my own book. GA

<LauraB> Of the Alpha's you identified at the beginning, which type is your favorite? ga

<Kristi> Okay, I like the really like the rake with a mix of rebel. However, one of my favorite figments of my imagination was a charmer.:) The more mysterious, the better. GA

<Judith> I heard Desire is moving away from having children in the story, true? GA

<Kristi> Desire prefers not to have older children because they see it as taking away opportunity for the h/h to co-mingle, if you know what I mean.:) However, I've had older children. I just send them away some where.:)

<Judith> I can't seem to write a story without a 4-5 year old in it. Taboo in Desire or not? I like children in story as catalyst. GA

<Kristi> Quick example. I had a six-year-old child in my January book. He was the hero's son that he never knew. However, he was also diabetic and I sent him to summer camp. I also had an 8 yr.old girl who was the catalyst in the story. She stayed weekends at her biological father's. As long as they are not overtaking the book, maybe go to a sleep-over or two, and you have a high level of sensuality between the h/h, then it can be done...:)

<Marge> How large a role does the child play in the story?

<Kristi> Well, in the first book, the little girl was deaf and the hero was born to deaf parents, so she brought the h/h together. And with a secret baby who's six, he's got to be a big part. I think it's all about balance, although with a new senior editor, she might not be as amenable.

<Marge> How do you keep them from overshadowing the romance -- taking over? ga

<Kristi> Limit their scenes. And send them away! BTW, I haven't had one child in the last four I've written, or the upcoming two. But they love pregnant heroines! I've had two of those.:) I also like to use the kids to heighten the emotional stakes, and of course, softening the alpha hero. They work well for that. Come to think of it, my first two books this year had children in them, both boys the same age.

<Trish> Would you please share your website? <URL address>

<Kristi> I sure will! It's http://kristigold.com. The article I mentioned earlier is called Alpha-bites and it's under the link Kristi's desk. I've had a great time being here tonight!

End of protocol. Social chat followed.

Desire Author Kathie DeNosky

Q&A: Anything Goes

Thursday 17 July 2003

Judith_Gilbert: Having written 14 books, I'd like to know YOUR process. Do you do GMC, extensive outlines, what?

Kathie_DeNosky: Actually it's 17 now, but who's counting. I usually start with character sketches to learn my characters. That's where I work out the GMC. The I use a storyboard to work out what I want to happen in the scenes. I normally have 3 scenes per chapter. After I get that worked out. I just write the synopsis from my storyboard. It pretty much writes itself that way.
Judith_Gilbert: Do you try and have specific page count per chapter? Exactly 18, exactly 20? GA
Kathie_DeNosky: No, Judith. I have a hook in mind for the end of the chapter and write toward that. Sometimes my first chapter is around 14 to 16 pages. Other times it's 18 to 20. It just depends on how the story goes. Then as I continue to write the chapters get longer.

HeatherDW: I'm interested in knowing your daily routing, since you're such a prolific writer GA
Kathie_DeNosky: Prolific or crazy. I'm not sure which. LOL I usually know about how many pages I need for a book. I divide that number of pages by the numbers of days I want to have the book completed. That's my daily page count.

TaraGreenbaum: How many pages should a synopsis be when submitting Harlequin? GA
Kathie_DeNosky: To tell the truth, I don't have a certain number of pages that I make my synopses. Just whatever it takes to tell my story. Usually between 11 and 15 though.

Judith_Gilbert: Do you have a critique group or you go it alone since you write so well now? GA
Kathie_DeNosky: I'm one of the original Ditz Sisters. It started out with Roxann Delaney, Belinda Barnes, and me. We don't have the time to crit like we used to, but we still look at each others work when needed.

Laura: Are there rules about a required number of love scenes and how soon they should happen in the book?
Kathie_DeNosky: With Desire there aren't any rules about when the love scenes should happen, but they do want 2 loves scenes per book. In my book that came out this month, I have 4 love scenes. <blush>

TaraGreenbaum: I guess my question is a little different from Laura's. I am writing a Blaze, do you think there needs to be a love scene within the first three chapters? GA <blush>

Kathie_DeNosky: I'm not real familiar with Blaze guidelines, but I don't think it would be a problem one way or the other. I think however the story unfolds should be your guide. I've read Blaze's where they have a love scene right away.

HeatherDW: Were you at all surprised when Did You Say Married?! turned up with so much hoopla over "Cowboy UP?"

Kathie_DeNosky: Yes, I was. Roxann Delaney told me it was the "line of the book" when she critiqued it, but I never dreamed I would have people come up to me and say, "Cowboy Up!"
HeatherDW: Alot of loops were talking about it for a long time GA
Kathie_DeNosky: Oh, really? I didn't know that.
HeatherDW: Must be a wonderful feeling to have struck so many people with the humor of that line
Kathie_DeNosky: I have this warped sense of humor that seems to just come out in my writing.

TaraGreenbaum: What is the purpose of having an agent, if Harlequin will buy your books without one? GA
Kathie_DeNosky: I wanted an agent because I know diddlysquat about contracts and negotiating. For me it was a comfort thing. Besides, if there's a problem, he can handle it and I still get to be Ms. Niceguy.
HeatherDW: did you get an agent before the contract?
Kathie_DeNosky: Actually, my agent called to offer representation about a week after I had sold. He wasn't aware that I had sold, but he liked my work and said he knew I had a future.

Laura: Are there any themes that Desire looks for or frowns upon? ga
Kathie_DeNosky: I spoke with Melissa Jeglinski in Pittsburgh back in May and she said she wants to move the line away from having small children in it. She said that's for HA or SSE. We're one of the Passion lines and she wants our books to reflect that. She also said that she'd like to see older heroines and heroes. Mid-thirties to mid-forties.
Laura: thanks
Kathie_DeNosky: You're quite welcome, Laura. Anything else, just ask.

HeatherDW: can you tell us about "the call" so we can fantasize when this is over? LOL GA
Kathie_DeNosky: The call came on June 14th at 1:20 in the afternoon--not that I noticed or anything. When Tina Colombo identified herself, my heart stopped. They don't call to reject you. Honest to God, it felt like the world came to a screeching halt, and after she said they wanted to buy my book, I asked if I could call her back. I had this scream bubbling up and I didn't want to deafen her.

Judith_Gilbert: Reply above: What's HA (Harlequin American?) SSE? GA
Kathie_DeNosky: HA= Harlequin American SSE= Silhouette Special Edition

Judith_Gilbert: Can you give me a sample of the type plot line that would fit Desire as opposed to another line? I've read some of them and they are more emotional--right? GA
Kathie_DeNosky: Yes, Desire is more emotional. Temptation is more focus on the physical aspect of the relationship, while Desire is emotional--how they feel about each other. Plot line doesn't really matter as much as the internal/external focus. I hope I made that clear. I do confuse myself sometimes when I try to explain it.

TaraGreenbaum: Do you think Blaze is a good line to try and brake into, or is it a line for the seasoned authors? GA
Kathie_DeNosky: Since I don't write for Blaze, that's a tough one to answer. I do know the focus is on the physical and it has to be If you're comfortable with that, go for it. I was told when I targeted Desire that I would never sell to them because they had such a tight author base. I proved that person wrong.
TaraGreenbaum: that is what I've been told too. that why I changed to Blaze. It can be done!
Kathie_DeNosky: You bet it can be done. Write the best book you can and submit it. You'll never know if you don't try.

Laura: could you explain internal/external focus a bit more? Do you mean heavy emotion or just on the relationship? go
Kathie_DeNosky: Internal is the emotion, how they feel--the love that's building between these two. External is how they .... hmm, lust after each other. <blush>

HeatherDW: This may be too personal but of all the manuscripts you've written, how many (if any) have you not been able to sell? since your first contract? GO
Kathie_DeNosky: Don't kill me. I have sold everything I've written so far. I even sold the ones before the contract. The first book I ever wrote came out last November. It was A LAWMAN IN HER STOCKING.

Judith_Gilbert: How long did it take you to sell your first novel? Advice on how to do that? Contests? Sending to editors? GA
Kathie_DeNosky: It took me 8 years to sell DID YOU SAY MARRIED?! And yes, I was -- are you ready for this?-- A contest slut. LOL. I didn't enter contests because I'm competitive. I wanted to make the finals to get my work in front of an editor. I'd rather run buck naked through a briar patch than to write a query letter.

HeatherDW: was that how it got into an editor's hands? YOUR editor, I mean'
Kathie_DeNosky: Oh, y'all are gonna love this story. I'll tell it if you don't think you'll get bored. Okay, it make take a few minutes to tell this saga. I was a GH finalist in '96 and connected with two editors. Birgit Davis-Todd at Temptation requested the full ms, and so did Cris Grace at Desire. Cris asked first, so I sent to her. She rejected it but accidentally included an office memo when she sent it back. I called to ask if she wanted it back and to thank her for her time. She asked if we could talk about my ms. Like I'm going to say no? I don't think so. I told Cris that I had sent it to Birgit and she said that was okay. If Birgit rejected it for me to make a couple of changes and she'd like to see it again. Birgit did, and I resubmitted to Cris.

Kathie_DeNosky: This is where it starts to get sticky. Cris passed it up to Lucia Macro with a recommendation to buy a week before Lucia announced she was leaving Silhouette. So okay. Cris said we'd wait on Melissa Senate to make a decision since she was the new sr. at Desire. We waited, and waited and.... I think you get the idea. Then Cris called to tell me she was leaving Silhouette and I was being turned over to Mary Theresa Hussey. So I waited some more. Then Melissa left Silhouette a year later and I still didn't have an answer. Then MTH called and said she wouldn't be able to work with me anymore because of her new duties as sr. of Romance. By now, 17 months had passed and I just wanted it to be over with.

Kathie_DeNosky: They finally found my ms after a search of the office and Melissa had rejected it two months before she left. MTH told me I was now being passed over to Tina Colombo. I had turned in the synopsis for DID YOU SAY MARRIED at Cris's request a year earlier and had heard nothing, so I called Tina to ask for it back. I just didn't have the strength for that again. When I said I'd like for her to send that synopsis back, she said she couldn't find it, but would I please submit it again. I politely told her that I thought it would be best if we just forgot about it. DUH! She said (for the second time), "Please send it to me." Now, I don't know about you all but don't you think it was rather dumb for me to be trying to talk her out of wanting to see it? I finally say, okay and sent her 3 chapters and the synopsis.

Kathie_DeNosky: So anyway, I get this SASE back a couple of months later and figure okay, I'm done with that. I tossed it on a chair and didn't bother opening it for about 4 hours. Well, guess what? She had sent the proposal back with a letter telling me she wanted to see the whole thing. Great! The book wasn't finished. I called her and told her it wasn't and she said that was okay, to finish it and send it when it was done. I finished it, entered the GH, then called Tina after the first of the year and.... y'all are really going to think I'm nuts now....tried to talk her out of seeing it again. I just didn't feel up to the 17 month ordeal.

Kathie_DeNosky: And once again, we went through her asking me to please send it. I said that I didn't think it would fit Desire and she said, send it and let her decide. So, here I have this editor asking me to please send the ms and I'm trying to talk her out of it again. I'm a true and real Ditz. Anyway, I sent it, finaled in the GH and low and behold she called in June to buy it. So there's the saga, as sad and sorry as it is.

Kathie_DeNosky: I told you it was a saga. LOL. She and I have laughed about my trying to talk her out of looking at it since then.
HeatherDW: Im sure she's glad she won that war
Kathie_DeNosky: I am too.
TaraGreenbaum: WOW, It almost never happened
Kathie_DeNosky: I know. Did I try to shoot myself in the foot or what?
HeatherDW: never give a writer a gun. they're likely to blow their chances
Kathie_DeNosky: You're right, Heather.

TaraGreenbaum: What words can you NOT use when writing a Harlequin, and you don't have to spell them all the way out if you don't want too. ;0) GA <blush>

Kathie_DeNosky: How about I tell you what you can use. You can use damn, hell, and occasionally son of a b.... But that's about it. I've gotten away with ass lately, but that's only been a recent thing.
HeatherDW: wow, that's it? I was thinking they were a little stronger with language for some reason. At least the S word
Kathie_DeNosky: The other 4 letter words and some with more letters are taboo. Nope. I can get away with pissed off, and drum roll please, my August book, my hero tells the heroine that her former boyfriend had big brass balls.

HeatherDW: you said earlier that you found out the editor had sent it to her SR. with a recommendation to buy. how do you know, or can you ever know, how far up the ladder your Manuscript made it before rejection?
Kathie_DeNosky: I called to check the status of my ms. It had been like 5 months and I had heard nothing. Cris had told me to call if I hadn't heard from her in 3.
HeatherDW: so you cant know unless you call?
Kathie_DeNosky: Not unless the editor just wants to let you know. Most times it's the call when you find out it got that far up the ladder. Or if you have an agent and he/she checks the status and lets you know.
HeatherDW: so do they call when they recommend to buy, or only when they def. want to buy?
Kathie_DeNosky: The normally only call when they def. want to buy.

Judith_Gilbert: What kept you going and not throwing in the towel? Also, it writing hard word to you or just fun? GA
Kathie_DeNosky: I kept entering contests. It was about the only active thing I could do for my writing at that point. Besides, you never know when you'll hook up with another editor wanting to see your stuff. If the first editor rejects it, it's like having a backup. And I live so far away from my RWA chapter that I rarely ever make it to a meeting. I couldn't actively do much that way, so I entered contests. I won or placed in 18 contests and finaled in the GH twice.

Laura: I tend to write humor, with a lot of focus on sexual tension and interal emotion, but light in the plot situation, is that a no-no at desire? GA
Kathie_DeNosky: That's something else that MJ said in Pittsburgh. Laugh out loud funny is a no-no, but light humor is okay. The focus always has to be on the relationship and the internal emotion, so that is good. Just keep the humor light and go for it. What's really hard is judging what they consider light humor. I tend to laugh out loud at the least provocation. LOL

Djwilson77: I've had a partial on an editor's desk since Sept. 2001. I've called several times and have been told it is still being considered. Any suggestions?
Kathie_DeNosky: Who is the editor? If you don't mind telling me. I do know some of the editors are notoriously slow.
Djwilson77: Kate Seaver at Dorchester
Kathie_DeNosky: Okay, I'm not familiar with Kate, but it sounds like you might need to seek an agent's help. Do you have an agent?
HeatherDW: (Djwilson77:) Not yet, but I'm submitting something to Evan Fogelman the first of the week.
Kathie_DeNosky: Okay, it might be time to query a few agents and turn it over to them. They know when and how to push. That's another reason I like having an agent, although he's never had to push on my stuff. If I were you I would submit to several agents. That way you aren't putting all your eggs in one basket. One agent or editors rejections is another agent or editor's best selling author.
HeatherDW: (Djwilson77:) Thanks, I'll mention it to him. He will be looking at something different from what Kate has. Thanks.

HeatherDW: simultaneous submission with agents is fine, correct, whereas with editors (some) it's a no no
Kathie_DeNosky: H/S is the only house that has a rule about simultaneous submissions. Most of the others are fine with it.

HeatherDW: what authors inspired you most then, and which have you not met that you'd love to
Kathie_DeNosky: Oh, goodness, do you have all night for the list? LOL I read a lot of Jane Ann Krentz, Barbara Delinsky, Dixie Browning, Leanne Banks, Kathleen Korbel, Peggy Moreland... I realized a real dream come true this past winter when I worked with Dixie and Leanne on the Silhouette Christmas Anthology. It was a thrill to work with two of my idols.

HeatherDW: I just placed in a contest where Roberta Brown (agent) gave me a 100 out of 100 and made the comment that the manuscript was excellent
Kathie_DeNosky: Way cool! Major congrats, Heather!
HeatherDW: this excited me until I looked her up and saw she only takes published authors. Would you advise my writing her a letter asking for an exception?
Kathie_DeNosky: If it were me, I'd pick up the phone and call her.
HeatherDW: sigh.. no long distance as you could tell tonight LOL. but is that advisable, to ask her to read when it is obviously against her policy?
Kathie_DeNosky: Hope I don't offend anyone, but I'm ballsy that way. Okay, write her a letter, remind her who you are and ask if she would look at your ms. Don't mention that she only takes on pubs. No need to remind her about that little detail.

HeatherDW: Dolores got kicked out and her PC froze, but she wanted me to send you a thank you for a great workshop and a critique you gave her on a manuscript "rancher and the banker"
Kathie_DeNosky: Please tell her that I enjoyed chatting with her and I wish her the best. I remember doing her crit last year. She's VERY good.
HeatherDW: I will certainly tell her

TaraGreenbaum: Is it rude of me to ask who your agent is? :0)
Kathie_DeNosky: Not at all Tara. Ethan Ellenberg is my agent.

Laura: If you could only have one reference 'how-to' book, which would it be? ga
Kathie_DeNosky: Hmm. I would probably say GMC with Marge's Dreaded Synopsis a close second. When I do workshops, those are the two books I tell everyone they have to have.

Judith_Gilbert: Some agents say they don't handle category. Did you run into that trouble when you were looking? GA
Kathie_DeNosky: Not really, Judy. I did my homework and only submitted to agents I knew represented category.

HeatherDW: Ok, let us have it. What's your writing schedule? Morning, night? whenever? ga
Kathie_DeNosky: Okay, now you are going to think I'm nuts. As if you didn't already. I write all night and sleep during the day.
HeatherDW: yeah!!!!!!!!!!!!!!!!!!!!!!!!!!!! that's my schedule too !!!!!!! LOL
Kathie_DeNosky: Of course, sometimes I only sleep 4 or 5 hours. That's why I'm always a little goofy. It's the only quiet time this house ever sees.
HeatherDW: no kids?
Kathie_DeNosky: Grown kids.
HeatherDW: Oh. I have to sleep from 6 to about midnight to get quiet writing time
Kathie_DeNosky: My hubby had to go on disability retirement and he's as bad as one of the kids. So I write at night. We get along better that way too. I don't feel like killing him nearly as often.
HeatherDW: maybe that's why your prolific. wild thoughts run rampant those hours. My crit partners hate that I write so fast
Kathie_DeNosky: My crit partners just shake their heads at me. They have for years.

Laura: Which book was the easiest to write? Hardest? Why? GA
Kathie_DeNosky: Hmm. I think the easiest to write would have to be DID YOU SAY MARRIED?! I just cut loose and let 'er rip on that one. Hence the Cowboy Up thing. The hardest would probably be MATERNALLY YOURS. It was my first continuity and I had no clue. But I got the hang of it and really enjoy continuities.

HeatherDW: can you explain the difference and meaning of continuity and series etc? I've never understood that. go
Kathie_DeNosky: All the books in a series is usually written by the same author, and all the books stand alone, even though they have recurring characters in all the books. A continuity is with several different authors and there's a common thread running through all the books that isn't wrapped up until the last book. Clear as mud, huh?
HeatherDW: ohh, actually very clear
Kathie_DeNosky: Good Lord, mark this day in history. I had a lucid thought.
HeatherDW: so the 3 sisters scenario is most likely a series
Kathie_DeNosky: Yep. My Lonetree Ranchers series is about 3 brothers.
HeatherDW: but a "search for the treasure" is probably a continuity. where the end of the story is actually the end of the last book
Kathie_DeNosky: Actually, Heather that would be called a Trilogy.
HeatherDW: then what's the common thread example for a continuity?
Kathie_DeNosky: It has a common thread and isn't wrapped up until the end, but the books are written by the same author. A mystery would be a common thread for a continuity where it isn't wrapped up until the end.
HeatherDW: such as...???
Kathie_DeNosky: For the Texas Cattleman's Club that will be coming out in November and run through April, the mystery is that someone is trying to steal this baby. The case doesn't come to a close until the 6th book.
HeatherDW: I’m sorry, but I’m confused lol. How does that differ from a trilogy then? (ps, this is not an unusual state for me to be in)
Kathie_DeNosky: Hey, I tend to confuse others. It's a curse I have.
A trilogy has a common theme, like say a lucky penny that someone has, then they pass it on to the hero or heroine in the next book to bring them luck. One trilogy that comes to mind is The Good Luck Wedding Dress. I think it was an HA trilogy. Can't remember who wrote it.
HeatherDW: Ohhh, ok so a trilogy may not ha ve a "mystery" thread to it
Kathie_DeNosky: Nope. Just a recurring object, or whatever. Normally it's an object so each set of characters can possess it during their book.

This is the end of the Q&A. Social Chat followed.

Author: Vicki Hinze

Topic: Author Voice

Thursday, 19 June 03

* Note: Due to technical difficulties, the entire chat was not recorded, however, please enjoy the notes Ms. Hinze used for her workshop.

Some experts--and most editors--consider a distinct voice a writer's greatest asset. Voice is not the style the novelist incorporates to depict novel elements, events, or theme. It goes far deeper than that.

Voice is unique to each author. It's his or her individual perceptions and penchant for relating everything from phraseology to story and character development.

One prominent editor said Voice is writing the way you talk.

Now, if we think about this, then we'll appreciate the wealth of insight we've been given in that deceptively simple description. How we talk is an outward manifestation of how we think. Typically, we don't censor our thoughts. But we do censor what we say to temper the reaction of the persons to whom we're speaking. In writing, we temper, too. We reveal only those

things we feel will enhance the story we wish to tell and elicit the reader response we desire. Yet our uncensored thoughts still affect our perceptions, and those perceptions translate and help to define the slant of our story.

For example: in our story, we have a wise and gentle woman, an elderly secondary character, who lives on a fixed income. She's preparing to attend a good friend's wedding and sews herself a dress. It's white polyester and, we think, totally inappropriate for this upscale wedding. But we admire this woman and have no desire to hurt her or to make her feel anything less than comfortable--in her clothing, and in her skin. She bluntly asks if the dress looks cheap. It does. But our perceptions of tact, discretion, compassion, and respect for this woman prevent us from saying so. Instead, we say it looks good--and that we've got the perfect black jacket to go with it.

Now, each author would take this situation and depict it accurately but differently. His or her sincerity and commitment would shine through. But no two writers would choose the same words. Each writer would choose a different setting, pacing, and tone. Each would choose different details to project the emotional tone they want conveyed, and each writer would

incorporate his or her favored style. And no two authors would use the same voice. Why?

Because each author would deal with this situation (and therefore depict it) in a manner familiar to him. The author would process the elements in his or her own unique way and then relate them.

Identifying Voice is simple. It's the same principle as having four people look out the same window on the same scene and each document what is observed. Each sees different things--or the same things, but in different ways.

Pick up four novels. Read one page of each. Close the books. Then randomly choose a page in one. Can you identify which of the books that random page belongs to? Likely you can. And the reason is the author's voice.

Some writers attempt to mimic the voice of other writers. Sometimes consciously--as when writing novels under a publisher-owned pseudonym in an ongoing series--and sometimes unconsciously--as when reading a novel that has a profound impact on the writer and it transfers to the writer's own story. A type of unintentional, subliminal transference. If you're prone to

this--and most of us are--then restrict your reading to works unlike the one you're currently writing.

To an extent, a specific novel-in-progress can alter the writer's voice, though not entirely. Particular phraseology, the way the author attacks structural development, as well as author theme typically remain consistent, novel to novel.

But the writer may alter voice somewhat to better suit the needs of the story. He may adopt a more formal tone, more or less formal verbiage. He may create more psychic distance between the protagonist and the reader, may choose a more lean, spare writing style for a particular novel. But the writer's natural voice will remain the same at core level--identifiable as that

particular author's work. These changes subtly manipulate voice. No more than that.

I've been asked many times what a writer can do to develop her voice. My advice is this: write naturally. Write the way you think, before the censors click in. Allow nothing that "feels" stiff or formal (not "sounds" stiff or formal, because that could be your goal) or inappropriate to your story to remain in it. And continue to feed your mind. The more you know, the more you can relate. You'll deepen your creative well. The more that creative well holds, the more there is available to draw from and use. With a deep well, the writer has additional tools to make that unique voice even more distinct and articulate.

Voice is what engages the reader. It gains his or her trust, makes him say, "Yeah, I want to give up a couple of hours of my life here and go along for the ride." A distinct voice--one that comes across solid and strong and sure--encourages the reader to suspend disbelief and buy into the premise, to become emotionally involved with the characters. The sincerity and conviction of the writer never wavers. Nothing is wishy-washy. Everything is deliberate, intentional, steadfast and honest and faithful to the vision promised. That creates and maintains the fictional dream from first page to last.

Voice can be mimicked, but never honestly duplicated because writers are individual human beings, not clones of each other. In attempting to emulate another author's voice, a writer insults himself and dishonors his gift of craft. That emulation can be done in spurts, but it simply can't be maintained.

The reason why is simple. Every plot advancement, every detail related, every new bit of information that is revealed impacts the whole novel and requires the novelist to make choices. Each choice brings about new events, new advancements, and then those require new choices. No two people are going to consistently make the same choices for the same reasons for the same characters through an entire novel.

And shouldn't we be grateful for that? The world doesn't need another Shakespeare or Grisham or John Saul. It already has them. What it doesn't have is you. Your voice, that expresses both your universality and your unique individuality. This is your gift to readers. This is the core of your voice.

Hope this helps!

Vicki Hinze

c1999