FCRW Chat Transcripts
Writing The Paranormal
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
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,
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.
<Heather> so ... you wont name your favorite then? LOL
<KarenFox> My favorite out of the ones I've had is
Gail Fortune at
<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
<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
<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
<KarenFox> Thanks so much for having me tonight. I've really had a great time!!
Protocol has ended.
Social chat followed.
Writing Contemporary Alpha Heroes
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
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
<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.
Q&A: Anything Goes
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
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?
Kathie_DeNosky:
The call came on June 14th at
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
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
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
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