Gone writing

Putting things on hold (Merry Christmas!)

2011-12-21T22:23:00.001+13:00

I've finished Nano, but not the novel.
I was going to get it all ready for SYTYCW but this year they wanted the complete book and there was no way I could have my Nano Draft 0 all polished and sent off by 15/12.
But I can still get it ready for The Clendon Award next year.

I was going to work on my draft this week and during my Christmas break, but preparations for my new job, as well as for the uni course (ohmegod, have I really got on to an MBA program??) are taking up a lot of time. All that on top of quite a lot of stress in my old job.
So the Nano Draft 0 is on hold.

I still want to write and I'm going to finish that b***y book in time for The Clendon Award. I need to however put on hold all twittering and blogging etc non-essential activities.
I will keep my Romance Writing Competition calendar updated though, and continue 'publishing' The Romance Writers Daily on Twitter. I also check my emails regularly, if case anyone wanted to get in touch.

Pohutukawa - NZ Christmas tree
by Kate Kyle

Have a very Merry Christmas and a Happy Writing Year!!

Inspiration vs perspiration

2011-11-13T15:19:00.001+13:00

So You Think You Can Write is over, but the website with the wealth of information is still there and if you haven't had a chance to look at it, I strongly encourage you.

I love Harlequin/Mills&Boons for being so new-writers friendly. This was one of the reasons I've decided to try my hand at writing for them. All the published/contracted authors I've encountered at RWNZ conferences spoke highly of H/M&B's editors and how they practically learnt craft from them while revising/rewriting their books.
Those, who like me were still trying, were also very enthusiastic. SYTYCW and New Voices (in which I couldn't participate because according to the contest rules I was deemed published) are perfect examples of how supportive these publishers are.

For those of you, aspiring romance/woman's fiction writers who don;'t know yet I also recommend eHarlequin site - with writing advice, free online reads, and many pitching opportunities (check the For - particularlyThe Write Stuff section). great for inspiration.

I haven't had much time to seek inspiration as I have been heavily perspiring, working on my new NaNoWriMo project and rushing to get my SYTYCW assignments sent off before the deadline. I must admit I'm lagging behind with my NaNo- due to some health issues, and also SYTYCW. But I've managed to complete four out of 5 assignment - the opening page, gripping scene, synopsis and query letter, which will make my 5th assignment - actual submission in December much easier.

Anyway, since I'd managed to plot my novel almost completely prior to Nano, I don't have to wait for inspiration, just sit at my laptop and sweat the words out.
My novel is set in rural Northumberland, which is rather quite far away from where I now live. So I'm using this little space-travelling technique:

Eglingham Moor, Northumberland, England
by Kate Kyle

(this place plays an important role in development of attraction between my hero and heroine)

I've never had any of my SYTYCW assignments picked up for critique, whether last or this year, but I've read the editors' feedback with great interest- great stuff to learn from.
I've learnt bits and pieces from blog post and chats, too. My favorite was the article on synopsis and query letter. I'm still not an expert on any of them, by any means, but I'm feeling just a little bit more confident. And I'm sure I'll come back next year, even if I'll managed to get a contract with M&B by then :)

Have you been picked up for critique? Did you enjoy the event? Did you learn anything new?

It's nearly November

2011-10-30T13:13:00.000+13:00

I've hardly noticed October - been so busy sorting out my next day job. Actually I've ben so busy that I've put writing on hold completely. But now, since I've got a new job (some call it promotion), went through the mill of a Very Important Assessment, sent my application to yet-another-uni-course in and awaiting results, and the spring is finally in the air it's time to go back to writing.

It's November - NaNoWriMo month again and I'm definetely taking part again this year. I'm also going to do SoYouThinkYouCanWrite2 with Harlequin again as I enjoyed SYTYCW1 last year.
I'm writing another medical romance - since the target length of 50-55,000 is ideal for Nano. I also hope I will be able to submit it at the end of SYTYCW2.

I have been neglecting my blog lately and unfortunately this is likely to continue in November because of Nano, but after that I should have more time for writing.
In the meantime, for those of you who are looking for an interesting writing workshop in November - have a look at a fellow romance writer Lacey Devlin's blog for inspiration.
I'm off to get prepared for NaNo - I've got heaps of stuff to do.

Nano preparation checklist for plotters:
1. Story premise - check
2. Title - check
3. Heroine's goals, motivations and conflict - check
4. Heroine's arc - needs some work
5. Hero's goals, motivations, and conflict - check
6. Hero's arc - needs some work
7. Plot outline - very patchy, several plot holes - needs fixing
8. Minor characters - haven't been conceived yet.
9. Happily Ever After - check!
10. A week off day job - request not submitted yet!
11. Put a new word counting widget on my blog - not done yet!

I haven't included a supply of chocolate as I have to lose weight I've put on during all that work-related stress in October but will have to find something to fuel my during those long early morning hours.

Who else is doing Nano this year? Are you a plotter or a pantser? How are you preparing?

Take a cliche and twist it... (how to create unpredictability in romantic fiction)

2011-10-09T15:08:00.003+13:00

I have just finished reading Emily March Hummingbird Lake novel. Although it starts a little too slow for my liking, I'm pleased I stuck with it, because I've really enjoyed the book, and the main reason for that is the Heroine - Sage. She is an interesting mixture of soft and feisty, full of internal conflict (great way of contrasting her paintings as a metaphor to Sage's own internal contrasts) and carries a heart-wrenching secret. The story (and Sage's secret and internal conflict) unfolds in a way that the reader is bound to empathise with Sage and root for her, even when she's really mean to the Hero.
Great job, Ms March!

Sage's story made me go back to my notes from RWNZ conference in August and Lucy Gilmour's from Mills &Boon presentation on unpredictability in romantic fiction. Sage is a twist on one of romance favourite archetypes - The Wounded Hero. The twist is simple - just the gender swap, but for me it was enough to keep me turning the pages.

Photo by Digitalart
via www.freedigitalphotos.net

Lucy's presentation was in the context of preparations for New Voices competitions, and highlighted unpredictability as one of 6 relevant elements of a good story. Interestingly, unpredictability features also in the newest ebook prepared for New Voices contestants and anyone who wants to write Mills& Boon romance (Secrets uncovered - scroll down to the bottom of the page to download).

Many people reject romance as a genre because of its predictability. It's true - romance readers like their favourite plots and themes, 'dark and broody heros' or feisty heroines. They buy M&B's books because they know they are going to get what they expect and there is a Happily Ever After at the end. And since everything has already been done it's not easy for a writer to come up with new twists and turns.

So how to create unpredictability in romantic fiction?
1. Take a character (an archetype, trope or stereotype) and give them a twist: change the gender (I'm brewing a 'in-love-with- Boss' story with the role reversal), let your Cinderella be a man, make the most suspected person the culprit (a twist on the Dog was the Mastermind trope I'd love to read!), give your sweet, naive Red Riding Hood a few wrinkles and 'I-should-have-known-better', or just make your hero younger and less experienced than your heroine.

2. Take a well known plot and twist it.
Oh, how much I'd love to read a story about a Girl meeting Mr Right and then realising she doesn't really want to get married and have children, at least not before she travels the world (with him)! Or how about a genuinely loving couple who marry for convenience and what is the impact of it on the relationship afterwards (I know of a couple who got married after a few years of living happily together because as a married couple they would pay less tax; unfortunately, I don't know what was the impact of those wedding vows on the romance in their relationship, but just imagine the possibilities...). Or add some infidelity to the mixture (apparently the attitude to infidelity in M&B romance is changing).

3. Twist the setting.
Since I moved to New Zealand and have all those 'exotic' pacific islands within a couple of hours flight at most, the word 'exotic' has got a new meaning. I've spoken to a Kiwi woman once who told me that the dream of her life is to travel to Austria - the country where her favourite film, The Sound of Music was made. Quite an eye opener for someone like me, who spend the majority of her life in central Europe.
Twist the meaning behind a setting. Tired of sweet little towns? Show your H/h struggling with not-so-positive aspects of those close-knitted communities. Or how about a glam chick story set in a little town? Or a boy coming home to a modern, fragmented family in a big city?

4. A fresh POV
Give your Heroine a unique ability or disability that will affect the way she perceives the world (not a romance, but a great way of introducing unpredictability The Curious Incident of the Dog in the Night Time ); introduce different formats (diary entry, txt mssgs, emails); or even EVEN (yes, Lucy DID say it) use the 1st person narration.

I love twisting and turning cliches and reading stories that turn out to be not what they appear to be. I'm currently writing a story, which was originally 'conceived' as a chick-lit story, but chick-lit has fallen out of fashion since (I'm way too slow for those trends!) so I'm setting it in a small town instead! As I said, I'm also brewing a reverse 'in-love-with-Boss' story.

Have you twisted any cliches? What is your favourite way of creating unpredictability in romance? Which cliches would you like to twist?

Romance writing competitions

2011-09-26T06:14:00.002+13:00

Looking for romance or women's fiction writing competition?
Check my calendar - just updated it with more upcoming contests. Every note contains a web link to the contest site - check it for more details.

Good luck!

Ps. After much deliberation and asking around, I've decided that I wasn't eligible for New Voices, so I'm not entering (but reading entries). Instead, I've entered Strictly single competition (RWNZ) again this year. This year I've entered a completely new story, something I've thought out a couple of years ago as a chick-lit, but since chick-lit is no longer hot (or even worse: editors are not buying new authors any more), and since my story was never conceived as a bit city story I've changed some elements. Now, it's a (single title) contemporary romance, set in a small town (apparently this is HOT!). The characters' arcs have changed, too and becuase I haven't had much time to smooth it out, they're not as goo as they could be.
It was a bit of a touch-and-go with the deadline, as I completely forgoten about it. But I've managed to churn out 6,500 words and a synopsis.
Fingers crossed.
Now, back to my current WIP, which I've been writing for... let me think... 7 years now.

Have any of you entered or is going to enter any contest now? Any of you doing New Voices?

Artist abuser

2011-09-21T20:07:00.000+12:00

I am currently reading Picture perfect by Jodi Picoult and although I'm nowhere near as captivated as by My sister's keeper, but I keep reading, even if it was to see how Ms Picolut will deal with some cliches and character stereotypes/archetypes. And while I'm at characters' stereotypes etc, I thought I'd use one of Picolut's characters for my next, a little overdue, post in Believable Characters series.

Cassie, the main female character is married to Alex - a drop-dead gorgeous, charming man, who is an actor admired and desired by milions of women. Cass loses her cool, scientific head and falls for him, they have a perfect wedding with a dres flown from PAris (or maybe Milan, doesn't quite matter), and then he whisks her away to his world. And here starts her married life - full of surprises.
I haven't actually finished the book, because I got a little bored somewhere half way through. It's a bit obvious what would happen, but to be fair to Picoult Alex is a picture perfect portray of an Artist Abuser.

I have tried to come up with a better, more evocative name for this stereotype/trope, but couldn't. So in the end I've decided to use V.L. Schmidt's term with a little twist - Artist and Abuser is actually an artist abuser, becuase the abuse is usually well hidden and often these couple would appear 'picture perfect' to outsiders.

Key characteristis
Artist abuser is a man of emotions, or rather - emotional storms: from exalted love to angry rage, he switches within seconds. Whatever the emotion, it's passionate, it's full-on. He's good at expressing emiotions, but rubbish at mastering him, which often leads to emotional and even physical abuse, even if he doesn't want to harm the person he's with he can't keep his anger under control. Many AA are genuinely loving men, who really suffer seeing the extend of the damage their rage have produced. That's why in the attempt to make up for the damage, they want to sweep their partners off their feet and shower them with their love.
Some of AAs however are more sinister and use their abilities to manipulate people, particularly in close relationship, mingling his abuse between acts of generosity and display of love and passion. Whatever the motivation, AA is the master of 'double bind'
AAs attract women because of their passion and ability to access and express emotions, and channel them into creative acts. They are also often artists - painters, writers or actors- just like Picoult's Alex Rivers.

Relationships: AA attracts women who admire his talents and fall for the intensity of his emotions. Their love story is usually short, intense, full of romantic moments and acts of 'crazy in love with you' (e.g. Alex's impromptu trip from Arfica to USA to bring Cassie snow she happened to mention she was missing). If he says 'You are the only person who could understand me/I could ever talk to..' on your Heroine's first date, wants to move in with her on the second and proposes on the third beware! He may be an Emotional Abuser! Their dedication and infatuation with the Heroine can often turn into jealousy and posessiveness.
Obviously, AA's relationships are full of passion, fantastic sex and romantic moments - what makes him different from any other romantic hero is the darker side of his emotions - anger and violence.
They also often emotionally dependent on their partners, like Alex on Cassie, but deny it. They may substitute drama and excitement for emotional intimacy.
To the external world AA often look 'picture perfect' - madly in love, passionate, fun-loving, that's because the abuse happens at home.

Typical back story:Usually Artist Abuse has been a victim of emotional, or even physical abuse in his childhood. Often he has a father, who is an AA himself, or a Femme Fatal as a mother. Sometimes he would have withdrawn paretns, uninterested in him at all, almost unloving, like Alex Rivers in Picture perfect. They grow up in emotional storms, whetehr external (e.g. parents' arguments), or internal (own emotions - hate, anger, unmet needs to be loved and appreciated), and since they never learn how to contol these forces, they just let it happen. They have to fight for the attention of their parents, prove their worth (Alex' father wanted a tough boy, not a softy Alex grew up into), gain their accceptance. Their self esteem and confidence suffers and they often have to resort to 'crutches' like threats, violence, or put a front on to appear stronger than they are.

Typical jobs: any artistic profession: actor, writers, painter, singer, you name it.

Vincent van Gogh - Self-portrait in front of an easel
Photo from Wikipedia, Creative Commons

Motivation:
This hero wants to be someone important and achieving his goal is it's to-be-or-not-to-be. For him every little argument or a minor cough is a fight for life. He's full of passion and thirves on extremes and he does not want to miss any opportunity to experience it.
He's in the spotlight all the time, playing the role of his life, and one not-so-favourite remark or a dry smile can in his opinion destroy his career. He does not trust others, and often has a need to control them.

Biggest fears:
He fears himself - his angry outbusrsts and potential for hurting the loved ones; he does not want to hurt people. he does not like criticism and perceives it as rejection - if one person doesn't like his artwork, he may see it as his own artistic death and destroy what he's created. As an artist he is scared of loosing his creativity and a minor 'writers block' can cause a major emotional breakdown.

Potential for growth:
Having an Artis Abuser as your hero gives you an instanenous internal and extarnal conflict between his and your heroine -his passionate and violent nature create intense push-pull in their relationship. But on the other hand, if you want your Heroine to have HEA with AA, you have to make sure he changes, and changes for good. The growth would usually have to happen around his ability to control his emotionas, particularly anger. But this may create furtehr complications, as he may fear if he harnesses his passionate anger, he may lose his muse compeltely.
You may also need to make him find other ways of improving self esteem than being violent or manipulative.

Examples from literature and film: Vincent Van Gogh, Tristan from Arthurian lenegds, Othello

Online writing workshops in September

2011-09-04T14:14:00.000+12:00

A selection of writing online workshops that may be of interest to romance writers

Colorado Romance Writers:
5- 30 Sept: Corsets, goggles, airships - Researching and writing steampunk by Beth Daniels
5- 30 Sept: Body talk - Loving, lying, and the real language of the body by Kit Frazier

Yosemite Romance Writers:
5-30 Sept: Whose story is it? The nuts and bolts of POV by Susan Palmquist
5-30 Sept: A cop's life from A to Z by Kathy Bennett

Fantasy, Futuristic and Paranormal chapter of RWA
5 Sept - 3 Oct: It's showtime! Show, don't tell by Flo Fitzpatrick

5 - 30 Sept: Creating your hero fatal flow by Laurie Schnebly Campbell

5 - 30 Sept: Microsoft for writers by Catherine Chant

6 Sept - 3 Oct: The purpose driven scene by Lynn Kerstan

6 -13 Sept: Conflict - How to build it, sustain it, resolve it by Jaye Roycraft

6 Sept - 2 Oct: Conflicts of myth - using classical myths to deepen your contemporary novel by Susan Sipal

6 Sept - 3 Oct: Advance dialogue class by Devon Ellington

12 Sept - 3 Oct: Secrets to writing (and pitching) The Big Hook, High Concept, Same but Different Novel by Virna DePaul

Again, I have problems choosing from such a wide range of interesting workshops, but I think I'm going to take the course on writing high concept novel and/or the purpose driven scene (as I have problems writing scenes).

Are you interested in any of these classes? Any recommendations?

Being an aspiring writer...

2011-08-26T15:16:00.003+12:00

for me it means that I should focus my efforts and time to finish the unfinished (it's been 7 years now...), polish the finished and start sending it out whether as a query or for feedback (contests - see my Calendar for upcoming contests, are perfect opportunity for getting feedback on your work from other writers, also published, if not agents and editors themselves!).

Unfortunately, recently instead of writing I've been spending my time
- trying to get a new day job with - surprise, surprise! - more responsibilities and a steep learning curve
- polishing my CV so it matches the requirements for the potential new job
- learning new stuff so I can perform at interviews for the new job
- making sure that I've got the look for the job (cue new hairstyle, advice from a stylist and a few rather painful shopping trips - have you ever tried to radically change your style?)
- going to conferences (well, at least one was to do with writing - another great RWNZ conference, where I met in person my fab online romance writing friend Serenity Woods)
- enjoying time spent with friends (waving at Serenity and other lovely people I've met recently)
- trying to come up with not-so-social-animals-friendly promoting strategies for my book on OCD, which is just out
- thinking about a new post on my blog (long overdue, I humbly admit)
- learning at an online workshop how to manage day job, family, life, have some sleep AND still write more than one book in a year (by fabulous Kerri Nelson)
- feeling overwhelmed with all the above and the guilt that I'm not writing that I often end up playing stupid flash games

A lot of procrastinating, isn't it?

I feel being an aspiring writer is so much about fighting your urge to procrastinate.
Fiona Maddock wrote a brilliant post on being unknown and unpublished writer once. And what does being an unpublished/aspiring writer means to you?

But hopefully it's about to change.
At the conference Lucy Gilmour, Mills&Boon's medical romance editor, suggested that I sent the first 3 chapters and a synopsis of my novel to her (it's not a proper request as I didn't quite pitched to her - she just told me to send it to her as they look at all submissions anyway), so at the moment I'm polishing these while sneaking out from some boring conference sessions (this is not a writing conference though!). I have to have it ready by Friday.

In the meantime I'm spreading the word about The Liebster Blog Award, which goal is to showcase up and coming bloggers with fewer than 200 followers, like me :)
I have got the award from Sara Furlong-Burr - one of my favourite bloggers (thanks Sara!).

The rules are simple:

Thank the giver and link back to the blogger who bestowed the award on you
Reveal your top five picks and let them know by leaving a comment on their blog
Copy and paste the award on your blog
Have faith that your followers will spread the love
Have bloggity-blog fun!

It's taken me a while to choose my top 5 bloggers for this award, but finally I've gone through the (long) list of blogs I follow and was really surprised to find out that some of my favourite blogs have fewer than 100 followers! Here's my list of bloggers worth following- they're all writers (some write romance, some not), and their blogs burst with superuseful writing advice:

1. Nan Cormague - a romance writer, who has gone quiet a little but I hope she's back soon to continue posting

2. A.J. Humpage - a fiction (short and long) and non-fiction writer with many years of experience and excellent posts on story mechanics and the use of language.

3. Morton S. Gray - a fellow romance writer and The Mutual Admiration Society member

4. Liz Fielding - another romance writer, a very experienced one, who is always happy to share her knowledge and at the moment is giving advice on New Voices competition.

5. Jodi Henley - discovered only recently organic writer and the master of subconscious writing process which is ... (check her blog!)

I hope you all enjoy reading these blogs.
Now I have to send off that manuscript and go to another (boring) conference session.

Online courses and workshops for romance writers (August 2011)

2011-08-02T06:59:00.000+12:00

I've been keeping an eye on online writing courses for a while now and it seems this has become a very popular way of learning craft and boosting inspiration for writers. I didn't realise there is such an aboundance of workshops out there! I suscribe to only a couple of mailing lists, and it's still hard to keep up, let alone choose.
Onlike courses are cheep, convenient and can be informative if you do it properly.

Here is a list of a few August workshops I think may be of interest to fellow romance writers.

1 - 31 August The Book Factory: Producing Multiple Novels in One Year with Kerri Nelson
to enrol go to Red River Romance Writers
I'm doing this one!

Three of many interesting workshops organised by Low Country RWA
5 - 26 August Writing Regency Set Novels with Shannon Donnelly
5 - 26 August What Does Nora Roberts Know That You Don’t? with Carol Hughes
5 - 26 August Body Talk: Lying, Loving and the Real Language of the Body with Kit Fraizer
To enrol go to Low Country RWA website
1 - 28 August Ebook and digital publishing - is it for me? with Suzanne Rock

15 - 28 August Creating better heroes with Sasha Illyvich

15 - 29 August From Slow Burn to Fast Sizzle: Making Sexual Tension Work For You with Kira Sinclair and Lynn Raye Harris

Two of the many interesting workshops at Savvy Authors
1 - 6 August Patchworking the perfect plot (even when you're a pantser) with Suzanne Johnson
1 - 28 August - Dirty little secrets of character development with Keena Kincaid

My main sources of info about online workshops are Savvy Authors website and RWA Newsletters.
What are yours? Where do you find information about interesting workshops? Share your tips below.

photo credit: Photostock at www.freedigitalphotos.net.

How to pitch a romance novel

2011-07-17T07:46:00.001+12:00

I know it's after RWA Nationals and many of romance writers have this step behind them, but since I couldn't go to NY this year and I'm going to our local RWNZ conference next month, I've decided to give pitching a go.

I have never pitched in person before, but I'm no longer a pitching virgin - at the end of an e-course on pitching I did last month we had an opportunity to pitch to an agent. My pitch didn't get me any requests, but I got very valuable feedback.

From what I have learnt from different sources, although a pitch should always contain the essence of your book, what is that essence varies according to the genre. This is a summary of how to pitch a romance novel.

1. Finish the b***y book. Finish and polish. And polish more.
It has to be ready for submission at the time of query/pitch.

2. Find an agent/editor. Search Writers and Artists Yearbook, Writers' Handbook etc, browse the Internet (check Chuck Sambuchino's Guide to Literary Agents website), check your favourite authors, writing communities; go to a library or a bookshop; possibilities are endless. You need to end up with a list of agents (editors) who accept books in your genre, preferably with some similar (not necessarily exactly the same) novels published or accepted recently.
If you can compare your writing/your novel to one of the authors/books represented by the agent you're approaching, mention it in your pitch/query. If the agent was recommended to you by your writing friend - mention it.

3. Write your pitch. The length of your pitch depends on the circumstances (see great post by Nathan Bransford), but the one I'm after is so called 'elevator pitch'.
Christine Withhohn at Pitch University suggests that you ask yourself what your book really is about (the hook), while keeping your audience in mind (genre). Write it down in 1-3 sentences. Check if every piece of information is necessary (i.e. the story wouldn't be the same if this element was changed or deleted).
Tidy it up, e.g.
1st sentence - enticing incident, story premise
2nd sentence - internal conflict of your main character (characters)
3rd sentence - end with a hook; don't tell how the book ends- the pitch is a teaser, designed to whet the agent/editor's appetite for more.

Don't abuse semicolons, don't try to cram too much info into your pitch.
Don't forget to include the genre and word count in your pitch and whether or not the novel is finished (it better be finished - see p 1).

4. Polish. Polish. Polish.

5. Practice - in the shower, with a friend, ask your critique partner or someone form your writing group for feedback.

6. Get ready for the day. Perfect your style.

photo by Ambro
www.freedigitalphotos.net

7. Follow through. If you're lucky and the agent is interested in your book, they usually ask for a partial (usually synopsis with the first 3 chapters, or the first 50 pages) or a full manuscript. Usually it should be send within 2-3 business days after the pitch was requested. So there is enough time to check the agent website to tweak details like font type and size, margins etc, but NO TIME for finishing the book (see p. 1).

Include a brief letter, reminding the agent where and when you've met; how you enjoyed the meeting; it's a good idea to include your original pitch to refresh the Agent's memory.
Include a short paragraph with some details about you - your previous publishing successes, professional affiliation (e.g. RWA, RWNZ), any other credits (e.g. writing contests won).
Thank the Agent for their time.

8. Wait.

In the meantime, you can practice pitching and pitch online to a variety of agents and editors - there is a number of websites where you can do it, e.g. Savvy Authors and Pitch University

Have you got any tips for pitching virgins and second timers? Share them!

The wounded hero

2011-07-05T22:25:00.000+12:00

I've just started reading a novel and from the moment the Hero first appeared I've a feeling he's one of those quiet introverts who seem withdrawn if not cold - a lonely wolf, if you like. I've already put my bet on a troubled past - a deeply wounded heart or a lost soul, or at least a few scars.

I admit, I have a soft spot for The Wounded Hero, also known as The Lost Soul or The Recluse. In her 45 Master Characters VL Schmidt links this type of character to the archetype of Hades - the god of the underworld.

photo by smokedsalmon
www.freedigitalphotos.com

I've tried to find a good definition of who Wounded Hero is and found a number of references to physical disabilities, but also emotional scars. Love Romance Passion website listed 5 different subtypes of this type of hero, using Damaged Hero as the 'common denominator':

scarred hero - has physical scars on his body or face and is usually a man who struggles to get over the loss of his looks
wounded hero - is a man who has more than scars - a disability, has lost a limb, a sense (blind heroes seems to be particularly popular)
tragic hero - is damaged emotionally; it's someone who has lost everyone and everything that have mattered to him; became a recluse and avoids getting attached to anyone or anything anymore in case he may lose them again
tortured hero - is a damage hero 'at the end of his rope'; he's someone who has been abused physically, mentally or emotionally and developed very low self esteem
burdened hero acts alone; he doesn't trust anyone as he has learnt over the years not to; he often lives with a horrible secret, is seeking revenge or absolution

Key characteristics: WH has chosen a solitary life - whether physically (e.g. living on a desert island or in a middle of a forest) or emotionally (single, with no or very few friends, doing a solitary job). He has rejected society or society has rejected him. he may also be not much in touch with reality (living in a middle of a forest, leading self-sufficient life with no broadband and no phones). he prefers his own company and often has good reasons for that - has been betrayed or abused in the past. This is a man with secrets, or even a dark and troubled past...

Relationships: as a rule WH is a loner and has been for a long time, if not for the most of his life. He doesn't know how to be close with other people, he doesn't trust anyone.
It's all obviously only until our Heroine comes on the scene and helps him heal the wounds.

Typical backstory: human beings are typically sociable and loneliness is usually a choice made more from push than pull factor. If you want a recluse - think of what could have pushed him aside, on the fringe of society; and the hint is in the name - a wound :)
The wound(s) are either physical, or (more often) emotional, but these have to be deep enough to make this man choose solitude over human company. A broken heart? Yes, but you need to throw in other more powerful issues, e.g. betrayal of trust, violation of your hero's values.
My WH has a broken heart not because his ex has left him, but because she made him open up and show his 'soft side' for her, and then she ridiculed him; and then she got the job he dreamed off and destroy a team he loved.
Often WH's wound would go really really deep, back into his childhood - to that dark and troubled past.

Typical jobs: since WH is typically a recluse, any job that allows or requires working on his own - from being a monk, a writer/artist, through a being boss ('being a CEO is a lonely business', same for being a king), to such favourites like cops/private detectives, or special agents. WH's job would often foster his reflective nature and rich inner life.

Motivation: WH loves being on his own, usually because he's afraid of other people and being hurt again. He often also enjoys his solitary lifestyle because he enjoys his own company and his rich inner life. His main motivation is often the urge to know and understand; or need to heal/lick his wounds away from people.

Biggest fears: Obviously, his biggest fear is being hurt again. Often WH would also be afraid of his own emotions, particularly powerful ones, like love or hatred. he may be not only scared of the power of his own, but also of others' emotions - yet another reason to keep away from people and don;t get too close to anyone. Those WH who tend to think a lot may also be scared of loosing their mind, their solitude, their inner world.

Potential for growth: since we're talking about romance fiction, WH is up for a tough time - by the end of the book he has to be able to be in a lasting (HEA) relationship, and this is what he often fears most. Potential for growth therefore needs to be focused on learning to trust people, getting in touch with his own emotions and 'soft side' if not weaknesses, being able to give and receive, being capable to be intimate, not only physically but mostly emotionally. In a nutshell - a lot!
Think carefully what back story (baggage) you give them so he has enough time to change and his character's arc is believable, e.g. serious, repeated abandonment early on in his life cannot be fixed with even the biggest love of his life.

Examples from literature and film: Beast in Beauty and The Best, Angel from Buffy the Vampire Slayer, Heathcliff in Wuthering Heights, James Bond in Quantum of Solace (did you also have a moment of 'Ah! Now I understand why he's never committed to any of these girls...'?), Agent Mulder from X-files (more secrets anyone?), Harry Potter and quite a few more characters from HP series.

I like reading and writing WH. probably because first of all we have a great source of internal conflict for Hero - he has good reasons for not falling in love with Heroine, and even when he falls he'd rather keep away from the power of his emotions and her closeness.
I also like WH because I like creating caring female characters with inner healing powers - who is better equip to help WH heal than another of my favourites - The Perfect Nurse? I enjoy the journey of the hero who learns to open up and heals.
And last but not least I like WH because I have a soft spot for man with layers and secrets....

Do you like Wounded Heroes? Why? or why not? Do you prefer physical or emotional wounds?

Romance Writing Competitions calendar

2011-06-25T23:13:00.001+12:00

For those of my readers who haven't noticed I've added a new, hopefully helpful feature to my blog - a calendar with competitions related to romance and women's fiction genres. You can find it on the side bar.

It's just a Google calendar with the name of the contest, deadline (sometimes also date when the comp opens), and very basic info re who can enter (published/unpublished writers) and what is judged (e.g. first chapter, first 50 pages+ synopsis etc).

Every entry contains a link ('Where' line) to the contest website, where you can find all the details, including fees, whether the contest is open only to members or wider public, who the judges are etc. Unfortunately since the box is intended for physical address the link is not 'clickable' and needs to be copy&pasted into your browser.
Although I do check the links before adding an event to my Calendar I am cannot guarantee all information is accurate. Please, check the competition websites for details and update information.

Remember, always read the contest rules, regulations, eligibility, entry formatting requirements etc before entering.

If you know of any Romance/Women's Fiction writing competitions do let me know by either posting a link or emailing me. I look froward to hearing from you.

Good luck!

How to create internal conflict in romance

2011-06-15T23:06:00.004+12:00

Conflict is the blood of romantic fiction. Readers don't read romance novels because they want to know what happens to the characters - they know it already. They read to know how the characters overcome the conflict and end up together. It's conflict keeps your hero and heroine apart and makes the reader turn the page.
So there's no romance without conflict.

photo by Ambro
www.freedigitalphotos.net

Conflict in romance can be external or internal. External conflict comes from the outside and affect your characters; it's the plot. Internal conflict on the other hand comes from within the character. It's an internal battle, an obstacle they have to overcome, a choice between love/lasting relationship and ... this other thing. Internal conflict arises form an unmet need - something that happened in the past and left a hole in the character, the character will struggle to fill (as Molly O'Keefe said in her great article on Conflict from Character in 'Heart to Heart' - RWNZ Newsletter, May 2011).
How do you find these unmet needs? How do you create internal conflict in romance?

There are a number of ways you can 'source' your characters' internal conflict:

1. Your character's goals , plans, ambitions- look at what he/she's always wanted to achieve, their desires. Whether it's a life-long ambition to become a great scientist, a dream of round the world trip, or peace of mind, need for financial security, or revenge. Whatever drives them, the goal is to get somewhere which is away from love.

Risk: this type of internal conflict, if not supported by 'added layers' (see below) and rooted deeper in the character's past risks being too shallow to carry the entire novel. If she wants to go on a round the world trip why can't she go with him? Or why doesn't she go, keep in touch with him while travelling (we have technology), and get back together on return?

This is a good first layer of conflict, because our goals and decisions we make are often based on our previous experiences and even deeper desires or fears, so just the moment the reader think the character can easily overcome this obstacle, you just peel the layer and show another one.

2. Your character's past experience - whether one-off or repeated as an adult; or something that has been haunting your character from her/his childhood. the deeper (the more back in time and the stronger) you can go, the better - the hole will be bigger and more difficult to heal - would certainly not be sorted out with a plaster. Conflict arising from this kind of experience will often be an obstacle to being in a lasting relationship, e.g. inability to trust another person, fear of being abandoned or hurt again.
Look for previous relationship problems and failures; inner fears, doubts. When creating a problem, make sure it's not an opinion formed on a one-off experience, unless the experience is of traumatic size. Again, to build up conflict that could carry a novel, look for experiences which create strong, lasting emotions -

I've recently read a novel where the heroine was reluctant to get back with her miraculously 'returned from dead' husband, because he'd walked away from her life 2 years before and never bothered to communicate with her. When he finally turns up at her wedding (to someone else) he explains that he has been hurt badly at a war, nearly lost his life and certainly ability to contact her. She loves him but feels she can't trust him, because of this one-off event; she had no previous experience of being 'dumped' or 'stood up'. Not enough of a internal conflict for me to make me believe this situation, so I put the book away having read about 2/3.

When you use a recent relationship issue, whether in current relationship, or previous one, make sure the problem actually goes deeper still - to another relationship, or even better - back to childhood experience and fears. See my post on building believable characters for more suggestions.

In another recently read novel, The heroine breaks up with her partner who she is madly in love with because he doesn't want to change his very dangerous job. He's late for dinner or date with her, comes back unharmed but just... She realises that he loves his job and will never give it up; and she does not want him to give up the job he loves, so she walks away.
This novel shows the layers very well, because the reader is soon informed that the heroine's father who was a rescuer himself died while on duty. The heroine knows exactly what it means to loose the most important man in her life to work.
But this does not end here. As the story progresses, we learn the heroine's biggest secret - that her mother committed suicide shortly after her husband's death because she couldn't cope with the death of her beloved father. And the heroine still feels guilty for not being able to prevent it. Do you want your child to feel like that? or do you believe your children deserve a better future?

3. Your characters beliefs and values are great source of internal conflict. I actually think it's the best way to (seemingly) insurmountable problems at your heroine/hero. Because people invest a lot in maintaining values and beliefs, they will hold onto them for much longer than to plans or decision made without this weight. People don't change their beliefs very often, there has to be a special reason for doing so and this one-in-the-lifetime love, this special relationship may be just the agent of the change.

I like books where the source of internal conflict is in the character's belief system - not only because you go really deep, reaching to the core of your character. Also because beliefs are formed throughout life, and are combination of our upbringing, past experience and own decisions, so they rise from all the layers. In fact, you can build the conflict through all the layers.
One of the favourites in romantic fiction is the issue of single parenting - I've read a number of books where the heroine (often due to her own upbringing without or with absent father) finds herself pregnant but doesn't want to bring up the child on her own, or stays in an abusive relationship because she believes children should have both parents. Another favourite includes men who believe that women should stay at home until children are bigger, or give in their careers completely to be mothers and/or homemakers; and they would not marry/be in a serious relationship with a career girl. This belief can stem from happy childhood with mummy at home, or the other way round - the trauma of being shifted from one nursery/childminder to another and never seeing their mother.
There is a layer of goals, then there is a layer of own experience, and there is a layer of beliefs.

Risk: you have to be careful when challenging people's beliefs and values, because values are actually what makes your characters unforgettable and heroic; values can also be saving grace, so be mindful not to challenge a belief or a value that your character absolutely needs to maintain integrity.

4. The other character's goals, past experience and beliefs - to create tension between your characters give them conflicting goals, different past experience or opposing sets of beliefs. If you combine a man raised by a single, working mother yearning for a homemaker and an independent career women who needs to prove her intellectual worth to the world because she's always been 'sois belle and tais-toi!', you should have enough to keep them apart for 200 pages.

Once you have conflict and inevitable choice to make (love or...?)
- put your characters in situation where they have to make this choice
- don't let them act out of character
- peel the layers like an onion; adding depth and drama (more tears, anyone?) as you go.

Read more about internal vs external conflict in Jennifer Holbrook-Talty's great post. Here Terry Odell shows how to build conflict and tension into your romance. And here's more about conflict and tension in general.

As a reader I enjoy multi-layered conflict, deeply rooted in the character's beliefs, because I think it reaches to the core of a character and require true growing to get to Happily Ever After. However much I like it, I also think it's difficult to pull off and the more I admire authors who can do it.
As a writer, I try to source internal conflict from my character's beliefs or values. Do you have a favourite way of creating internal conflict? How do you do it?

How to make the most of e-writing courses

2011-06-02T00:03:00.000+12:00

E-writing courses are getting more and more popular these days. They are easy accessible for anyone with a computer and Internet access. They are cheap, can be run irrespective of geographical location, time zone, and day schedules. You don't have to take a day off to attend one - you can just do it in the comfort of your own home at any time that suits you. They also much cheaper - a typical e-course would cost around 10-30 USD, and you don't have to travel to the place, there is no hotel to book, no snacks to buy etc.
Perfect?
Not quite.
Having tried a number of e-courses recently (4 to be precise) I must admit I struggle with this format. I don't really want to say that I haven't learnt much form the ones I've 'attended', but I can't say I've learnt much either.
With this reflection in mind I hesitated over enrolling to yet another one recently, but I know I really need to learn how to pitch like a pro, since I've decided to attend a pitching session at RWNZ conference in August. So I've enrolled but then sat down to brainstorm ideas how to make the best of e-learning writing courses.

photo by photostock
Free Digital Photos

1. Familiarise yourself with the format. If you're joining an online group/loop or forum, have a look around the forum - how the posts are displayed; are they grouped or displayed chronologically? Can you change the setting to have it displayed the way that suits you? The courses I've done were all based on Yahoo Groups - a format I'm familiar, but not necessarily happy with. For a reason unknown to me, even when I have 'group by topic' on, I keep getting messages all over the place.
The main upside of reading the posts on the forum is that you can group messages by topic and see how a topic progresses
If you prefer to read the messages in a digest - I'd suggest you opt for a daily one (see point 2). On one hand digests are good because they remind you about the course and prompt to read every day. But on the other hand there is no way you can group messages, and since it brings only what's new today, you may not remember what was written/discussed before. Often the replies would have the original post at the bottom, which is good for refreshing your memory, but I find it the most annoying aspect of e-learning courses: scrolling down the kilometers of old messages, displayed in the most annoying format with all these "<" and ">", which make it much harder to scan.
If you find this as frustrating as I do, see point 3 for some suggestions.

2. Make a commitment to read posts every day. This will not only allow you to stay up to date with what's on the group and keep up to speed with new information provided, but also take part in exercises, try out new skills or put the newly acquired knowledge into practice, which reinforces the learning process!

3. Make your own notes. I have tried to copy&paste relevant bits and pieces of posts into a Word document, but realised I've been missing the possibility of scribbling all over pages. I am a rather non-linear thinker and learner, so tools focused on linear approaches don't work for me. I suspect many writers are non-linear, so I would suggest you make your own written notes - not only this will reinforce the learning process but also allow you to make notes in whatever way you find beneficial, and go back to add stuff as you go along.

4. Participate in tasks/homework. Get your stuff out there, don't be scared or shy to get feedback on your writing. Practice the skills taught and get feedback on your progress. Also read what other participants have done and the feedback they've got - learn from other people's experience. The whole point of taking the course is to learn.

5. Don't undermine the power of community that builds around the course. On these rare instances I took part in homework tasks I got great feedback and helpful tips not only from the tutor but also from other participants. One of the most amazing things was that many writes were happy to chip in and brainstorm ideas for my (your, hers, his) book or story - completely free! Great bunch of people!

6. Enjoy :)

You can find interesting writing and publishing related e-courses here and here or here or here and in many other places.

Have you taken any e-courses? What is you experience? Did you enjoy this way of learning, or did you find it challenging? How do you make sure you make the most of this experience?

Damsel in distress - believable characters and emotional balance

2011-05-22T22:08:00.003+12:00

My writing drought unfortunately hasn't finished yet but I'm fighting it. I was going to write about learning on e-courses and online conferences but I was braindead for a several days and even looking at my keyboard made my eyelids go heavy and droop. I hoped someone would come and wave their magic wand and dispel the horrible thing, but I waited and waited and...nothing happened.

Then I read a very interesting post on Too Stupid To Live heroine on Heroes and Heartbreakers blog and thought Why don't I write about another post in Believable Characters series? It shouldn't be hard. I like writing about people I know. And who would I know better than a Damsel in Distress, since (clears her throat, embarrassed) I am a bit of one.

Key characteristic: Damsel in Distress usually lives a charmed, playful life, where there is no place for mundane problems. She has a strong sense of being special, and above and beyond rules and laws. She dances on meadows, picking flowers and chasing butterflies. She doesn't worry about paying bills, or what's for dinner. Whatever her age, she is always a little girl, who loves fun and have no sense of danger. She gets herself into trouble because she looks at the world through rose-tinted glasses or because she doesn't feel vulnerable, just like Sleeping Beauty who goes to a tower she's never known existed, speaks to an old woman she's never met before and tries something she doesn't even knows the name of (spindle).
DiD always looks young and her clothes usually emphasise this. Long, floating, flowery dresses, hats, long hair, a bunch of flowers in her hand - yes, you've got it right! DiD loves her freedom and being special. She's proud of being different.

On the other hand her youth, energy, enthusiasm for what's new, genuine curiosity for people and the world make her an attractive person. She makes friends easily and has many of them. She is a great listener, can 'read people' and is gentle. Since she needs people to support her, she avoids conflicts, keeps her opinions to herself and is a great peace keeper.
She doesn't care about the future, often she would not have a concept of future beyond the next week. She doesn't plan her life beyond the weekend. Forget marriage, children, commitments. Some Damsels in Distress forever remain damsels fading into spinsterhood with a wilted daisy chain on their head.

The black side of a DiD is a Troubled Teen (again: whatever her age) - out-of-control, ignorant, angry young woman who would get into trouble with the police, gangs, or unwanted pregnancy and expect her parents to turn up and rescue her. This type is even more selfish and manipulative than her more innocent sister. With her lack of sense of danger, feeling of being special, invincible and entitled she wastes her life away on proving (or rather not proving) her point.

Relationships: The key word is dependence. Damsel in Distress can't make decisions for herself and needs other people to lean on, feed her, entertain her, organise the life for her. She has trouble committing to one relationship and will happily jump from one to another. And since she can't live by herself, she goes from one relationship to the next straightaway, without reflecting on what went wrong with the previous one. She comes across as being innocent and vulnerable, and attracts men who want to take care of her, or who feel she's easy to domineer.

Typical backstory: Damsels I've met in real life were of two types. First one- with overprotective (or even controlling) parents, never had to grow up and take responsibility for her life - there was always someone to rescue them (usually Daddy, hence Damsels are often Daddy's Princesses). They grew up being special, for whatever reasons - be it being the only child (daughter), the youngest one, or maybe the sick one? Although they may (intellectually) know the world is a scary place, they never had a sense of it since they have always been protected.
Be mindful, there may be a serious child abuse lurking behind these lovely pictures of caring parents. The worse the abuse, the stronger the connection between the abuser and the child, and 'coming to her rescue' may be part of the game.

The other type is a child who experienced abandonment at an early stage (usually in the first 2 years); the abandonment didn't have to be of the scale of abuse or even purposeful. A typical scenario is a single full time working mother, a mother who became sick for a longer period (e.g. had to go to hospital, or was depressed) and couldn't take care of the child. The girl then had to 'fend for herself' - she's mastered how to make people look after her, but hasn't learnt the sense of real danger, or worse - since she knew how to make people do things for her she's gained a (absolutely false) sense of omnipotence, just like toddlers have.

Typical jobs: DiD loves their freedom and would hate mundane 'nine to five' jobs. She has short attention span and needs constant stimulation. DiD loves variety and hates making decisions. She is often an Eternal Student, moving from one course to another and collecting certificates, diplomas and other academic trophies. If you want to add external conflict, give your DiD a boring, repetitive office job, leaving which would require far too many decisions to make and a few people to upset.

Motivations: safety and security, but also freedom to be herself and lead whatever lifestyle she likes. She enjoys being different and would go to great lengths to emphasise it.

Biggest fears: being abandoned (yet again), left to fend and make decisions for herself ; loosing her freedom; not being special; boredom

Potential for growth: Although Damsel in Distress seems to be a little passe these days, I believe that she can be an interesting character to have in your romance novel. Not only she can be likable (unless it's the Troubled Teen you have) but there is great potential for growth! Just imagine this sweet, helpless, spineless flower girl meeting a man who hates damsels in distress. Imagine that journey she embarks on to become a strong, assertive, independent woman and win her man's heart. All you need to do is to help her realise the world isn't as safe place as she thinks, get off her backside and start taking responsibility for her own life and future. So much room to grow.

More about Damsel in Distress in media here.

Examples from film and literature: Persefone, Snow White and Sleeping Beauty, Jane Austen's Emma, Jane in Tarzan, many of Bond girls or my favourite DiD - Abby Harper from My Family comedy series.

Do you think there is still place for Damsels in Distress in contemporary romantic fiction? Do you like them? Or rather feel like teaching them a lesson on danger and independence?

Writing drought and other misterous conditions

2011-05-07T14:40:00.000+12:00

Since the beginning of April I have been struggling to write. At first, I though I was just tired - there were good reasons to feel so - February and March were very intensive with revisions and rewritings for my OCD book, research and attempts to get a first chapter and a synopsis finished on time for Great Beginnings contest, Alzheimer blogging competition, an online course to learn to write better synopsis, writing for this and the other blog, tweeting, and on the top of that big decisions to be made in my day job.

I thought: I need holidays. So I went to South Island. I had nice time, but came back disappointed with Fiordland. It was well below what I expected to see. Maybe except for Queenstown, which pleasantly surprised my with its autumn colours and almost European feel. This is the best photo out of 115 I took while visiting Queenstown, Milford Sound and Doubtful Sound.

Lake Wakatipu, Queenstown, NZ
copyright by Kate Kyle

So I came back, well rested, shortlisted in Alzheimer's Blogging comp, did not submit my entry to RWNZ contest, never wrote that synopsis for the e-course, still unable to write.
I keep calling it 'writing drought' but it's not really a drought - I have lots of ideas for novels, non-fiction books, articles and even a textbook! It's not a writer's block, because I know that if I sit for long enough I would just got it out on paper.

It may be something to do with not being able to commit myself to writing. I keep thinking: 'It's a brilliant idea I need to write that book proposal, but which publisher I send it to?' But there are so many publishers that I could submit my book proposal to, I don't know which one to chose. So I then think that I need a agent first. But I need a book proposal to submit a query about. But how do I write a book proposal if I don't have a publisher in mind. And da capo al fine.
I just can't be decide, and so I spend another evening watching one of my favourite sitcoms on DVD and pottering about, feeling like I still have time, while I don't.

Has any of you ever had a similar problem? How did you overcome it? Any ideas how to break that blimmin' vicious cycle?

The Charmer - believable characters and emotional baggage

2011-05-01T15:29:00.000+12:00

Apologies for not posting for over 2 weeks but I've been through a bit of a writing&blogging drought recently. Today it's time for another romance archetype/stereotype, but a male one for a change - The Charmer. It's the type of character closest to Victoria L. Schmidt's archetype of The Woman's Man and Dionysus, the god of the grape harvest, wine, madness and ecstasy.
I have come across many charmers in romance novels. It's a prefect hero for your story because in order to stay in a relationship (for the Happily Ever After) he has to grow.

Photo by Federico Stevanin
www.freedigitalphotos.net

Key characteristics: The Charmer loves women and women love him. He is a free spirit, cheeky, cocky, simply likable. He can also be kind and loyal and knows his limits. He understands women, can be their best friend, support them and encourage to become stronger and more aware of their beauty, inner strenghts or charm.
In romance novels, and certainly in those medical one I've read, The Charmer is often a lover of life and fun, and teaches the heroine how to (re)-discover simple pleasures of life, spontaneity, fun and sensuality. he is the one who embarks on crazy adventures and is keen to try new things.
If you have a heroine who has dedicated her life to her career (would work well with The Perfect Nurse), who forgotten how to or is unable to celebrate sensual pleasures or fun, a heroine who would benefit from a self-esteem boost, The Charmer is your man. He will help her change.

Relationships: Although The Charmer would do a good, loyal friend, he is unable to commit to one relationship. He loves his freedom far too much and is scared of commitment and responsibility that comes with being in a relationship. Fortunately, this is exactly who you may need for your story, because with carefully set up conflict and character's arch you can help transform The Charmer into Mr Right. Interestingly, he forms strong friendships with women, but not with men and he is often rejected by other men and society for being different, or not manly enough (which is not true).

The Charmer is a dreamer, but he often doesn't have what it takes to achieve his dreams. He doesn't worry about money and often doesn't have them. He can be moody, loves sex and can make it fun and ecstatic. He has had many women and has broken (not on purpose!) many hearts. To him, all women are beautiful. He can see their inner beauty and can help bring it up to the surface (sometimes in Pygmalion's way), but no one will ever be as good as the ideal he is looking for. The ideal has a lot to do with his mother, and The Charmer may even be aware that his ideal Miss Right is a woman who could be both - a mother and a wife to him.

Typical backstory: Typically, The Charmer had a strong and close (too strong and too close) relationship with his mother. It was her who taught him how to understand women, how to be gentle to them and how to make them happy. His father is often an absent or distant figure, with little if any influence over the boy. Often, his mother taught him that men are bad and harm women (like his father harmed his mother) - that's why The Charmer doesn't like other men.
The Charmers I've met in real life often had Femmes Fatale for mothers - there is no woman more beautiful, sexier and more charming than her. Sometimes, the mother is idealised because she died in his early life and the young man has been searching for that perfect wife who would also be a mother to him (It sounds like one of your characters, Fiona, doesn't it?).

Typical jobs: As a free spirit, The Charmer will often hover on the fringe of society. He's a dreamer without the power of commitment so you won't find him among local businessmen, or on a list of high achievers. He rarely cares about his career, so despite talents, intelligence and potential, he will rarely have a powerful job, or he may even have no proper job at all. He's more likely to live like a hippie, or some other counterculture believer. He can work in other realms and dimensions - as a Shaman, a spiritual teacher, or be a pirate, a rock star or James Bond.

Motivations: the unconditional love (or his mother/wife), the total freedom (and other dreams), the thrill of having fun; also the fear of commitment.

Biggest fears: loosing his female friends, his freedom (hence fear of commitment and jobs with lots of rules, regulations and structure) and being exposed as a weak, unambitious dreamer (hence the choice of careers where ambitions don't count); also being prosecuted by the society as not being 'man enough' (I can see a potential source for internal conflict here).

Potential for growth: in order to remain in one relationship, The Charmer needs to learn to commit and be responsible. As he has not had a good male role model, he also needs to learn to be a grown-up man in the society, whether it's related to having a family or a 'proper' career. He may also need to learn how to interact with men (and that not all men wants 'one thing' and want to harm women).

Examples from film and literature: James Bond, Captain Jack Sparrow from The Pirates from the Caribbean, Johnny Castle in Dirty Dancing.

I admit, I like having a Charmer as a hero, because there is a lot of potential for internal and external conflict with my typical, overly committed, serious, all-work-no-joy heroine. Do you like The Charmer? Why?
What is your favourite type of hero?

Building believeble relationships between characters in fiction

2011-04-17T23:15:00.000+12:00

Conflict between your characters is the essence of every romance story. It drives the story forward and characters apart. Although it doesn't stop your hero and heroine from failing in love with each other, it stops them from falling into each other's arms in Chapter one.

Conflict comes from your characters' character. It's about what they care about, strive for, what they're scared of. What is at stake in the conflict, as Kate Walker in her '12 point guide to writing romance' writes, has to be important enough for your characters to be worth arguing over and even taking the risk to lose the love of their life. And when, in attempts to create really powerful tension (conflict), you give your characters opposing goals and strong motivation to achieve them, after all that effort to keep your hero and heroine apart, it may be hard to make them fall into each other's arms in the last Chapter.

Happily ever after is as much the essence of romantic fiction as conflict. And although nowadays a romantic novel does not have to end with wedding bells ringing, we, as romance writers, need to give our readers enough to believe that hero and heroine's relationship will last until their golden anniversary, or at least as long as we can think of. To achieve a satisfying ending, there has to be enough attraction between your characters throughout the story. There needs to be a balance the push of conflict with the pull of love.

So how can we build a relationship that will last, at least on paper? What are the keys to a successful relationship, beside the most obvious sexual attraction?

Photo by graur razvan ionut
at www.freedigitalphotos.net

1. Good communication - happy couples exchange ideas, feelings, news, beliefs, problems in a polite, respectful and appreciative manner. Even when you have to have your H/H arguing and or misunderstanding each other show that they listen, communicate, understand and be understood in other areas. E.g. in medical romance H&H can have problems in communicating on private level, but they do it much better when they work together.

2. Constructive resolution of conflict - when criticising, happy couples don't generalise ('You always do this', or 'You never say that'); they attack the problem not the person, they don't withdraw from the interaction. even when you characters disagree over something, show them being able to see solutions in a constructive manner.

3. Shared values and beliefs- happy couples share values and spiritual beliefs. Show your H&H being passionate about the same issues, e.g. greener living, civil rights, their faith. Successful couples agree that they want to pursue the same life paths, values and goals and mutually commit to it, whether it's about having or not children, saving or spending money, travelling or settling down.
4. Sharing and similarities - maybe opposites attract but it's similarites that keep people together. Give your hero and heroine things to do together - a shared hobby, a passions for dancing or love of early swim in the sea, and let them spend quality time together, outside the daily routine of household chores and work

5. Ability to understand each other motives. Give them opportunities and skills to understand each other's motives. When your hero or heroine is feeling angry, hurt or betrayed because of something the other one has said or done, at some point show them taking a moment for quiet reflection to try to understand why the other one has said or done what they did. This way, you make sure that when they finally fall in each other arms, their understanding of the other person and their forgiveness is genuine.

6. Humour. Let them share a sense of humour - it's not only one of things they share, but also a fantastic tool to deal with difficult moments in life.

7. Mutual admiration and respect. Let them admire and respect each other - again to use medical romance as an example, even when they are still not able to see enough qualities on the personal level, H&H often admire and respect each other for who they are professionally.

8. Give them ability to deal with crisis, stress and frustration - it will come handy in the future (after the Happily Ever After)

9. Show that each of them is capable of being empathic, sensitive, selfless and honest; equip them with fidelity, adaptability and tolerance- in other words: give them what it takes to live with another person in such intimate closeness for a long time.

More about qualities of successful couple here and here.

And what do you do to make sure that the Happily Ever After is possible despite all the differences, personality clashes and arguments you have thrown at you hero and heroine throughtout your story?

The Perfect Nurse - believeble characters and emotional baggage

2011-04-01T23:05:00.000+13:00

First of all, apologies for taking so long to write the next post in the Believable Characters and emotional baggage series. Since I promised to write about The Good Wife stereotype/archetype I've been waiting for my copy of 45 Master Characters to arrive. It arrived today (after many problems), but there is no Good Wife in there. Well, not in the sense I understand this type.
I don't want to confuse anyone by sticking a wrong label on a character, so I decided to put this one off until I'm sure what Elizabeth (Currie) meant by the Good Wife. BTW, dear Elizabeth can you please, give a couple of examples of Good Wives from fiction or film?

In the meantime another character you are likely to come across while reading women's fiction and romance - The Perfect Nurse. As you can imagine - this type often populate medical romance and in fact, heroines in two novels I've read recently, as well as my heroines (Ann and a new one - Stephanie) have many features of The Perfect Nurse.

Photo by photostock
via www.freedigitalimages.net

Key characteristics: The Perfect Nurse is often a strong woman, putting others before herself, helpful, caring, committed to (her family, job, whatever she is involved into), dedicated, would go out of her way to help, generous, altruistic, prone to sacrifice; also tends to forfeit her own identity and dreams for the sake of the person she's caring for; lacking assertiveness, often struggles to look after herself. PN rarely cares about her looks, she's often not aware of her sex appeal or external beauty.

She needs to be needed, exists through her giving, often can't take or even ask for help. Giving, caring, nurturing are her raisons d'etre; if this is taken away from her - she falls to pieces. She identifies herself through her role as a carer, nurturer (e.g. I'm Josh's mother; if in a caring profession, her job would become her hobby and whatever else she needs in life). If she can't look after other people she doesn't know what to do with herself. Sometimes a PN would realise herself through motherhood and may even have one child after another to feel fulfilled.
Her caring can be stifling and in the extreme she becomes The Overcontrolling Mother or even The Evil Matriarch.

Relationships: PN have lots of friends - people love being around her; she loves being among people she can help, so when it comes to relationships she would tend to fall for men she can care for: single dads, wounded heroes (physically or emotionally), or disadvantage men. In the extreme, PN is likely to be in relationships with alcoholics, compulsive adulterers, liars and other types of helpless cases, believing that her love will cure them. If PN happens to be in a relationship with a strong, sound and perfectly happy hero, it's probably because she thinks he has some secret flaw she can uncover and heal (I'm going to write more about creating realistic and lasting relationships soon).

Typical backstory: PN has always been looking after someone from a very young age. It's usually a woman who had to look after her younger siblings, sick parents or elderly and frail people. Often there is a history of abandonment in their life, but later rather than early - at the time when a little girl can decided to be strong and look after others (8-12 y.o) - this may be in a context of parents divorcing, mother becoming ill/dying.
She's usually gone through life caring for other people, being a home and a peacemaker, a specialist in making other people happy and rubbish at being assertive and looking after herself.

Typical jobs: of course - a nurse, but also other caring professions, like doctors, vets, social workers, nannies, professional carers, teachers. PN would often work/volunteer for a charity. She is likely to work more than necessary, stay after hours to do duties she doesn't have to do because she cares so much for her patients. She also tends to get overinvolved and loose professional boundaries (e.g. Ann, a psychologist form my first novel goes on a private search to find a missing patient). If working in health care system, she is likely to be in conflict with people who perceive health care as business

Motivation: PN needs to be needed. She also strives for love, acceptance and belonging. She would love to be looked after but she can't do it. She often can't even ask for help - asking for help is perceived by her as a sign of weakness. After all, she's the helper!

Biggest fears: not being needed anymore, so loosing the person she looks after (child has grown up, hero is healed), loosing job, retiring; also being forced to ask for help.

Potential for growth: PN may need to learn to let go of her need to look after other people and redefine her identity not through other people. As she isn't good at looking after herself, she may need to learn it, or learn to let others take care of her, and even learn to ask for help.

Examples form film and literature: Demeter, Beauty in Beauty and the Beast, Mary Poppins.

Alzheimer's Blogging Competition

2011-03-26T14:06:00.000+13:00

This is an Alzheimer's Blogging Competition entry.

Thank to Sally Jenkins I've learnt about The Disabled Shop blogging competition. There is an entry fee, but as long as it is at least £1 or $1 it's up to you how much to give. There are many fabulous prizes to win, from one year membership of Aweber, or one year's membership of Survey Monkey or e-commerce, to a blogging job for The Disabled Shop, to name only a few. Obviously, it's an opportunity to promote your blog, but most of all since all profits will go to Alzheimer's Research UK, you help defeating the illness at the same time. All you need to do it donate money, write your post, email the organisers and promote it.
For more details and web addresses for donations and post promotion see The Disabled Shop Blog.

I'm taking part in this competition, because Alzheimer's Disease plays an important role in the novel I've written recently. The main female character - Ann, is a neuropsychologist who is passionate about early detection of AD, because her beloved father who died of Alzheimer's would have lived longer and with a better quality of life if his condition had been detected and treated earlier.

Early detection of AD is one of the most important aspects of treatment. This is because all treatments available now have more chance of making a difference at early stages of Alzheimer's Disease.

Unfortunately, there is no cure for AD so far, and currently available medication can only slow down the progress of the illness, and alleviate the symptoms. Not much, we may think, but for many sufferers and carers this may mean a difference between being able to lead a still pretty a independent life and having to rely on others in many everyday matters.

Alzheimer's Disease is often divided into three stages:

Early stage (1 to 2 years leading up to and including the diagnosis) - where the person has problems with mild forgetfulness or poor judgement, difficulty learning new things, following conversations or handling money; it's also the stage where problems with mood, orientation, restlessness or passiveness may occur
Second stage (2 to 10 years after diagnosis) - this is when the person starts to forget details form their own personal history, becomes repetitive, has problems recognising family and friends, struggles to remember date, time or name of the place; this is also a stage with more severe personality changes, confusion, suspiciousness, anxiety, depression, or even hostility and aggression; sleep becomes disrupted, there are often fluctuations in appetite and problems with challenging behaviour; as the person's cognitive ability declines, she/he may require full time supervision and assistance with everyday tasks like getting dressed or undressed, personal hygiene etc.
Late stage (1 to 3 years) is the saddest stage - the sufferer becomes unable to remember, communicate, or look after themselves, they also can't control bowel and bladder movements, have difficulty eating and swallowing, often are immobile and bed-ridden. This stage inevitable leads to the sufferer's death, often as a result of secondary complications, like blood clotting, pneumonia or other infections.

One of the secondary characters in my novel, Mrs Peabody, is one of the lucky ones - her memory problems are detected early. She is beginning to have more problems with day-to-day tasks and gets lost on her way to a familiar place a couple of times, but a change in her medication, a good routine , adaptations in her home environment as well as some extra supports put in place enable her to return to her own home and enjoy a fairly independent life for some time.

More about three stages of Alzheimer's Disease here; more about treatment here.

On being stylish

2011-03-16T21:27:00.003+13:00

I'm pleased to announce that I've managed to bring my (that is your) valuable comments back to their home. I promise I will not mess with the template any more in any major way (but probably still will in minor way).
Now, since my blog is back in order I wanted to say once more a big than you to Patsy and Carol for awarding me with the Stylish Blogger award.

Now is the time to reveal 7 things about myself. It's going to be a tough one, because:

1. I have been ~~brainwashed~~ trained not to reveal things about myself.

2. I am anything but stylish. Just look at my blog template! I have no sense of style whatsoever and it was my hubby who put up pictures, knickknacks and other stuff like that in our house (after nearly 3 years of moving in).

3. I hate shopping.

4. I hate shoe shopping even more that I hate shopping, so once I find shoes that suit me I buy in bulk and wear one pair at a time, all year round, irrespective of the weather, until they fall off my feet. Then I get another, identical pair out of my wardrobe and throw the old one away.
I've been wearing these ones for the last few years (I'm on my 4th pair).

5. I learnt to read when I was 3,5 y.o. from an old calendar.

6. I always join the local library usually within the first weeks of moving to a new place.

7. I have an unusual gift for getting lost. I've got lost despite having a sat-nav, a map and a list of directions several times.

Here is 7 bloggers I love reading and admire for a variety of reasons (including being stylish):

Suzie Quint for interesting posts and particularly her The Careers for Characters project
Patsy Collins for her generousness in sharing links to writing contests and her stylish photos
Sandra Patterson for her sense of humour (still remember her NaNowisdom tweets during last year's Nano)
Sarah Duncan for reading my mind and writing interesting articles which answer questions bothering me at the time
Sally Quilford for her column in Writer's Forum and ability to bring writers together
Wendy Marcus for her fantastic ability to engage with her readers
Carrie Spencer for being an incredibly hardworking smart ass and her sense of humour, too.

Characters and emotional baggage - your characters' motivations

2011-03-09T23:02:00.013+13:00

Once again, there is an interesting theme to things I'm doing in different areas of my life at the moment.
I've just done a 'business skills for beginners' course (for my day job), where we talked a lot about what motivates people. I'm also doing an online writing workshop on GMC - Goal Motivation and Conflict (with RWNZ). Interestingly enough, I'm also trying to come up with enough conflict for my new novel and got stuck trying to think about my main character's motivation.

Motivation is the reason(s) WHY people do things; it's what makes us move or act. In fiction, motivation ties in with characters' goals. Characters have goals BECAUSE of their motivation.

So what is what motivates people, and how to develop your characters' motivation so it last throughout the book and make the reader turn the page?

People can be motivated in 3 major ways

1. Fear or The Stick.

photo by www.sunpix.com

Unfortunately, although a good one, fear is a temporary motivator and works only as long as the threat. It's also an external motivator -remove it from the picture and motivation disappears.

* My heroine returns to the ward the hero works on to finish her run. If she doesn't make up for the time off sick she won't be able to complete the training and become a consultant, which is her dream. But once her log book is filled in she has no longer interest in staying on the ward.

2. Incentive or The Carrot.

Photo by
http://www.sunipix.com

Unfortunately incentives also provide only temporary and external motivation, so won't last long.

* if my heroine wanted to work on the unit longer than absolutely necessary to complete the run because she wanted to become a consultant and because of the prestige of the unit - this would only last as long as her training requirements and the need for that prestige. Once she had enough to put on her CV, she would go.

Unless, of course she had another reason for staying there.

Well, she has. She wants the Hero.

Why?

This is the bit I need to work out, but it must be something to do with her attitude.

3. Attitude is the best motivator: more permanent (as we don't change our attitudes too often) and what's more important, internal or internalised - coming from within the person.

Attitude is an established way of thinking or feeling, which is shaped by our past, by
a/ upbringing, family values
b/ education
c/ personal experience
d/ mistakes and failures
In my experience, the deeper the attitude is rooted, the stronger the motivation, e.g. an attitude developed as a result of upbringing is more likely to last and motivate us than what we have learned from mistakes. The best motivation is through attitudes which developed on several levels - from upbringing, through education, personal experience and learning from mistakes.

At the moment I am reading a novel, where the heroine broke up with the hero, because she couldn't cope with his need to have a dangerous job. She wanted him safe, at her side when she needed him. Thanks to her education, she knew what potentially could go wrong with his job and that he ultimately can loose his life. Throughout her relationship with this guy she'd learnt that she couldn't rely on his promises of being back soon or making up for this time with another time tomorrow, or indeed being there for her when she needed -because he couldn't guarantee he would be back on time etc.
But the problem doesn't stop at the level of personal experience and failure to make this relationship work. It reaches deeper levels. She knew he could die while on duty, not only because she was a doctor and could figure it out, but also because her father, who had a similar profession died while on duty. She didn't want her beloved man to die prematurely. She also knew well what it's like to live with a man, who might die while on duty - she had seen her mother not coping with that every day her father went to work. And she didn't want to spent her life worrying sick about her man, like her mother did.

These are all WHYS she had to end this relationship and why there was no point in trying to make it work. No way.
Fantastic motivations and a good source of conflict (because hse obviously loved the man and wanted to be with him for the rest of her life, because (here goes a list of usual physical, intellectual and emotional qualities that usually romance heroes are supplied with - all good motivation though!)

Easy?
So now, since my heroine has a bunch of good reasons why she wants to work and be with the hero, I have to come up with a few good reasons why my heroine would want to avoid the hero like a plague.
I've got some thinking to do.

How do you find motivations for your characters?

Femme Fatale - believable characters and emotional baggage

2011-02-27T22:53:00.005+13:00

I have been thinking how to organise my series on developing believable characters and have come up with an idea as old as the world
Archetypes!.

And as I am a women's fiction and romance writer I am going to start with characters who are likely to populate these genres, or with a romance/female twist. However, if you don't write in any of these genres, don't worry. The truth is that these characters populate not only fiction, but also films, theater plays and most of all - myths and real life.

Let's start with Femme Fatale.

photo by jscreationzs
www.freedigitalphotos.net

Femme Fatal - Aphrodite
a.k.a The Seductive Muse (45 Master Characters by Victoria Lynn Schmidt), Black Widow, Siren, etc.

Key characteristics:beautiful, sexy, creative, lively, fun-loving and fully aware of her attractiveness. She has great taste for clothes, food, wine and expensive jewellery - in general a lust for life. She lives intensely, if not dramatically. If emotions are not intense they don't matter; if emotions are not intense enough - she would make them look, feel, hear, smell and touch like a nuclear exposure, but only if she has enough audience. She is the master of emotions - own and of others, always tuned in to what other may need.
She needs constant admiration and has to be the centre of attention. She seduces powerful men with her looks, sex, creativity and manipulation. And then, she dumps them because she can't give up the thrill of the chase. It's the chase that counts.

Relationships: she cares about men and not so much about women; rarely has female friends mainly because of jealousy and FF inability to relate in ways other than through sensuality and sex. She has had several lovers, sometimes more than one at a time, tends to be 'the other woman'. Her relationships are short and intense, she prefers older, 'father-figure men, with money and power. She is usually the one who ends the relationship first.

Typical backstory:
These types usually have unusually close relationships with their fathers, often coloured with over or covert seduction (including child abuse) and expectations that Daddy's Little Girl needs to be an attractive woman. Their father are often womanisers, or those who perceive woman's attractiveness though their external beauty only. More often than not these girls need to fight for their parents attention and they quickly learn that the more dramatic they become, the better the outcome.

FF's childhood is often full of changes and instability - their families move from one place to another (e.g. military families), their mothers have new lovers every month, their fathers sometimes bring home a lot of money and sometimes only debts.

Typical jobs: actress, singer, dancer, fashion and beauty, sales persons; anything where beauty and charm is necessary, but nothing requiring focus, attention to detail and structured, long-term commitment (a typical FF would not become a scientist or a CEO).

Motivation: FF usually strives for love, approval and social acceptance

Biggest fears: losing her attractiveness (ageing) and creativity; also: being in one, lasting relationship.

Potential for growth: often she would want to be recognised for her brain not only for her looks and needs to learn how to let people see beyond that (melo)dramatic facade; good at sensing emotions and needs of others FF can develop deeper empathy

Trap! Don't assume that love can heal her, even if she finally finds that Mr Right FF will struggle to settle. She needs to mature first - learn to rely on herself, not on men; become independent and most of all - give herself that approval and acceptance she longs for.

Examples from literature and film: Sally Bowles from Cabaret, Vivian in Pretty Women, Emma Bovary in Madame Bovary

You can read a little more on Femme Fatale in media here.

I can't remember reading about any FF main characters in romantic fiction recently. Does FF still have place in romance as Heroine? What do you think? Have you ever made a FF your main character?

Moving on

2011-02-24T22:53:00.001+13:00

photo by Darren Robertson
www.freedigitalphotos.net

I've been busy.

I've got over the rejection at Harlequin SYTYCW contest and now my My NaNo manuscript, rewritten and hopefully improved (it did take my a couple of hours to get to grips with ARC format) has been sent to The Clendon Award (the closing date has just been extended becuase of the earthquake).

I've sent an application to RWA (Romance Writers of America) and will follow up with an application to become a PRO (the rejection email from HQ will come handy)

I've just got a boud copy of my nonfiction book for the last fine proofreading.
A proposal for another book sent off. Two more are waiting for more time te be brainstormed. One is brewing.

I'm getting on with my new blog and building the platform for my nonfiction writing (you may notice a different pen name - that is deliberate, as previously considered). Drop in and say what you think of it, if you have a minute.

I'm thinking about my next post on characters, conflict and emotional bagage. I'm pleased to see you like it. Anyone has any special orders regarding the next post?

And what have you been doing?

How to build believeble characters- part 1. Emotional baggage

2011-02-18T22:37:00.001+13:00

photo by africa
http://www.freedigitalphotos.net/

This is my second post on building characters, whose past, persent and future fit together and make sense.

Emotional baggage, when handled well, can be a great source of internal and external conflict. It's what has formed your characters' motivations and will provide fertile ground for them to grow.
However, it is important not to overdo it, as you may end up with someone who has more than your novel can handle.

If you want to use emotional baggage as a tool to build your character you need to remember these simple, general rules:

1. Age
Personality needs time to mature. It's different for different people, but as a rule of thumb people are rarely mature by the age of 20, most people would achieve maturity in their mid- late twenties. Does it mean you can't have an 18 y.o. mature, responsible young man? Well, you can, but make sure you give him enough life experience to back up your claims.

What are the characteristics of mature personality?
Mature people have sense of self, ability to evaluate themselve without bias and are realistic in judging other people and situations. They are emotionally secure, are capable of forming loving, reciprocal relationships and have a philosophy, which gives their life a purpose and allow to decide about their long term goals and behaviour. More on earmarks of mature personality here. And here you can check how mature is your character.

2. Family
There is a good reason why probably all languages have their own versions of 'Like father, like son'. We learn how to live, interact with other people, think about the world, react to it, etc from our parents, and other close family memebrs. Even if you do everything to not to be like your father, it's your father's personality that is shaping you.
If you want to have a heroine who has problems in relationships with men, you have to think why she has a problem with men. The most likely reason would be not good relationship with her father.
If you give someone a family where no one is normal and make your character completely normal, you have to give this guy a chance to learn how it is to be normal. Send him to a boarding school or foster family perhaps?
It's the same the other way round - I haven't yet seen a person with serious emotional problems and a normal family.

3. Previous relationships.
In romance it is important that the relationship between your heroine and hero is unique and special, like never before. While they may have (and in typical modern adult romance they even should have) been in previous longterm relationships, this one is unique. If you decide to give them previous relationships, you need to think about the reasons why they have failed.
The trouble is, when you come to a certain age, a string of unsuccesful relationships becomes a pattern and hence a traits of character. A typical example is a woman who gets trapped in a series of abusive relationships (tip: look at her relationship with her father!), or a man who always ends up 'under the thumb' (tip: look at the relationship between his parents)
Generally speaking, if someone hasn't been able to form succesful, longterm (over a year) relationships by the age of 30, there is a good deal of chance that this person have a deep rooted problems with forming loving relationships.
If your character's longterm relationship ended, you have to think about a reason why. In relationships things don't happen without a reason, and 'it takes two to tango'. If one of the partners had an affair, it means something in this relationship was missing, so they needed to look outside.

4. Childhood trauma
If you decide to give your character an experience of childhood abuse, be very, very careful. Not only it's a sensitive issue you need to address within what your genre allows you, but also you may create potential pitfalls for your character development and your ending.
It's probably easier if you write literary fiction or women's fiction, but if you're writing in romance genre, bevery careful. Childhood abuse particularly repeated, whether physical, emotional or sexual, leave effects impossible to erase. 80% of young adults who were abused as children meet the criteria for at least one psychiatric disorder.
Love heals - that's right, but an adult survivor of childhood abuse who has never been able to form a loving, trusting and nurturing relationship will not be able to from one without long term therapy (or a therapeutic relationship, not necessarily in professional sense).
Here you can read more about lasting impressions of childhood trauma and causes and effects of child abuse.

5. Outlook on life
Your character's outlook on life hasn't been born in vacuum either. Whether you believe that your outlook has been shaped by your experience, or that your outlook shapes your experience, you need to make sure these elements are consistent and logical.
Of course, there is the evergreen debate nature versus nurture, but even if you don't want to go that deep, make sure that the way your character perceives life, people and themselve is consistent with their past experience.

These are general rules, as as usual there may be exceptions to them. Remember the more emotional baggage you give your character, the more difficult her/his change will be. When writing romance, make sure that your charatcer has time and opportunity to grow first before jumping into relationship. If there is no change within the person, new relationship itself is not likely to bring about the change. The change has to come from within.

Have you encounter any of these problems while creating your characters? Is there anything else important I haven't talked about? Do you have any more questions?
Please, ask. if not under the post, feel free to email me and I will do my best to answer your question.

Developing believable characters - my 2p worth

2011-02-15T10:36:00.001+13:00

photo by Idea goat http://www.freedigitalphotos.net/

I have been struggling to find a voice for this blog since the beginning. There are so many writers' blogs out there. There are so many excellent writers and published authors sharing their knowledge of the craft and their tips on the industry. Who am I to compete with them?

I like Suzie Quint's idea of presenting careers for characters. I think it's quite original. I wanted to do someting like that.

Jody Hedlund's article 'How to avoid becoming another boring writers' blog' got me thinking a little more.

Is there anything unique I can offer to fellow writers? Do I have an interesting story to tell?

And then came Scott Egan's comments on characters he doesn't like. Scott is right, in an attempt to create powerful internal conflict, sometimes writes come up with characters who have just too much emotional baggage to be believable.

Characters have to be real. They have to have life experience which has shaped them into the person they are now. People don't become bad without good reasons. People generally don't get over a trauma in a blink of an eye, but their worlds don't fall apart without good reasons in the past and present.

And then I had a light bulb moment.
My day job involves a lot of listening to people's stories and trying to make sense of what I've heard. I have heard so many stories I can usually tell a real story from a made-up one. I am pretty good at guessing how certain people would react to certain events and attitudes based on their history. I can even, sort of, predict, what their lives may be like in the future.

No, I'm not a fortune teller. I'm a shrink. And this is what I can offer my fellow writers. I can share my experience of understanding human nature to help understand how to create believable characters with potential for powerful conflict but without too much emotional baggage.
Heros, villains, stereotypes or archetypes - you name it. Do you want to have an insight into human's mind?
Join me - I'll open the door for you.

Liberation by rejection or The end of misery

2011-02-11T23:18:00.001+13:00

photo by kongsky
at freedigitalphotos.com

The Day has come on Wednsday.
Not only I received my long awaitied reply from Harlequin (unfortunately, a standard rejection 'the story is not strong enough'), but also had The Chat with The Boss at work.

Both event were quite liberating. The Chat at work obviously, because I've got a green light to do more of what I want to do (and hence start shaping my career). But the rejection has brought not only the welcome end to the torture of waiting for any news.

A rejection slip is a key opening the door to Romance Writers of America PRO section and all its benefits.

I am still going to 'finish the damn book' and send it to the Clendon Award contest. even if I don't/get shortlisted the feedback from the judges (first round judges are avid genre reader! this is unusual). Feedback is invaluable.

And on that misery-ending note I also decided that I will not read any sad books.
No more unhappy endings!
No more sad songs!

Are we there yet?

2011-02-08T20:48:00.002+13:00

It's been a while since my last post, I know. I've been waiting to share news with you - good (preferably), or bad, any. Any news would do.

Unfortunately SYTYCW contests, although formally ended on 31.January, wrapped up a couple of days later, hasn't quite finished for all participants. A handful of hopefull writers are still waiting for their reply. I'm one of them.

I've been checking my emails, Harlequin forum and The Blog with an embarassing regularity. Well, I haven't logged out for two weeks. Pathetic, I know.
Maybe I'll get my reply this week.
Maybe.

I've also been waiting to have my voice heard and make changes I want to make in my day job. I'm really ready for that change. I've spoken to many people about it. Some of them shattered my hopes and crushed my self-confidence, but I don't give up easily. Maybe tomorrow will be the day.
Maybe.

Waiting kills me. I've never been good at deferred gratification, particularly when it comes to sweets and seeing my ideas at work. I want it all and I want it now!
My NoNo novel (the one sent for SYTYCW) is waiting for me to finish rewriting and polishing for The Clendon Award contest. My Critique Partner is waiting for my feedback on the next chapter of her story. My editor is waiting for the proofs of my nonfiction book. Friends are waiting for emails, holidays are waiting for bookings, loundry is waiting to be done.

Any ideas how to get back to normal life?

[sigh]

Are we there yet?

PS. update: I've got my standard rejection this morning ('story is not strong enough'). Oh, well - tough. BAck to the rewrite then.

Tone up those saggy middles

2011-01-30T16:42:00.001+13:00

Editing and rewriting your novel part 2.

SoYouThinkYouCanWrite contest by Harlequin is nearly resolved. It seems that the organisers replied to the majority of participants. Although we all expected there would be rejections, the fact that there will be A WINNER came as a bit of surprise. I guess, the winner (and runners-up?) will be announced on Monday on Harlequin blog.

photo by Idea goat FreeDigitalPhotos.net

One of my eHarlequin and blogging friends, Serenity Woods, has already got her reply (you can read her well-balanced and thoughtful, if not serene reflections on her experience here).

I'm still waiting and trying to carry on editing my NaNo and SYTYCW novel, in case I've got a request for a partial (miracles happen :)). I've rewritten my opening chapter and the following two and now I'm entering the shaky ground of the middle.

Roz Morris have recently posted on her her 3 fixes to give a story a good middle, and here are mine.
How to write (and rewrite) a well-paced middle?

1. Think of your character arc. Where is where she/he needs to get by the end of the book? Where is she/he now? What are their motivations? What changes does she/he need to undergo to get there? What challenges do you throw at her/him to give her/him a chance to change? How do you show the change happen?
Repeat for any main character you have. Make sure their stories intertwine.

2. Think in scenes. Which scenes are crucial to your character and the story? Which scenes show the journey? Write these ones first, then the less important but still necessary ones. Link them. In genre fiction links can (or even should) be limited to a couple of sentences (e.g. When she got off the bus, he was already waiting with a bunch of flowers).

3. Plan for your climax. Is there anyway you can foreshadow your climax? Which of the middle scences could be used to hint the reader at what is to come? Make sure that you have shown all the skills, abilities etc your character needs for the final challenge and the climax (miracles happens but not in fiction, so no last minute secret weapons digged out of the pocket, unless you've hinted at the existence of this pocket and your character's tendency to hind things in pockets, and their mastery at using the secret weapon, and... )

4. Keep track of what you're doing and stay focused on the story end. Have a map of your hero journey or a plot line and tick the milestones along the way. Keep record of the number of pages you write every day. Get one of those word count/ writing progress meters widgets (you can get them e.g. from Writertopia)- I love them! - it helps me see the end.

Enjoy it!

Editing, querying and feeling naked

2011-01-26T07:31:00.000+13:00

I'm still editing my NaNoWriMoNovel. I'm right in the middle, just done Chapter 5 out of 10 (in which my Heroine starts changing but does not realise it yet) and I'm pleasantly surprised because I actually like the story!
This is unusual for me. I tend to feel embarrassed when reading what I've written, regardless of the quality. I think it may be something to do with feeling exposed, naked. As if I've undressed myself in a public place. Any of you have a similar problem?
photo by Ambro (Freedigitalphotos.net)

In the meantime I've received an email from the publisher of my nonfiction book with a request to correct 3 (THREE) sentences from the manuscript. Now, I'm not sure what to think: is it good or bad (my initial reaction was that's it's good), or only just a beginning?
What do you think?

Correcting these three sentences shouldn't take me longer that 15 minutes (usual comfort break included), so tonight I'm back to my novel.
I will however take a little break to participate in this fantastic query contest on Roni Loren blog. I'm going to enter a query for my still unfinished women's fiction novel.
Anyone else entering?

Who wants to shine online?

2011-01-22T18:18:00.000+13:00

I do.
So I've done a lot of reading, and thinking, and again more reading, and even more thinking and now I'm starting to put what I've learnt so far into practice.

At BookBuzzr C.Patric Schulze argues that blog is 'the single best marketing tool for an author', so I've joined S.H.I.N.E. Online project, to hone my blogging skills and make my blog a place with interesting and/or useful information. I will be posting twice a week, using the tips by Julie Isaac (@WritingSpirit).

I have also decided to start off another online project - launching myself into busy waters of lifestyle and emotional health advice niche. I know, I know - it's very popular with many experts laready out there, but I think I have something new to offer, even if it's only my short attention span and down-to-earth 'how-not-to-go-bonkers' attitude to life.

After all I'm a bit of an expert on those things ;-)

Do you want to shine online? Have you joined Julia's project? If not, you can do it here or on Twitter by using #SHINEOnline tag.

How do you try to stand out of the crowd? Do you care about it at all?

How to revise your manuscript

2011-01-18T22:14:00.002+13:00

Finally I've sent that nonfiction project off to the Publisher and here came time for revision and self-editing of my NaNoWriMo novel.

So I've read all the posts on revising and self-editing I've bookmarked over the last couple of months, read and made notes from a book by James Scott Bell 'Revision & self-editing' and, as advised, sat to print my manuscript off.
But my printer ran out of ink and I had to wait for a new cartrige.

In the meantime I've decided to collate advice on how to revise a manuscript / a novel.

Here's the summary of what I've found out:

Revising your manuscript in 6 steps:
1. Print your entire manuscript off.
Make sure the font is legible, with 1,5-2 spaces between the lines, margins ample enough to make notes on them; one sided preferably. Many revision experts advice to print your MS the way you would to send it to your publisher.

2. Get mentally prepared for revisions - this is going to make your book better, stronger, punchier. Janice Hardy has more advice on how to put yourself in the right mood before revisions on her blog The Other side of the Story.

3. Get ready to read: get a pen (why not a red one?), a comfy chair, a table, good lighting, a bit of peace and quiet.
Holy Lisle also suggests a notebook and nerves of steel.

3a. At this stage is also good to remind yourself- what is the theme of your book- who are your main characters and what are their emotional journey- what is the conflict about

4. Read your manuscript.
JS Bell advises to read MS in a couple of settings, as a reader would; don't make any changes at this point, just make comments on the MS (red pen comes handy).

You may want to use shorthand markings to make comments about the changes you may want to make.
The best way of going about it is to have your own system.
I'm going to use:
- V to mark places where story is dragging on (the more VVV, the worse)
- [?...] around passages that feel unnecessary/ in the wrong place
- [ more!] where I feel I need to add something
- underlining and a circle for potential plot holes (green or amber eyes??)
- circle around the name of a character / an event that I've decided to change or may not otherwise suit the plot, emotional arch or the story theme

5. Analize your
- story (does it make sense? is the plot compelling? does it flow nicely? Are the stakes high enough?)
- pace/flow ( is the pace right? does every scene is a story in itself and does it end with a mini-climax?)
- characters (do they jump off the page? are they tri-dimensional? do they grow? what are their motivations and does it make sense?
- setting (does it add another layer to your story? does it change? do you use all 5 senses?)
- dialogue (does it sound natural? does it move the story forward or help building your characters? is it rambling?)
- voice/style (show vs tell? active verbs or passive voice? does the opening paragraph introduces the main threads of the story?)
- technicalities (lenght of the manuscript and chapters, ponctuation, grammar, formatting etc)

More advice on specific aspects of this stage: Fiction Editing Checklist by Sherry on Dark Angel's Blog and A self-editing checklist by The Book Doctor

6. Implement the changes in your manuscript.

The process can be repeated until you are happy with the final product.

What are your revising and editing tips?

I'm off to find a comfy chair.

The End - finishing, ending, closing

2011-01-15T21:00:00.000+13:00

I have a problem with finishing things. I am almost, nearly, just about to finish and then - I lose the steam.

I've been trying to finalise the manuscript of my book on OCD for about a week now. And I'm telling you - I've nearly, almost just about to get it in the envelop and scribble the Publisher address on it, and send it off on Monday.

Well, I still need to print that front page (still can't produce it as part of my main MS, because I don't know how not to put headers and page number on the first page), and write authors bio (completely forgotten about it; gosh, I HATE writing bios!), and add my photo.

And copy it all on a CD.

And write at least a short cover letter.

And get it all together in one nice document and send it via email, too.

No, I'm rubbish at finishing. I hate the hassle of formatting. I have horrible handwriting and nearly always need to rewrite the address on the envelope because it's illegible.

I've similar problem with finishing my stories. My NaNoWriMo novel was left unfinished (last 500 words) for a couple of weeks, because I decided I finished the novel the moment I crossed the 50,000 words line. I just couldn't get myself to finish it.

I don't know where this hatred for ending comes from. I guess is my short attention span and low threshold for boredom, but knowing doesn't really help.
Still have to go downstairs and print that bloomin' front page, bio, fiddle with my photo (anyone else never happy with the way they look on the photo?), get the whole document ready for emailing, and...

Even thinking about it makes me feel that I'd rather wash the dishes.

Anyone else has problems with ending?

Formatting nonfiction manuscript

2011-01-11T22:43:00.000+13:00

Do you dread formatting, like I do?

Not only it comes when you think you have finished that b***y manuscript and all you want to do is to sit back and admire it; or just get on with it, send it off to the publisher and move onto the next project! Here comes the very independent spirit of Word, Open Office or some other word processor and makes your life a mysery.

Have you ever been a victim of Disappearing Indent Paragraphs? Have you suffered from Stubborn Unmovable Margins? Or have you had to seek medical attention after you've failed to remove that page number and header from the first page gazzilion of times?
Well, I hope someone have said 'yes' at least once, because it will make me feel less lonely in my sufferings.

I admit, I'm technically challenged and I'm crap at reading and understanding manuals, I learn by doing stuff myself. Usually it takes 5-7 successful attempts before I can learn a thing; unless it;s driving somewhere I've never been before. The latter takes months.

Anyway, I've came to the point when I have to format my manuscript, so I've researched the tips thoroughly, as usual, and here is my 5 tips for formatting your manuscript for technically challenged:

1. Get someone else to do it. Must be trustable and experienced in formatting manuscripts for publishing industry.
2. Stay cool. Don't let the blimmin' machine make you go 'off the rails'.
3. If you feel like going off the rails becuase of the flippin' computer, take a break. Repeat until you've finished the formatting.
4. if the computer/word processor keeps playing up - ask someone for help (see p. 1 for advice)
5. Get that done asap, preferably the same day. You stil have The Printing Challenge to enjoy.

And here's some professional advice and some more on how to format fiction and nonfiction manuscripts:

1. Novels and nonfiction books need a cover page: centred book title halfway down the page, skip 2 lines, centre your name/byline, another 2 skipped lines and centred contact details; another 2-3 skips and put your manuscript wordcount.

2. Each chapter on begins on a new page, half way down the page Chapter Title or Number. End chapter with a page break.

3. Running headers on the top of every but the first page, including you name and title.

4. Pages numbered (don't start over with every chapter).

5. Reasonable 12-point font (Times New Roman, Courrier, or follow your publisher guidelines - mine wants Arial), double-spaced.

6. 1'' margins each way (now, I can see another problem for me - my word procesor doesn;t have an option to switch to imperial, it's all in cm and mm), 1/2 inch indent para.

7. No fiddling with anything else.

And here are some very user-friendly step-by-step instructions on how to do that.

What a shame that I use Open Office :(
Now, off to get that formatting done before tomorrow.

Author as a brand - inventing your public image

2011-01-07T22:42:00.003+13:00

Have you got a brand as an author / writer?

How did you create it?

What is your brand name? Do you use your own name, a pen name, a monicker, your website name? Why?

Who is your target audience?

What do you offer your audience and how is it different from what's already 'on offer'?

How did you come up with the idea for your brand? Gut feeling? Research? Professional advice?

I have been thinking a lot about 'launching myself' as a nonfiction writer this year and decided that if I really want to continue in this direction, I need to start it NOW. So I'm trying to answer the above listed questions for myself.
My nonfiction book 'OCD - The Essential Guide' has been rescheduled for publishing from April to September, but it is happening this year. I have nearly finished my revisions and planning to sent the manuscript off as per original contract, by the end of January.
I have some more ideas for nonfiction books as well. I could also write nonfiction articles.
I really need a platform.
I need an image.

For me the most difficult part will be to decide about the name I'm going to use (I'm quite paranoid about keeping my private and professional life apart from my writing and 'public' image), and the title for my website (as I see it as indicator of the uniquness of what I am going to offer).
The rest is just derivatives from the former.

I have just made some minor changes in About me section as suggested by M Hyatt - I hope it reads better and is more informative. I also decided to start adding pictures to my posts (will try to post some mine but otherwise bought from iStockphoto) and put a hopefully helpful Subscribe to replies button.
I am working on a classy picture (I must book that appointment with my hairdresser next week!) and I'm reading, reading, reading on how to build my brand and create a platform as a nonfiction author.

How have you created your brand as an author? What is your public image?

Turning the page (blog takeover day)

2011-01-01T22:48:00.000+13:00

Hi, my name is Kasia and Scribocin has asked me to write something for Sally Quilford's Blog Takeover Day 4.

I'm not a writer, and I'm really bad at expressing my emotions or sharing my thoughts. I've only agreed to write this post because I'm no good at saying 'no'. It's all to do with my fear of judgement. My mother has taught me that people would always judge me. That's why it's so important to do the right thing.
If only I knew what is right for me, like my mother does.

Of, course, my mother is toxic. I know that, but knowing doesn't help. I still can't stop trying to live up to her expectation. It's the same with my lack of assertiveness. My fiance's affection is suffocating me, but I can't tell him to stop calling me gazillion times a day, or always be there for me, even if I don't ask. It's because he loves me and I so desperately want to be loved. But I've just learnt to ignore his phone calls - it helps. I can reply to him later in bulk. It gives me a bit of a breathing space.

I know it's wrong. I know some people think I shouldn't be with this guy, since I don't love him. Some even think he's abusive and manipulative. Scribocin says he'll hit me one day. Can he, really? He's such a goody-goody. Can you kill with too much love?

Well, I know you can, but like with many things I know - so what? Knowing that something in your life or with you is wrong doesn't mean that you're ready to change it.
Insight is not enough to change. You need more to turn the page and start your life afresh.
You need good motivation and a firm decision. You need to stick to it. You need to carry on against all odds, people, and sometimes agaist the grain.

So for now, I'm stuck in my unhappy life, in Chapter 18 of Scribocin's first and still unfinished novel 'Mr Pretender and Dead Princess'. I'm doomed until she picks up her pen (keyboard) and let me sort it out. She's promised she'd do it this year. She says she's turing the page and taking her writing seriously.

She better keeps her word, because I can't stand people who don't keep their promises.

Setting achievable writing goals

2010-12-28T15:09:00.003+13:00

It's this time of year: stock taking, New Year's resolutions, setting goals.
Have you been thinking how to become a better writer? A successful one? Published?Finish that b***y manuscript?
What is your writing goal?
Do you know how to achieve it?

I admit, I'm addicted to setting and achieving goals. If we don't count the evergreen weight loss, I have achieved everything I've ever really wanted, sometimes a little later than I initially thought, but generally as planned.
The key to my successes has always been the word: REALLY.
I believe that you can achieve everything you really want, although there is a price for it. A lot depends on whether you want to pay the price.

When setting a goal, any goal, you need to ask yourself a number of questions and answer them as honestly as you can.

1. What is it what you want to achieve it? Name it. Don't be shy. How will you know you've achieved it?

2. Do you really want to achieve it? Because if you don't - what is the point of trying?

3. Are you prepared to pay the price? Whether it's money, time, or some other sacrifice, there is always a price for getting what you want - can you afford it?

4. Why do you want to achieve it? This is a question about your motivation. It will come handy in times of struggle!

5. How you want to achieve it? In one big go? or as a series of little steps? If you set a smaller goal or a series of 'baby steps', keep the bigger picture in mind. Try to break big goals into smaller steps - it'll help you getting where you want to be.
Keep track of your steps, review your journey, celebrate little successes on the way. It will make it easier.

6. When do you want to achieve it? By the end of next year? within the next ~~couple of~~ 2 years? Be specific, but also realistic, think about potential pitfalls, like family holiday (I find it hard to concentrate on writing when on holidays), or school breaks if you have kids; it's not a very good idea to set yourself a goal of finsihing your novel in a year when you're also planning to get a new day job, sell a house, move countries, settle into new life, and... well - you get the picture (that's why my first novel is still unfinished: it's been with me through 1 baby, 2 continents, 3 countries, 4 jobs and 5 houses).

7. Set yourself up: get rid of unnecessary things, irrelevant activities, distractions.
Hard, I know - I'm guilty of checking my emails or Twitter account umpteen times a day, too.
There are ways of deleting addictive games from your computer, there are programmes, which won't allow you to use Internet for more than pre-set amount of time; mobile phones have 'Off' button, landlines can be unplugged. It's your writing time - your decision.
You can track your writing progress with progress meters -I find it very motivating.

8. Get support: from your family (it may be difficult but it will pay in the end - if you manage to convince them that you REALLY want to finish that novel they may want to support you and share some of the chores so you have time for writing!), friends, and particularly from other writers - they know how hard it is to be a writer.

Here is the graph I use when setting a goal:

My goals for 2011 are:
- sell a fiction manuscript or get an agent
- finish that b***y novel
- get another non-fiction proposal accepted

What are your goals for 2011?

How to get feedback on your manuscript

2010-12-17T23:57:00.006+13:00

So you have finished your first draft (just like me) and now are getting ready to take it to the next level (a.k.a. second draft - I'm still letting my MS ripen)?
Have you thought of getting feedback on the quality, sellability, ~~brilliantability~~ brilliantness of your manuscript?
I have, and I have also thought about how to get it done.

Here's 9 ways of getting feedback on your manuscript:

1. Join a writers' group, whether in real life or online. One of my favourite writing communities Chapter79 has a few sub-fora dedicated to novels.

2. Enrol onto a writing course; there are several writing courses available online and in the real life; I've done Fiction Writing with Writers' News; but there are many out there, including university courses (at some point I thought about enrolling on OU Creative Writing course.
Downside: they can be expensive and of variable quality; I would suggest checking the reputation within the writing community before investing any money.

3. Join in one of the feedback sites, like YouWriteOn, Critique Circle, Authonomy or have a look at NaNoWriMo Critique, Feedback and Novel Swaps forum.
The downside: you may discover that not all reviewrs are as thourough and honest as you would like them to be.

4. Pay for a professional manuscript assessment and editorial advice. Again, there are many agencies and individuals who offer this kind of service, use Google and recommendations by your writing friends. I have read a lot of positives about Cornerstones and The Literary Consultancy; Joanna Penn used The Novel Doctor)
Downside: expensive

5. Find a critique partner. I have found one thanks to RWNZ critique partner scheme. If you are a romance writer, have a look at eHarlequin Community site - there is a thread for writers seeking a critique partner.
Read an interesting post on What makes a good crit buddy.
Downside: can't think of any, once you've found a good match!

6. Use Beta readers (like Joanna Penn).
Downsides: Anyone knows of any?

7. Join a reputable writing organisation, like Romantic Novelist Association, Romance Writers of Australia, or any other, preferably in your favourite genre; many of them have contests (e.g. Golden Heart by RWA, or The Clendon Award for members of RWNZ), schemes (e.g. fantastic New Writers' Scheme by RNA) or critique groups, which offer the members opportunity to receive feedback on their manuscript.
Downsides: it can be expensive, but my RWNZ membership is my best invested money in 2010.

8. Send your manuscript to a contest.
Keep your eyes open - there are many of them. Choose those which will send back the feedback sheets to you, so even if you don't win the contast, you win the feedback.
I have sent my work in progress to Strictly Single and Get your Stiletto in the Door and although I didn't win, or even got to the second round, I have recieved lots of invaluable feedback (interestingly most judges agreed on what's good and what needs more work).
If you win/get shortlisted you may (or may not, as Scott Eagan points out on his blog) even get a request for a partial/full or The Call!
Downsides: can be expensive

9. If you feel your novel is perfect (or near perfect) submit your manuscript to the chosen agent or publisher.
The upside - if it's brilliant, you may get a publishing deal.
The downside - if it's ~~crap~~ not so brilliant, you are unlikely to receive any feedback at all.

Whichever way your choose, make a good use of the feedback. Read it (and reread as many times as you wish as I have done with mine), but let it rest for a while and then come back and think again. Here is a piece of advice on handling conflicting critiques..
If it feels right, follow the advice, it if doesn't - don't.

Good luck!

So you think you can write?

2010-12-13T22:55:00.002+13:00

Have you written a novel? Or at least a first chapter and an outline? Or maybe, like me, you've done NaNo and have a first draft?
Can your novel by any chance be classified as romance?
Wondering what to do with that?

How about sending it to Harlequin - the global leader in series romance and one of the world's leading publishers of books for women?
It's the last challenge of their So You Think You Can Write project which featured a series of very informative and encouraging social media events in the first week of November.

All you need to have your submission considered is to sent a synopsis (5-7 pages) and first chapter (max 22 pages) of your novel (can be unfinished, but you'd better be prepared to have the rest handy in case you get a request for more in January!). Your novel can be targeted at any of Harlequin/Mills&Boon lines.

Here you will find some pointers regarding how to write your chapter and the dreaded synopsis. And if you need more info on Harlequin writing guidelines, have a look here.

Deadline: December 15, 6pm EDT. Results by 31 January 2011 (pretty fast, innit?)
I've just sent my submission - my NaNo medical romance.

Good luck to everyone :)

Writing synopsis (2)

2010-12-05T11:37:00.003+13:00

I'm writing synopsis for my NaNo novel to submit to SoYouThinkYouCanWrite contest. As I find writing synopsis much more difficult than writing the actual novel I've tried to gather advice on how to do it first.
There is a summary of what I've found.

5 rules of writing a synopsis:

1. Synopsis is narrative summary of your novel; it tells the story, hence goes beyond the plot, introducing your characters and showing the conflict and the main emotional arc; the events of the story should be shown as they appear in your novel

2. You need to start with a good hook and end up showing the resolution of the story conflict (no cliffhangers allowed!); include major plot twists and turns, but not every detail

3. In the next paragraphs you introduce your characters showing their goals, motivations and conflict; you need to show how they change as the effect of the emotional journey they embark at the beginning of your story (action-reaction-decision); focus on the main characters, introduce secondary characters only if necessary and relevant to the emotional journey of your H&H

4. The body of your synopsis should have three major parts: Introduction (The precipitating event, which sends your heroine and hero on their journey), The Bits in the Middle (the journey through obstacles and escalating conflict towards the Resolution), the End (the Resolution of the conflict); remember to show how your characters develop and are tested during their emotional journey towards the resolution

5. Be tight, use strong verbs and cut extra adverbs and adjectives; try to reflect the pace and style/voice of your novel; write in present tense, third person and format your synopsis as per your targeted publisher requirements (or other publishing standards).

ps. more resources on Lou's blog. and there is more on writing the dreaded synopsis by editor-at-large Leslie Wainger at eHarlequin website.

The importance of happy endings

2010-12-01T22:02:00.001+13:00

Photo by graur razvan ionut
at freedigitalphotos.net

Happy ending is one of the ingredients that define a romance novel. Although the story doesn't have to end with the wedding bells, a satisfactory ending incorporates at least an assumption that Heroine and Hero will live happily ever after. You need to give them a good chance to stay together for the forseeable future. This is what your reader expects from your novel.

Kate Walker says (in her fabulous 12 Points Guide to Writing Romance) that
- your first page sells the book you're writing now, but
- the ending will sell your next one.

Enough to say why a satisfactory, believable, resulting naturally from your characters happy ending is vital to a romance novel.

I have a bit of a problem with endings, so I've been worrying that my characters will never make it to the end.
I can't believe I did it!
Not only I won NaNoWriMo (that is wrote 50,000 words) but also finished my novel.

I struggled through week 2 and 3 to the point there were days, when I spent 4- 5 hours in front of the computer and wrote only 500-800 words. That's pathetic, but at least I was moving on.
I have generally very low writing output - maximally 500 words/hour, which is much less than other people can.
But I wanted to get the Nano laurels, so uploaded the novel as soon as I reached 50,000 words, although I was still a few scenes away from the end.

What was really important for me was to finish the novel. It's my very first finished novel (my other novel has been work in progress for the last 5 or 6 years!).
I got my hero and heroine to their Happily-Ever-After yesterday morning. It's my very first happy ending.

Now I need to fix the plotholes, eyes changing colours, people changing names and the like - a.k.a. known as editing and revising process. I also need to write a synopsis.

I want to submit 1 chapter plus synopsis to The Final Challenge of SoYouThinkYouCanWrite at eHarlequin and the deadline is 15/12/10.
I also want to enter The Clendon Award 2011, which is a competition for members of Romance Writers of New Zealand.

Still a lot of work to do. But what a happy ending!

Congratulations to all NaNo Winners!

Are they gonna make it to the end?

2010-11-10T21:43:00.002+13:00

Conflict in romantic fiction

I'm in the middle of chapter 4 of my NaNoWriMo project; got stuck a little partially because of This Thing Called Life getting in the way, and partially becuase I've started having doubts.
Are my characters really three-dimentional or a little flat?
Is the plot believable and not contrive?
Is the conflict strong enough to keep them apart for 200 pages?

The plot of a romantic novel can be described in three steps:
1. Boy meets Girl
2. Boy looses Girl
3. Boy gets Girl back.
They have to meet on the first page (or at most the first chapter; I've got them together on the first page), feel that instant chemistry, but usually don't realise they've fell for each other until half way through, so something MUST make it impossible for them to be togheter for the rest of the book, otherwise my novel will be finished on page three.

I admit, the biggest problem I have is with the conflict, which is one of the most important ingredient of a romance, and actually the one which incorporates all the other. Believable, fully fleshed-out characters can only get involved into a conflict, which derives logically from their personalities and will resolve it in a believable way.
The events of the plot need to reflect the progression of the tension between the hero and the heroine.

The emotional tension (a.k.a. conflict) is what keeps them apart and makes the reader turn the pages, biting their nails and worrying how they are going to get together. The obstacles to intimacy and happily-every-after need to be strong enough to prevent them from getting together and they should be of internal (values, character traits, ambitions) rather than external (circumstances) nature. If miscommunication is the reason they are still not together in Chapter 8 (out of 10) I'd better make sure it's yet another effect of their personality clash.

In the two medical romances I've finished reading so far and one of the unfinished the conflict is really well thought-out. Looking at the personalities and their values of the main characters I wondered if they were going to ever be together. External conflict (related to work) was only an addition to the internal one.
Of course they made it at the end. It wouldn't have been a romance if they didn't.
For a change, the conflict in one of the unfinished ones felt so forced and artificially 'blown up' that I put the book down. In the other unfinished the external obstacles to being together (they discover they've fallen for each other in chapter 4/5 and then had a major medical and family crisis to get over before they can walk off into the sunset), although very exciting (a cyclone and a lost child) were not interesting enough for me to read on.

I have a difficult task.
So Anne hates when men assume that because she's so attractive she's silly and earned her professional position only because she's slept with her boss. In the first scene Geoff thinks that Anne is just one of those pretty, silly girls, who he doesn't have time for. And then he learns she's his mate's little sister, and then that she's his... new neuropsychologist, whose help he needs badly to rescue the reputation of the unit he cares so much about.
As for her. well... Falling for her boss is a/ unprofessional (and she is desperate to come across as professional), b/ would be a perfect evidence that she is one of those pretty silly girls who...

Anyway, I haven't written a single word in my NaNo novel for 2 days, I'd better get back to it and see if they are going to make it to the end and happily-ever-after.

Living in 3 times zones

2010-11-04T22:52:00.000+13:00

or NaNoWriMo and SYTYCW and my week long holidays day 4.

I've just finished Chapter 2 of my NaNo novel targeted at Mills&Boon Medical Romance, but in the meantime I decided to write a scene from the penultimate chapter for SoYouThinkYouCanWrite Challenge 3.
I must admit I'm knackered tonight - it's all that timing. Because of the time difference I really cut it fine with Challenge 2 (I only had 1 hour to patch a query letter together), so I decided to wait until well after midnight to at least read what the next challenge was going to be before I went to bed. But it didn't work - they didn't post it until must later. I must have got it all wrong again.
This is what happens when your body resides in IDLE (International Date Line East), your mind still in GMT (Greenwich Mean Time) and trying to meet deadlines set in EST (Eastern Standard).

Luckily I had enough time this morning for Challenge 3. It was meant to be about drama, tension, and that x factor, 'which keeps a reader turning the pages until three in the morning', so I decided to go for one of the scenes of 'TheDark Night of the Soul', when Hero and Heroine think that everything is doomed and there won't be any Happily-Ever-After. I kept jumping between the scenes I'd had 'drafted' in my head only on Monday, and 10 minutes before the deadline had a moment of 'enlightement' that it was all wrong, because it wasn't emotional enough. But I just stuck with what I'd written and sent it off.

Now, fingers crossed that I get picked up for critique.

NaNoWriMo and SYTYCW - day 1

2010-11-02T00:06:00.001+13:00

Oh, the joy of waking up on the first day of a week long holiday!
More: the week which will be spent on your two favourite activities: writing and walking (to get those creative juices going).
What a shame that I had to waste so much time finishing a few little jobs that have been waiting for me for days.

But I have written 2226 words of my NaNo novel, so I'm ahead of the 1667 words daily limit and I have enjoyed it. I've even managed to edit the first page (awaiting clarification what word count it actually means) and I'm going to email it to eHarlequin editors for So You Think You Can Write first Editorial Challenge. I may get a free critique!

I like my characters and I'm looking forward to meeting them again tomorrow.
Strange?
I know...

;-)

More on plotting your novel

2010-10-30T16:20:00.001+13:00

NaNoWriMo starts in 2 days and the Web is teeming with advice on all aspects of writing a novel in a month, plotting included.

Dani Greer at The Blood-Red Pencil shows how to use a mind map to plot a novel.

In preparation for NaNo Paulo Campos at Yingle Yangle talks about outlining a novel worth reading, why outlining your novel is essential, and how to prepare for the moment when your outline will fail.

More on novel writing strategies at Burrowers, books and balderdash.

At Girlfriends Book Club Novelists Saralee Rosenberg and Ellen Meister discuss the neverending issue of what it takes to write a novel: Inspiration or perspiration?

My writing tends to be plot-driven, but classic romance is usually character-driven (more about it at editorrent), so I'd better read a little about plotting from character (Theresa at editorrent).

Ah, and then I need to think a little about my conflict.

Planning/plotting a novel

2010-10-25T16:01:00.005+13:00

NaNoWriMo starts in a week. Time to start planning and plotting my novel.

There are several ways of planning/plotting a novel (e.g. The Snowflake Method, a four-steps one, and many, many others) and there is probably a book for every kind of writing and planning..Generally speaking, you should do whatever works for you.
For me it's James V. Smith's framework from his "You can write a novel" book (I own a You Can Write a Novel Kit - complete with Chapter Log, Major/Master and Minor Character charts, Scene Development and revision Tracker)

I am writing a category romance, so I have 50,000 words and 10 chapters to make a good use of.
I have used Daphne Clair and Robyn Donald's (Writing Romantic Fiction) tips to 'translate' James V. Smith's advice into the world of romance.

1. Opening scene, where my Reader is to be thrilled.
Well, apparently I have now only 300 words to get my Reader's attention, so I'd better get the opening scene right.
In romance this is Their First Meeting, that First Sparkle between Her (beautiful, smart AND caring) and Him (Alfa male, no doubts!). Best is to have it happen on the first page, and ever since none of them is allowed to leave the page (= if one of them is not physically present on the page, he/she must be present in the other's character's mind).
As far as I've noticed category romance have POV switching between hero and heroine.
This will be Chapter 1 of my NaNo novel

2. Pivotal setup complication, where the action can fall a little, but never below the point of interesting
This part is simple - I just need to come up with enough conflict (source of tension), internal (emotional) and external (life circumstances), to keep them apart for something like 180 pages. Easy-peasy, isn't it?
well, we shall see ;-)
This will be Chapter 2 and 3

3. Point-of-no-return complication, where the action rises to reach the thrilling level again
In romance this is usually the moment when they fall for each other and despite all these things in point 2 realise they can't help the attraction
In Chapter 4

Points 4, 5, 6 - pivotal complications with the action rises and falls swinging my Reader between Interested, Excited and Thrilled
The consequences of the conflict as laid out in point 2, plus some minor additions, usually of external type; a jealous ex jumping out of a box maybe?
Chapters 5, 6,and 7

7. Worst complications possible, where my Reader should be more than Thrilled
It's all about that conflict, really.
Chapter 8

8. Worse than even the worst complications possible - the climactic scene, where I should have my Reader blown away by the titanic, epic, final struggle of my hero/heroine facing their worst adversary; heroic conflict is resolved in the characters' favour, important lessons are learnt and no coincidence or divine intervention is allowed
Simply speaking: they both realise they can't live without each other, this is The Love Of Their Lives, so they have to do something about all them things laid out in point 2, plus the minor additions and get together
Chapter 9 and beginning of Chapter 10 (as I'm planning A Dark Night of the soul moment, when they realise there is no happy ending for them)

9. The End, where they live happily ever after and my Reader can wipe his/her forehead and sigh with relief
They get together; may sail off into the sunset, clutching their wedding invitations but no actual wedding is necessary on the scene.
The end of Chapter 10

10 rules for doing your research

2010-10-15T23:31:00.007+13:00

picture by jscreationzs
via freedigitalphotos.net

"Thou shalt do you research"
As a Pattern Spotter and Theme Finder I decided that my recent struggle to get some facts right in the novel I'm currently writing, the setting I'm planning for my NaNoWriMo novel and three (Jody Hedlund, Helen Ginger for the BloodRedPencil and Mark Terry) blog posts enough to reflect a little on the importance of doing the research.
To be honest - I don't like doing research. I feel like I spend a lot of time browsing the Internet, composing fora posts, reading books, speaking to people - and I can still get it wrong.

Here are my 10 rules for doing research (applies to fiction and non-fiction)

1. Write about what you know - you won't have to do much research, and you'll instantly know which sources are most reliable, be it books, magazines, places or experts.
Needles to say - it's my favourite rule.

2. Try to get information first-hand. If you can afford to go to a place where you want to set your novel - go, or write about places you have been too. Photographs can be helpful in getting geographical or seasonal info right. I know of authors who have enrolled on courses to have first hand experience and access to experts, or went on field trips (like Joanna Penn).
It doesn't have to be a big, serious course - a few weeks tester is sometimes enough to give you an idea, hands-on experience and some pointers. Check your local college, library or community centre for details of courses available.

3. If you have to get your information second-hand, try reliable and well tested sources first: books, libraries, librarians, experts.I have heard many positive and encouraging stories about helpful librarians all over the world (just email them; from what I've heard from other writers, librarians love being asked all these quirky details - it makes their job a little more exciting). When I was writing a short story set in a little town in northern Norway and needed some local info, I emailed the local council and got a very prompt and helpful reply.
Don't forget to mention particularly helpful people in your acknowledgements!

4. Ask your family, friends, work colleagues- people who, although not experts may have been to the places you want to write about (and have photos and little stories); attended those courses mentioned in Rule 2; or may know someone who has and put you in touch with them.
I prefer to 'innocently' steer the conversation towards the subject and weave my questions into the general conversation inconspicuously. It's happened to me that people refused to answer my questions once they knew it was for my novel or short story, often because they felt they weren't 'expert enough' to give me the information I needed (rubbish! If they weren't expert enough I wouldn't have asked them).
5. Use trusted web resourses: specialist websites, specialist fora, etc.
Writers are rarely only writers, they often have day jobs (like me), and from what I've found - they always more than happy to share their professional experience with you. And they live in different places on the planet, too. and you don;t have to pretend that this is for your cousin who's trying to adopt a disabled dog because her previous dog....

6. Use other brilliant tools available online, to mention only a few: Google Maps, photo libraries, webcameras placed in the place you're writing about

7. Use search engines wisely. Here's some advice on mastering the skill of asking the right question

8. Don't let the facts get into the way of a good story. Jody advises to "Go deep but stay narrow", Greg declared his duty to the Fiction. Ask yourself if you really need all those details in your book -can it be skipped or 'mumbled over' or happen in the background?
You can always consider getting someone to do your research, and pay for it.

9. If you're still not sure you got it right - get rid of it. Ever found any inaccuracies in a book? Have you put the book away? Well, you know what may happen if you get it wrong then.

10. Enjoy your research.
(I think I may skip this one though)

And what are your rules or trusted techniques?

NaNoWriMo

2010-10-05T23:41:00.001+13:00

This year it's serious.
No more I'll_see_how_it_goes, I_may_join_in_later, or even I_think_I_could_do_it.
I'm doing it!

I've just joined in NaNoWriMo - National Novel Writing Month. It starts on 1ts.November, ends on 30th; and I'm expected to write a 50,000 words novel. Thirty days and nights of literary abandon!

I don't have a title for my novel yet, but this is going to be a Mills&Boon medical romance (it's usually 50,-55,000 words so ideal for NaNoWriMo). I'm thinking of setting it somewhere between neurology/neuroscience and psychology. more details to follow.
I'm going to start planning the novel, draw the characters and think out the conflict later on this month (I'm taking a few days off for that).
Oh, yes - I am a Planner.

A NaNoWriMo widget will keep track of my word count.

Get your permissions (copy) right

2010-10-03T00:33:00.001+13:00

Ooh, managed to get all the copyright permissions for my non-fiction book on OCD at last. Even though it didn't take me long, it has been a painful process. The most difficult task was to find the copyright owner for the NICE publication. I've lost count of emails sent into the void, but luckily in a sudden enlightement I decided to ask a copyright holder of another publication for advice and lo and behold! they happened to be The Right One.
Big thank you to all helpful people and my intuition.

If you writing a non-fiction book or article and quoting directly material other than your own, don't rely on your intuition only.

1. Find out who holds the copyright. For unpublished materials it's usually the author, for published books, magazines, other periodicals - check the copyright or editorial pages. It may be a bit trickier with photography, but start with the publisher (and remember that even when you're using your own photographs you may still need a permission such as model or property release). The fact material found on the Net is anonymous does not mean it is not copyrighted. When in doubt - don't do without!

2. Get your permissions early. Some publishers take up to a couple of months to reply to your request. Copyright owners in foreigh countries may take even longer! And you have that book/article to finish on time. Although there is nothing wrong with carrying on writing your book or article while you're waiting, you can't afford it going into publication without all the permissions in place.

3. Get your permissions in writing, even from your friends or relatives (this can be a particularly risky move because you may potenitially lose not only money or reputation as an author but also a friend).
Society of Authors suggests this model permission licence letter for use.
My publisher is happy with emails, but check with your publisher if you need to have your permissions in hard copy (e.g. a 'proper' letter), or if an email would do.

4. Have your purse ready. You may need to pay. How much? It depends on many factors, such as the lenght of the excerpts you're using, the circulation of your publication, etc. Copyright permissions for many academic publications can be obtain through Rightslink and Copyright Clearance Center. Rightslink can give you estimated released fee - which is particularly important if you're about to use what may be a very expensive quotation (I decided to make a minor change in my book after I saw the quote for my quote. Sorry, guys, it wasn't worth the £360).
Before commiting yourself to any payments (and asking for the invoice!), check your contract - it will usually contain information on who is to pay release fee. There may be some room for negociation with your publisher.

5. Make sure you understand the key word - substantial.
'Substantial' is not defined in Copyright Act, but is 'a matter of fact and degree', and is more about quality of the used excerpt, how big a portion of the original work you're quoting, how it affects your book/article, etc rather than the quantity. If in doubt- always ask.
In case of reviewing or critique a rule of 'fair dealing' applies and you may not need to seek permissions to quote - see Society of Authors guidance on the matter for further details.

6. There is no copyrights on facts, titles or ideas.

More details on copyrights, moral rights and permissions on Society of Authors website. The history and international copyrigths agreements on Wiki, and Top Ten Questions about Copyrights and Everything You've Always Wanted to Know About Permissions on Writing World.

Happy quoting!

Get your flattie in the door

2010-09-22T23:42:00.002+12:00

I don't wear stilettos, never even owned one, let alone a pair, but I was going to see if I could enter this contest by ChickLitWriters and nearly forgotten.

When I first saw the info about Get Your Stiletto In the Door, I thought I'd have my ChickLit novel well under way by the deadline, but, as you know, life gets in the way of writing sometimes. So I'm still nowhere nearer a developed plot, let alone the first chapter.

So I decided to enter what I have, which is half of my very first novel in Women's fiction category.
Luckily, as it's been just confirmed by Brooke Wills, Contest Coordinator, it doesn't matter that I've sent my manuscript for another contest (see post below). As long as I am not contracted by the deadline (2.10.2010) I am eligible to enter. I don't expect miracles in this case, so I'd better get my entry ready - there is a lot of work to do with formatting and submitting (I hate formatting!).

If you unpublished (or published but not contracted for the last 3-5 years, check website for details), have something suitable (it's better be finished or nearly finished - agents and editors DO ask for fulls or partials as the result of the contest - see previous winners' lists), think about submitting your MS: first 5000 words of your novel, 500 words o synopsis is optional and not judged.
It costs USD25 for non-members and USD15 for members; the prize is a USD50 Amazon voucher, but it's not about the voucher. Score sheets with judges' feedback will be returned to entrants.

A $25 for feedbacks by insiders? Cheaper than sending your MS to an agent/editor and you don't risk that dreaded 'thank you, but no-thank you' rejections slip!
I'd better try to get my flattie in that door.

Good luck to all entrants.

Strictly Single strictly on time

2010-09-20T23:01:00.000+12:00

Contest of the Month

I've promised myself to send my stuff to at least one contest a month. This is my quota for September - Strictly Single by RWNZ. If you a member of Romance Writers of NZ, unpublished in the past 5 years - send the first 7,500 words + max of 1250 words synopsis of your novel in by 1st October.

Just sent my entry off, well before the deadline.
Now, back to writing, 'cos my novel won't move on without my help.

I have 300 words to save the world

2010-09-16T22:13:00.003+12:00

Apparently, it's no longer the first chapter, not even the first page - a writer's chances to grab attention of a reader dwindled to 300 words (see James McCreet's article in October Writing Magazine). Editors want 250 words queries (see Query Shark), publishers - lots of 'white space' on the page, marketers - 20seconds sound bites.

The web shatters focus and rewires our brain, writes Nicolas Carr in Wired.
As our attention span has shrunk in time to allow expansion in space. It's all that TV watching, Web surfing and texting at the same time. An average Brit can cram 8 hrs and 48 minutes of media consumption daily into just 7 hours. Young peope are even better: 9,5 hrs into 6,5!

But dealing with diffused audience comes at a price - you may overlook a really important piece of information. This article in NYT talks about the downsides of being Always On, but I haven't finished it - it's just too long.

Natalie Whipple advises that 'blog posts shouldn't get too long' to improve the blog readability.
I go by an old rule Do not do to other as you would not have them do to you.
Ah, and don't add too many links - they increase cognitive overload and disorientation.

So I have 300 words to save the world that I put in danger in the first line. If I fail the test, my reader will never finish the story, and my world will never get saved.

I'd better get back to writing.

Writing synopsis (1)

2010-09-12T21:00:00.001+12:00

Writing synopsis is like performing keyhole surgery - it takes ages to master, there's no time for waffle and you'd better know where you're going.
[by Scribocin]

I'm rewritting a synopsis for my novel. Target word count under 1250.
Attempt no 16.

Quakes, shakes and breaks

2010-09-07T20:14:00.000+12:00

About the importance of switching off your inner editor and ignoring the spellchecker

Last week's earthquake in Christchurch, Cantenbury reminded me that New Zealand is not a land of milk and honey. And living on the North Island is not all that safer, because although the 56 volcanoes of Auckland Volcanic Field are considered extinct, the field itself is dormant.
Beautiful but scary!

Rangitoto Island, one of Auckland's dormant volcanoes, seen from Shekespear Regional Park

Shaken a little by this realisation I've decided to get that home insurance sorted ASAP. I mean, when I have a day off.
Well, but a while ago, when I first started my non-fiction project, I decided to use my days off for writing.
I have a day off today - what shall I do?
Dunno, gone writing :]

Chapter 5 (of 8) of my non-fiction guide is nearly finished - hurray! It seems that the system of taking a day per week instead of a week off in one go is working for me. Knowing that I have only so many hours I can dedicate to writing I am in fact writing.
I think this may the same mechanism that makes working mothers so effective - the less time you have, the better you use it.

Another newly adapted technique I can swear by is 'switching off the inner Editor'. Whatever you're writing, just carry on typing, don't stop to correct the sentence, look up a synonym, or check that word you have just at the tip of your tongue - just keep typing away. Leave a gap with ?, write 'thesaurus/dictionary' in the space you want to put that special word in. It also doesn't matter if you have bits and pieces of your chapter in the right order ; doesn't even matter if you have them in the right chapter, because as long as you have them written down, you can then re-juggle your paragraphs, as you edit your first draft.
But you have to have that first draft finished.

And now, for that annoying spellchecker... Is anyone else finding the underlined words so challenging? Everytime I see this thin, wavy, red line my hands are shaking and I have to correct it. It interrupts the flow of writing, of course and often by the time I've chased out all the wavy rd lines my Muse is also gone.

I've tried switching the spellchecker off but I need it on, 'cos sometimes apart from the first couple of letters, I've no idea how a word I want to write is spelled.
But as the book I'm writing is on Obsessive Compulsive Disorder, and what is trying to get in the way of my writing is, well - my own touch of OCD, I've decided to take my own advice and fight my Inner Editor/Spellchecker/Perfectionnist using a renown anti-OCD technique: Exposure and Response Prevention (ERP).

So from now on, I'm going to delibarately misspell words and look at the blimming wavy red line, and ... try to do nothing. Nothing. Just let my hands shake until I can no longer hold the mouce.
And then take a deep breath and.. a break?
OK, why don;t I start now?

[sign out]

Unhappily ever after?

2010-08-29T20:26:00.001+12:00

Why I haven't been able to write romance

Romance Writers of NZ conference was indeed An Affair To Remember. I came back with a bag of goodies, a notebook full of tips, lots of inspiration and - last but not least - a couple of reflections.

Still the most popular genre, generating billions in sales - Romance certainly is not dead. No wonder that Mills&Boon are seeking new voices.

So far so good, let's jump on the bandwagon!
I've tried.
I've tried writing womags' short stories, time travel romance, mistery romance, medical romance, women's fiction and... whatever characters and plot I've come up with it always ends up bad.
Unhappily ever after.

What's the problem then?
Well, it seems that it's my daytime job. If you, like me, see people when they are unhappy, with their relationships going badly, whatever your marital status, you may find it hard to believe in happy endings.
Simples!

Karina, thank you very much for helping me understand it.
Now, where is that bag full of books with happy endings?

Be sparing with perfume

2010-08-23T20:58:00.000+12:00

Just came back from Romance Writers of New Zealand annual conference - An Affair to Remember.
I will certainly remember it. A well organised, jam-packed with useful, practical advice, full of nice, friendly people.

Although I am not a romance writer, and certainly not a romance reader, I have found the conference inspiring and motivating. Because it doesn't really matter what type, genre or kind of creative writing you write - there are some elements of the craft that are transferable.
Like advice on the use of flowery language, adjective and adverbs.

Be sparing with perfume!

Vit S - Scribocin

2010-08-15T22:56:00.000+12:00

Scribocin (Vitamin S) - a vital ingredient of good writing; the magic element that makes words 'leap off' the page and compels the reader to read on. If it cannot be synthesised in sufficient quantity by the organism of a writer, it has to be obtained from diet.

I'm an aspiring writer on a quest for this essential ingredient.

:-)