Wednesday, October 11, 2017

Being a Writer

I am just about to send my edited manuscript back. At this point I'm going over it again and again to see if I missed anything and to clean up the new content.

Receiving the edits made the fact that I'm going to be published finally become real. As I work toward applying the edits, I feel like I'm working toward a real goal. It makes it feel like a legitimate job and not something weird I do alone when I have time.

Writing had become almost a burden. If I wasn't writing then I was giving up. If I was writing, it was hard to justify why I was taking the time to write a story when I could be doing productive things like laundry. I had so many stories in my head, but either the story or the writing had some flaw I didn't understand, something about it that made it not viable. It's hard to motivate yourself to write despite that.

I would tell myself that the fact that I started and finished books was an achievement in itself and I didn't need validation from external sources. While I still felt good about what I had accomplished, I must have needed that validation because it was becoming harder and harder to write.

As I do edits for Courtly Pleasures I can see the finish line on this project. It restores my optimism (or insanity) for my writing and my faith in myself. New stories are percolating. Old stories with kinks are resolving themselves.

I'm excited about writing, about being a writer, again. Of course I'm excited about Courtly Pleasures being published but, more than that, I'm excited about the next story and how it might unfold.




Friday, October 6, 2017

Applying Edits

My experience with the first round of edits was...
Scary? No, not once I got the document. The worst part was the anticipation.
Exhilarating? No, it was just a job I had to do.
Insulting? Not at all. There were changes to be made and I made them. I wasn't offended. I suppose I could have been, but the editor always explained her thought process. Hey, it's all about putting the best version of your book out there and that means honest critique and collaboration.

I received a Word doc full of tracked changes and comments. 90% of my job was to accept the deletion/insertion of the tracked changes. This included a format change here, an 's there, an m dash changed to an ellipses, etc... All little things.

The editor also noted story inconsistencies or times when more explanation was needed. A few new scenes requested, a few scenes deleted. Everything she said made sense to me. None of it was insulting to my word baby or my ego. The challenge for me was to hold the history teacher in me in check when I was asked to explain some of the social norms or the roll of nobles and gentry at Queen Elizabeth's court. I had to severely edit myself to address specific questions.

I was nervous about the edits, but they've been smooth. I understand the expectations and that is more cut and dry than trying to write a book in the first place.

The next step is line edits. I like to think it won't be too messy. I'll let you know.



Monday, September 18, 2017

Receiving Edits (alternatively titled: Holy Crap!)

Over the years I have posted blogs about treating every critique like a gift. Whether or not I agree with the critique, the reader took the time to read my manuscript and give feedback. That deserves gratitude, not argument. It took me years to train myself to put this understanding into action. It is a knee jerk response that, when my book baby is threatened, I must defend it.

Here's the thing: if I have to explain why I did x, y, or z to the reader, then it wasn't well done. I won't have the opportunity to pop my head in to where my reader confused by my creative decision and explain that the scene is an example of my heroine as an unreliable narrator. Beside that being super creepy behavior on my part, it is just evidence of bad writing.

Ergo: Critique = Thank you.

But now I'm at that next stage and have an editor (insert little happy dance here).

I'll be getting my first round of content edits within the week and that could mean ANYTHING. I hope my critique=thank you training will come in handy but, more than that, I hope I can be an educated, professional adult with enough sense of self to make this experience a rational one and not take anything personally. Ultimately, any perceived criticism will be coming from the shared goal to make my book successful.

So bring it on, awesome editor, I can take it like a reasonable person and not be crazy. I think. I hope.

Friday, July 28, 2017

Accepting the Changing (already changed, actually, years ago) Publishing Industry

Today's blog was inspired by the Debut Author's page of the monthly RWR magazine. I've been watching it for years and, though I haven't compiled the data into a cool pie chart or anything (I should, but I'll bet RWA have this information already) it looks like the larger percentage of debut authors publish independently and the very few that have publishers are with a small, boutique press. This confirmed what I already knew, that not only did e-readers change the publishing industry, they changed publishing houses need to risk investing in untried writers.

This is not new news.

That said, I've had a hard time adapting my own expectations of the road to publication. I started out with my query letters to agents and the few big names that accepted unagented submissions. I pictured my novels on the shelves at Barnes and Noble. I'm not a total dinosaur, so most of my queries were sent via e-mail, but when I first started some agents still required hard copies. This was ten(ish) years ago.

Now, when it comes to the querying, most agents and publishers have an online submission process. Easy peasy lemon squeezy. Convenience aside, it is symbolic of their hands-off approach to new submissions. It's probably much easier to dismiss a file than pile of pages that was carefully prepared to specifications.

I've really struggled with the fact that the big publishers do not accept debut authors. It seems like the industry expects and WANTS authors to self publish first.This really messed with my long term plan and it's taken me awhile to come to grips with the change. I hate it, but have to get over myself and work within these parameters.

Besides, the change makes sense. It's like that job at McDonald's that you had during high school so you could show work experience as you interviewed your way up the employment ladder. An example from the genre would be the well loved trope of the reformed rogue who's been around the block and knows what to do in bed. You rarely see a virginal hero in romance and, I guess, publishers don't want a virgin author either. Self published authors have sales numbers, reviews, a readership waiting so when the publisher picks them up, they're a sure thing. It cuts down on the risk of investing in a newbie.

I have pitched to a few boutique publishers that are simply a label away from being self-published. They'll provide you with editing and a cover, but you do all the marketing. It may be worth it to some rather than pay the roughly $500 it will cost for professional editing and an okay cover, but to me, the only good thing about self publishing is lost in this deal--autonomy.

My biggest hurdle in choosing the self-pub route (and I still haven't committed to it) is that I really need the validation that acceptance by an agent/publisher provides. There are so, so, so many poor quality books and I'm afraid to join their ranks. If my books are not good enough for a publisher to stand behind, they're not ready for publication.

The good news (for authors like me) is that most of the major publishers have smaller, niche imprints that publish in e-only. This removes the risk of investing in a print run, but still offers the professional editing/cover/marketing services of a major publisher. This route won't put me in a brick and mortar book store, but it's a step in the right direction and will save me from myself and the possibility of putting a low-quality book out there with my name on it.

Of course, I am warming up to self publishing. I'm really almost there. It's only taken a bunch of near misses to make me feel my books might be good enough combined with hundreds of flat out rejections that have made me tired of playing the game. I'm even at that point where I waste time looking up book cover art.

I am currently waiting on a yea or nay from another interested party. I'm not optimistic, but must have some hope or I'd be more invested in the steps toward self-publishing. I am getting myself ready for that eventuality because pitching has become something like banging my head against a wall and, really, I should be writing.

I will finish up this post by telling you that accepting self-publishing as a viable option has really freed my writing. I'm not writing to anyone's formula. I can tell an authentic story without bending it to meet genre norms ( I wrote a virgin hero and I'm not worried about it).

If you are interested, here is a link to data compiled for RWA 2016 showing trends in sales. It may just be my translation, but the data really promotes self-publishing.  

Friday, July 21, 2017

History Happened. Really. So Get it Right.

Allow me to jump back into the blogosphere with a short rant about historical accuracy.

I like writing with historical settings. I have written fantasy and struggle with consistency. I have to draw maps and create cultures and magical systems and naming traditions. When writing with a historical setting, it's all been done for you. Thank you, people who came before, for laying it out for me.

That said, research is required. No matter how much I think I know, I am constantly second guessing and double checking. Whatever the era, there is a plethora of resources available (online, for free!) to help fine tune the details of your novel. You don't want to fudge because you lose credibility as a writer, no matter how great your story may be.

The following points stand out to me both as a reader and a writer.

1. Language
When writing a story set within the Elizabethan Era, I found myself looking up the word Machiavellian. Certainly Machiavelli had existed and been published prior to this time. But even though the educated may have read his work, would his name have been equated with the theme of his writing? No. It's a more modern term and would be inappropriate to use. Word choice matters when it comes to making your setting real. I just read something set in early Victorian where they used the word "perp" in reference to the bad guy and it broke me out of the story completely.
To become comfortable with the word use of your chosen era, read work (primary sources) from that time. If you are uncertain, Wikipedia is a decent and easy resource to double check (I once looked up "cunt" because I wanted to confirm period crude slang for that particular body part. The table full of youth pastors meeting behind me became suddenly silent when it popped up in 100 pt font on my screen. Good times.)
Whether or not you choose to write in dialect (I did originally, but then an acquiring editor at Avon told me to nix that), make certain the speech patterns are consistent with the era, the class, and the setting. Consider period slang, contradictions, and forms of address while still making the dialogue accessible to the reader.

2. Names
I have found church records for marriages, baptisms, etc... from the years I write online. Even if you cannot find direct resources of the names of commoners, looking at the names of the royal families of  will tell you the trends of the time (people tended to name after the people in charge in homage/butt kissing). Depending on your era, historically people were not creative in the name department. Even today there are some countries that have lists of approved names. Learn about the culture of your setting. Are sons named after fathers? Do children take their mother's maiden name as a middle name? Does their birth date figure in to their naming (saints days)?
This can be frustrating because it limits creativity OR it could be a relief that you don't have everything to choose from. I've seen many authors nod to historical naming with the character's given name and then play with nick-names. Personally, I'd rather read about a real guy with an old fashioned name like Edwin than an archetype who goes by Rogue (just in case we didn't understand the archetype)

3. Norms
This is the biggest challenge for me. You want to write something historically accurate that the modern reader can relate to. If your main character is a woman (and mine always is) you have to be careful not to give her modern thought processes. Women's rights were limited but for a woman in that era, that would be all she ever knew and would be, if not content, at least resigned to her lot in life. Depending on the era you are writing there are very specific thoughts about religion, ethnicity, and class systems. Modern readers may see oppression or racism or elitism while the historical characters see it as the way of their world. How you write it will make all the difference. For the historical characters, these aspects of society were normal but can be off-putting for a reader. Finding the balance between historical views and modern sentiment is tricky. Have fun with that.
Being consistent with social norms extends to casual interactions, introductions, conversations public and private, forms of address, seating at the table, manners, class distinctions, etc... It's the biggest aspect of historical setting and what gives the read a feel of authenticity.

4. Costumes
Again, as with norms, it's hard to make historical fashions something the modern reader can comprehend. People have preconceived images of what is attractive now and it's hard to merge modern aesthetic values the historical. Consider your characters from the skin outward, being sure to include their undergarments (or lack thereof) and the correct names for the items. I read a book where the corset was referred to as a busk (a busk is the solid, removable insert in the center front of an early corset). It may be sexy by today's standards to have your heroine forgo her chemise beneath the corset, but consider that the chemise protects the outerwear from sweat and the skin from the coarse, heavy, boned corsets. Research. Look at portraits from the era, look at patterns for construction, and read about the way the garments would have been worn. You can find primary source fashion plates but many of the reenactor websites can be a good resource (they take their attention to accuracy very seriously).
I have to be careful not to make my books a treatise on historical costuming because I love the details. I end up trimming my descriptions down to the bare minimum. I want the reader to picture the character in the gown and how she feels, the impression she leaves, rather than the pleating at the waistband or the embroidery on the shoulder epaulets. It's actually hard for me, but no one wants pages and pages of dress description, they want the story. The dress only matters in how it furthers the character and plot, but it should be accurate.
One positive in understanding all the layers and the way they fasten is that it will help you also undress your character later. :)
The only area where (my personal feeling) it's okay to deviate from historical accuracy in costuming is in the area of hygiene (especially if your work is sexually explicit). Enough said.

1751 Countess of Coventry
A renowned beauty

Ultimately the story has to take dominance over all these details, but working in the true flavor of your chosen era will make the story richer and let the reader truly immerse themselves in your world. Granted, not every reader knows whether or not cotton would have been worn by medieval Scottish peasants (it wouldn't have) but you still owe them accuracy rather than hoping no one will care/notice. It's your name on the cover and your credibility at stake.

You may be asking what gives me to right to lecture on attention to detail in historical romance. If you don't want to take me seriously as a writer (I get that), at least consider this from a reader's perspective. I never read another book by the author that called a corset a busk.


Friday, February 24, 2017

Perceptions on Romance

Romance, as a genre, does have rules. A couple discover attraction/love, there are obstacles, love conquers all, and the couple lives happily ever after. There must be an emotionally satisfying ending. Other than that it's open to however the author wants to tell their story.

I find romance novels (the one's that I enjoy, that is) have strong, well developed characters that I can relate to on some level. They story lines are optimistic but that's not saying they're all warm fuzzies. There can be heartbreak, tears, death, and abject misery. But the reader is promised that it will end well. In the real world full of uncertainty, I find hope in stories like these. They are mocked for having any sort of formula (as if fantasy doesn't have the chosen one saving the world or mystery having the detective following clues to uncover the bad guy). All genre fiction has some sort of trope or norm (which is how it's categorized as genre fiction), however romance is the genre that people disparage the most (based on my own experiences, I'm not citing any studies here).

Why?

Some say that romantic fiction is looked down upon for sexist reasons. It is a genre predominantly written by women, for women. I think there is absolutely some truth to this. You can go back the early days of mass market publishing and see women writing under men's names for credibility. And while women writers no longer such a sore thumb, in genres outside fiction intended for the female demographic there are STILL prejudices. (What boy would want to read a story about a boy written by a woman? Publishers had Joanne Rowling publish Harry Potter using her initials for marketing purposes.) Although I would like to think that our society is enlightened enough for matters such as gender to impact the perception of whether or not a book is of quality, I have a feeling we have a long way to go before we're there.

My own personal opinion of why romance is so denigrated by the reading community, even by those who read romance, is because of the perception of the sexual component. If you read the genre norms as I explained them above about what makes a book a romance you may notice that sex was not included. Sex can be included as part of the story, but sex is not THE story. I'll agree that some romance readers chose books based on the sexual content, but the books themselves are so much more than sex. Every time I explain to someone that I write romance, they will bring it up.

Smut. Trash. Porn. One relative even described it as "scatological" (I like to think it was a vocabulary error on her part, but maybe not. Maybe she does see it as shit. (OR maybe she reads scatological fetish stuff--in which case Christmas is going to be awkward. (And I'm adding a triple parenthetical aside here because I'm feeling saucy.)))

Whether it's a complete stranger or close family, I see ewwww stamped on their forehead the moment I bring up my writing. I may as well admit to being in a donkey show in Tijuana (I'm not linking it, you can look it up if you really want to, but you don't. Trust me.)

I'm amazed at how people get hung up on sex as if it is the sum total of the story. Yes, most of the time there is sexual content, but if it's a well written story, that content only furthers the emotional development of the characters. It's part of the story, not gratuitous. Are sexual components of fiction outside the romance genre criticized? No. It seems the readers are willing to accept that these scenes go toward telling the story. Girl with the Dragon Tattoo and the Song of Ice and Fire series,these novels are not categorized as romance, but have both romantic elements and explicit sexual content but no one is embarrassed to admit they read them.

Writing a sex scene is something I do not find easy. I have to be careful to not be clinical or boring. I also have to make sure that the descriptive tone matches the way the character would think, including includes sequence of events, emotional response, and vocabulary choices. The sex scenes have to serve to further the story and not simply exist for the purposes of titillation (that would be porn). It will be as sweet or gritty as the confines of the characters allow because it is entirely based on the characters.  If it doesn't belong, it doesn't go in the story. If my main character wouldn't say something like "silken covered rod of pulsing steel man meat," I don't write it and I don't read authors that do. The character arc and story has to take precedence.

Ultimately readers want to read good stories, whether they're classified literary fiction, young adult, or even romance. It's just a shame readers are so insecure they latch onto the aspects they expect to be judged upon (or perhaps, they judge themselves) rather than the emotional experience of reading.


Friday, January 27, 2017

Lost in Translation

This post was completely inspired by my daughter's obsession with Hamilton and her recent discovery of this gem.



Personally, I think this is brilliant.

So I took the blurb from my Courtly Pleasures one-sheet (below):

An arranged marriage.
After ten years of marriage, Frances LeSieur has faded into her role. A lady wife, mother, and chatelaine, she has no idea who she is as a woman. In the midst of depression, Frances joins Queen Elizabeth’s glittering court and discovers a part of herself she never knew existed—one she’s sure her neglectful husband would never notice.

Living, not just surviving.
Henry has always done his duty to family and crown despite his own desires. When Frances asks for a separation then transforms into a confident and vibrant courtier, Henry is floored. After years of silent alienation, can he woo her back before it’s too late or will he lose her to one of the rakes bent on having her?

A second chance at love.

Henry’s service to the crown has made him many enemies. One becomes fixated on Frances. When the killer strikes, Henry realizes that Frances is more important than duty, and love is worth fighting for.

Then I used Google Translate to take it from English to Polish to Icelandic to Hindi to Traditional Chinese to Hebrew and then back to English.

Marriage.
After ten years of marriage, fulangxisi lesyeur its role has Faded. Wife, mother and belt, she does not know that she is as a woman, that is. In depression among fulangxisi joined Queen Elizabeth and had a great stadium never knew part of his existence, he is convinced that her husband would not have realized that to find negligence.

Field, and not just survive.
Henry holds whether your desire is their responsibility, and family crest. When fulangxisi asked to rest, and then Transformed into safe and vibrant court, Henry grounded. After years of silence, before you resort to it, it was too late, or it going to rake may lose one of them?

A second chance for love.
For the Crown servant, Henry has made him many enemies. Look fulangxisi. When the murderer attack, Henry fulangxisi considered more important than responsibility, love is worth fighting for.


Good stuff.

All of this, by the way, brings me right back into the beautiful days of News Radio and Jimmy James reading his English to Japanese and then back to English memoir with it's new title, Macho Business Donkey Wrestler.




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