Our guest today is bestselling author Allison Brennan who will share her thoughts on breaking those rules we all hear so much about. We love rule breakers don’t we?
Allison has offered to raffle off a book to one lucky reader so be sure to ask a question (or just say hello) for a chance to win.
Here’s Allison!
There Is No Spoon
Spoon boy: Do not try and bend the spoon. That’s impossible. Instead… only try to realize the truth.
Neo: What truth?
Spoon boy: There is no spoon.
Neo: There is no spoon?
Spoon boy: Then you’ll see, that it is not the spoon that bends, it is only yourself.
The Matrix, 1999
When I first started seriously writing (by that I mean writing with the purpose of finishing a book, finding an agent, and selling to a New York publisher), I didn’t know there were any rules.
Sure, there are rules of grammar. I knew better than to write my book in all lower case, or without punctuation, or to kill off my hero at the end of the book. (Yes, that’s been done, but not all too successfully in romantic suspense, my favorite genre.)
I had some of my own personal rules—such as not killing off the hero OR the heroine—but other than that, I wrote a couple books at night after the kids went to bed and queried a few hundred agents.
As often is with writing, especially in a romance sub-genre such as romantic suspense, after a time writers find themselves joining Romance Writers of America. I did only after being invited to a local RWA chapter meeting (Sacramento Valley Rose) and liking the people I met. I’d already had two completed books under my belt, I had an agent (who I subsequently split with before I even sold), and felt I knew what I was doing.
I didn’t. In fact, I learned I knew nothing about writing, nothing about getting published, nothing about querying agents, and nothing about the business. I didn’t know any of the rules, and I about had a nervous-breakdown!
I didn’t know anything about point-of-view, head hopping, occupations, prologues, introducing characters, blending genres, flashbacks, or word count. Hell, I didn’t even know about formatting! In fact, everything I’d ever learned about writing up until January 2003, I learned as a reader.
In fact, I didn’t even buy a craft book (except for SELF-EDITING FOR FICTION WRITERS) until after I sold. Two of my favorites—THE WRITERS JOURNEY by Christopher Vogler and ON WRITING by Stephen King—I read during the window after my first sale but before my publication date.
RWA, critique groups, and craft books are all valuable tools in your writer’s tool chest, to paraphrase Stephen King. While I always had confidence that I would sell someday, I believe that joining RWA, entering a few contests, and learning about the business and craft sped up the process. Instead of the average five years, six months (as I had read in an RWR shortly after I joined), I sold in two years.
Between contests and finding a critique group, I learned what I did well and what I needed to improve, and wrote three more books before I sold.
The Matrix is one of my favorite movies, right up there with Star Wars and Casablanca and Working Girl and North by Northwest and Raiders of the Lost Ark and Charade and a host of others that taught me more about storytelling (along with the thousands of books I devoured in my lifetime) than any artificial rules.
In The Matrix, Morpheus says to Neo during training: “This is a sparring program, similar to the programmed reality of the Matrix. It has the same basic rules, rules like gravity. What you must learn is these rules are no different than the rules of a computer system. Some of them can be bent. Others can be broken.”
There are plenty of people who will tell you what to do and how to do it, but what works for one writer doesn’t work for all writers; the so-called “rules” are guidelines and can be used, bent, or broken based on the individual writer, genre, voice, talent, or luck.
For example, some writers honestly ONLY want to write in two POVs (i.e. telling the story from solely the hero and heroine’s point-of-view.) For them, that is their personal rule and to break it would be cataclysmic for them. Some writers find they tell their stories better with multiple POVs—five, six, ten or more—and that when they try to limit point-of-view to two or three, they feel stifled.
Neither writer is right . . . or wrong. It’s only wrong if it twists you up inside, you begin to sweat, and you can’t write or the writing is so laborious that you start shaking every time you sit in front of the computer.
So what I’m going to tell you here is that YOU can make up rules FOR YOU—you CAN’T make them up for other writers. Unless you’re an editor offering a contract, remember Neo’s parting words:
“I’m going to show them a world … without you. A world without rules and controls, without borders or boundaries. A world where anything is possible. Where we go from there is a choice I leave to you.”
There is a choice—and you, the writer, need to make it. You need to set your OWN rules and adhere to them because they are, and should be, part of your voice, your writing style, your vision. Some of them you’ll adopt as conventions of the genre (for example, if you’re writing a mystery a rule most mystery writers adhere to is solving the crime. Most mystery readers want to know who-did-it.) Some of them you’ll adopt or modify because it suits you. Great. More power to you—we all have rules we like and rules we diss.
The so-called “rules” are there for a reason: some author did very well following a specific set-up (such as, the hero and heroine must meet in the first chapter); or an editor had a pet peeve and it was drummed into the head of all her authors, who spread the “rule” (such as, no musicians as heroes); or a creative writing teacher told her classes for twenty years that you must never switch POV unless you begin a new chapter.
So with that, I’m going to debunk some of the “rules” I was told either in critique groups, contests, by unpublished authors, and by published authors—were a MUST DO.
Ultimately, your goal is a story that sells, right? A story that grabs the attention of an agent and editor and readers. To do that, your story needs to flow smoothly, be eye-catching, well-paced, with great characters and yes, it needs to be well-written. Perfect? Nothing is perfect. But it should be at least self-edited with a judicial eye.
Are any of those rules? I suppose . . . but I’m not going to tell you how to make the story flow smoothly, how to pace it, or how to craft great characters . . . because HOW one author does it is different than another, and this is where we start tumbling down the slippery slope of RULES.
YOUR WORLD, YOUR RULES
• Every author breaks different rules.
• Be true to yourself and your voice.
• Be fair to other authors.
• Listen to your editor.
• Trust your instincts.
• Does it make your WRITING stronger?
• Does it make your STORY stronger?
• Is it a “rule” or suggestion?
• Does it enhance or diminish your voice?
• Does it make sense TO YOU?
• Are they an acquiring editor?
• Are they an A-list literary agent?
• If not, why are you listening to them? Do their suggestions make sense TO YOU?
• The story comes first. Marketing is second.
• You have control of only one thing: the story.
POINT-OF-VIEW
POV is my pet peeve. Not because I’m a purist, but because I cringe every time I hear someone offer advice like:
“You can only have the hero and heroine’s POV—maybe a villain if you’re writing romantic suspense.”
There are some publishers who prefer 2-3 POVs, especially in traditional, short category romances where the author has limited words to tell a story. Know your reader and you can decide whether to write in limited POVs or add in a multitude of secondary characters.
My debut novel had 13 POVs. All my books have between 7 and 13. My seven deadly sins series will have more—I have 7 in one chapter alone. With no “scene breaks.”
The KEY is to have a purpose for switching and to transition smoothly. But if 10 POVs make your story shine, by all means use them.
Yes there are some readers who don’t like more than 2-3 POVs in a book. Great! There are books out there that they’ll love. But one thing every writer needs to learn from the beginning is that you cannot be all things to all readers. Some people will love your stories, some people will hate them. Accept it now.
My friend and fabulous mystery writer Wendy Roberts writes her ghost duster series in tight, deep third POV from her protagonist’s POV. In fact, it’s so deep that when I wrote a blurb for her first mystery, I had to look back to see if she wrote the book in first or third! So even one POV can work if done well.
“You can only have one POV per chapter.”
You CAN have one POV per chapter . . . or seven. It’s up to you and your story. Don’t switch POV just to piss off the purists; change POV for a reason.
“If you switch POV in a chapter, you must put in a scene break.”
There are some houses that insist on this, but I, personally, find it very distracting. I only put in a scene break when there is a change in time or location.
“You shouldn’t write in first person POV because a lot of readers don’t like it.”
True, some readers don’t like first person POV. So what? If your natural voice is stronger in first person, guess what? There are a lot of readers who love first person!
“Never start a book with the POV of a strong male character other than the hero.”
This comment came directly off a scoresheet for a contest I entered. The judge was emphatic that I couldn’t start THE HUNT (which ended up being my second book) in Sheriff Nick Thomas’s POV because he wasn’t the hero and he was a strong male character. I had a very specific purpose for starting in Nick’s POV. My hero and heroine had a history, and this was their first meeting after years of being separated. I wanted the readers to see them as they truly were (through Nick’s eyes) as opposed to how they saw each other.
Start the book at the beginning of the story, no matter whose POV it is. Just know why you’re doing and consider whether it’s the best way to start.
“Switching POVs in a chapter is head hopping. Head hopping is forbidden.”
No, it’s not. Head hopping is going back and forth within two or more character’s head so that every line changes POV. Head hopping is not omniscient, which is a “godlike” narrator who knows all. Switching POV requires a transition so that the reader knows that they are in another character’s head immediately. I often use an action and start the paragraph with the new POV character’s name and either an internal thought or an action that requires thought.
Head hopping can work if there’s a reason. I’ve often “hopped” at the end of a chapter into another character’s POV. Again, with a reason.
Omniscient POV can work well in some stories. It is rarely used in romance, though I’ve seen great prologues in omniscient POV. And sometimes, a line of author intrusion works very well J
THE HERO AND HEROINE MUST MEET EARLY AND OFTEN!
I cannot tell you how many times I was told that the hero and heroine MUST meet in the first chapter. Or within XX number of pages (insert arbitrary number.)
If you’re writing a straight romance, then yes, it’s probably a good idea to get the h/h on the same page pretty quick, but whether it’s the first chapter or the fifth, if the delay is worth it and makes sense for the story, then why force a meeting too soon? My h/h are on the same page when it works for the story.
A caveat here is that I write romantic suspense. I have my own pet peeves and rules about romantic suspense, and thus the first meeting FOR ME is secondary to adhering to my rules of set-up. Sometimes they meet in the first chapter (THE HUNT, FATAL SECRETS, CUTTING EDGE) and sometimes they aren’t on the same page until after page 100 (FEAR NO EVIL, TEMPTING EVIL, SUDDEN DEATH.)
This is where I think some writers whose natural voice is to write, for example, a thriller think that they HAVE to conform to romance “rules” in order to sell. Honestly, there is some truth to that—like you don’t want to kill off the hero—but you FIRST need to be true to your voice.
In THE PREY, my debut novel, I introduced the hero, John Flynn, to the heroine at the end of chapter five, about 75 printed pages into the book. My editor suggested that I introduce the hero to the readers a bit earlier—so that they weren’t shocked when he walked on page. Good advice—I didn’t have to mess with the story, but I did add two short scenes (one in a secondary character POV during a conversation with John, and one in John’s POV) that gave the reader insight into his character and the knowledge that this person would be important in the story. So I accomplished my editor’s goal and stayed true to my story vision.
Sometimes, we get so wrapped up in the conventions of a genre that we stifle our creativity. Let your story out, THEN when it’s all done, sit back and reflect on what works and what doesn’t.
YOU HAVE TO PLOT OR OUTLINE
No. You don’t. Some writers plot, some writers don’t. As long as you’re writing and making forward progress, yeah you.
NO PROLOGUES
The one book I wrote without a prologue, my editor asked me to add one. All twelve of my published books have prologues. I like them. To me, the prologue should take place before the start of the story but have an impact on the story and/or a character.
Some prologues give a hint to the mystery—for example, in PLAYING DEAD, the prologue was from the killer’s POV 30 years ago, the first time he killed a woman, and what happened immediately after. This was pivotal to the story and set the tone. In THE HUNT, my prologue showed my heroine watching her best friend die, then run away from the killer (and the reader doesn’t know what happened after she ran.) I was told by several contest judges that I should integrate that into the story, having the heroine tell someone what happened.
Ugh.
First, my heroine wouldn’t have told anyone with the impact of the reader watching it happen “live.” Second, the prologue set the tone and the motivation of the heroine. And third, it was a great scene that hooked the reader.
I have my own prologue rules. They should be short and take place well in the past.
I’ve broken both rules.
Each book in my FBI Trilogy has a prologue in excess of 10 pages. ORIGINAL SIN has as prologue longer than most of my chapters.
In SPEAK NO EVIL, the prologue takes place only a few hours before the book starts in Chapter One.
But GENERALLY, when I write a prologue, I keep them short (less than 10 pages) and set them far in the past.
NO FLASHBACKS
I love flashbacks. I use them all the time, in all my books, and I also use dreams, flashbacks integrated with a present scene, and memories.
I used them in my first book, and every book since.
They work for me. They may not work for you. I love Stephen King, love his books, his writing, his book ON WRITING, but I disagree with his opinion on flashbacks.
A flashback well done adds depth to the story. But not everyone likes them, and sometimes they are unnecessary. Know your story, know your voice, and know your characters. If it works … use it. If it doesn’t, don’t.
NO TABOOS
Ever hear that you CAN’T write about a specific type of person? An athlete, a musician, a politician? What about settings that don’t “work”? There are some “taboos” based on personal preference—such as an editor who hates dogs—but generally, if done well, you can write about anyone.
One of my favorite stories comes (with permission from the Rules Breaking workshop I gave last year) from my mentor and friend, NYT Bestselling author Mariah Stewart:
“It wasn’t until after Linda Marrow at Pocket Books bought my first two books – one about a rock star, the other about a woman politician – that I found out about RWA. I was so happy to meet other writers! I attended my first chapter meeting and was so excited because a real NY editor was coming to speak. I came in just as she was being introduced, so I took a seat in the back. She proceeded to run down the rules for everyone – all the things you can and cannot do if you’re writing romance. I did not hear a word she said after she declared: No one wants to read about rock stars. And no politics – especially women in politics. All I could think was, OMG, if Linda hears about the rules, I’m toast… I really thought my career was over before it began. I called my agent first thing Monday morning and told her, I think we have a problem. I think she’s still laughing…”
IT’S ALL ABOUT YOU
If anything I say helps, use it. If it doesn’t, dump it. Because like with anything in this business, this is all my opinion and while it may work for some . . . it won’t necessarily work for everyone. Remember, however, that there is no spoon. Bend yourself, twist yourself, make yourself see the story and the writing outside of the strict confines of rules you had no part in creating. Be bold, be different, and most important, tell the story well using the rules that work and chucking the rest.
IT’S ALL SUBJECTIVE
• One editor will hate it; the other will love it.
• One agent will send a form rejection; the other will call and offer representation.
• One reader will throw it against the wall; the other will put you on their auto-buy list.
• Be true to your voice and trust your instincts, learn when to take advice and when to leave it, but most important . . . Forget rules and just write!
So, do you have any questions? I’ll be around today and all weekend to answer whatever you toss my way. And comment (even just to say hello!) for a chance to win a copy of any of my backlist titles.
Allison’s Bio: ALLISON BRENNAN, New York Times bestselling author of 12 romantic thrillers, has always been a writer–just ask her mom who picked up reams of paper with half-finished stories from every corner in the house. Her latest novel, CUTTING EDGE, just went on sale this week. And next year, she launches her Seven Deadly Sins supernatural thriller series starting with ORIGINAL SIN on 1.26.10. A former consultant with the California State Legislature, Allison lives in northern California with her husband Dan and their five kids. (Yes, five.) To find out more about Allison and her books, check out her website: www.allisonbrennan.com.
Thank you to Allison for the wonderful post and for being with us today. For our readers, don’t forget to leave a comment for a chance to win a book.
Kelsey's serving up bite-sized morsels for your noggin on her new 
Great blog Allison! I might print parts of this out and keep it on my wall. When I started, I knew very little about writing despite having spent years in the industry. A lot of what I have learned since my first draft (which I eagerly sent out to agents even though it should have never left my desk), I learned from rejections.
And I’ve had more than a few “nervous-break-down” moments when I panic b/c I don’t outline (and if I do my character refuse to follow it) or I’ve written a prologue, ect. And it was great to hear that you signed with one agent and then moved to another later on.
Posted by Sarah Tormey | July 31, 2009, 7:25 amHi Sarah: I don’t outline either and when I try, if fails. I outlined one book–12 pages in detail–and never wrote the story. My first book should have stayed on my desk, too! Ironically, I re-wrote that first book more than any other book I’ve written, including those I’ve published, and it’s still not good enough to be published. It’s gone now
Posted by Allison Brennan | August 1, 2009, 10:18 amHi Allison and thank you for being with us today. Great post. I’m glad you mentioned prologues because I had a prologue in my last book that I changed to chapter one because someone told me editors didn’t like them. Go figure!
Posted by Adrienne Giordano | July 31, 2009, 8:11 amAdrienne, I’ve heard that so many times and it annoys the hell out of me. SOME editors don’t like prologues but they’re not going to reject a good book because of it. They might suggest you call it Chapter One, but it’s almost always a suggestion. I read a book by one of my favorite authors who had a prologue and called it chapter one. It confused my to know end because one of the characters was much younger in the prologue (like 15, 20 years younger) and it took me a bit to realize that chapter two was years later. To me, prologues are before the story begins and provides information that the reader needs either to understand the story or the motivations. Sometimes the prologue provides clues to solve the mystery. I do know one mystery/thriller review who hates them, but since he rarely reviews mass markets I’m not too stress about it
Posted by Allison Brennan | August 1, 2009, 10:22 amHi Allison. What a wonderful blog. I read this on a whim and am so glad I did. I write historical romantic suspense, and I have been told countless times that my hero and heroine need to meet before page such and such. I am yet to be published and your blog really gave me back the confidence in my voice that I was beginning to question. You reminded me to stay true to what works for me.
Posted by Julie Johnstone | July 31, 2009, 8:55 amYeah Julie! Don’t fight your voice and you’ll do much, much better. I remember one (unpublished, unfinished) manuscript I started with the h/h meeting in the first chapter. I edited, rewrote, tweaked, and jumped through hoops to get them to meet at the end of chapter one, and once I got to chapter four I was bored with the story because I’d put them together way too soon.
Posted by Allison Brennan | August 1, 2009, 10:24 amAllison,
You’re so energetic and forceful and write (even this blog!) with such conviction, I feel as if you’re sitting here in my office two hours away. Thanks for sharing some of your authenticity.. It gives us all confidence.
And thanks to you guys at Romance University for a powerhouse week.
Susan
Posted by Susan Dunn | July 31, 2009, 9:01 amThanks Susan! Good luck writing!
Posted by Allison Brennan | August 1, 2009, 10:24 amAllison, you break the right rules and I’m glad you do! Your books keep me reading.
Posted by Mary Marvella | July 31, 2009, 10:21 amHi Mary, glad that we got a chance to chat at RWA!
Posted by Allison Brennan | August 1, 2009, 10:25 amAllison -
Thanks so much for the excellent post. Sometimes I think ignorance is bliss when it comes to writing. Unfortunately, I’m addicted to knowledge
. It’s good for us pre-pubbed writers to be reminded that we will never be all things to all people, and we shouldn’t try to be. If we do, we lose our unique writing slant.
Thanks again!
Kelsey
Posted by Kelsey Browning | July 31, 2009, 10:36 amKelsey, you and me both. I subscribe to Publishers Marketplace and Publishers Weekly and have since before I was published. I know far too much about this business sometimes because there’s really very little authors control. In fact nothing except the book itself, which is why I’m so passionate about writing books that first please the author. If we aren’t happy, how can our readers be? If we have no passion, how can we expect our readers to enjoy the story and lose themselves in it?
The thing is, you need that passion in order to withstand the negative reviews. And EVERYONE gets them. I’ve had one star and five star reviews; I’ve been praised and I’ve been cut into a million pieces. If I tried to please those who hate my books because they don’t have enough romance for romantic suspense or too much romance for a mystery or not enough hot sex or too much hot sex or too much violence or whatever someone doesn’t like, then I’ll lose my core readership and also be writing something that doesn’t come naturally to me. It’s a hard lesson to learn–maybe the hardest–but it’s something after 12 books that I’ve accepted, and because of that, I can write something a little different (my supernatural thriller series next year.) And even that series breaks rules primarily because I’m NOT breaking rules to write it. I’m going back to the traditional, supernatural stories ala King, Koontz, Poe and others. With a secondary romance because I like happy endings
Posted by Allison Brennan | August 1, 2009, 10:30 amThanks for those tips, Allison. Having read 1000s of submissions over 4 decades, I’ve found that certain techniques occur with others, any of which offer quick clues to rejectable writing. It’s those clues that lead editorial gatekeepers to form our individual preferences. Often, writers hear a suggestion of mine as a rule, tho’ I state it as a preference, tendency, or pet peeve and always say “there are no rules.” Very few industry pros make recommendations in terms of “rules.” To help reduce the clues to rejection, I wrote 2 books (both major award-winners) for writers and emphasize that the tips are not rules. Still, some reviewers and readers refer to them as rules. You’d think people in the word business would be more judicious in tossing terms around like that.
Posted by Chris Roerden | July 31, 2009, 11:07 amExcellent comment, Chris! You’re right, they are suggestions, not rules, and sometimes suggestions really do make a story better. I listen to my editor because I know she wants the story to succeed. She never tries to change my voice. I know her pet peeves. (She hates it when the hero calls the heroine “Babe” or “Baby”, for example.) I rarely use those myself, but did once because the hero wanted to annoy the heroine. It annoyed the heroine AND my editor, LOL.
The other thing I’ve learned is that there are guidelines I SHOULD follow because to go against them is going against my natural voice. For example, I’m not a strong first person writer. I’ve tried. I recently tried to put the villain’s POV in first, and it just didn’t work for me at all. Some writers can move seamlessly between first and third, often in the same book. I’m not one of them.
Posted by Allison Brennan | August 1, 2009, 10:35 amAllison, what you say here ties in with an article in the Romance Writers Report for August by Valerie Susan Hayward about finding your voice and doing if even if, or maybe because, you have to break the “rules”.
Thanks.
Susan
Posted by Susan Dunn | July 31, 2009, 11:12 amI just got my magazine yesterday! I’ll pull it out, sounds right up my alley
Posted by Allison Brennan | August 1, 2009, 10:35 amThank you for the timely (for me) article! I am going through the judges’ comments from my Daphne entry, and your post confirmed my feelings about the comments and scoring. I’ve learned that following ‘the Rules’ stifles my voice, which I’m consistently told is my strong suit.
Not that I set out to break ‘the Rules! Nor do I ignore feedback from ANY reader. I look for patterns in the feedback. When several readers tell me in one way or another that my pacing is too slow in Ch.1, I speed it up. But, when three out of four judges say,”I LOVE your voice!” and give me every point possible for it, I figure the judge who didn’t like my voice, just didn’t like my voice. Personal taste.
When someone mentions that I’ve broken a particular ‘rule’, the first thing I ask myself is, “Why did I do this?” A quick analysis tells me whether I made a mistake, or I made a choice that serves the story.
Thanks again for this post!
Posted by Sarah Raplee | July 31, 2009, 11:29 amIt sounds like you know how to discern advice, which is invaluable. I entered lots of contests in 2003 and finaled in many (15 with 13 different manuscript! Enough to earn a tiara from Charlotte on the RWC loop–I still have the tiara, too.) At first, I thought I just couldn’t write, but then I realized that it was my voice. Some loved it and some hated it. Those who loved it I tended to listen more to their criticisms of the story or writing because I could tell they liked what they were reading. Some of my early mistakes were too much backstory too early, head hopping (as opposed to changing POV), too many characters introduced too fast, and similar. When two or more judges said the same thing–or when I got similar comments across multiple stories–I started to look at what I was doing and how I could improve. It took me five books before I sold, but each one was a terrific learning experience.
I entered THE HUNT in the 2004 Daphne, right before I sold. I came very close to finaling (I think I was 7th or 8th on the list.) It’s a hugely competitive contest, but a good one. One of the judges gave me something like a 61 out of 128. I’m not a 61. I might not have been a 128, but I was definitely not bad. I entered the prologue and first chapter. She’s the judge who told me I CAN’T start with a prologue, I CAN’T introduce a strong male secondary character before the hero, and that I CAN’T write graphic violence in a romantic suspense novel. THE HUNT ended up being my second published book, and probably the only things about it that didn’t change when it was published were the prologue and first chapter.
I also wrote this book (well, never finished it) called MY DEAD HUSBAND. I love this story. It was first person (something I’ve learned I don’t do well) and about a woman raising twins who still loves her husband who was killed in a hold-up getting her ice cream when she was eight months pregnant. The twins are now five, starting school, and the husband returns as a ghost to find a father for his sons. He sets her up on dates, and she doesn’t like any of them. Then she meets a guy in town investigating a crime (I didn’t know what at that point, and neither did my heroine!) and she falls for him. He happened to be the dead husband’s high school rival and nemesis, so he begins to haunt them, but when her life is in danger, the ghost and boyfriend have to work together to save her. Wow, I still love this story. I finaled in two contests with near perfect marks from the judges. Everyone wanted to read the whole book. But the two editor final round judges? They sliced and diced it. I came in last each time, no requests, and one editor told me my first person voice was very weak. And she was right. I may rewrite it in third because I still love the story. Maybe as a novella . . .
Posted by Allison Brennan | August 1, 2009, 10:47 amHi Allison,
Fantastic post! Lots of food for thought. Like Adrienne, I removed my Prologue because of all the hubbub. The change actually turned out great. My story started where it should have all along.
Thanks again!
Tracey
Posted by Tracey Devlyn | July 31, 2009, 11:36 amYeah! Sometimes it’s not the “rule” we’re breaking, but it’s that we shouldn’t break it for that story.
Posted by Allison Brennan | August 1, 2009, 10:48 amAllison,
Thanks for your great post and advice. I belong to an on line group that you also subscribe to. You, without fail, share the knowledge you’ve gained with so many new writers. My critique group often takes one of your posts as a topic to discuss. Keep reminding us to follow our instincts and be true to our voice. I hope someday to be able to pay it back like you do.
Thanks again!
Jerrie
Posted by Jerrie Alexander | July 31, 2009, 11:59 amThank you so much for sharing this with me Jerrie! I wish you and your group lots of luck and success. In my critique group, we were all unpublished–now we are all published!
Posted by Allison Brennan | August 1, 2009, 10:49 amThanks for debunking some of those stifling rules.
Posted by Jeanne Vincent | July 31, 2009, 12:42 pmYou’re welcome!
Posted by Allison Brennan | August 1, 2009, 10:49 amThanks for the great advice yet again, Allison, that there really are no rules if what you write works.
As a writer, I’ve studied the craft as if I’m back in college, reading a lot both inside and outside of my genre as well as various how-to books. I also am a member of 2 non-writer book clubs. And you know what? Readers don’t know the rules. They just know if a story works or not. We recently read the first book of a fairly popular series. Everyone loved it. They gushed about the characters, the story line, and the author’s writing style. Me? I couldn’t even finish the book. I thought there was way too much “telling” and “explaining” which pulled me out of the forward motion of the story. I kept thinking about all the rules this author was breaking regarding info dumps.
The bottom line is that this story worked for many people. Just not for me. As a writer, I actually find that very encouraging. You don’t have to follow the rules to be successful and have people love what you’ve written. But, darn it, as a reader-turned-writer, I’m having a harder time reading for the fun of it without dissecting every little thing.
Laurie
Posted by Laurie | July 31, 2009, 1:27 pmLaurie, it’s hard to put a lid on the internal editor. It’s not going to change. I think that’s why I have my favorite authors and still love them, because they tell stories well. Tess Gerritsen, Michael Connelly, Robert Crais, JD Robb, Linda Fairstein, Lisa Gardner, Mariah Stewart, Susan Andersen, Jayne Ann Krentz, and a few others always keep me enthralled. There are other authors, like King and Koontz who sometimes I haven’t been happy with BUT I still read them because when they are on, they are ON, and they’re on more often than not. Also, I think reading broadly benefits all writers because we don’t limit our imagination to the confines of our genre. It’s why genre blending is so popular not just among writers, but readers. It’s why romantic suspense is now it’s own genre, it’s why paranormal is still hot and growing in a hundred different manifestations, it’s why historical mysteries are becoming popular again. We take two or three things that we love from two or three genres and mix them together to make something a little different.
There are some extremely popular writers I don’t read, either, but I can usually see why people are enthralled.
Posted by Allison Brennan | August 1, 2009, 10:56 amAllison, I love you. =) What a great article. I’ve read every single one of those rules. and I’ve tried following most of them as well, until I almost don’t recognize my own book! I have three manuscripts I’ve tossed to one side because once I started following the rules, I didn’t like the book I was writing anymore. Now that I read your article, I’m looking forward to diving back into them, tearing out the new stuff and going back to the way *I* want it to read…go Carrie go! lol…
Love your favorite movie list….North by Northwest w/ Cary Grant? absolutely fabulous!!!
Sorry, no questions from me today, you’ve filled my brain full of wonderful goodies…..just bought your latest book, it’s on my TO DO list! can’t wait!
carrie
Posted by carrie | July 31, 2009, 2:04 pmThanks Carrie! And I’m rooting for you to dive into and rewrite your books the way you want!
Posted by Allison Brennan | August 1, 2009, 11:18 amI loved this post, and SO needed to read this advice. I will definitely be reading it many times.
The slavish devotion to “rules” seems to cause too much of a “same ole, same ole” manuscript. Everyone wants to read something “fresh”, but it’s hard to produce that when you’re trying to squish your story around the rules.
It is always a good reminder that we each have our own way to tell a story. And when something works. . .well, then you’ve just created a new “rule” that everyone else will be following!
Posted by Donna | July 31, 2009, 2:15 pmGood point, Donna! And you’re right about wanting “fresh.” Editors want what works, so there are some genre “rules” they know “work” and thus romances have a happy ending, mysteries solve a puzzle, etc. But they want new and fresh things within the conventions of the genre, and VOICE is something that is stifled by rules.
Posted by Allison Brennan | August 1, 2009, 11:27 amHi, Allison,
I enjoyed your discussion and have read at least one of your books. Since I write mostly for category, I find there are more “rules” or general preferences in category than other markets. The Harlequin editors took a survey of reader preferences to come up with most of those “rules.” Unfortunately, before I realized this I wrote about a musician, an artist, politics, and terrorists (now that seems to be okay). I’m glad you managed to get by with some of those subjects. Now I avoid the taboo subjects, but don’t worry about shifting point of view.
Carolyn Williamson
There IS Life After Lettuce (no taboos for cookbooks)
Posted by Carolyn Williamson | July 31, 2009, 2:55 pmCarolyn, you’re absolutely right about how there are some restrictions (more than “rules) in subject matter with some publishers. Harlequin knows what works FOR THEM and THEIR READERS and all publishers have their own things that work well for them and the seek more of what works . . . but it might not be subject matter. For example, some publishers seem to have greater success with paranormals than others, some have a stronger romantic suspense list, or mystery list, or contemporary list, or historical list. And they know who their top sellers are, and they want more. Now this isn’t to say that they want THE SAME, but if they know they have success with darker suspense and repeated failures with light romance, they may be acquiring more darker suspense because it works for them.
Harlequin is brilliant in knowing how to please THEIR READERS, because HARLEQUIN is the brand more than individual authors. When individual authors become a brand (i.e. Nora Roberts, Debbie Macomber) they tend to break out into single title. So THEIR READERS and YOUR readers, and by definition you have some conventions to follow just like I do to please MY readers. If that makes any sense, I’d be amazed!
Posted by Allison Brennan | August 1, 2009, 11:31 amAllison: This is the first blog post ever that I’ve decided I must print out and re-read often! Seriously.
I’ve had such a divided opinion on my second chapter where the heroine’s brother is a major pov. Totally necessary for setting up what happens in the story, but some tell me that I might confuse my reader. Usually, this comes from a “rules” person.
My hero/heroine are together in the first chapter, but not because of the rules. Because it dumps you into the action. And six POV’s in the story.
I LOVE your take on the rules!!
Posted by Debbie Kaufman | July 31, 2009, 3:31 pmGood luck with the story, Debbie! In THE PREY, my debut novel, the second chapter is in my hero’s brother’s POV. And if the h/h need to meet in chapter one (which sometimes I do as well!) then by all means get them on the page together! It’s all about the story. Story story story. Most people can learn to write competently, but learning how to tell a compelling story is not as easy as it appears (otherwise everyone would be doing it, right?)
Posted by Allison Brennan | August 1, 2009, 11:44 amThank you! Thank you! THANK YOU!
Speaking as someone who tends to polarize contest judges – they reeeeally love it or they reeeeally hate it — this gives me hope and a reason to keep writing and pushing the boundaries of what’s considered acceptable.
I once made the huge mistake of taking a manuscript and doing major rewrites based on judges’ comments. I didn’t much like the result. It’d once won a full-manuscript contest, and I’d been proud as heck of it. Now it was just not “me” — I’d entirely lost my voice. So I dearly wish I’d had this post to refer to back then. It might have saved me a heck of a lot of heartache.
Posted by Maree Anderson | July 31, 2009, 4:06 pmMaree, I was the same way. They loved it or hated it. And you have to protect your voice, not just from contest judges but from critique partners, spouses, friends, and even sometimes editors. This isn’t to say not to take advice–we all need advice and guidance to become better storytellers and stronger writers–but discerning advice is difficult. Yours isn’t the first time I’ve heard of someone rewriting a manuscript and losing their voice.
Posted by Allison Brennan | August 1, 2009, 11:46 amHi Allison,
I personally love prologues. My current WIP has one and I was told in a couple of contests to lose it too. Then, a pubbed author read it and said, “you can’t do without this”. It only confirmed my feeling that I had written an important set-up.
What a terrific post! It’s refreshing to listen to a writer who almost gives you permission to break those rules.
Everyone’s “voice” is different and what a great day it is when you finally realize you have your own “voice”! Being true to yourself is so important, and so is not rewriting to make others happy – unless there’s something really important to make better, or they’ve got a contract they’re handing you. lol!
thanks again for sharing your experiences.
Posted by Milena Edwards | July 31, 2009, 4:56 pmExactly! Money talks, so I definitely listen to my editor
Posted by Allison Brennan | August 1, 2009, 11:46 amFabulous post, Allison and very inspirational. I know I’ve stopped to wonder if what I’ve written “breaks the rules” or not, and it always stops my forward progress when I do. Now I need to go change the first scene I wedged into Ch 1 in my current WIP back into a prologue!
Waving hello from Australia to the Romance University girls. It was great to meet you guys in DC.
Posted by Anna Hackett | July 31, 2009, 6:04 pmGreat!
Posted by Allison Brennan | August 1, 2009, 11:47 amAllison, what a great post! Thanks for sharing your experience with us. We hear so much about rules and it’s nice to know they CAN be broken
Posted by Angelique Armae | July 31, 2009, 7:18 pmI had fun writing the post
Posted by Allison Brennan | August 1, 2009, 11:47 amAllison,
Fantastic post! Like others I plan on printing this off and posting it to re-read.
In writing my first manuscript (granted, still unpublished), I broke a few rules because I couldn’t be true to the story otherwise. As I seek to publish my first and begin work on my second, I hope the choices I made will resonate.
It’s also nice to know that, if the average of 5 years and 6 months holds true, I only have three years and six months left.
Posted by Walt Mussell | July 31, 2009, 9:51 pmWalt, I sold my FIFTH completed manuscript, and I learned from each one. You’re already head and shoulders above many writers–there are some who won’t even start that second book. My second book was better than my first, and by the time I got to the fifth I KNEW it was it. I just felt it. And I was then very selective with my queries.
Posted by Allison Brennan | August 1, 2009, 11:49 amThank you for validating my feelings. I tend to be a rule breaker in life. I think of them more as guidelines.
My first book comes out in February and it is about a MVP quarterback. Sports figures are supposed to be taboo.
The manuscript I’m working on now is a YA about a teen rock star and an ordinary girl. Again, rock star is a no no. I planned on having them separated in the most heartbreaking young love way and then finding each other again six years later. When I met with an agent at a conference he told me absolutely not. The YA readers, don’t care about the characters when they are 22 and 23. Only when they are 16 and 17.
What are your thoughts? I’m now planning on ending it when they are young, but I really liked the bigger stretch of time. However, I want this baby to sell. So it’s a concession I’m willing to take.
Great post.
Angie
Posted by Angie T. | July 31, 2009, 11:04 pmThe agent is probably right in that the YA readers don’t care about the older characters BUT they love series. Look at TWILIGHT–Bella and Edward grow in that series, get married, etc. So it works in YA if it’s done right. But you need to know your audience, and YA is a bit out of my area of expertise. Is that agent representing you? If not, then you need a second opinion. I, personally, would write it the way you envision it (and that may even change as you’re writing it!) and then see if it holds together. Sometimes you’ll think it does, sometimes it doesn’t. But you won’t know until it’s done, will you?
Posted by Allison Brennan | August 1, 2009, 11:52 amI know what you mean about breaking the rules but I sometimes feel too inexperienced to know which ones to break.
Thanks for your insights!
Would love to win the book.
cathy underscore shouse at yahoo
Posted by Cathy S. | July 31, 2009, 11:08 pmThat’s why you need to keep writing, keep practicing, and keep learning. When you’re done with a book, put it aside for a few weeks then pick it up and see if you can “lose” yourself in your story. If not, if it’s confusing or you’re relying on your memory of what you intended to do to fill in the holes, then you might need to rework it. And don’t think of them as rules–try to focus on YOUR STORY and write it without thought of how many pages should a chapter be, or how long a scene should be, or when and if the characters get together.
I have “rules” I follow–for me. I use flashbacks extensively. I love them. I almost always start from my heroine’s POV. Don’t know why, it just works for me. I think FEAR NO EVIL was the exception, though the prologue was in the heroine’s POV. I don’t like too much description (other authors excel at this, but I don’t do it well.) So you need to figure out which “rules” work for your voice and be diligent in sticking to them because you’re protecting your voice when you do.
Posted by Allison Brennan | August 1, 2009, 11:56 amAllison I have read thre of your books and I loved every one of them. I read The Hunt, The Prey and recently Fatal Secrets. I love your writing. Thank you for posting about the rules. I was told at the first RWA critique meeting I attended nobody is doing westerns they are out. Funny I wonder if she would tell that to Jodi Thomas and some of the others writing western historicals. My western historical won a contest and the editor asked for a partial. I haven’t heard yes or no back on it yet. But hey I’m not angsting over it. If it gets rejected then okay try agian and move on. I never expected to win. I just entered for feedback and got lucky. I do enjoy your books and your writing. Keep up the great writing and I’ll buy when I can since I know I can count on them for a good read.
Posted by Kathy Crouch | August 1, 2009, 1:17 amThank you Kathy!
Re: Westerns. Every genre is cyclical. There is some talk that romantic suspense is stagnant, and I think that’s true to a degree, but there will always be some romantic suspense authors who can withstand a downswing. Paranormal is still hot, including vampires, but there is grumbling about wanting something different. Paranormal was hot ages ago, and it will rise and fall over and over. I remember talking to a former romantic suspense author who switched to contemporary (and her stories in both genres are great!) who said she was doing very well in RS then the market tanked and only the top, top authors could keep writing RS, she had to remake herself and it took two years before she got another contract. Now she’s a NYT bestselling author. If westerns are your natural voice, then I think that’s what you should write. If I were to write an historical, it would be a California-set western, gold rush to turn of the century which is my favorite time period after the American Revolution.
Posted by Allison Brennan | August 1, 2009, 12:05 pmThanks, Allison for a wonderful post. I really enjoy your books.
It’s very frustrating.
One “rule” I’m bumping into recently is setting. I love reading about non-American settings for contempories but I’m having problems.
Posted by Shelley Munro | August 1, 2009, 1:30 amRoxanne St. Claire came up with that problem, but sold her first single title (or her second, I can’t remember) set on a cruise ship and another in France. Nora Roberts has set several in Ireland. (I know, I know, she’s Nora, she can do whatever she wants) . . . . but I’ll debunct that myth. Nora CAN’T do anything she wants because first and foremost she has to please her readers. I’m sure many of her readers will go with her wherever she takes them because she has proven to be an incredible storyteller. But if she started writing over-the-top violence or killing off the hero or something that breaks the story promise she’s made with her readers for over 150 books, then I think she’d have some issues.
Anyway, when thinking about non-American settings, read those that are published and figure out WHY they work for you. Is it the exotic location? The fish out of water story? The sense of newness and awe from *seeing* places you’ve never been? The mystery of the place? Capture the feeling and you can set your story nearly anywhere, I’d think. But I’m not an editor, and I don’t write outside of America because I don’t know enough
Posted by Allison Brennan | August 1, 2009, 12:10 pmAllison,
Thanks so much for your comments. Yeah, I love Michael Connelly,too.
Posted by Susan Dunn | August 1, 2009, 11:06 amI’m sorry gang that I wasn’t here yesterday! I had it on my calendar, but with calendar’s, you have to check them, right? Ha. Thanks so much to RU for having me, I had lots of fun writing the post and if you have any questions this weekend, post them and I’ll come back later tonight!
Posted by Allison Brennan | August 1, 2009, 12:11 pm