Good evening, everyone! Here’s next week’s weekly lecture schedule. Another great mix of topics.

Mon, 3/15 – Crafting Your Career:  Romance B(u)y the Book’s Michelle Buonfiglio talks about creating a dynamite press kit.

Wed, 3/17 – Anatomy of the Male Mind:  Our man panel returns with their thoughts on the man purse.

Fri, 3/19 – Chaos Theory of Writing: Ask an Editor.  Theresa Stevens, Managing Editor, Red Sage Publishing, addresses reader questions regarding submissions.

Remember, 2010 is the Year of the Sub-genre at Romance University. Each month, we will poke, prod, and beg publishing professionals close to the sub-genre to give us the latest information. Is it hot? Is it not? On March 22, we’re highlighting romantic suspense with author Roxanne St. Claire and literary agent Jill Marsal.

And don’t miss our on-going labs with Managing Editor Theresa Stevens and Author C.J. Redwine!

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,

Adrienne Giordano, Kelsey Browning and Tracey Devlyn

PS–Want RU’s weekly lecture schedule in a cool new email format straight to your in-box? Sign up on RU’s homepage or any of the lecture posts!

I’ve been sitting here wondering how to introduce Kristan Higgins. I’ve only met her via email (she seems like a heck of a nice person), but the thing I know for sure is that I love her books.  Love ‘em!

For me, reading one of Kristan’s books is like a mini vacation where I’m able to forget about all the work piled on my desk. Her stories, in my humble opinion, capture the nuttiness of love and  family life and the entertaining characters (Oh, that Trevor!) within them. 

Kristan is here today to talk about a different kind of relationship we all can appreciate.  Take it away, Kristan!

Hello! I’m so flattered to be blogging at Romance University! Today’s topic is about (of course) relationships…in this case, the author’s relationship with her agent and editor.

In my case, I got an agent first, and she sold my book to HQN, upon which I got an editor. But some authors get an editor first, then later acquire an agent. For the point of our discussion, I don’t think it really matters.

First rule of thumb—Choose you agent carefully.

We all feel so honored when an agent requests something…feels like hitting Powerball Lotto or getting kissed by Derek Jeter (still waiting on both fronts, alas). But keep in mind that your agent will work for YOU, no matter how much it might feel like she’s the boss. (I, in fact, call my agent ‘Boss.’)

But there’s no more important career decision you can make than which agent you choose. You’re giving this person tremendous control over something that you’ve labored over for years, so you need to choose wisely. Remember…if she wants you, chances are high that someone else will, too.

First, she’s going to tell you how wonderful you are, and this is because she truly believes it. You’ll be blushing and possibly stammering and perhaps fainting…it’s normal. But there are a few things you should talk about. The big issue is —

Your Career

It’s critical that you and your agent understand each other in terms of where you see yourself in 5 years. I say this though I myself had no clue. I said to my agent, I just want to hold my book in my hand…her response. “You all say that in the beginning.” So before you get too involved, ask yourself a few questions —

Do you want to write full time? Can you afford to leave your day job? Do you have 2 books a year in you? Are you happy with the genre you’ve started in? Is this what you see yourself writing for at least the next few years?

Then there are some basic questions you’ll want to ask about the basics of working together…

How often will I hear from you? Once a year or once a week? What’s your response time in getting back to clients? (That is, will you hold my hand when I’m a quivering wreck?)

How much editorial input do you have with your clients? (Do you weigh in on my manuscripts?) How hands-on are you in terms of fleshing out ideas? (Will you help me when I’m stuck?) Where do you anticipate sending my manuscript? (Small press or big press?) Which imprints? Why these imprints and editors? Have you worked with them before? How’s that gone? When do you anticipate sending out my manuscript?

Hardcover, trade or mass market? What are some of the recent deals you’ve made?

Have you ever let an author go? Why? Can I contact some of your authors?

This last one is a really good question to ask. You want to hear from the horse’s mouth just how the agent works with her clients. Of course, she’ll refer you to the clients who love her madly. You can also check http://www.writerbeware.com/ for reported problems.

So let’s say everything’s copasetic and you’re beyond thrilled and you have a signed contract. What happens next?

Agent revisions. Most agents I know work with their clients, suggest revisions or tweaks and really help the author get the book up to market value. This is where you trust her professionalism, experience and superior knowledge of the market. Sometimes, of course, your gut instinct is to say “But I wanted it that way!” And yes, it’s your name on the book… the best agents will acknowledge that immediately and not push you to make a change you’re not comfortable with. But remember — she’s probably much more knowledgeable than you about what’s selling and what’s successful. She’s in your corner, will make her pay based on how successful you are. She wants nothing more for you than a blockbuster.

Once your book is ready to go in your opinion and hers, she sends it out. Mine sends out the whole thing along with a little paragraph about the story. And then the rejections or offers start coming in. She fields the offers, tells you everything you’ve received (she’s obliged to do this, by the way), and discusses different aspects with you. If you get several offers, your agent may well be able to get you more money 

When I signed with my agent (Maria Carvainis), I’d only written one book. I had nothing else finished, but she managed to get me a two-book deal anyway. A good agent will do this. Maria often says, “I don’t sell books; I build careers.” That’s the attitude you want, too. No agent or publisher wants one book — they want an author who’ll be a hot commodity for years to come.

Your agent will go over your offer and contract with you, discuss the ins and outs. You’re welcome to ask for changes on things like foreign rights and what not…because contracts can vary so much, I can’t really address what to look for here. But your agent will explain everything. If you need changes, she’ll be the liaison with the publisher.

Then you say yes to the contract and voila! You’re off! The care and feeding of your manuscript is passed to the editor, who becomes the next person you work with in getting the book published.

Now you’re under contract. You have a deadline — chances are, you’ve been put in the schedule, so your editor will need a finished product by a certain date. And now that you’ve cashed your lovely advance check, you’re under obligation to work with your editor to get the job done.

Once again, there will probably be revisions. The way things have gone with me is as follows:

The revisions letter. This is a 2-5 page letter telling me what my editor feels should change. Sometimes it’s something like, “This character is a little over-the-top…tone down?” or “Can we have another scene with Callie and Ian?” These are general recommendations…the fix is up to me.

I have to say, I’ve been blessed with two extremely wonderful editors, and almost every time they suggest something, I think, “D’oh! Why didn’t I think of that? Of course!” But once in a while, I’ll get a suggestion I’m not completely comfortable with. At this point, I think about why she wants this change, keeping in mind that she works for a huge publishing company who puts out some of the most successful authors in the world. If it really doesn’t sit well with my idea for the story, I’ll e-mail my editor and tell her I’m not sure about her suggestion. We talk, maybe find a solution we both like, and I write the new bits. Keyren really understands the heart of my writing and characters, and her input inevitably makes my books better.

The come the line edits — these are more specific suggestions on language, rather than scenes. My editor might point out my propensity for using the phrase “piece de resistance,” for example, or point out that I used the word “cute” four times in two paragraphs.

Right now, my editor is Keyren Gerlach at HQN. One of the things I love about her that she marks what she likes on the text — if I’ve made her laugh or smile or cry, she tells me so with a little note. As is the case with my agent, my editor and I are linked by how well my book does. She and I were both somewhat new when we started working together, and it’s been great to have her so invested in my books. Like Maria, there’s nothing better for her career than to have her writers do well.

There are other things my editor does for me — she informs me of promotional opportunities, suggests my name when the publicity department gets a request of an author to feature — I was sent on book tour because my editor (and her bosses) felt that I was an up-and-comer, for example. In short, she’s my champion at the company, and I know she’s got my very best interest at heart.

There are times when my agent acts as a go-between…Maria gets my print information, for example. When I didn’t like one of my covers, Maria had it written into my next contract that I’d get input for the next, and so I’m now shown the cover concept before the cover is printed. When the publisher makes another offer, they go to Maria, who then passes that info onto me.

To sum up, your agent and editor should be the best friends you have in the business. Your career is their career, at least in some part. I guess that’s about all I can think of this subject, but I’d be more than happy to answer any questions I can. Fire away!

***

To our unagented/unpublished readers, does any of this surprise you?  For our published readers, do you have additional tips for our unpubbed readers?

 A special thanks to Kristan for being with us today.

 Join us on Monday when Michelle Buonfiglio from Romance B(u)y the Book discusses developing a press kit.

 Bio: Kristan Higgins is the best-selling, award-winning author of five romantic comedies; mother of two; wife of one. Her novels have won numerous awards from readers and reviewers alike, including the 2008 Romance Writers of America RITA Award for best single title contemporary romance for Catch of the Day. Called “one of the most honest and creative voices in contemporary romance,” Kristan enjoys eating out, riding her bike, playing Scrabble and watching the New York Yankees. For more information about Kristan visit her website at http://www.kristanhiggins.com/ or www.facebook.com/KristanHiggins.

Today, Wayne Levine shares with us some of his personal relationship history with his wife. I found it fascinating and motivating. Maybe I should take the time to jog my memory and write something about the start of my relationship with my husband, assuming my memory will cooperate!

Here’s Wayne!

Since March is Women’s History Month, I thought I would honor my woman and the history we’ve shared together.

Ria and I met in 1980, when I was 19, with long hair and torn jeans. I transferred into her class on the second week of school. She watched as I spoke with the professor. Having learned to appreciate the pleasures of having a “project” from her creative and adventurous mother, Ria thought to herself, “I can do something with that.”

Besides cute and petite, I could tell she was smart. That’s why I would glance over, from time to time, to see what she had written…on her tests. You see, I was pretty smart, too. We began to talk a bit, the two of us, and a few others in class. We became friendly classmates. Naturally, I thought she’d like to go out with me. So I asked. She said “no.”

What Ria didn’t know at the time was that I had learned to never take “no” for an answer. Having been somewhat unsupervised for most of my childhood, I learned “on the streets” that there was always an angle, always a way to “yes.”

I tried again. She said I was “too young for her, not worldly enough.” She must have really enjoyed playing with me, like a cat with a trapped mouse. I was younger, that was true. But “unworldly?” Ha! Eventually, I wore her down.

I had two tickets to Benny Goodman and His Classical Trio. She had a car. She came to pick me up at my apartment. She was early. I was half-dressed, ironing my shirt. She liked that, a lot. I’m referring to the ironing. Turns out, she was quite the domestic. You never know what excites a woman. That’s why we men have to pay attention. They’re not all alike!

Her car was a ‘62 Fiat 1100 with suicide doors. Awesome. We laughed. I mean we laughed all evening. What a night. She drove me home. After I kissed her goodnight, she patted my shoulder as I exited the car. (Now, she claims she was actually pushing me out of the car. Revisionist history, as far as I’m concerned.) That pat sealed the deal. I knew I would marry this girl. I wrote a letter to myself that night stating just that. Three years later, to the day, we opened that letter on our wedding night.

I was a boy when we met. She stood by my side as I clumsily made my way toward adulthood. Despite the curve balls I’ve thrown at her (though at the time they always felt like the curve balls life was throwing at me), she never wavered. I mean NEVER.

Through raising two kids, changing careers, starting businesses, caring for aging parents, having money, not having money, growing up, getting older, foolish schemes, hospital visits, old pain, doubt and fear, and a lot of rescued animals, my wife has taught me the meaning of unconditional love.

She’s always cared about me, always wanted me to be happy, always believed in me (though I often doubted myself), always made me feel like I was better than I knew I really was. She taught me what a strong, loving marriage looks like. She had the patience and faith that I would become the husband and father she had imagined I could be, as I walked into that classroom and became…her biggest “project.”

Twenty-nine years later, my history with Ria has taught me much of what I know and teach about long-term committed relationships. Now, as I guide men through their relationships, help them to understand themselves and their women, and inspire them to believe that there’re better than they think they are, it’s my history with my woman that guides me.

Ladies, I hope you do for your man what mine has done for me. And men, I recommend you make an effort to honor your history with your woman this month…and every month.

RU Crew, tell us a little about your history with your significant other. Who was the instigator in your relationship and how has your relationship changed since you first met?

Be sure to join us Friday when author Kristan Higgins chats with us about the author/editor relationship after a book sale.

Wayne’s Bio:

Wayne M. Levine, M.A. is the director of the West Coast Men’s Center in Agoura Hills, CA, where he coaches and mentors men, and facilitates men’s groups. He also created the BetterMen Retreats for men, and for fathers and sons. In addition, Wayne is the founder of BetterMen.org, a life coaching and mentoring resource for men.

Wayne’s interest in men’s issues began in the early ‘90s with his participation in men’s work activities. His experiences with men’s groups, as a participant, leader and program developer, taught Wayne to “father” men and to support them in making difficult and important changes in their lives.

He earned his Master’s in Clinical Psychology from Antioch University/Los Angeles. Wayne also received his BA in journalism and graduated Magna Cum Laude and Phi Beta Kappa from the University of Southern California.

Wayne’s been married to his first and only wife, Ria, for over 25 years and is the proud daddy of Emma, Austin and the family’s menagerie of animals.  Wayne strives to be a better man, husband and father each day in Oak Park, CA.

We writers hear a lot about “branding” and “building a platform.”  I’ve had a career in advertising and marketing, so I understand these terms.  Still though, it took time to figure out how I could build a platform as an unpublished writer.  I honestly don’t think I’ll ever stop trying to figure it out.

I would bet some of you are trying to figure it out, too.  With this in mind, Jessica Bacon is here to tell us about her path to being a freelance writer.  Welcome, Jessica!

Adrienne, Kelsey, and Tracey: Thank you so much for inviting me to be a guest here at Romance University.

When Adrienne asked me if I was interested in visiting and sharing my story, I jumped at the chance. Shortly after I agreed, however, my enthusiasm lessened. For the same reasons I was initially excited, I began to doubt myself. While I was initially thrilled to share the same stage as authors I read and admired, I became increasingly nervous about my ability to do so.   

For weeks, everywhere I looked, I saw articles and blog postings pertaining to establishing a platform before publication, making a living while writing a novel, or freelance writing for novelists. On the surface, this might sound like a good thing ; I assure you, it’s not.

The following scenario is best utilized by mimicking a Rod Serling voiceover:

Consider if you will: Jane Doe, New York Times bestselling author, writes a piece on the same topic as Janie Doe, No Name unpublished but corn-fed Nebraskan. Janie Doe may write as well, if not better, than Jane Doe, but in what world can Janie’s voice get a chance to be heard? Only—in The Twilight Zone. <insert Twilight Zone “doo doo doo doo” theme song here>

Okay, that was a bit dramatic, but it was fun, at least for me.

Like many RU readers, I’ve written for the vast majority of my life, writing poems and short stories throughout my childhood and teenage years. It wasn’t until a few years ago that I decided on a whim to write a book. As a wife and mother who works from home, I was able to tap out over 100,000 words before I told anybody what I was doing. Of course, this was before I knew anything about avoiding passive voice, adverbs, or omniscient POV, so 100,000 words were easy.  

When I mentioned my little hobby to my husband and he didn’t look at me as if I had horns sprouting from my head, I decided maybe I wasn’t crazy after all. At the time, I’d read every book in Catherine Coulter’s FBI series and I found myself writing in the same fast pace, non-flowery prose style in which she wrote. For some reason, I found the courage to contact her. Her advice? Sit your butt in that chair every day and write!

Catherine Coulter said it, and I did it. As my word count grew, so did my curiosity about the craft. Before long, I’d found myself a beta reader in one of my mother-in-law’s friends. Judy ran through my rough drafts with the eye of a reader and the pen of an editor, making me realize I didn’t know a dangling participle from a dangling modifier (I still don’t, to be honest). I also realized it was time to figure out if I was going to do something about this writing habit, or ignore it and hope that it would go away.

Do as I say, not as I did

Fast-forward a couple of years.

Through the Internet, craft books, and online classes, I learned a lot. In fact, I learned too much. Where I once had a unique writing style of my own, I started to write what I’ve pegged as “chameleon-style”. My manuscript headed in new directions each time I discovered another magical tool in the writer’s toolbox. (I actually have a pet name for my ms, I call it Joan Rivers, because of its many facelifts.)

Setting goals is important, but setting them and sticking to them are two different things. I set unrealistic goals. My goals were simple and attainable—for a single, 20 year-old, full-time writer. Burnout loomed beyond the horizon, if I’d only known to look for it.

Contests and groups, and loops, oh my! Balancing time between learning, networking and writing is difficult. Writing is a business, but if you find yourself sacrificing actual writing time for marketing and networking before you’re published, then what’s the point? Finish the damn book, then go back and apply your newfound knowledge through revisions and edits, and at least you’ll have something to market.

Don’t try to categorize your work, let the booksellers and librarians figure out where to shelf that hardcover beauty. I fell under the false assumption that my book had to fit neatly into one of a select few sub-genres, and I revised the content to satisfy the so-called rules of the one it most closely matched. I ended up wasting months trying to write what I now realize was a category romance that I wouldn’t have wanted to read.

If you’re writing because you love to write, then don’t worry about industry standards, what’s happening in the publishing world or what today’s hot selling genre is. The road to publication is long, and trends come and go. Who knows? In a few years from now, ‘robot dogs in space’ could be the new ‘vampires’ of romance.

To be Paid or Not to be Paid

Getting paid to do something you love to do is every writer’s dream. With the exception of a lucky few, most new writers can’t expect to earn a living writing novels until they’ve served their time in Gruntville.

Gruntville is that solitary place writers go before dawn or after midnight, when the rest of the house sleeps peacefully. It’s where they reside when they turn down invitations from friends, miss family outings, or eat cold leftovers because they missed dinner—again. Writers may spend more time in Gruntville than they do at a full-time job, and they do it for free.

If being paid for what you write is important to you, there are many paying venues in need of high quality writers of both fiction and nonfiction, but be careful of anything that sounds too good to be true.

Selling completed short stories, poems, or flash fiction can be a great start to your writing career, but be sure to check the fine print. Verify the reputation and readership of the publication before you agree to release any rights to your work. If the publication is only willing to pay ten dollars for a 3000-word short story but you know top-notch agents, editors, and publishers will see your work, consider it a decent trade-off. On the flip side, some venues may pay more, but insist you give up all reproduction rights. There is nothing wrong with this, in fact, it oftentimes benefits the author, but it’s important to be aware of and weigh your options carefully.

Freelance writing is another option for writers looking to earn money for their work, but the rules I mentioned above still apply. The pay rate varies widely from venue to venue and there are too many online scams to count.

My excursion into freelance writing was the result of months of coinciding events that increased the demand on my time. My stress level went up and my writing output went down. When I did find time to write I felt pressured and couldn’t focus, which led to more stress. I got to the point where I hadn’t written in over a month and instead of relieving my stress level, not writing seemed to be making it worse.

I’m a slow writer and I write in spurts. It takes me a while to get into my characters’ heads, but once I do, I don’t like to stop. Because of this, slipping in 15 minutes here or there isn’t an option for me.

Making a Choice

I finally admitted to myself that I couldn’t fashion time where there was none and that I needed to slay the deadly chameleon-style of writing I’d adopted. I needed to step away, give myself some breathing room and come back to it with fresh eyes.

Because I needed to write, and because the money tree in the backyard had recently died, I searched online for freelance writing jobs. As plentiful as they were, the list narrowed considerably as I crossed off those requiring experience, a degree in English, willing to travel, etc. Of those that remained, I chose the option that worked best for me by weighing the pros and cons of each.

Ultimately, I decided to think of any money earned from freelancing as a bonus. As the Lincoln Literature Examiner, I get to hone my writing skills, and write about a topic I love. I choose my own stories and make my own deadlines. I write short news articles that force me to stay focused on the topic and restrict my poetic license, so it’s a treat when I’m able to set my words free on the pages of my book.

My career, my goals, my choices.  Right or wrong, they’re mine. If someone can benefit from my experiences, great. If someone can learn from my mistakes, even better!

 ***

What about you? What steps have you taken (or did you take) on the road to publishing your book? Do you have any positive or negative experiences RU readers can learn from?

Thank you, Jessica for being here today.

Please join us on Wednesday when our monthly columnist, Wayne Levine, shares his own love story.

Bio: Jessica Bacon lives in Nebraska with her husband and two children. She is a member of RWA, KOD, and NRW. Jessica is currently working on a suspense with romantic elements, but has been known to revise so often, the completed manuscript may well be a sci-fi comedy. Known as a wife, mother, freelance writer and fiction writer, she prefers her newest moniker, courtesy of her youngest son: “A mysterious woman who gets grumpy in the morning and at night.”

Happy Saturday! Here’s a sneak peek at next week’s lecture schedule. Check out our amazing line-up of Visiting Professors!

Mon, 3/8 – Crafting Your Career: Writer Jessica Bacon enlightens us on ways to pursue a publishing career prior to selling a book.

Wed, 3/10 – Anatomy of the Male Mind: Join us for Wayne Wednesday, a monthly column where Wayne Levine tackles a male related topic.

Fri, 3/12 – Chaos Theory of Writing: Author Kristan Higgins discusses the author/agent/editor relationship.

Remember, 2010 is the Year of the Sub-genre at Romance University. Each month, we will poke, prod, and beg publishing professionals close to the sub-genre to give us the latest information. Is it hot? Is it not? On March 22, we’re highlighting romantic suspense with author Roxanne St. Claire and literary agent Jill Marsal.

And don’t miss our on-going labs with Managing Editor Theresa Stevens and Author C.J. Redwine!

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,
Adrienne Giordano, Kelsey Browning & Tracey Devlyn

A place where friends are made and dreams are realized

Creativity always seems like such an elusive concept to me. What force inside humans compels us to sing, dance, sculpt, and write? I liken my own creativity to one of those little Keebler elves—one who sometimes is busy creating perfectly round chocolate chip cookies, other times has decided to laze in the hammock swinging from that unnaturally green little tree, and other times yet has imbibed a tad too many tiny martinis and is sleeping it off in the grass.

Today, author Kelly Stone joins the RU crew to talk about writers’ creativity. She will give away a copy of THINKING WRITE for one person who leaves a comment. Welcome, Kelly!

“Women’s intuition” can be a useful tool for aspiring women writers, and men too, because it’s a link to your inner resources of creativity and wisdom. Intuition is your subconscious mind attempting to communicate with you and get creative material or guidance into your conscious mind. You might experience hunches, flashes of insight, or feel you should take some action. Your dreams may give you characters, plot ideas, or entire stories. Some people get a “gut” feeling. You may be guided to do something unusual. The late photographer Dorothea Lange got a gut feeling that she should turn down a deserted road in California while driving home from work one day. Even though she was exhausted, Lange yielded to her intuition and discovered a starving woman and children whose haunting photo became the face of the Great Depression. 

Intuition springs from your subconscious mind, and there are several ways to connect to this part of yourself that often goes unheeded and unexplored. You can direct your subconscious mind to give you a dream solution when you find yourself in a spell of writer’s block. Keep a notebook by your bed and tell your subconscious mind before you fall asleep to allow you to dream about the next section of your story. Don’t be surprised if you wake up in the middle of the night with a sudden burst of inspiration. That’s what the notebook is for.

 You can also induce the hypnagogic state to get in touch with your subconscious resources. The hypnagogic state is a naturally occurring phase of sleep that is characterized by altered consciousness; some people hear their name being called, others see flashes of light. What’s important for writers is that ideas that are not normally connected are seen as associated in this state. It’s a time fertile with creativity. To access it, lie down and hold one arm straight up while you attempt to doze. The tension in your arm required to hold it up will keep you on the verge of wakefulness even as your mind slips into an alpha state, which is conducive to creativity. Again, write down in your notebook any ideas or insights that come to you.

Stream of consciousness writing is a good way to access your subconscious mind. I used it while writing my novel, Grave Secret (Mundania Press, Sept 2007). One day, after a period of several difficult writing days, the character of Billy Powers simply walked on to the page. This character was not known to my conscious mind; he sprang from my subconscious. As it turned out, he was so integral to the plot that his appearance saved the story.

Heed your intuition because it is the golden key that opens the gate to your vast subconscious mind. Your writing will thank you for it.

***

RU crew, has your subconscious ever helped you solve a story problem? Do you dream about your characters? And what questions do you have for Kelly about how to ramp up your creativity? Don’t forget, Kelly will give away a copy of THINKING WRITE for one person who leaves a comment.

Kelly’s Bio:

Kelly L Stone (www.KellyLStone.com) is a licensed mental health counselor who started a successful writing career while working a full-time job. She is the author of three books: a women’s literary novel, GRAVE SECRET (Mundania Press, Sept 2007), which was called “powerful” and “well-written” by RT Book Reviews; TIME TO WRITE: More Than 100 Professional Writers Reveal How To Fit Writing Into Your Busy Life (Adams Media, Jan 2008), and THINKING WRITE: The Secret to Freeing Your Creative Mind (Adams Media, Oct 2009) which demonstrates how to use the power of your subconscious for writing and creativity purposes. Her third book for writers, LIVING WRITE: Creative Strategies for Maintaining Your Enthusiasm, Motivation, and Dedication to Your Long Term Writing Goals, will be released by Adams Media in fall 2010.

Welcome to Anatomy of the Male Mind! Our guest today is Australian writer John Arden Warwick. John’s going to spend some time with us exploring the topic of love. Are men capable of it? Stay tuned to find out. Today’s post is just the tip of the iceberg.

Here’s John!

To me, love was always an assumption.

A fait accompli- something there was never any doubt of, and would one day come to pass- as certain as birth, marriage, taxes & death.

But now, I’m not so sure…

To paraphrase the pithy yet intuitive William Saroyan, in his wily refugee way, “I used to think I had forever; now I’m not so sure…”

Indeed. I always assumed love would arrive, in it’s own time; like a bus, a taxi, a postal delivery or a pizza.

But here I am…45, and still waiting.

Naturally, I’m not silly as I look; I did figure out early on that love would not come knocking on my door. My ‘hunter-gatherer’ instinct propelled me out into the world to stalk my prey. But usually, almost inevitably, what I thought was a hunt for love, was a hunt for something else entirely.

And it was this inescapable reality that kept me from ever connecting with love, because I had become conversant in the ways of dignifying my primal psycho sexual urges by attaching them to the grandiose, all encompassing notion that I was engaged in a ‘hunt for love’, when, in reality, I was no more hunting for love than I was stalking the Prairie for Buffalo.

For decades, I was able to justify the man hours I spent in this pursuit, when it amounted to little more than satiation of my primal urges, essentially finding me no further along the line, no closer to love than I had been when I set out.

I did not worry about this in my teens, nor in my twenties. I began to worry a little in my thirties, and now I am in my mid forties…

I find myself almost panic stricken.

What is going on? Where is love?

Anyone paying attention thus far will understand immediately that this question is not only rhetorical, but possibly even redundant.

For love is all around. As espoused in countless songs and movies, on the lips of so many human beings all around the globe, love is everywhere.

One does not have to search very hard for love. It is clearly always available.

I have experienced much love in my life. Many women came to me, and offered it. To ask whether it was real, authentic love- as opposed to, say a chemical proposition or a genetic predisposition toward making us feel better about our inalienable, inexorable urge to procreate- is an academic question, and one best wrestled with by the scientists and philosophers; not by me, here, or now.

For fear this meditation might transform into an extended collegiate dissertation, rather than a candid confessional exposition or emotional exploration, I must beg the readers indulgence that we proceed on the assumption that love indeed does exist.

I will explore my rationale for believing this further down the line, but it will not be statistical evidence or mathematical calculations; rather it will be anecdotal evidence, based on nothing more or less than my own observations. For how can something so unquantifiable possibly be proven with measures and weights?

For the moment, let us proceed as though we all have assumed love exists.

Until this hypothesis is disproven.

So, indeed, women have come and gone in my life- many offering love of varying degrees and types. But none felt to me like love.

Or did they?

How does one know?

I was told I would know love when it came. But is this really true?

What if some people do not know love when it comes? Indeed, what if some people are simply incapable of love??

For, if there is no question it exists, then surely the issue whether or not I am indeed even capable of love? Or even, at the very least, capable of receiving it?

Of course, now I have actually come to raise the question, it turns out it is the same question women ask about men all the time. At least- they have always asked me.

Eventually.

But I never heard it–not really.

Either because I did not believe it, or…

A question is often never really heard by a man until he asks it of himself.

After all, we don’t often listen to women. I know I don’t.

Deep down, many of us still bear the load of our socialization- part of which has emphasised the proposition that women are second-class citizens. Many of us hate to think women might have answers, when we don’t. Many of us cannot bear the thought you might actually be right.

How many times have you told a man something, and he has dismissed it outright, only to embrace that same truth down the line, when all else has failed?

No wonder so many women are frustrated.

This is not to suggest that only men are incapable of love, or indeed that all men are incapable of love- this is quite clearly a rash and hysterical generalisation.

But it is common among most of the men I know.

And I know it is common to my own life experience.

So I, like many of you, now ask the dreadful question.

Am I even capable of love?

***

Thanks, John!

RU Readers, what do you think? Are men capable of love? John will stop by to answer any questions you might have.

Don’t miss Friday’s lecture on jumpstarting your creativity with author Kelly Stone!

John’s Bio:

John’s been a farmer, librarian, and a police officer for ten years with a Chief Commissioner’s commendation for community service. He’s currently a writer with one film credit, and one in production. John’s working on a series of three books on the masculine perspective of love, truth, relationships, etc. He loves literature, film, art, music, animals and has not given up hope that people will one day work it all out…

Jane L is the winner of February’s Celtic Hearts online class giveaway! Jane, please email me at Kelsey@RomanceUniversity.org.

RU Crew, don’t forget that we’ll host another class giveaway in April. The more you comment, the more chances you’ll have to win.

Good morning, and welcome to Query Writing 101.  C.J. Redwine, has chosen Jerrie Alexander’s  letter to critique.  As always, feel free to ask questions.

Dear Ms. Agent,

 I am seeking representaion (representation) for The Green Eyed Doll, my 93,000-word Single Title Romantic Suspense manuscript.  I suggest saving this sentence for the last paragraph where you give your credentials/personal info. Jump right into the hook.

A peaceful Texas County (county isn’t capitalized) turns on itself (Why? I’d think they’d band together to fight evil.) when young green-eyed women go missing and are found dead, their lips painted red and a red bow tied around their necks. 

Catherine McCoy doesn’t stay in one place long.  She’s spent the past year reinventing herself after she killed her abusive husband.  She keeps her past a secret, moving on before the busybodies and newshounds discover her whereabouts and ruin her chances for a normal life.  She meets the sheriff in her latest stop.  He respects her independence and ignites a flame she thought lost forever.  (This paragraph is beginning to sound choppy. I think you can combine the previous two sentences to improve your pacing. i.e. When she meets the sheriff in her latest stop, however, he respects her independence and ignites a flame …) Catherine begins to believe she’s found a place to settle down and to start a new life.  She can’t bring herself to tell Matt about her past. (Join these two together as well. Varying sentence length is key to excellent flow. I’d join these like so: …a new life, but she can’t bring herself…) Keeping this secret is a mistake which will cost her dearly. Good. I understand where she’s coming from and what the stakes are for her. 

Matt Ballard left the big city after an undercover operation went bad (comma) resulting in his partner being raped and murdered.  As Sheriff of Crest County, he’s sworn to protect the people, and when young women are murdered, solving the cases becomes personal.  The fear and suspicions in his county heat up as he hunts for the killer.  Catherine, a green-eyed, redheaded beauty captures his heart, and he realizes he wants her in his life permanently.  When Matt reads the newspaper story of how she killed her husband, (suggest adding “though” here to really highlight how this secret turns him from wanting her in his life permanently to being unable to trust her.) he can’t forgive her secrets and lies.  But when she comes up missing, he fears she’s become another Green Eyed Doll. I think we need to hear this moniker earlier in relation to the killings so we have a frame of reference. i.e. “…heat up as he hunts for the killer, while victims—dubbed Green Eyed Dolls by the media—pile up in the morgue.” Or something like that. 

 You need one more short paragraph. One sentence, really, would be enough where you lay out the ultimate stakes. i.e. Can Matt track down the killer before Catherine becomes his next victim? Or whatever works for your novel.

I am an active member of my local RWA chapter and a weekly critique group.  I look forward to your response and am prepared to submit the completed manuscript upon your request.  I can be reached via e-mail at xxxx@xxxx.net or at xxx-xxx-xxxx.  Thank you for your time and consideration. Start this paragraph with the following sentence: Green Eyed Doll is a single title romantic suspense complete at 93,000 words.  

 Good job and good luck with it!

Sincerely,

Jerrie Alexander

* * *

Thank you C.J. and a special thanks to Jerrie  for allowing us to use her letter. Jerrie, please let us know how these suggestions work for you.  We’d love to hear from you.  For our readers, if you have a letter you would like C.J. to critique, go to our Labs page and click the link or send your letter in the body of your email to QueryWriting101@romanceuniversity.org.   C.J. will also take questions if you would like to send them.  We will post a letter on the first Monday of each month so be sure to check back.

Join us on Wednesday when author John Warwick Arden will explore the question “Are men capable of love?”  You don’t want to miss that one!

C.J.’s Bio:

C.J. writes urban fantasy and is repped by Holly Root of Waxman Literary Agency. She teaches online query writing courses, synopsis writing courses, and offers manuscript critiques at http://queryworkshop.blogspot.com

We have a great schedule of Visiting Professors this week – C.J. Redwine, Aussie John Warwick Arden and Kelly Stone! Read below for more details.

Mon, 3/1 – Crafting Your Career:  Urban Fantasy writer C.J. Redwine shares her latest query letter critique. Don’t miss it!

Wed, 3/3 – Anatomy of the Male Mind:  In part 1 of 3, Australian writer John Warwick Arden explores the question “Are men capable of love?”

Fri, 3/5 – Chaos Theory of Writing: Creativity guru Kelly Stone teaches us how to pump up our creativity.

Remember, 2010 is the Year of the Sub-genre at Romance University. Each month, we will poke, prod, and beg publishing professionals close to the sub-genre to give us the latest information. Is it hot? Is it not?

On March 22, we’re highlighting romantic suspense with author Roxanne St. Claire and literary agent Jill Marsal.

Permission to forward lecture schedule is granted and encouraged! Want RU’s weekly lecture schedule in a cool new email format straight to your in-box? Sign up on RU’s homepage or any of the lecture posts!

And don’t miss our on-going labs with Managing Editor Theresa Stevens and Author C.J. Redwine!

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,
Adrienne Giordano, Kelsey Browning and Tracey Devlyn

A place where friends are made and dreams are realized