LIKE A GOOD MELON

How do you know when your novel is ready to submit? Do you dot the last I and cross the last T and just “know?” Do you ask your best friend or crit partner? Do you thump it like a ripe melon?

Here are some suggestions for sending out your best work. Really, really, really your best work. You’d be surprised how many times I pass on a good (but not quite great) manuscript and one day later receive a response saying, “you know, I think you’re right – this book isn’t quite ready yet. I’ll fix it up and query you again.” I am of course thrilled at the writer’s enthusiasm, but my gut reaction is “darn, wish I could have read the best possible version with fresh eyes.” If you want to increase your chances of having an agent (or an editor) ask for sample pages, ask for a full manuscript or offer representation or a book contract, make sure that novel is 100% ready before you start the process!

There are places to go for a critique if you know where to look. Agents are not crit partners! I need to spend my time shopping your book, shopping subsidiary rights, planning marketing campaigns, tracking royalties, following up on questions, etc. But, you CAN get a professional take on your novel before submitting and that’s always a good idea.

- The fabulous Janice Hardy (author of THE SHIFTER, BLUE FIRE and DARKFALL – the HEALING WARS middle grade fantasy trilogy) has used www.critique.org and blogs extensively about critiques and writing here:
http://blog.janicehardy.com/

- Roni Loren, debut author of CRASH INTO YOU (January 2012, Berkley Heat) posts extensively on her blog for writers. Whether you are new to publishing or an experienced author, this is one of the top writing blogs I recommend!
http://fictiongroupie.blogspot.com/

- My boss, Kristin Nelson, has hosted a blog for years. While she also talks a lot about the business side of publishing, her critique feedback (and especially the blog tag called “Beginning Author Mistakes”) is invaluable!
http://pubrants.blogspot.com/

- Romance Writers of America (RWA) is one of the most extensive and professional writing organizations in the country. RWA will help you find critique partners and will direct you to contests and competitions to get your material read. And YES – these RWA contests do matter to me when you mention them in a query letter. Since I have such a high opinion of RWA, I know their contests (and contest winners) have clout. If you are an RWA member (and I am gambling that you are, as you’re reading this post on Romance University), then use it!

- There are various online fundraisers to which agents and editors donate critiques. Yes, this would cost you money, but it’s a donation to a good cause in exchange for professional feedback. The Brenda Novak online auction for Diabetes is one of the largest annual fundraisers and our agency (among many others) always donates to it:
http://brendanovak.auctionanything.com/

- If you want a couple of free options, here they are: I recommend reading your novel out loud. Yes, it’s essentially your own feedback yet again, but you’ll be surprised how many mistakes you can catch using this technique. Also, if you are having trouble with a particular passage (especially if it’s the beginning), then try taking two blank pages and writing that segment in two totally different ways and comparing them.

- Go to a conference and attend a workshop geared toward editing and revising. (Again, especially if it’s an RWA sponsored conference – they are awesome!)

- Pay an English major to read your book and offer feedback. S/he won’t know the insides of publishing but s/he will be a fresh pair of eyes with (hopefully) the ability to read for story development, characterization, cohesiveness, world-building, etc.

- Read other books in your genre and sub-genre. You are all (or mostly all) romance authors here, right? Make sure you are reading romance novels, published within the past two years by major New York publishing houses. I love when someone says “I’m a huge Nora Roberts fan” (who isn’t?), but read recent debut authors too! Do you write paranormal romance? Try Allison Pang’s A BRUSH OF DARKNESS. Do you write historical romance? Try Ashley March’s SEDUCING THE DUCHESS. Do you write romantic suspense? Read Pamela Clare’s BREAKING POINT. Reading tends to be an excellent window into learning more about writing. I know some authors fear that looking at other books will taint their own work or intimidate them out of writing, but I still recommend it.

- Finally, the very best advice I can give. Finish the book and even if you think it’s your absolute best work, stop. Wait. Sleep on it for a week and then re-read it. Don’t be one of those people in the slush pile whose query reads, “I finished my first book last night and I want you to sell it.” Trust me, even a week away from the manuscript will give you great perspective.

Happy writing to you all! In the comments section here, please mention if you have other suggestions for where writers can go for GOOD feedback on their books.

Sincerely,
Sara

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Do you have a method or process you follow to make sure you’re manuscript is ready? Any questions for Sara on the pitfalls to avoid sending a manuscript too soon?

On Friday, Author Beth Kery, discusses the submission process.

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Sara is giving away a copy of  ROMANCING THE COUNTESS to one lucky commenter!

ROMANCING THE COUNTESS by Ashley March (www.ashleymarch.com)

An illicit affair…
An unlikely pair…
A second chance at love…

Sebastian Madinger, the Earl of Wriothesly, thought he’d married the perfect woman—until a fatal accident revealed her betrayal with his best friend. After their deaths, Sebastian is determined to avoid a scandal for the sake of his son. But his best friend’s widow is just as determined to cast her mourning veil aside by hosting a party that will surely destroy both their reputations and expose all of his carefully kept secrets…

Leah George has carried the painful knowledge of her husband’s affair for almost a year. All she wants now is to enjoy her independence and make a new life for herself – even if that means being ostracized by the Society whose rules she was raised to obey. Now that the rumors are flying, there’s only one thing left for Sebastian to do: silence the scandal by enticing the improper widow into becoming a proper wife. But when it comes to matters of the heart, neither Sebastian nor Leah is prepared for the passion they discover in each other’s arms…

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

The Kid in You

Strong-man poses by Kieran (right) and two of her siblings. This is the way kids see themselves - strong and fierce!

Have you ever met a boring kid?

No.

Seriously.

Every single kid is interesting.

If you’re unaware of this fact, get yourself to the nearest elementary school and meet  a classroom full of them. They’re fascinating. They’ll make you laugh and they’ll make you cry.

They’re little walking, talking beacons of truth. Truth wrapped in story–and sometimes peanut butter and jelly or spit balls, but still.
Beacons of truth. Compelling ones.

Art Linkletter knew this was true. In the 50’s, he had a television show called House Party. And at the conclusion of each episode, he’d interview children, asking them off-the-cuff questions and getting back hilarious and often poignant replies. Later, Bill Cosby followed up with his own show, Kids Say the Darndest Things, in which he employed clips from Linkletter’s interviews with kids.
We can’t get enough of kids and their unique perspectives on life.

Why am I bringing this up?

Because you’ll write better stories if you relate to The Kid In You.

Yes, my friends, there’s a person lurking in the shadows of your life, a wise, sensitive, original person who can take your writing from blasé to blazing, green to great, from flimsy to flat-out spectacular.

What a shame you’re ignoring The Kid in You.

I would never ignore anyone! the kind writers among us are insisting right now.

Well, you are. You’re just as guilty of turning your back on The Kid in You—this all-powerful, untapped writing resource–as the rest of us heartless, ignorant schmucks who decided to become storytellers.

Whether you had a good childhood or not, if you’re reading this right now, you had a childhood. We all did.

Obviously.

But what you may not be doing is talking to that child—that funny blabbermouth or shy genius or sensitive survivor who’s going to make your writing shine–as you write.

Even those of us who do look back tend to do it from an adult’s perspective. We categorize. Look for logical answers and patterns. Use all the wisdom gleaned from living over our lives to make sense of our childhoods. But I promise you, you’ll never know why Mary Kaputnik pulled your chair out from under you in fifth grade! Or why Cousin Joe refused your apology. Or why your late mother cried two days after Christmas, every year, without fail, even though she insisted she was happy.

But it’s adult of us to try to make sense of all that stuff, isn’t it?

Yes. Adult and once-removed.

Once removed from the feelings.

But there’s a reason for this. It’s because the feelings alone are so powerful, you’re practically lifted out of your shoes just going back in time to that Kid In You, which is why you’re Mr. or Ms. Smarty Pants Professor Sensible Person while you travel down Memory Lane most of the time (unless you’ve had too many margaritas or are in the presence of a relentless therapist).

A lot of us tend to write our stories removed from the feelings. It’s our status quo state when we get to the computer. We write as if we’re outside a scene, watching the characters, recording, and trying to make sense of what’s happening—

Because we should.

Because everything’s kinda gotta be logical.

Right?

And fit together.

Sigh!

Like pieces of a puzzle.

Yawn…

So we can protect ourselves.

From ourselves.

Because we’re dangerous when we feel too much. Dangerous and damned intuitive. Dangerous, damned intuitive, and alive. Ignore the goosebumps on your arms because you just remembered how powerful you are and listen to me: being that alive is uncomfortable when you’re a grown-up used to putting up walls to defend yourself, when you’ve spent years putting up a million social filters. It’s exhausting, quite frankly, to connect with The Kid In You.

You’ll think of all kinds of reasons to put a lid on the Kid.

But you’re a writer. You have to write the truth, and the truth can hurt. The truth can throw you for a loop. The truth can chew you up and spit you out—the fake part of you anyway. The real you will be left, gasping for breath, reminding you that nothing you write matters if you aren’t writing from the deepest part of you.

The truth demands you pay attention to The Kid In You.

Now, unless you were severely traumatized, to the point that going back is going to make you want to jump off a bridge, and you’ve been told only to do so under the supervision of trained professionals, I want you to consider doing an exercise with me:

1) Close your eyes.

2) Breathe in and out.

3) Get onto the Star Trek transporter deck of your memory and go back to The Kid In You, at the age that resonates with you most, maybe between 8 and 10.

4) Remember something—something you had feelings about.

5) Feel it.

6) Really feel it. Sometimes this means metaphorically holding onto The Kid In You’s hand or putting your arm over The Kid In You’s shoulder and following along. Stay in imaginary physical contact as much as you can. Don’t observe. Dwell. Ask The Kid In You how he or she is doing. Ask The Kid if he or she has anything to say to you about your story.

7) Come back to the grownup you.

Write.

9) Whenever you get stuck, ask The Kid In You to help you out. Even when it comes to grown-up subjects, The Kid In You will come up with something, a great zinger or a pithy truth that will get you going again.

10) If you stop feeling as you write, stop writing. Reconnect with The Kid In You. Remind yourself you used to feel first, think second. Indulge in some Kid behavior. Play putt-putt. Watch the Brady Bunch. Read a favorite childhood book. Interact with kids.

11) Poke the grownup you every time you forget to feel as you write your story.

That’s it. I hope you’ll find that channeling The Kid In You is like rediscovering your very best friend. Haywood Smith, the author of the Red Hat books, reminded me of this a couple of years ago. She told me she’d learned to go to a place in her head where she’d invite her inner child to sit on her lap. And she’d hug that child close.

I’ve always been connected with my own inner Kid—I think that strong connection helped get me published–but Haywood’s advice reminded me more than ever that there’s something special neglected in our lives.

Ourselves.

The deepest, most vulnerable, intuitive part of ourselves, the part that hides and watches yet yearns to be heard and loved.

Channeling The Kid In You can bring back all kinds of emotions, some of them not easy to handle. But you know what? Those feelings mean you’re still alive. The Kid In You reminds you of that. Most important of all, the Kid In You begs you to be you. No one else can.

I think that after you reacquaint yourself with The Kid In You, you’re going to be surprised at how your characters and plotlines take on new energy and feeling. Something will hum there, something bigger than your story. It could be a truth you may have forgotten about. Or a truth you may have been supressing, intentionally or not. Or perhaps it’s a truth that draws you back over and over, like a sparkly jewel.

That’s your Voice.

Cherish the Kid.

Cherish your Voice.

And tell us a story. Tell us something that will make us lean closer to the fire, so we don’t miss a word.

Kieran is offering a Regency-inspired porcelain tea bag rest along with some “tea time” goodies and a signed copy of CLOUDY WITH A CHANCE OF MARRIAGE to one commenter at Romance University!

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How do you cherish the Kid inside you? How do you find your voice? How does it help your writing?

Join us on Wednesday when Josh Lanyon, talented author of M/M romance and gay fiction, joins us to discuss how to make your male characters in your M/M romance more realistic.

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BIO: USA Today best-selling author and double-Rita finalist Kieran Kramer writes lighthearted Regency historical romances for St. Martin’s Press. IF YOU GIVE A GIRL A VISCOUNT, the fourth and last book in her Impossible Bachelors series, will hit the shelves in November 2011. Her new Regency series, House of Brady, premiers in 2012. A former CIA employee, journalist, and English teacher, Kieran’s also a game show veteran, karaoke enthusiast, and general adventurer. Find her on Facebook, Twitter, and at www.kierankramerbooks.com <http://www.kierankramerbooks.com/> .

YOU’RE FIRED!

Just last month, a query came through the slush pile that ended like this, “I hope you love my pitch. However, if you don’t – no worries, I don’t need an agent to get published anyway.”

In other words, “Dear Agent – You’re FIRED!”

I didn’t take it personally because I tend to agree with this writer – no, you don’t really need an agent in order to get published. I like to think that I’m a great business partner for writers who DO want an agent – I certainly want to feel essential to them.  Still, here are a few of the things I do for my clients and how you could take them on (effectively) if you decide to go it alone.

1)     Editing. I read my clients’ books and offer editorial feedback. Sometimes it’s intense and I request several rounds of revisions. Sometimes my notes are just bits of polishing here and there. A savvy author can hire an editor instead – there are plenty of editors with excellent reputations and experience who work freelance (especially editors laid off from their jobs in NY).

2)     Submissions. One of the big reasons that fiction writers are on an agent-hunt is that many NY publishing houses do not accept un-agented submissions. There are ways around this too, though. Many editors attend national and regional RWA conferences and take pitches in person. You can circumvent the system by simply pitching at conferences instead of via an agent. The drawback, of course, is that this may cost more money. But, if you really feel that your manuscript is superior, you should have the same chance of signing a book deal in person as you would through representation. Of course, there are small presses that accept un-agented submissions, so you could go that route too. There are e-presses that accept un-agented submissions and they are wonderful. And, of course, one could always self-publish.

3)     Contract negotiation. My boss, Kristin Nelson, has posted an entire “Agenting 101” series on her blog about how to understand and negotiate a contract. It starts here and it’s fabulous reading! An un-agented author could negotiate their own contract (if they REALLY understand it first) or simply hire an entertainment lawyer with expertise in publishing contracts.

http://pubrants.blogspot.com/2006/06/agenting-101-part-two.html

4)     Auditing royalty statements. Our agency has recently hired a royalty statement auditor. She checks each royalty statement against each contract to make sure every payment is 100% correct. One could absolutely do this at home – it takes meticulous care (or knowing a friend who is a CPA). Here’s an example – if your contract says you should get paid 8% of the cover price of your novel for the first 10,000 copies sold and 10% of the cover price thereafter, then it’s important to watch each royalty statement to make sure that 10,001^st copy is accounted for correctly.

5)     Planning marketing campaigns. Our agency also has a marketing director on staff (*waves* to the fabulous Lindsay Mergens, a 20+ year veteran of the marketing side of NY publishing). I find it’s very useful to have a template for new authors that says “6 months before release you should be doing this…” “4 months before release you should be doing this..” “this is the date that your publicist will likely be assigned and this is the date by which buy-in should happen.” We also spend time scheduling guest blog posts and interviews, updating websites and blogs and trying out other forms of social media like twitter and Facebook. This is probably the easiest realm for savvy authors to negotiate alone. If one is very organized and motivated, one should be able to plan a competitive marketing campaign with nothing more than time and a computer.

6)     Problem solving when something goes wrong. Honestly, this is where I spend most of my time. I respond to emails, follow up on submissions, double check cover copy, nudge on deadlines, ask about payments, etc. I’m a great teammate or business partner for the author that wants to offload questions so s/he can simply keep writing. If you are super organized and love to be in control of your entire career, this is likely something you would do for yourself anyway.

My vision for my career is this – I intend to have a small list of clients and provide a ton of value-add to their publishing careers. That value add includes the services mentioned above as well as things like tracking sales, communicating about the market, capitalizing on networking and promotional opportunities, sharing best practices, planning careers, brainstorming book ideas, etc. I expect that as publishing continues to change there will be many successful authors who do not need an agent in order to succeed (and by “succeed” I mean they will create a book of superior quality and enjoy profitable sales on that book). I want to be the agent for authors who do want a business partner. I’m not for everyone and that’s 100% ok with me. If you don’t need an agent, like the author from the above query letter, be organized, professional, meticulous, educated and go for it!

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So, what questions do you have for Sara about whether you need an agent or want to try it solo? Have you already thought this question and come to your own conclusion? Share with us the reasons behind your decision.

NOTE: Sara is moving today and she will be in and out of the site depending on the reality of making sure her kitchen utensils make it on the moving truck. She’s going to do her best to get to as many questions as she can.

RITA award winner for Best Historical Romance, 2011

Love is hottest in the darkness before dawn.

Elissande Edgerton is a desperate woman, a virtual prisoner in the home of her tyrannical uncle. Only through marriage can she claim the freedom she craves. But how to catch the perfect man?

Lord Vere is used to baiting irresistible traps. As a secret agent for the government, he’s tracked down some of the most devious criminals in London, all the while maintaining his cover as one of Society’s most harmless—and idiotic—bachelors. But nothing can prepare him for the scandal of being ensnared by Elissande.

Forced into a marriage of convenience, Elissande and Vere are each about to discover they’re not the only one with a hidden agenda. With seduction their only weapon against each other—and a dark secret from the past endangering both their lives—can they learn to trust each other even as they surrender to a passion that won’t be denied?

Stop by Friday when our very own Adrienne Giordano writes about her “a-ha” moment as a debut author.

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

Take it away, Jen!

The romance industry, like any genre, is constantly changing. As a writer, one of the first pieces of advice I was given time and time again is the following: Write the book of your heart and don’t write to the hottest trend in the marketplace, because by the time you’ve finished your manuscript, what was hot when you started may no longer be popular. When a multi-published author who frequents the NYT bestseller list spoke at an RWA conference, she shared a way to break into a market while increasing sales and still staying true to her style of writing.  She took the “marriage of convenience” theme and placed it into a paranormal story.  By doing this she was able to tell her type of story in a paranormal setting, allowing her to tap into a popular market.

Erotic romance is smoking hot, pardon the cliché. More and more publishers, especially in the e-book market, have seen a growing demand for this type of book and are opening up more venues to cater to these readers. The erotic marketplace is also seeing the expansion of more  m/m and f/f , BDSM, and other once forbidden taboos. With the increased popularity of e-books, readers have gained the power of anonymity.  The purchaser can now enjoy an erotic read without succumbing to the scrutiny of others.

With the rising popularity of the erotic romance,  a question has been raised – Can your current romance be written for the erotic market?

This is a serious question that should be considered, but first, you must know yourself as a writer. If the idea of writing a sex scene causes you to blush and shudder, this market is not for you. If you do not enjoy reading erotic romances, you will probably not enjoy writing them.

It is also important to research various publishers to pinpoint the type of stories you enjoy reading, the quality, and the reputation of the publisher. With a growing number of small e-presses, you need to carefully read guidelines to see what each publisher accepts, and what you are comfortable writing. If you target a certain publisher, read many books to get a feel for the writing and the quality of the line.

If you are comfortable writing a sex scene, it’s a good idea to take a step back and look at your book. The key to a good erotic romance is to make sure the sex scenes are integral to the story. You can’t expect to take a regular romance novel, add additional sex scenes, and sell it as erotic.  If you prefer a bit of an edge to your love scenes, and can handle more graphic language, you may be able to re-write the book for this market. The erotic market is wide open for all genres: paranormal, contemporary, historical and Regency.  Each publisher has different requirements. Some need a certain amount of sexual scenes and others say as long as it blends with your particular story, there is no agreed number. Frank language is encouraged so if you are uncomfortable naming the terms of the body and prefer rose-colored, soft phrases, again this market may not be for you. But, if you’ve been looking to stretch and develop your writing into something different, to challenge yourself, you may want to try.

Romance Writers of America (RWA) special interest chapter, Passionate Ink, define erotic romance novels as stories written about the development of a romantic relationship. The sex is an inherent part of the story, character growth, and relationship development, and couldn’t be removed without damaging the storyline.

Erotic romances differ from erotica. In an erotic romance, there must be a happily ever after. With erotica, the relationship does not have to end happily. The following description was taken from the Ellora’s Cave website, defining the important difference between these two terms:

http://www.jasminejade.com/t-romantica.aspx

For the erotic romance, authors must have a skill for focusing on the art of physical lovemaking, developing conflict, and keeping a strong love story between the main characters to the very last page.

Most markets require a strong romantic connection with a happily ever after, and sexual monogamy. Other markets will let you explore threesomes, bondage, and any other sexual exploration the author is willing to examine. As in all romances, the bottom line remains key: write a great story with characters we care about. An erotic romance may contain more explicit sexual scenes, but it must enhance the relationship and development of story and character.

When I first sold my novella, “Masquerade” in Secrets Volume 11 to Red Sage Publishing, I specifically focused on mingling the level of sexual exploration along with my character’s growth. My heroine came from a repressed background and was taught to deny her sexuality. By using the setting of a masquerade ball, she was able to cover her face and allow herself freedom in expressing herself. This sexual freedom eventually opened her emotions and connected her deeper to the hero.  The sex scenes became integral to the story and not just thrown into the book to fit the erotic category.

So, if you are ready to try and develop the story to fit the erotic category, look at these main points.

1. Your sex scenes. They must be frank, riveting, and move the story along. Terms consistently used in many erotic romances include the following: pussy, penis, ass, cock, clit, etc. These words are not peppered into the scene just to make the romance erotic, but must fit the love scene and the characters. Also, make sure each character matches the sexual experience. If you have a virginal heroine, you may want to ramp up your hero’s background and have him use explicit language and initiate her into the experience. If your heroine is more contemporary and edgy, having her as the aggressor can be exciting. You can also take the opportunity to allow your character to express more sexual freedom that may not match her outward appearance. This is a great way to deepen your character.
2. Secondary characters and subplots should not overtake over the story. This is not the time to shove the best friend at your reader continuously, unless she is developing her own physical relationship or setting the stage for a sequel. Erotic romances focus tightly on the main characters and their relationship.
3. The sexual tension and relationship should be the main stage. In erotic fiction, the sexual relationship between the characters takes the main stage. You may need to write more scenes or intensify the physical relationship to make the sale. Extra characters chitchat, or too much plot without the physical connection may dilute the story.
4. Conflict. Conflict will raise the stakes in the relationship, and the heat of the love scenes. Pit two different types of people together and watch what happens in the bedroom. This is a great way to explore character growth. In my book, The Tantric Principle, my hero practices tantra in the bedroom – an ancient method of controlling his orgasm. My heroine was a take charge sort of woman who liked to set the pace. The combination of backgrounds was a great opportunity to inject conflict and hot sex, yet tie it into my hero and heroine’s growth.
   
5. Respect the genre. If you do not love or respect the erotic romance market, you will not be able to write a great story. Fans of the erotic romance genre are loyal and publishers generally want to purchase high quality work.
6. Dig deep. The beauty of the erotic romance is the intensity of the love scenes. This is a time to dig deep into your character’s secret fantasies and fears. This is not a time to worry if your mother will ever read your book! Let yourself go as a writer and explore each aspect of sexual exploration to initiate conflict, growth, fear and love.

Remaining flexible and open to market trends is savvy business, as long as you remain true to your writing style.   The erotic romance market is expanding, with many new and exciting opportunities.  If your book has the core elements of a great love story, and you are comfortable writing a more sexually explicit romance, this may be the opportunity you’ve been waiting for.

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RU Crew, do you love reading erotic romance? Tell us about your favorite authors. For our writers out there…have you thought about writing erotic?  Jennifer’s kindly agreed to answer any of your questions.

Stop back Wednesday for author Tracy March’s discussion on Powerful Settings: Finding What is Unique for Your Characters…and You.

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Jennifer Probst is published in contemporary romance, both sexy and erotic. Her first book, Heart of Steel, was published by LionHearted Publishing, and her novella, “Masquerade” appeared in Red Sage Secrets Volume 11. Her first children’s book, Buffy and the Carrot, was co-written with her 12 year old niece by Eloquent Books. Her new e-book release, “The Tantric Principle” is available now through Red Sage. Look for her new novella from Red Sage early 2012 entitled, Sex, Lies and Contracts!

Please check out her website at http://www.jenniferprobst.com
Blog http://jenniferprobst.wordpress.com or
Mommy Blog http://4badmommies.com
Twitter me! http://twitter.com/#!/jenniferprobst
Facebook me! http://www.facebook.com/pages/Author-Jennifer-Probst-Fan-Page/111073648957581

How manuscripts did you write before you sold? Five. The first one doesn’t count though. That was my practice book. =)

How long was it from the time you began writing seriously and the time you sold? Oooh, tough question. I’m going to focus on the writing seriously part because the practice book alone took me a few years. I was probably writing (in spurts) for six or seven years before I thought I had something good enough to shop. I was submitting for five years before I got the call.

Tell us about The Call. Was there singing? Dancing? Drinking champagne out of a stiletto? There was shock. For sure. Maybe a little disbelief. LOL. I actually wasn’t home when Angela James called. She left me a message (which I still have saved) and when I picked up the message, I listened to it three times. I had to put the phone on speaker because my hands were shaking. In the message, she said she would send me an email so I ran to my office to see if the email was there. I refused to let myself get excited until I saw the email. The email confirmed it for me. It was also a special day because it would have been my father’s 80th birthday. So, I think my Dad sent me a gift from heaven. For more on that see this RU post. As a side note, the second book I reference in The Call post was also acquired by Carina. The book needed fairly major revisions, but I was determined to get it published because writing it helped me get through the brutality of grief.
What are your favorite Man Laws? I have a few:
Never mess with your best friend’s sister.
Never wonder if you should have thrown the asshole off the roof.
Never mess with another guy’s grill.

Was there a challenge in writing a man’s POV? Or does it come natural? I loved, loved, loved writing this book. It was the first time I really let myself go in terms of finding the character’s voice and it was so much fun. The interesting thing for me is that the male POV usually comes much easier than the female. I have no idea what to think of that, (considering I’m a woman!), but I’m not going to analyze it. =)

Who are you dedicating your first book to, and why? My dad. He, in every way, represented strength and dignity and he never, ever gave up. When he believed in something, he fought hard for it.

After years of submitting my work, I was getting discouraged, but I knew if I wanted to be published, I couldn’t give up. If my dad taught me anything, it was to keep fighting.

Why do you think this particular manuscript sold? The hero. Hands down. Don’t get me wrong, I had fun with the plot, but the hero in this book isn’t your typical hero. He’s the sort of guy you meet and think “Yikes. What an idiot.” But then you get to know him a little bit and realize he has a huge heart and is extremely loyal, so you’re willing to forgive his unintentional slip-ups.

What surprised you about the sell? I’d been submitting the book for a few years and had been getting great feedback on it, but no one was willing to take a chance. I submitted it to Carina after a friend sold to them, but decided if they rejected it, I would rewrite the story. I love the hero in this book and wanted his story to be told. I had actually started outlining the revised plot when I received the call from Carina. So, I guess the answer is I was surprised the book sold when it did.

What challenges have you faced since “the call” you didn’t realize you would encounter? Time. Time has been my enemy for the last four months. People always say to have other books ready when the call comes because your editor will ask to see them. Well, believe it. In my case, I had two other books in the series and an idea for a fourth. Carina bought the second and third books, but wanted revisions on the first in the series. I immediately dove into those revisions. By the time I was done with the rewrite of book one, I received the first round revisions on book two. In the last five months I’ve done revisions on three books. At one point in May I was revising two books at the same time.

Let me just mention that in between all of this, I’ve had to get my website revamped (thank you, Carrie!), get my Twitter and Facebook pages up and running, create author accounts at all the various social networking sites and create a newsletter. Be warned gang, the marketing end of being published can be a full-time job in itself. Figure out ahead of time, what kind of time you’re willing to sacrifice from your writing. I promise, you will never, ever be done with marketing. There will always be something to do. You just need to decide what the most important tasks are because you will need time to write.

Is there anything you wished you’d done before you sold? Not really. And I say that honestly. I’m a big believer in learning experiences. Whether the experience has been good or bad, I always want to walk away knowing more than I did before. The road to publication continues to be a tremendous learning experience and I don’t think I’d change any of it.

What’s your best advice for writers who are still waiting to sell? I’m sure you’ve all heard this one. I know I did, but it’s true. Keep writing. When you finish a book, start the next one. While you’re submitting books, write the next one. Don’t sit around waiting for answers on submissions. Keep writing. Here are three reasons why:

My first book just launched.
I have a September 2011 release.
I have a November 2011 release.

Last year at this time, I was contemplating taking a break from writing because the grind of trying to get published was wearing me down, and then— bam!—I sold three books. That’s how it works. If you have books ready, you’re editor will want to see them.

Do you have anything else you’d like to share with the Romance University readers? Just that I think you all are a smart, savvy bunch and I’m so proud to tell people I’m a co-founder of this blog. We have the most amazing readers. Time and time again, we hear from Visiting Professors that we have great conversations at RU. That wouldn’t happen without our readers, so thank you all for making this blog what it is.

And last, will you tell us all about your debut book?
As if I’d say no. LOL. Man Law is about security consultant Vic Andrews. Vic lives by his Man Laws:
Never mess with your best friend’s sister
Never get caught
Never get attached
When one of Vic’s assignments goes wrong and the target selects Gina Delgado and her kids for revenge, there’s nothing Vic won’t do to protect the family he realizes, too late, he wants. He’ll accomplish his mission but he breaks most of his Man Laws in the process and almost loses his only chance at true love.

If you’d like to read an excerpt of Man Law click here. I’m also giving away a copy of Man Law to a commenter. And because this is RU (and I’m crazy about you readers), I’m also giving away a pair of bullet earrings. Oh, heck, why not? Let’s do a third giveaway of a bullet key chain.

So, get those comments rolling if you want to win one of the three gifts.  Psst…RU, Crew, I’ve teamed up with our own Tracey Devlyn and two other mystery authors for a NOOK giveaway at Romance and Suspense.com.  So, if you’re in the market for a NOOK, just click here for the details!

Man Law available at:

Carina Press
Amazon
Barnes & Noble

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RU Readers! Do you have a particularly manly man in your life? What are some of HIS Man Laws?

Join us on Monday as Misty Evans walks us through helpful pointers on writing a series.

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Adrienne’s Bio: Adrienne Giordano writes romantic suspense and women’s fiction. She is a Jersey girl at heart, but now lives in the Midwest with her work-a-holic husband, sports obsessed son and Buddy the Wheaton Terrorist (Terrier). She is a co-founder of Romance University blog. Adrienne’s debut romantic suspense, Man Law, will be released by Carina Press on July 4, 2011. Her second book, A Just Deception, will be available from Carina Press on September 5, 2011. For more information please visit www.AdrienneGiordano.com. Adrienne can be found on Twitter and Facebook.

So, mark your calendars for the date of her first blog: July 13, 2011!

In the meantime, let’s give Sara a big RU welcome!

BIOGRAPHY:

Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website www.nelsonagency.com for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow.

Also, I’ll be back tomorrow (Wednesday) to critique anything else new that’s gone up, plus any rewrites. Also, if there are any questions anyone has in general, I’m happy to answer.

page 44 THE SAINTS OF THE LOST AND FOUND

page 88-89 THE SAINTS OF THE LOST AND FOUND

POV_CHECKLIST

Feel free to ask questions!

Welcome to RU, Heidi!

Kelsey: What’s the biggest challenge you’ve overcome in your career?

Heidi: So far, you mean, right? LOL  Because I’m sure there’s another one just around the corner—there always is.  Probably the biggest challenge I’ve faced, and the one that threw me for a loop for a while, was when the bottom fell out of the western historical market.  That’s all I was writing at the time, so when they stopped doing well, I was truly up the creek.  Did I want to keep writing them, knowing that even if a publisher bought them, sales would be lousy?  Or did I want—and need—to do something else?

It took some soul-searching, and a lot of hard work, but I opted to go the reinvention route and try my hand at series contemporary instead.  Looking back, I can see that the death of western historical was actually a blessing for me…it led me to the category world and Silhouette (now Harlequin) Desire, which I love. But there were more than a few frantic moments while all that was going on, believe me.

Kelsey: What are your thoughts on launching a romance writing career through category romance?

Heidi: I think it’s a great idea!  Category is a fabulous place to be, and it really teaches you to be a better writer.  Writing category teaches you to write tighter, to write within a certain structure, and to edit yourself.  (Just because they’re shorter doesn’t mean they’re easier to write; in fact, the opposite is probably true.)  A lot of wonderfully successful single title authors started out in category, and a lot have continued to write both because it is such a satisfying place to be.

Kelsey: What are the most prevalent craft problems you see in unpublished manuscripts?

Heidi: To be perfectly blunt, I see a lot of writing out there that’s just plain bad.  But I also see a lot of unpublished work that’s simply lacking voice and vibrancy.  The grammar and such might be fine.  Structurally, the writing is solid, but there’s nothing compelling about the storyline or writing style; there’s no emotion, no flair, and nothing that draws a picture in your mind, so that it really just feels like words on a page. When I sit down with to read a book (or an unpublished manuscript), I want it to suck me in and play cross my mind’s eye like a movie.  I want to see, feel, hear, taste, smell everything the same as the characters do, and to not be able to put the story down.  Or if I do, I want that story to linger in the back of my mind, calling to me until I can get back to read a bit more.

Kelsey: What’s the smartest business decision you’ve ever made for your writing career?

Heidi: I like to think I’ve made a lot of smart business decisions…and only a few low I.Q. ones LOL…but the smartest would probably be leaving an agent who didn’t believe in me, wasn’t enthusiastic about my work, and really didn’t care about me one way or the other to find one who’s the exact opposite.  It was not a smooth transition, and there was some down time when I was quite agentless, but in retrospect I still think it’s the wisest career move I’ve ever made.

Kelsey: What do you feel it takes to break into the single title contemporary romance market?

Heidi: That’s a tough one, especially these days.  Right now, it seems that everything is paranormal, paranormal, paranormal.  But it also seems that just about everything that could be done along those lines has been done in one form or another.  I think the best advice that can be given on this is the same advice that’s been given time and time again:  Write the very best book you can.  Don’t worry so much about the market and trends; follow your heart and your gut and write what you love to read.  When the passion is there, it will shine through in the writing and get you noticed, regardless of what’s hot or what’s not at any given moment.

Kelsey: What’s the most valuable piece of writing advice you’ve received?

Heidi: To take in as much information as I could, like a sponge, but to pick and choose what I wanted to believe and which bits of advice I would follow.  You hear a lot of advice out there.  Authors talk about how they do things and what’s worked for them, and you think you need to follow in their footsteps.  When the truth is, you need to take what you like and leave the rest.  Find your own path, your own process.  Jumping out of bed at 6a.m., getting dressed, and going into an actual office space to write for eight hours straight may work for some authors…but rolling out of bed at noon, padding around in pajamas half the day, and then settling down to write until 3a.m. works for others.  No one should ever tell you you have to do something exactly this way or that way, and you should never think you have to do something exactly the way someone else does to be successful.  Not even Nora.

Kelsey: How do you keep your creativity alive?

Heidi: Hallucinogenic drugs and vast quantities of alcohol.  No, wait.  Caffeine.  No, wait again.  Okay, there is probably a certain amount of caffeine involved.  But, really, I think I just love what I’m doing.  I love telling another new story about a new set of characters.  I love coming up with the ideas for new stories.  So while there are times you might find me banging my head against the wall or playing Spider Solitaire because I am desperately trying to avoid having to actually deal with my plot problem, I really enjoy finding out what happens next, seeing what pops up in a story that I might not be expecting, and having a good writing day.  And I love finishing a story, then going back through and realizing it’s even better than I thought it was while writing.  (Because there’s a point in each manuscript where I’m convinced the entire thing is a pile of steaming dog poo and I’m going to have to start over, even though I only have a week and a half left on my deadline.)  And then I love the moment when I get to rub my hands together and say, “Okay, what do I work on next?”  I usually know what I need to write next—unfulfilled contracts have a way of keeping you uber-organized on that score—but I never quite know how I’ll begin or where that story will take me.

Kelsey: What do readers tell you they like best about your stories?

Heidi: The word “delightful” pops up in reviews for my books and in reader letters quite often.  And I love it!  I can’t think of a bigger compliment than to be told one of my books delighted someone.  Or kept them reading into the wee hours of the night.  I think readers like my books because the characters are real and relatable.  I also throw in a dash of humor and sexiness, which I think is always appreciated.  And my goal, really, is to simply entertain you.  I’m not trying to impress you with my handle on the English (or any other) language, or teach you something, or save the world…well, not through my books, anyway …I just want to give you a really good, fun, and sexy story that will hopefully leave you with a smile on your face—and eager for my next release.

Kelsey: How do you handle a poor review?

Heidi: I burst into tears, rail to the heavens, mope around for days, and sometimes try to take my own life in utter despair. LOL  Okay, so the temptation for some of those is there, but really, a review—good or bad—is just one person’s opinion, and I don’t always care what that person thinks.  It’s true that some of them can be quite mean-spirited, but when they are, I always stop to  wonder how massively unhappy that person must be if trashing one of my books makes them feel better.  And sometimes it’s just a matter of being a bad match of book to reader.

So, yeah, there are times when I might scowl and silently flip a negative review the bird, but then you give them exactly the amount of attention they deserve—which is zero—and move on.  The good reviews far outweigh the bad, thank goodness, so those are the ones you want to dwell on. And really, my focus tends to be firmly planted on the next book—the one I’m currently writing or the one that’s just come out—anyway.

To ramble on a bit here, let me share a quick anecdote that will put reviews and the like into perspective:  When it comes to my second “Chicks with Sticks” book, LOVES ME, LOVES ME KNOT, people pretty much either love it or hate it.  No middle ground.  And I got a lot of flack over one of the opening scenes where the heroine drugs her ex-husband and ties him to the bed for a little good, old-fashioned forced seduction.  Yep, there it is—the immediate knee-jerk reaction.  You are either hating that concept right now, or thinking, Ooh, that sounds interesting… Readers either love it or hate it.  I happen to love it.  And knowing the characters as I do, there was no question they belonged together, and that the scene was merely a catalyst to shake them up a bit and get them back together.

But some of the reviews I got for this book were brutal. B-r-u-t-a-l.  And it was disheartening at times, to say the least.  Then one day, I got a letter from a reader who loved the book.  (One of the few. *g*)  She had read it several times already.  It was now her favorite book.  And she swore that I had saved her marriage.  Apparently, she and her husband were going through a situation very similar to my hero and heroine, and the word “divorce” was being tossed around quite freely.  Then she read LOVES ME, LOVES ME KNOT and began to see her husband and marriage from a completely different perspective.  Her letter made cry…and it made all of the nasty reviews and negative feedback the book had gotten before that disappear.  A thousand negative reviews on Amazon can’t hold a candle to one heartfelt reader response like that.

Kelsey: What’s something you’d like your readers to know about you or your writing process?

Heidi: That I’m writing as fast as I can. LOL  And that I’m all over the place sometimes—category, romantic comedy, paranormal—but follow me.  PLEASE!  No matter what books come out with my name on them, I promise I will always give you a fun, sexy romance with an extremely satisfying happily-ever-after ending.  I will not leave you hanging and (hopefully) I will not disappoint.

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RU Crew, Heidi will pop in today, so feel free to ask her any questions I missed. What’s the best writing career advice you’ve ever received? Remember, Heidi has generously offered to give away a book from her back list (winner’s choice) to three lucky commenters today! (US residents only, please)

Don’t miss Wednesday when Laurie Schnebly Campbell is here to talk about Mental Spas for writers!

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Bio:

Heidi Betts is the daughter of an Arabian sheik and a Las Vegas showgirl, as well as the heiress to the Chocolate is Better Than Sex Candy Company fortune.  Because of this, she eats chocolate in all its many delicious forms for breakfast, lunch, dinner, and in-between snacks . . . without ever gaining an ounce on her perfect five-foot-nine, size zero figure.

Each and every one of her breathtaking, award-winning novels has been adapted to film and gone on to become a phenomenal box office smash, featuring such mega-stars as Hugh Jackman and Sandra Bullock, Tom Cruise and Julia Roberts, and Harrison Ford and Charlize Theron.

Heidi readily admits that she is only able to write such passionate love stories because of her real-life happily-ever-after romance with superstar actor Dwayne Johnson, who makes every day a fairy tale.  When she’s not writing or making hot, toe-curling love with her “Rock” of a husband, Heidi can often be found riding naked on horseback (a la Lady Godiva) along the beaches of Malibu or hobnobbing with the rich and famous on Martha’s Vineyard.

If you’d like to experience your own perfect, idyllic life just like Heidi Betts, be sure to take the little purple pill.  (Not the red one.  Never the red one.)

Check out Heidi at her website and blog!

In 2010, I was fortunate enough to win the Daphne du Maurier Award for Excellence in Mystery/Suspense with my book, Nearly Departed in Deadwood. After the shock wore off and the celebrations slowed, I returned home from Cloud Nine. Then I began to plan how I could make this contest win work for me. For the past year, I’d been building my platform, trying to increase my name recognition, and working on taking my writing career to the next level, whatever that was. Winning the Daphne came at a perfect time. I was ready for the boost.

Following are some of the ways I used the contest win to work for me:

1. Press Release: I wrote a press release and sent it to several small to mid-sized newspapers that covered the areas of the country where I knew my potential audience was the greatest.
2. Blogs: I accepted invites to post articles and participate in interviews on several blogs, spreading word about the win while networking with other writers and potential readers.
3. Book Cover: On the cover of my book, we put a big golden medallion to draw customers’ attention and inform them the book won a “National Award.”
4. Free Reads: Suddenly, many writers and readers were curious about my book, interested in reading bits of it. So, I shared excerpts of the story with them, making new friends and fans along the way. These same folks are bending over backward to help me sell the book now that it is out. They are wonderful!
5. Quotes: I mentioned the fact that the book won the Daphne when asking fellow authors if they would be willing to give me quotes/blurbs for it. The contest win helped me secure several excellent quotes.
6. Promotion: As soon as my book was published, I sent out email blasts telling everyone that a Daphne du Maurier winning book has been published. This was a slight twist on the usual, “My book is published!” email, and being different is good in a crowded market.
7. Thanks: Because my parents’ words stick with me even now, I try to continually remain humble about the win, keeping in mind that winning involves a lot of luck. I try to express my gratitude in print often for those who created/ran the contest and judged. Giving thanks is much appreciated in this industry. I always appreciate it when I’ve helped someone and they say “Thank you” and will be more willing to help them again in the future.
8. Daphne Contest: I try to promote the Daphne du Maurier contest whenever possible in voice and print. I also agreed to help judge this year’s Daphne entries again.
9. Blogs (again): I am touring the blogosphere now that my book is out, talking about all that winning the Daphne can do for a career in order to give other writers ideas and hope in this sometimes brutal business.
10. Tell the World: My publicist continually uses the Daphne win as a selling tool, such as showing those newspaper articles (see #1 above) that tell about my win. Also, on Amazon, I made sure there is mention of the win in my product description to help convince readers it’s worth their dime.

These are just some of the ways I’ve used the Daphne to work for me.

So, if you enter writing contests (or are thinking about entering a contest), I ask you: What will you do if you final in or win the contest (after your finish celebrating and sober up)? How will you make it work for you?

RU Interview

RU: How many manuscripts did you write before you were published?
AC: I wrote eight manuscripts. Nearly Departed in Deadwood is number seven (I finished writing my eighth manuscript—the next book in the Deadwood Mystery Series, Optical Delusions in Deadwood—prior to getting Nearly Departed in Deadwood out the door). I’m currently writing my ninth manuscript, Dead Case in Deadwood, the third in the Deadwood Mystery series. Man, that was a lot of numbers ending in “th.” Ha!

RU: How long was it from the time you began writing seriously and the time you were published?
AC: I think it’s been over thirteen long years—too long to keep an accurate count. Although, I did get married, finish college, and have two kids in the midst of it all, plus work a full-time day job, so I have some rolling blackouts throughout parts of those years.

RU: Why do you think this particular manuscript sold?
AC: Because of several things: 1.) It won the Daphne du Maurier award for Excellence in Mystery/Suspense; 2.) It has great audience potential built into it thanks to the setting and title; 3.) I have spent years building a platform and name recognition, which translates into a lot of supportive fans for the book right out of the gate (which appeals to a publisher).

RU: What surprised you about the sell?
AC: That it became more of a partnership than a sell. You see, I was offered an opportunity to partner with the publisher and share in all aspects of publishing my book. I’ve learned so much in the first three months of this year about the publishing business, and I have a better understanding as to why publishers make some of the decisions they do—decisions I often questioned as an author. While this has not been an easy venture for me, I enjoy having more control in the future of my book.

RU: What challenges have you faced since you sold that you didn’t realize you would encounter?
AC: I had no idea of the many hurdles when it comes to getting a book out through as many distribution channels as there are. I also didn’t realize there were so many distribution channels. It’s really incredible the networks that have been set up by publishers over the years, and the networks being built for eBook publishing now. It’s stressful, exciting, and fun all at the same time.

RU: Is there anything you wished you’d done before you sold?
AC: Written more books. I have four other books written and needing some work before going out to the world, but I wish I had an even bigger backlog of manuscripts. It’s much easier to fine-tune and edit than stare at that dang blinking cursor on a blank page.

RU: What’s your best advice for writers who are still waiting to sell?
AC: Be patient. Publishing is not a game of quick wins and overnight successes. While you’re waiting to sell your book(s), work on building your platform so that when you sell, you have readers who want to buy your book. Five years ago, I asked myself the following question: If I had a book published, who would buy it besides my mother? That’s when I realized I had a lot of pre-publishing work to do and got busy building an audience for my books.

RU: Do you have anything else you’d like to share with the Romance University readers?
AC: Yes, another bit of advice—test everything. I am constantly testing my “products” to see what gives me the response I’m looking for from a reader/fan. When I say in my Acknowledgments that it takes a village to make Ann Charles successful, I’m not just blowing hot air. I have many readers and editors, several for every draft. I also test promotional products on my friends and fans. I test ideas and articles on others. Everything. The world is my QA lab, and I’m out to deliver high-quality products, whether the products are stories, book posters, key chains, workshops, or whatever.

RU: And last, will you tell us all about your debut book?
AC: I’d love to!

Irony is having a big ol’ fiesta and Violet Parker is the piñata. Little girls are vanishing from Deadwood, South Dakota, and Violet’s daughter could be next. Short on time and long on worry, she’s desperate to find the monster behind the abductions. But with her jerkoff co-worker trying to get her fired, a secret admirer sending creepy love poems, and a sexy-as-hell stranger hiding skeletons in his closet, Violet just might end up as one of Deadwood’s dearly departed.

“The first time I came to Deadwood, I got shot in the ass.”—Violet Parker, Chapter 1

Nearly Departed in Deadwood is the first of many books in the Deadwood Mystery Series. It has mystery, romance, suspense, and paranormal—all in one big genre stew. It’s available all over God’s green earth, and we’re working to make it available on the moon, too.

Stay tuned for Violet Parker’s second book, Optical Delusions in Deadwood, which will be released in May 2011 as an eBook and July 2011 as a print book.

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RU Writers – have you thought of how your life might change with a contest win?

Join us on Monday as NYT Best Selling Author Lori Wilde talks about the differences in writing contemporary romance and external plot-driven sub-genres like romantic suspense.

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Ann Charles is an award-winning author who writes romantic mysteries that are splashed with humor. Her debut mystery, Nearly Departed in Deadwood (Released in January 2011) not only won the 2010 Daphne du Maurier Award for Excellence in Mystery/Suspense, but also has been selected as a finalist in the 2011 Romance Writers of America Golden Heart® contest. A member of Sisters in Crime, the Guppies, and RWA for many moons, she has a B.A. in English
with an emphasis on creative writing from the University of Washington.

When she is not dabbling in fiction, she is penning writing-related articles or standing on her workshop soapbox, sharing what she has learned over the years about the craft and self-promotion. Visit her at www.anncharles.com or www.anncharles.com/deadwood.

You can also find her at http://www.1stturningpoint.com, where she and over two dozen other authors, reviewers, and PR consultants have joined together to teach and share (and learn from each other) all sorts of great information about promotion for both unpublished and published authors.

She lives near Seattle with her clever husband, charming children, and one incredibly sassy cat.

We love firsts, don’t we?  First kiss, first love, first book, first sale.

Now I like firsts as much as the next girl but today, I’d like to talk about seconds.  Specifically, I want to talk about the second book.  My second book, MONEY SHOT, is due out on June 7, and it is without a doubt the best, strongest book I have ever written.  But I won’t lie to you people.  Writing it was a career-shaking disaster.

Because here’s the thing about second books.  That magic formula you finally discovered, allowing you to write a book that actually sold?  Yeah, you’re not allowed to use it again.  You can’t write the second book that same way.

And why not?  Because when somebody buys your debut book in a two-book deal, you have to give your editor a proposal outlining what exactly it is you’re planning to write for that second book.  And then you have to write THAT.  Or something approximating that.

As it turns out, I have two problems with this model.

Problem one:   I don’t know what I’m going to write before I write it.  Even when I outline it in excruciating detail, I don’t know exactly what’s going to happen.  Or, wait, I do know what’s going to happen–the broad strokes, anyway–but I don’t know to whom.  Or exactly how.

See, when I outline a book, it looks mostly like dialogue, only without any attribution tags.  Because it’s not the who that’s important to me, it’s the what.  It’s the argument.  When I write a story, it’s all about letting the two opposing viewpoints in my head duke it out.  The characters are just vehicles for the argument.  And back in the day, when my writing was just another invisible mommy chore I sandwiched between loads of laundry, this was no big deal.  Draft one rolls around and I assign my heroine Opinion A and my hero Opinion B because, hey, it seems reasonable.  And if, three drafts down the road, I realize the book won’t work unless it’s my heroine who holds Opinion B, and the hero who’s all about Opinion A?  No worries.  Nothing but time, baby.

Except now?  Not so much.  Now there are deadlines and expectations and oh dear lord I’m disappointing everybody who ever believed in me or–worse–cut me a check which I’m totally going to have to give back because I can’t write this book.  Not only is it not what I said it would be but it sucks, too!

Which brings us to problem #2:  charm.

Despite what I just said about the story being about the argument, nobody picks up a romance novel for the arguments.  We read romance for the characters.  We want to fall in love.  And so the argument doesn’t matter until you fall in love with the characters having the argument.  And my characters don’t get charming or loveable until about draft three.  (I’m sad to say three truly is the magic.)  Drafts one and two?  The balance is all off.  Light/dark, humor/gravity, plot/character, it’s all wonky.  But something magic happens in that third draft and it suddenly balances out.  The characters start to sparkle, the argument tightens up, the humor and depth dial themselves into harmony.

Which is why, for my money, you should always write the proposal AFTER you’ve written the book.  It’s way easier.  And more accurate.  And, unfortunately, impossible.  Not when you’re getting paid to write books.

I wish I could tell you I had a plan for fixing this but for me, this was the Lesson Of The Second Book:  You can’t fix how you write.  Your process is your process, and the sooner you embrace it, the better.  And if you can get your editor and agent to embrace it, too, and plan deadlines and/or contract negotiations accordingly, please drop me an email to let me know how you did that particular bit of voodoo.  I’d love to know.

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RU Writers, do you have a process for writing? How do you think it will change for your next book?

Join us on Wednesday when Author Steven James talks about the Essence of Story

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Bio:
Susan Sey is the author of MONEY, HONEY, a 2008 Golden Heart Winner released by Berkeley Sensation in July 2010, as well as MONEY SHOT, her dreaded second novel, coming June 7.   She lives in the Twin Cities area with her wonderfully supportive family where she studiously avoids the laundry and dutifully rewrites everything three times, because three truly is her magic number.   (She wishes it were two.  One would be nice.)  You can find her on Facebook, Twitter, blogging with the Romance Bandits (www.romancebandits.blogspot.com) or on the web at www.susansey.com.  She loves to hear from readers.