Years ago, when I was in my previous life and profession and was using a white board for something other than character arcs and plot progressions, I kept a question on my board at work. It was, “What keeps you up at night?” This is a question used in sales in marketing to remind sellers to think about what the customer wants/needs/stresses about, NOT about the widget or service we want to sell.
Then about five years ago, I read an article that argued (rather convincingly) that we should stop asking what keeps our customers up at night, and start asking, “What gets you out of bed in the morning?” Do you see the shift from negative to positive? I brought that to the teams I managed with the goal of writing our business proposals with a different spin. We still needed to write about knowing the customer’s pain and how to solve it. But I started pestering my teams (and the business development execs who interacted with the customers) to learn about customer’s bigger-picture visions. I wanted to expand our message to say, “We support solutions, but also aspirations.”
By now you’re wondering, WTH does this have to do with fiction writing? I’m so glad you asked! Continue reading
This could TOTALLY be Percy and Finola if he were a strawberry-blond instead of a brunette.
Here on the blog, we spend a lot of time discussing the importance of book covers and branding in getting our books into the hands of the right readers, the ones who will love our particular genres and stories. It probably goes without saying, but in case it doesn’t, I’ll say it now: book titles are an important part of the overall package that positions books.
With that caveat, you can probably see where this post is going. Turns out, the title I selected for my next book, a title I’ve loved and attached to and had at the forefront of my brain while I wrote the book, might not work for my romance sub-genre. It all started when I was working on cover concepts with my new cover designer (this is designer number three, for those of you following along at home). After several discussions of the book with her, I woke up one morning to find an email in my inbox that changed the way I now see my beloved title.
As she had been setting up a design and working on fitting the title into it, it struck her that Three Husbands and a Lover sounded like a reverse harem erotica title. If you haven’t heard of the RH subgenre, it’s one woman with multiple male lovers, and tends to be erotica. Um, no. Not my genre, and not what I intended communicate with that name. If I thought it was just her opinion, well-versed as she is in the romance field, I could ignore it. But now that she’s put that thought in my brain, all I can picture when I see that title is my heroine surrounded by her four lovers. Continue reading
I have attention deficit disorder. I’ve had it my entire life, and because of a heart condition, I can’t take medication for it. ADD makes staying focused one any one task for a long period of time very difficult (unless I’m really excited about the task — like reading a book from my favorite author).
In the past, I’ve tried setting goals in order for me to get my writing done. But word count goals didn’t work for me, especially when I was editing. Did I really write 1,000 words? No idea…too much cutting/pasting/adding. Plus, there were some days Continue reading
It seems to me that the second-chance-at-love trope, by its very nature, calls for more backstory than fresh-out-of-the-box romance. (Even Jenny Crusie, who dislikes backstory more than any other writer I’ve ever known, wound up including a dash of it in Maybe This Time, her second-chance-at-love romance.)
Possibly because I had a bias against backstory drilled into me during the McDaniel program, I tend to minimize it in my books. But if you have characters who were once together and broke up for some reason and you’re now attempting to join them back together, I think the reader needs to know what caused problems the first time around.
And if they’re going to achieve a happy-ever-after ending, readers need to know what caused their problems the first time around so they can watch for the character arcs that will address those problems.
Right now, the main characters in The Demon Wore Stilettos (cover reveal coming soon!) broke up because she got him to help her negotiate a contract to sell her soul to Satan by telling him it was a literary exercise for her MFA program. Underneath, though, the bigger issue is that she tends to conceal information and he has a driving need to expose the truth.
This shows up as a problem from the first time they meet, in the scene below: Continue reading
If I had to take out a personal ad to describe my current writing dilemma, it would go something like this: Multi-genre author with deep-seated issues around choosing book titles seeks readers with sharp, intuitive minds to help choose an appropriate marketing title for a book going out on submission.
You can probably see where this post is going. You, dear readers, are the sharp, intuitive minds in question. A few weeks ago, I didn’t realize I’d need your help, as I was merrily skipping down the primrose path with my beloved working title for a soon-to-be-submitted story nestled safely in my blue and yellow basket. (Yes, metaphorical Nancy is a weird amalgam of different fairytale characters. And she skips. Just go with me on this one.)
Then approximately a week and a half ago, I was on a video chat with Jennie Nash, one of my writing mentors, and a few other people when the conversation turned to submitting manuscripts to agents and editors. Jennie mentioned the importance of having an email subject line that captures the recipient’s attention. Since most query emails will have the prescribed subject line “Query: Book Title,” that means a marketing book title – without the benefit of a full book cover to convey genre and tone – might carry more weight than the final title on a published book. The title needs to convey Continue reading
As so many people say, or in this case after I googled ‘write your novel in a year’, so many web pages say it. I’ve discussed Writers Write and Anthony Ehlers series called Write Your Novel in a Year. The blog very kindly consolidated all 52 posts here. I have Chuck Wendig’s infographic on my bulletin board (if you don’t like foul language, skip this one). And I’ve tried the NaNo method (although I knew I wouldn’t write an entire novel in a month). I don’t read these because I think any one of them will be the magic bullet, but I do regularly find motivation to keep writing. Here are some of the new ones I found: Continue reading
Characters lie. They do it all the time. They lie to themselves when they convince themselves they’re after an external McGuffin when they’re really searching for love, or acceptance, or loss of everything so they can start over fresh. They lie to other characters in conversations, and give away the truth in their interior monologues and actions. Sometimes they even lie to readers, especially in the cases of the recently-popular, unreliable narrators in books like Hawkins’s Girl on the Train and Flynn’s Gone Girl.
But what happens when one of the leads in a romance story lies to the other lead? Will readers root for someone lying to our girl/our guy and still want the liar to get the HEA? How long can a character lie and still be considered redeemable? Are there circumstances that make this character choice more palatable?
These are the questions I pondered as I worked on the discovery phase of the next novel in my Harrow’s Finest Five series. This is Percy’s story, for those who have read the novella. And the story kicks off with our heroine (Finola) telling one whopper of a lie to get Percy’s attention and, ultimately, help.
I ran multiple scenarios about when, where, and how my heroine would come clean. I talked to readers. I reread stories I remembered with some level of deception between the characters. After all that, I have lots of thoughts, but my main take-away is that whether the lie is tolerable and forgivable all comes down to “why”. Continue reading