Assuming you’re a romance reader or writer (and if you’re reading this, there’s a decent chance that you are), do you think it’s better to know one character deeply than two superficially, or would you say books that let the reader into both the hero’s and the heroine’s head have a better chance of delivering a credible happy ending? Of course both can work if the writing’s good, but I suspect most of us have a sneaky preference one way or the other. And if, like me, you’re in the Two Heads Are Better Than One camp, can you drill down further to figure out what style of double-header you enjoy most? Continue reading
point of view
Justine: A Trick for Writing in Deep Third Person
I have recently learned of a brilliant technique taught by Suzanne Brockmann on how to write in deep third, particularly if you struggle with that POV (which I do). She suggests writing your scene in first person, then change all the first-person pronouns to third-person pronouns. This is, in a word, genius. Continue reading
Jilly: Another Point Of View
The last couple of weeks have been decision time for me. After a lot of thought I opted to sit out the second McD workshop to buy myself time to push on with the revision of Rose and Ian’s story. I’ve had lots of great feedback and now I have to put my head down and get on with the rewrite.
I have a full draft of just over 100k words, but I’m not sure how much of it will survive. Until this week I thought I’d need to change about a third of my story; now I suspect I’ll be lucky if I keep a third. I have the same cast of characters, living in the same world, and getting to the same place in the end, but I’ve made an important tweak to the opening scene, and that changes everything else. Continue reading
Eight Ladies Writing 
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