Do you read contemporary stories set in countries other than the USA? What kind of stories are they? What do you especially like about them?
I have a reason for asking.
I’m just back from a most excellent vacation in the States, including an action-packed weekend at the Writers’ Police Academy in Green Bay, Wisconsin with fellow 8 Lady Kay, followed by a few days in picturesque Door County (click here to read Kay’s description of our excursions to the Northern Sky Theater Company).
Before I met up with Kay, I spent an afternoon in Chicago talking all things writing with a developmental editor. Mostly we focused on Alexis, but we also talked about my English/Scottish contemporary romance, which I decided to dust off in time for the next (and final) RWA Golden Heart contest.
The editor gave me the same feedback I heard from a very respected agent a couple of years ago when I tried to shop this book: the writing is strong, but a contemporary British setting, with all British characters, is hard to sell outside the UK. She said that the story offered a kind of insider perspective on life in London and Scotland, which is not what the mainstream American romance reader is conditioned to expect.
In her view, when US readers pick up a foreign-set story, they expect the setting to be either
- glamorously urban; or
- small, close-knit communities where the culture is a large part of the appeal.
This could be me in March.
There I was, just whistling down the primrose path, working through the problems in my manuscript that I’d identified during a Revision Sprint class and the subsequent weeks of revision. I didn’t mean to do it. Really, I didn’t think it would happen! But as I updated the final scene sequence of novel 1 of my Victorian Romance series, the next to last step (last step being read-through/proofreading) before sending it to a content editor, I realized it had happened.
I am in love with my story.
Now, being in love with your story in and of itself is not a bad thing. In fact, during the long, dark days that try writers’ souls, sometimes the only thing that keeps us going is our love for our stupid, ugly, misshapen mess of a (kind of, sort of, almost) story. But to spin the story mess into gold, at some point most writers will want input from other smart people, fresh eyes on the story to catch what we who are too close to it just can’t see. Those other people might be individual critique partners, members of a critique group, or a content editor (as ladies Jeanne and Jilly).
For this particular story, I plan to work with a content editor. Sounds great, you say. Should help clean up the hot mess, you think. So what’s the problem? you might ask. Continue reading
So how’s the New Year shaping up for you?
I started January with a new challenge—deciding how to respond to my very first professional content edit. I’d previously seen the excellent report the editor, Karen Dale Harris, wrote for Jeanne’s The Demon Always Wins, so I knew roughly what to expect. That didn’t mean I was ready for it.
The overview/summary report alone ran to 24 pages, and covered everything from subgenre choice and the implications of that, to characters, conflict, plot, plot holes, world-building, language choices, inconsistencies…you get the idea. I’ll just say that it’s not a comfortable experience to have one’s every last choice subjected to such detailed scrutiny. Continue reading