Deepening Point Of View

By Sandy Blair

    Whether you’re writing a novella, category or single title novel, you—the author--have two goals. First, to have the characters (not you) tell a compelling story, and second, to make your reader care so much about your characters that they forget they’re reading. To make them become “one” with your characters.

    The first of these goals is probably the most difficult because we’re all storytellers by nature. We want to share the wondrous tales spinning about in our heads with the world. Being omnipotent can lead down the “telling path,” can cause an author to use was(s) and had been(s) too numerous to count, to add he thought and she decided tags right and left, which, unfortunately, pulls the reader out of deep point of view and makes them very aware that they’re simply reading words on a page.

    To avoid omnipotent telling, first ask yourself, “Who has the most to lose or the most to gain?” before starting a scene. If you do it each and every time, you’ll always be in the right--most compelling--point of view. (and it’s okay to remain in the same POV for several chapters or scenes.)

    Once in the correct POV, remain cognizant of the fact that it’s the character--and not you—living this story.    

    Jordan stopped before the Salvation Army’s Angel Tree. Having been raised in an orphanage, he recalled his painful childhood and thought, why not, and reached... is info dumping--telling.

    Jordan stopped before the Salvation Army's Angel Tree. As he read the sign explaining the angels, memories of a cold, crowded dorm room, thread-bare sheets, the pain of discovering a too large, plaid jacket instead of a much-wanted fire truck under a plastic Christmas tree caused... , ” keeps the reader in his head.

    You don’t need those he thought or she decided tags when in deep POV. Think about it. When you’re in an argument with someone you don’t think, “No, I thought, I won’t let him get away with that.” You think “No, I won’t let him get away with that.” Can you hear the difference? As you write, remember you are the character, you’re living this experience.

    And as you write don’t tell us lightening flashed, show us light bouncing off a broken pane.

I DINNA KEN:
Using Dialect and Research in Manuscripts

By Sandy Blair

Thank you all for joining me. The following are suggestions. There are no hard and fast rules.

PURPOSE:

1. To provide usable guidelines for inserting dialect and research into historical manuscripts, so that the reader feels immersed in the period without becoming confused or overwhelmed.
2. To provide methods of retaining as much of your color and detail as possible during the editorial process.

INTRODUCTION:

We who love historical fiction do so because we need an escape, a moment’s reprieve from today’s sixty hour work weeks, blended families, bills, and traffic jams. We also love stories that allow us to readily suspend our disbelief and can take us back to a time when men could be seriously alpha without worrying about political correctness. To a time when men didn’t even know they had a feminine side, much less worried about getting in touch with it. Too, we often hope to learn something new about a country or period we find fascinating. I must confess to being one of those readers who loves richly -detailed books, the thicker the better, but not all readers and editors find long passages describing medieval bleaching methods as fascinating as I, which is why we’re here.  

A Truth :

Adding a “Hoot mon!” or portcullis does not a historical make.

Rich, well-researched settings and clothing details are as important as dialect, if not more so, because what we consider dialect is only our modern interpretation of how our characters might have spoken centuries ago.

Yes, we do have historical records that provide clues, but all who’ve read these antiquities know many of our forbearers couldn’t spell to save their souls. When writing in their personal diaries they often spelled phonetically, frequently giving several interesting spellings to the same word. But which is correct, provides the correct accent?

When writing letters, some of our forbearers also went to great pains to appear more educated than they actually were. (The Regency period’s Princess Caroline being a prime example.) That’s not to say people weren’t educated. Many an Englishman, Irishman, and Scot knew a great deal more about ancient mythology, history, astronomy, poetry and the like than we do today, but few had grammar and spelling guidelines to follow, which leads us to the problem of emulating their speech.

Did they really say “M y most honorable and revered cousin” when greeting a favorite relative each year at Michaelmas? They used the greeting when writing, may have use d the greeting when at formal affairs but would they really have used it while standing in th eir own great halls? Today’s man might greet a good friend at the law office with, “Good morning, Bill,” but say, “Hey, bro, how’s it hanging?” in private. It’s likely our forbearers had a formal and informal means of address, as well, depending on the circumstances.  

A good place to start looking for definitions, pronunciations, and spellings are in hard copy reference books. On-line sources are frequently lacking.

Suggestions for personal library:

Gaelic-English English-Gaelic Dictionary: Scottish-Gaelic, by Malcolm MacLennan, ISBN 1-8736-44116

The Auld Scottish Dictionary , Lang Syne Publishers, Ltd. ISBN 1-85217-001-8

British English A to Zed , Checkmark Books, ISBN 0-8160-4239-X

Scottish Historical Documents , Donaldson, G., Neil Wilson Publishing, ISBN 1-897784-41-4

A Classical Dictionary of the Vulgar Tongue , Grose, F., Dorset Press, ISBN 0-88029-766-2

Any “Learn Gael” language textbooks or tapes

Old diaries and personal journals of Celtic speakers found in antique shops and bookstores.

(**One of my most prized possessions is a tattered, 893 page, 1 st edition author-autographed copy of The History of Ireland by Martin Haverty, copyright 1867. My sister-in-law found at a country auction. I think she paid $5.00 for it J , and the language is fabulous!)

Suggestion #1 : Get as familiar as possible with the rhythm and speech patterns you want to emulate.

We can get some idea of the past by listening to contemporary Irish and Scots. If you can’t travel, then watch the BBC, read respected historical writers, buy some Celtic music CDs ( I’ve purchased some outrageous Irish Pub CDs, and some featuring Highland pipes and corals) and find a tavern/pub where Celts hang out. I found a delightful bartender, a new Irish immigrant, in a trendy Dallas restaurant a few years back. Hearing his accent, I mentioned that I wrote Celtic novels. The devil grinned and I spent the rest of the evening scribbling like mad on cocktail napkins, while a dozen thirsty patrons glared at me.

If you can travel abroad, get out of the cities and into the countryside where the accents/dialects are stronger and the pace of life slower. And don’t be afraid to approach the elderly, the lonely. They really appreciate someone who’ll listen.

To the Irish! They, with their long history of poetry and music, have a distinctive lilt, a musical rhythm to their speech, but have you noticed that they often answer a question with a question?

An example: Mrs. O’Leary asked Tom, “What do ye think of Pat Murphy’s pig?
Tom might respond. “And what’s not to like, what with it being so big and plump?”

I found the further west in Ireland one goes, the more pronounced the dialect. Electricity wasn’t installed along the western Atlantic coast, in the areas known as the Rings of Kerry, until 1987, ( ya, seventeen years ago) so local speech patterns haven’t been as greatly influenced by television and radio as those in Dublin and Belfast have been.

The Scots have a very different rhythm. They employ a rolling burr and tend toward a more economical manner of speech, much of which is laced with quick-witted humor. (Long-windedness, I discovered, they hold in reserve for the pulpit, pub debates, explaining their heritage, or when announcing incomprehensible train schedules over archaic public address system...don’t get me started.) Too, the further north you go, the more pronounced the dialect. And do keep in mind as you choose your setting, the southern regions were governed by old titled families (Hamilton, Douglas, Kennedy to name a few,) whereas the north function under the old clan system, which some might be surprised to learn was based of a matriarchal system of inheritance. What we call Auld Scot was more common in the south, Gael in the north. (Out of necessity French was also spoken by the ruling class.)

Suggestion #2: Develop a personal language Cheat Sheet or Glossary.

This will be a serious time-saver as you write. I began mine (before I had my English to Gael dictionary) in a blank telephone/address book that you can find in Hallmark stores and the like. (Hey, it was already alphabetized.) As I hear/discover new words or phrases that I like, I write them down, listing them by their English equivalents.

Example(also see my Glossary):
    Cornflowers; Blavers
    Gold; or
    Highlander; Canteran (derogatory term a lowlander would use for a Highland marauder)
    Stranger or Outlander; Sassenach

Many of our language reference books do just the opposite. The Auld Scottish Dictionary and The Dictionary of the Vulgar Tongue, for example, list words by the Auld Scot and then supply the modern English definitions. There are no reverse references. In other words, you have to know the word you’re looking for--which is a real pain in the tail when all you want is the auld Scot or Middle English for “pack horse” and haven’t a clue whether it begins with an A, Q or a Z. (It’s sumpter, btw.) The Gael-English English Gael Dictionary solves this problem but then its just Gael, doesn’t have everything you might want/need to recall.

Since I started compiling my own glossary, life became easier. Anytime I want to install a little color—call a horse by its archaic name--I simply flip open my telephone book to HORSE and there’s an auld Scot or Gael equivalent at my finger tips. I use the same system for keeping track of French phrases (the language of the medieval courts) clothing and architectural details.

Suggestion #3: Purchase a current Merriam-Webster’s Collegiate Dictionary.

It costs about $45.00 but will save you hours of aggravation. It not only list definitions and origins, but provides you with the year the word came into common use. This is important since copy editors take great pleasure in tagging words you’ve incorporated into your manuscript that weren’t in use during your novel’s period. (Inappropriate words can also drive anal-retentive contest judges a bit crazy...not a good thing.)

During the writing of A MAN IN A KILT (AMIAK), my heroine was describing her early life to the hero and mentioned that she’d been an orphan. As soon as I typed the word, I stopped short. Would Duncan know the word orphan? Did I have to have Beth explain it? What was the auld Scot equivalent? Before I wasted an hour researching, I whipped open the Merriam-Webster. And there it was...orphan: 15 th century, Middle English. Ta Da! I needn’t worry, the hero would understand, and I got on with the scene.

Suggestion #4: Don’t get carried away with the bodles and “I dinna kens.”

Now that you can speak Gael or have an impressive cheat sheet of words and phrases, use them judiciously. Any written dialect, be it Brooklynese (“ Howzit goin’?”) or Scottish (“I dinna ken,”) requires effort to read.   

As important as dialect is to the story’s color and tone, it’s more important that your reader (editor) cruise through the manuscript at a fairly normal reading pace. Remember; Every time your reader stops/slows in order to figure out what you’re saying, you’ve jerk them out of character POV. Not a good thing.

In my time-travel (AMIAK,) we have a 15 th century Highlander and a contemporary heroine. I was often able to define the auld Scot or Gael terms by simply having Beth say, “I don’t understand,” and then have the hero describe/explain. Or I could simply define by letting the reader see an item or situation through Beth’s eyes.

But my hero was a Highlander. As he spoke, I had to use/stay in dialect while keeping a tight rein on archaic phrases and terms. Whenever I thought it necessary, I did add an explanation—for reader clarification—in the very next sentence.

Example: Duncan lunged for his claymore. (For readers who have no idea what a claymore is, I would add something like...) The six foot long broadsword sang as... 

Suggestion #5: Keep in mind that we think as we speak. Your characters should do so in their introspections, as well, but then there is a limit as to how much dinnas, didnas, and kennasa reader/editor can take.

In AMIAK, I was able to use continuous dialect (in both dialogue and introspection) while in Duncan’s POV, only because I gave the reader a regular break whenever I shifted into my contemporary heroine’s POV. But I didn’t have that option in A ROGUE IN A KILT (ARIAK), because both hero and heroine were Scots, he a Highlander, she a Lowlander. To ease the reader’s way into A ROGUE and to keep up the pace, I used dialect only when writing dialogue. It felt odd, since my characters should have been thinking in the same manner they spoke, but my editor agreed that it made for a much faster/smoother read to do their introspection in contemporary English. Did I regret having to do it that way? Yes. Have readers appreciated the sacrifice? Yes...if fan mail and reviews are any indicator. J  

I found myself grinning recently as one reviewer--while giving A ROGUE five stars--added, “My only criticism would be that the author should have included a glossary of medieval and Gael terms. The dialogue can make a reader wode enough to greet.”   Hmmm. Well, I did send a glossary in with the manuscript but my editor nixed it’s inclusion as “pretentious and certainly not necessary.” And please note that the reviewer--despite her complaint--obviously understood the Gael, because she used it correctly in her sentence/review. Job done. Humph!

(And she could have found a glossary on my website www.sandyblair.net)

Suggestion #6: Take it slow.

It’s important that you integrate new words and historical detail in small doses; otherwise you overwhelm the reader or bore them to tears. When it comes to dialect, slow incorporation and occasional repetition will allow time for reader absorption. Soon they’ll be flying past Sassenach and minnie without giving the words a second thought. Now introduce something new. By the time they reach The End, they’ll feel enlightened and brilliant and think you are, as well.

Suggestion #7: Historical details—be they clothing, architectural or political—are best seen through the character’s eyes as they cope with specific situations.

It’s more entertaining for the reader if period details are slipped into the story one or two sentences at a time rather than having them dropped like lead weights about their shoulders in cumbersome six inch paragraphs. Yes, the reader does need to know what the castle or room looks like, but do they really need to know everything all at once? Just give a quick overview as to the size, color, and coziness (or lack there of) of a room when the character first sees it, then add some dialogue. Then describe some of the furnishing, paintings, cleanliness, etc. Put in more dialogue or action, and then add more detail by having someone touch, smell, or feel items within the room.  

If during your research should you discovered some interesting information—say, on whiskey making in the 1400s—and want to incorporate it into the manuscript, you’ve got to come up with a compelling reason for your hero/heroine learning the process. It has to be something they need to know in order to meet their goals/to move the plot forward. To have your hero/heroine simply observe/note the process of whiskey making not only smacks of “info dumping” but slows the plot. If you can’t find a reason for your hero/heroine learning about whiskey, (the silk trade or whatever,) then highlight and save those details on a separate file for another story. Good research is never wasted, nor is it ever a waste of time. Which brings me to TITT books.

We’ve all read TITT (Throw In The Trash) books; those historicals that are written by the seat of the author’s pantyhose, TV versions of history that obviously lack research. Don’t get me wrong. We all make mistakes—incorporate something before it’s time that our copy editors neglect to catch, or we skim over something we couldn’t find valid research on—but these TITT novels were written without the author so much as cracking open an atlas to check her setting’s topography.

When I first moved to Dallas I knew nothing about the area and found a novel in the bookstore set in 1885 Dallas. Hmm, perfect. I take it home and start reading, hoping to learn something about the city’s history. On page twelve the heroine looks out the coach window and sees the mountains to her...mountains? What mountains? Dallas sits on prairie, one as flat as a table top. The closest “mountains” are really hills and are hundreds of miles away. The book hit the trash.

Suggestion #8: Use contractions.

But, you say, the Bronte’ sister’s didn’t use contractions. True, but those gals were writing for a different audience. And Dickens and Twain did use them. Contractions are now part of our everyday vernacular. Incorporating them speeds the reader along. We think in contractions. And who are we to say that those in the past didn’t use contraction? We know they used dinna (I did not,) and twas (it was.)

Too, we all know historicals have been losing {{{shudder}}} market share over the last few years. Is that because they’re no longer interesting? Or is because we often make them difficult/too cumbersome to read with all our formal dialogue and introspection? Think about it.

Suggestion #9: Believe in yourself. Trust that you can deliver a compelling story no matter the setting, no matter the language.

When someone asks, “Who is your favorite author?”   Your answer should be you!

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Writing the Dreaded Synopsis

By Sandy Blair

I hear tell that there are some authors who actually enjoy writing these “stories in brief,” but truth to tell, I’m not one of them. To me a synopsis is simply a necessary evil.

And don’t be dismayed if you discover that a tight synopsis written after the manuscript is finished proves harder to write than the manuscript itself. It’s to be expected, given you’re trying to cram all that emotion and action you’ve created into a few compelling pages. The good news: the editors and agents understand this. They aren’t looking for heart-stopping prose. All they want to know after reading your well-polished partial (and deciding that you can, in fact, write) is, “Can this author carry on in compelling fashion?”

They want to know:

• Is the situation fresh?
• Does the story tension build?
• Does the plot move ahead in logical fashion and without too-convenient contrivances?
• Is it believable?
• Are the characters growing emotionally?
• Is the author’s tone—“voice”—consistent?
• Is there a “black moment” where all appears to be lost?
• Is there an emotionally satisfying ending?

These are the elements you need to showcase in your synopsis. The document should not be a chapter by chapter outline.

Keep in mind; your synopsis is not intended to showcase your “voice,” although it will come through. (That’s your partial’s job.) The synopsis is simply a way for the editor/agent to assess the whole story. Is it compelling? Is it salable? Should she request the full manuscript?

Here are some tips:

• Before you turn on the computer list both the manuscript’s plot and the characters’ emotional turning points.
• Also list your hero and heroine’s goals and greatest fears (motivation) should they fail to meet their goals.
• Set the document for double spaced, Courier New, 12 pt, with one inch margins.
• Use present tense. (It gets easier with practice.)
• Bold type the hero and heroine’s names the first time they appear in the document.
• Avoid flowery, descriptive verbiage (purple prose.)
• Avoid using secondary characters’ names if possible.
• Keep the synopsis as tight as possible. Try limiting the length to no more than 15 pages. If you go over, don’t worry. Some authors submit 24 pages or more, but the shorter your aim, the less likely you’ll be to ramble and include unnecessary information. If you’ve included all your turning points, etc, and end up with only eight pages...good for you! You’re better at this than I am.

When crafting a novel, authors’ plotting styles vary. (i.e. some use the “three acts” style.) I tend toward a roller coaster ride. Subsequently, I start a synopsis with a brief description of my lead characters and state their goals/fears, followed by the inciting incident that brings the characters together. I follow with one or both characters’ emotional reactions to the meeting, follow that with their responding action and follow that with a character(s) emotional reaction and subsequent action, and so forth and so on. In a nut shell I have the plot and emotional growth march in sync, building to the dark moment then end with the emotional resolution.

I hope this assists you in writing your next synopsis. I wanted to include a copy of a synopsis that sold but have limited space here. If you’d like a copy of a synopsis, please contact me at Sandy@sandyblair.net.

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Writing the Query Letter

By Sandy Blair ©

No one enjoys crafting a query letter, but here are some tips, which might make the process a little less painful.

Basic Tips:

1. Use Courier New, 12 point, single spaced. (Many editors say they prefer reading Courier because it’s easier on the eyes, although they do read others. I say, “Make ‘em happy.”)



2. Always check an agent’s or publisher’s web site for submission guidelines before querying. Some take e-queries. Others want hard copy. Some request only the letter, some request the first 50 pages, and others request a three chapter partial.



3. Be sure you have the correct spelling of last names and use a formal manner of address (i.e. Dear Ms. or Dear Mr...even if you’ve interviewed in person and she said at the time, “Call me Mary.”)



4. Be sure you have a current address. Editors and agents do move frequently.



5. Have someone proof your letter for typos before mailing.

1. The manuscript title



2. The genre or sub-genre. Include the target line if known.



3. Approximate word count by computer word count (easiest and now acceptable) or calculated by multiplying 250 x the number of manuscript pages, that manuscript being written in Courier New, 12 point, double spaced with one inch margins.



4. Period/year if historical.



5. What the story is about: The manuscript’s Universal Theme (i.e. Love concurs all, two wrongs never make a right, etc)

Example:

Sink or Swim, a 75,000 word contemporary romantic comedy set in the Pacific Northwest, explores the dangers of generalizations and preconceived...blah, blah.

Example:
Sparks fly when Women’s Rights activist Alley Murray goes on a much-needed vacation and she finds herself stranded on a deserted isle with the “King of the Conservatives,” radio talk show host Mike Fraser, a man who firmly believes a woman’s place is in the home after his wife left him and their two children for a co-worker. The lone survivors of a tourist helicopter crash, they have to overcome personal prejudices and join forces in order to survive...

THE COOK:
This 3d paragraph of your query letter should include:
1. Any books, short stories, or articles you’ve previously sold.



2. Any awards this manuscript has won.



3. Any significant non-writing awards you’ve won, (i.e. Iron Man Triathlon, Miss California, an Olympic Gold medal, whatever might capture the agent/editor’s imagination...*marketing.)



4. Any specific skill sets that make you particularly well-suited to write this story, (i.e. you’re a homicide detective and your submission is a Romantic Suspense.)

Tip: The recipient editor/agent doesn’t care that you’ve been writing since age 4, have read every book ever published or that your family and friends loves what you write.

The CLOSING:
1. A brief thank you



2. Mention of the partial and the SASE you’ve enclosed.



3. Signature, typed name, addy and contact email

Tip: Don’t bother to say that hope that he/she enjoys the story. It’s not only a waste of precious space (you only have ONE page to tell all of the above) but the editors and agents already know that you’re not only “hoping” that they’ll like it but are praying like mad that they will.

SAMPLE QUERY LETTER:

Mary X
XYZ agency
100 5th Avenue
New York, NY 10002
June 21, 2010

Dear Ms. X
In my 100,000 word contemporary Romance, Tell Me It’s Not True, sparks fly when Women’s Rights activist Alley Murray goes on a much-needed vacation and finds herself stranded on a deserted isle with the “King of the Conservatives,” radio talk show host Mike Fraser, a man who firmly believes a woman’s place is in the home after his wife left him and their two children for a co-worker.

The lone survivors of a tourist helicopter crash, they... etc.

Previous Sales: a romantic short story to Woman’s World, $500.
Member of Romance Writers of America and NINC

Thank you for your time and consideration. SASE enclose with my three chapter partial.

Sincerely,
Author
100 Glen Lane
Podunk, AK 12345
Author@authorgmail.net

Short and to the point.

And should you receive a rejection, take it in stride. Remember, your success isn’t solely dependent on your ability to write—your “voice”—but on you getting the right manuscript on the right desk at the right time. What’s popular today may not be six months from now. Don’t chase trends. Write what you love to read and read what you like to write—so that you know “good” from “mediocre”—and do it from your heart.

Sandy
www.SandyBlair.net

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The ABCs of Solid Storytelling

By Sandy Blair

Remember those wooden ABC blocks children had before Legos became popular? The A block, for example, not only depicted the letter but had an apple, an aardvark, etc., on it. All you needed was a little imagination and you could make anything your heart desired from an alphabet tower to a zoo train. Now apply the concept to story telling. Here are some Romance blocks to play with.

Audacity. Either the hero or heroine should have a healthy dollop. They'll not only need it to overcome the mounting obstacles you're putting before them, but it will also keep the reader turning pages in hopes of finding out what on earth this character is going to do next.

Think adversarial attitudes while coping with allure, of opposites attracting. Also think action and adventure (capture the reader's imagination.)

Beauty, be it in your prose, characterizations or settings. People are instinctively drawn to beauty. Why else would we bother to visit Yosemite or read poetry and Vogue?

Charisma. Particularly in the hero. The reader has to want this man as badly as your heroine does. Think clever, cool and collected. Charming when it suits him, caustic should he need be. And always capable and compelling. Burn that hero's name and image into your reader's memory. If I say Jamie Fraser, many of you immediately recall a brawny, auburn-headed Highlander from Gabaldon's OUTLANDER. If I say Dallas, Houston, and Austin, many will call to mind images of Lorraine Heath's three seriously handsome and determined Texans. You can create the same compelling images by generating charisma.

Deep emotion. Charcoal grey doesn't cut it when it comes to the "black" moment. Don't hold back. Don't settle for angry when you can make the hero or heroine furious. Don't settle for saddened when despair will make your reader cry. Desperate is good.

Energy. We live in a fast-paced, sound bite world. Few readers (or editors/agents) have patience for redundancy in either introspection (repetitive angst) or dialogue (your re-telling of information that the reader already knows as characters interact.) Keep the story moving.

Facts. Create interest by incorporating a little something that the reader may not know about a profession or time period. But be frugal and only incorporate that which the hero or heroine needs to know to meet a goal.

Geography is so much more than structure and landscape. Breathe the course of life into your settings. When the wind blows what do you smell? Fresh cut hay and roasting venison or garlic-infused sauce simmering on some unseen stove high above the rank steam emanating from a sidewalk sewer vent? What does a whipping wind carry? Pollen and the bleating of newly-shorn sheep or pages from a forgotten newspaper and a dozen discarded fliers offering free HIV testing?

Humanity. We instinctively infuse foibles and compassion into our heroes and heroines but often forget to do the same for our villains. Don't run the risk of taking some of the punch out of your story by creating a two dimensional adversary. Typhoid Mary took great pride in her work as a cook for the wealthy, refused to knuckle under when faced with adversity.

Imperfection. Be it a physical imperfection or a character flaw, it's often the very thing that draws a reader to a character because they recognize themselves.

Jealousy. A little competition is good for the soul. It forces the characters re-evaluate their position and goals.

Kissing is good but sex sells. And memorable love scenes aren't crafted by focusing on what body part is rubbing against what other body part but by delving into what's going on within your characters' heads at the time.

Love, so deep and abiding that one character will willingly die for the other.

Mischief. A little goes a long way but often makes the reader smile.

Novel. Think fresh even if your high concept is nostalgic. Take it where no one has gone before.

Opposites do attract. But go beyond the "She's neat, and he's a slob." Or "She needs her large supportive family, and he's a loner." How about exploring conflicting outlooks on what constitutes a healthy lifestyle, faith, coping with loss, courage, money management, friendship, death, etc?

Possession (Thought I was going to say passion, huh?) Your hero has to believe to his bones that if he plans to stay sane he has to have this heroine; body and soul. Your heroine (wiser, knowing those steely pectorals may someday grow soft,) should have a driving need to possess even more...This man's heart/unwavering devotion.

Questioning one's motives and goals is an integral part of character arc/growth.

Riches. Unless you're writing another Grapes of Wrath, think about giving either the hero or heroine an abundance of something your readers might desire, be it talent, land, power, courage, a close family, or whatever. Then balance that wealth by making the character deplete in something equally desirable.

Stealth. Take the reader by surprise in the last paragraph of every scene if possible, not just at the end of every chapter. Hook 'em as much as possible.

Timing is not only a matter of story pacing but of you getting the right story on the right desk at the right time. Be tenacious.

Universal theme. This is your story's heart, the keystone upon which every chapter stands and to which every reader can relate. Come up with it before you start and you won't find yourself written into a corner or wondering, "Where the h*ll the story is going?"

Voice isn't static. It matures with the writing and with time. Forget about writing that "great beginning" in the beginning. Don't waste time rewriting that first page or first few chapters over and over. What might satisfy you now won't necessarily satisfy you or be appropriate for the story by the time you reach the end. Just write and the perfect beginning will make itself known.

Wrangling is a mistake. If you find your characters taking you down paths that you never envisioned, don't fight them. Give your characters the reins. Trust your muse. What's more important: that detailed outline you slaved over or your story ringing true?

X, Y, and Zip code on the envelope, (don't forget the SASE) and off it goes. Wishing you the best of luck with submissions.

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PUBLISHING OPTIONS

Hi,

By now many of you have seen Romance Writers of America’s—and Mystery Writers, Fantasy Writers, etc, etc—responses to Harlequin Enterprises starting a self-publishing division. If you’re new to writing you may be wondering what all the hoopla is about or have questions regarding publishing options and which might be best for you. Here are some of the advantages and disadvantages to each.

TRADITIONAL PUBLISHERS (Avon, St. Martins Press, Simon & Schuster, Bantam, etc)

Advantages:

1.)  National placement of your book in brick and mortar bookstores (i.e. Barnes and Nobles, Borders) in superstores (i.e. Wal-Mart, Sam’s) in supermarkets, drugstores and on-line (i.e. Amazon.com)

2.) Advances you get to keep even if your book doesn’t sell as expected.

3.)  Potential foreign language, publisher book club, and Kindle sales.

4.)  Royalties

5.)  In-house publisher promotion will vary dependent on their enthusiasm for the work but can include promotion on publisher web sites, Advanced Reader Copies (ARCs) sent to their “A list” reviewers, publisher paid “Co-op” (front of store or end-cap placement for your book) in bookstore, special in-store displays, print ads and for those fortunate enough to be living in the most rarified of air—the publisher-sponsored book tour.

5.)  RWA’s Published Authors Network (PAN) eligibility and access to “PAN only” sessions at RWA National and other conferences

7.)  RITA eligibility (our industry’s Oscars)

8.)  Bookseller-supported book signing availability. (The bookseller orders your books, set up the table, posts signage, handle the money, report sales and deal with sales taxes, etc.)

9.)  You hitting bestseller lists is within the realm of possibility

Disadvantages:

1.)  A limited number of titles are accepted and produced each year.

2.)  Slowest production time from point of sale to the book being available to the public

3.)  Authors may have little or no input into cover art, title, etc.

4.)  Royalty payments: You must earn your advance before receiving royalties, which will be sent only twice a year and issued 18 months or more after the initial release date.

5.)  Monies are often held “in reserve” against returns (unsold copies)

6.)  If your sales numbers fail to meet publisher expectations you may be dropped from their list of authors.

7.)  The majority of authors have to augment in-house promotion with promo of their own.

E-PUBLISHERS (Wings Press, Wild Rose Press, Ellora’s Cave, etc)

Advantages:

1.)  Fastest production time from point of sale to the book being available to the public

2.)  Higher number of releases per year than traditional publishers

3.)  The work may go to print or Print on Demand (POD) depending on your publisher.

4.)  Authors often have input into cover art

5.)  Royalty payments are paid monthly-quarterly and at a higher rate than traditional publishers

6.)  No monies “in reserve” against returns

7.)  Books are available through the publisher’s sites, on-line bookstores and Kindle

8.)  E-books tend to be slightly lower in price than hard copy books.

9.)  E-book sales are climbing thanks to portable E-book readers (i.e. Kindle, Sony, I-Pods)

Disadvantages:

1.)  No advance, so you’re taking the bigger risk when signing over rights

2.)  The possibility for brick and mortar store placement depends on your publisher and your sales numbers. Many titles never go to print or are only available as POD

3.)  Rare or no foreign language sales

4.)  In-House promotion is limited to publisher web sites and some print ads. (Making ARCs and sending them to book reviewers, etc, is your responsibility.)

5.)  RWA PAN eligibility is dependent upon your book’s earnings reaching RWA’s set minimum of $1,000

6.)  E-publishers tend to go out of business more often than traditional houses and you could find yourself fighting to get your rights back

7.)  You’ll have difficulty arranging bookseller-supported book signings if your book is only available in e-book format or if unsold print copies cannot be returned to the booksellers’ contracted wholesaler (i.e. Ingram’s) for refund.

VANITY & SUBSIDIARY PUBLISHERS (Aventine, Authorhouse, Harlequin Enterprises’ self-publish division, etc)

Advantages:

1.)  No rejection to deal with

2.)  Editorial support is available but you retain control over the final look and content of the work

3.)  Only your pocketbook limits the number of titles/releases and the print run sizes you have each year

4.)  You get to keep 50-100% of the money generated by each sale

5.)  You keep all rights

6.)  Customers can order books from your web site and through on-line stores (i.e. Amazon.com)

Disadvantages:

1.)  Expensive. By the end of production process the cost to the author (dependent on the house) can be as high as $31.00/per copy for those 25-50 “free” author copies you’ll be given. (Detailed editing will drive the cost even higher.) Now you have to order books for Xmas, speaking engagements, libraries, etc.

2.)  The more expensive the book, the more difficult it is to sell in this economy, and then the reader has to think about shipping & handling.

3.)  No In-house promotion other than written suggestions on what to do.

4.)  No national in-store placement so the book has limited exposure and “impulse buyer” sales.

5.)  Rare or no foreign language or publisher book club sales

6.)  Being self-pub’d you do not qualify for RWA PAN Recognition nor is the work eligible for entrance into the RITAs or RWA chapter contests

7.)  Arranging book signings is difficult. When you do arrange one, you have to order the books, transport books and handle the money.

8.)  In Texas you have to keep track of varying city/county sales tax rates, keep track of tax monies owed and pay various municipalities quarterly.

9.)  Some self-publishing houses do set “minimums” for print runs so you may need to find storage.

10.)  The chances of you being hit by lightening are greater than those for you making a bestseller list

So which publishing route is best for you? Only you can decide.

If you have questions please don’t hesitate to email me and ask.

Sandy

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