HABITS OF THE PRODUCTIVE WRITER

Recently I was asked to be guest author for a book-in-a-week challenge group. Of course, that got me thinking about my own writing method. I write two to four books a year, which means I have to keep working at a steady pace.

Long ago, I used to write slowly, then spend a lot of time editing. I figured out about fifteen years ago that I could write fast, then fix any problems later–if something needed fixing. But part of my process is to start each day editing the text I wrote the day before. That gets me back into the story.

A key factor that allows me to write fast is having an outline to work from. With an outline, I know where the book is going. Without one, I might write scenes that don’t really fit into the book. I know outlining is difficult for some writers, but it’s a skill that can be learned. And I’ve found that it’s a lot easier to fix a fifteen-page outline than it is to fix the same things in a 400-page book.

Even when I have an outline, I must think about every scene as I write it. Often my outline is very vague on details. It might say, “And then they escape from the psychotic killers,” and I have to figure out what’s really happening and if it’s even going to work the way I thought it would.

Also, I don’t think a writer can justify a scene just for “character development.” It’s got to also advance the plot in some way.

Since I’m writing romantic suspense, I must make sure that each scene carries both the relationship and the suspense. For example, if the hero and heroine are going to kiss or make love, they must also be thinking about the danger stalking them. Often, I also alternate scenes with the bad guys looking for them or planning what they’re going to do to them when they catch up.

There are times when I write a scene that I know isn’t quite right. I write it anyway so I can move forward and think of it as “holding the place” for the scene that’s going to work better. If you’re trying to write really fast, you may have to go with that concept. On the other hand, sometimes I do get stalled. If a scene simply won’t flow at all, it means I don’t understand the character motivation. Or I haven’t blocked out the action well enough. If any of that’s true, I GET UP from the computer. Sometimes just walking away for a while helps me think. Other times, it may take a couple of days to figure out what’s wrong. In that case, I might pick up another project until I get unstuck.

When I develop a story, I think about character and plot at the same time. My h/h must be the right ones for the story I’m telling. And the plot must be designed for THOSE CHARACTERS. I try not to have someone do something “out of character” just because I want or need it to happen. I call that “jerking the characters around for the sake of the plot.” If I want the heroine to do something stupid, I start early in the book establishing that she WOULD do it. In LASSITER’S LAW, for example, I have her creating the crisis for the action climax by turning herself over to the bad guy. I start very early in the story building up to that moment so the reader would believe she’d done it.

In KILLING MOON, my hero, Ross Marshall, is a werewolf detective who uses his wolf senses to solve crimes. His specialty is finding missing persons, and as the story opens, he’s stalking a serial killer. But he’s also concerned about his genetic heritage. Which is why I pair him with a woman who’s a physician and a genetic specialist. They meet after the killer wounds him, and she saves his life. Yet she knows he has secrets and wonders what kind of man she’s fallen in love with. As the plot unfolds she becomes entangled in the investigation. Five years ago, Ross ripped out the throat of another serial killer after the cops failed to act. He’s sworn never to kill again. Until he has to save the heroine’s life.

As I develop the plot and characters, I also think about the location. Where will this story take place? LASSITER’S LAW is set in Western Maryland because I wanted the heroine to be hiding out in the rural environment where she grew up.

KILLING MOON is set in the Maryland/DC area because that’s where I live, and I know it well. My werewolf lives out in the country where he can roam in wolf form. But he has easy access to the DC suburbs. I also picked the location because I think people find this setting interesting.

When I have enough details to feel comfortable with my location, I get to work, although I might have to do some research as I write. For KILLING MOON, I drove to Montgomery Mall and got to know the shopping center.

For LASSITER’S LAW, I relied on trips I’d taken to Western Maryland.

I’ve been asked if I wait for inspiration or work every day. My answer is that a career novelist must make a commitment to a regular work schedule. If I’m writing a first draft, I try to produce ten pages a day. Sometimes I can do more, but if I push too hard, I’m likely to turn out less the next day.

The good news is that the more you write, the easier it becomes. I think everybody’s got a “writing muscle.” Like any other muscle, it becomes stronger with exercise.

So don’t be afraid to plunge in. Give yourself permission to write pages that are less than perfect. You can always fix them later.

WHAT COMES FIRST, PLOT OR CHARACTER?

What comes first? Plot or character? For me, they’ve got to develop together. My characters must serve my plot, and my plot must work with my characters. I could think of a great story about a guy who’s living alone in a mountain cabin and is visited by space aliens, but what’s he doing in that cabin? Why is he alone? How is he going to deal with lizard-like creatures knocking on his door? And the larger question–is the reader going to believe his reactions?

One lesson I learned about my stories. They’re not reality. It’s a world I create. But I’ve got to make it look, sound, feel, taste and smell real to the reader. The way to do that is by paying attention to every detail from characters and plot to setting and dialogue. Yet some details are more important than others. I’m sure you’ve had the experience of picking up a book and starting to read–then giving up after a few pages or a few chapters. Why? Probably because you didn’t like the plot or you couldn’t connect with the characters.

I absorbed a lot about writing techniques through my love of reading. In my teens, one of my favorite authors was Sinclair Lewis. He was brilliant at character sketches. In just a sentence or two, he could get inside the personality of a small town mayor or the head of a major corporation. But he was much less adept with plot. His stories moved slowly, and eventually I stopped reading him.

Contrast that with the action-packed movies being produced today. They serve up chases, explosions and world-crushing meteors, bombarding the screen one after the other. But mostly they don’t interest me unless they focus on compelling characters as well. And they justify the action with logic.

I’ve learned my craft from reading authors I admire, by studying movie techniques, and by figuring out what works or falls flat. Then I go back to my own stories. Every book I write begins with what I’d call a “cool idea.”

Take my October Berkley release, DRAGON MOON. What if a frightening dragon-shifter monster from my parallel universe planned to invade our world? What if he sent a spy here–and she had to figure out how to free herself from his hold on her?

I always plan to start with a gripping first scene that will plunge the reader into the action. In DRAGON MOON, Vandar, my dragon-shifter monster, flies over his domain, lands and gathers his slaves so he can execute one of them by drinking his blood. Then he thinks about his current project–invading our world and how he’s going to accomplish it.

He focuses on Kenna, a woman with telekinetic powers. She’s a slave–but I don’t want her to be too cowed. So I decided she’s only been in captivity for the past few months.

Since I’m writing romantic suspense, Kenna will develop a relationship with a man she comes to love. And because I’m writing a werewolf series, it’s going to be another one of my Marshall men. Talon Marshall. I want him in an isolated location, so I have him leading wilderness expeditions–and living at a former hunting lodge in the woods.

Kenna stumbles into our world and immediately gets into trouble when a fallen tree traps her during a thunderstorm. Talon rescues her, and they’re quickly attracted to each other. She wants to tell him why she’s in our world, but Vandar has made it impossible to speak of her mission. When she tries, terrible pains in her head incapacitate her. So I’ve trapped my characters in what looks like an impossible situation.

I always try to outline my story in advance, because I want to understand where it’s going. If you don’t know what goal you’re working toward, how can you know how each scene will advance the plot? But there are always details to discover along the way. How exactly are Talon and Kenna going to defeat Vandar? They can’t do it on their own.

They’re going to need the other Marshall werewolves and their mates. But even with the Marshalls working together, they’re not strong enough to go up against Vandar. They need someone with powers that equal the dragon- shifters–and he’s the surprise character I throw into the mix.

Because I write romantic suspense, the romance relationship develops as Talon and Kenna are struggling with the danger hanging over them. Talon’s afraid he’s bonding with a woman he can’t trust. He knows she’s hiding a secret, and he’s upset that she doesn’t trust him enough reveal it to him.

To give my stories extra punch, I often try to weave more than one threat through the plot. In this case, as the book starts, Talon has discovered a buried trunk full of stolen money and turned it in to the police. The bank robber, Mitch Sutton, who stole the money, knows Talon turned it in and wants to get even. And while Talon is off leading a wilderness expedition, Sutton almost kills Kenna.

The two threats come together when Sutton follows the Marshalls into my parallel universe as they get ready to battle Vandar and his forces.

As the book progresses, plot and character continue to work together. Kenna and Talon face an escalating series of high-stakes perils, but in every case their reactions to each other and to these threats are the most important factor in every scene.

I try to create the perfect people for my plot, but the characters don’t come fully alive for me until I start writing the book. It takes me about three chapters to get into their heads deeply enough to know how they will react in each situation they face. As I write, I may go back and fill in more about their character so the reader can understand them better. Still, I try never to overload any one part of the story with too much background. To my way of thinking, “character development” can never be the only reason for a scene. Each scene has to move the plot forward toward an ending that will satisfy me and the reader.

How do you feel about plot and character? Do they function together for you? Or is one more important than the other?

BELIEVE IN YOURSELF

It’s a big cliché in the writing business: “Believe in yourself.” Yet it’s true. If you don’t believe in yourself, who will?

I was thinking about my werewolf series today because the ninth book, DRAGON MOON, is out October 6 from Berkley. Nine werewolf books. Unbelievable. How did I get here?

It all started years ago when I read DARKER THAN YOU THINK, by Jack Williamson. I was fifteen and an avid reader of science fiction and fantasy. That book, about a man being guided into his werewolf powers, really spoke to me. Maybe it was that universal teenage angst. There were aspects of my life that I hated, and I wanted to be somewhere else. Williamson made me want to be a werewolf. It sure beat my high school feelings of inferiority–in and out of the classroom.

Later, after I was married and my own kids were in middle school, I saw a review of THE WOLF’S HOUR, by Robert McCammon, in the Washington Post. I chomped at the bit to read that book, so I ran out to Waldenbooks and bought it. Another peak reading experience for me. I LOVED McCammon’s hero. He was so much like the heroes of the romances I was reading. Only he was a werewolf, and it was clear that he wasn’t going to bond permanently with any woman.

At the time, few publishers were buying paranormal, but I kept thinking about a werewolf hero, and I wanted to write one. Yet I kept thinking, “Who would buy that kind of book from me?” For four or five years, I talked about a werewolf story. Finally a friend said, “Either stop talking about that story or write it.” As I always do when I’m working on a book, I came up with an outline. I was selling steadily to Harlequin Intrigue on proposal, but I knew I could never sell a werewolf book on proposal, so I wrote KILLING MOON while I was writing my Intrigues. In the middle of the book, my agent retired, and I had to find a new agent. I decided it had to be someone who would love my werewolf story. Lucky for me, I found the right agent.

Berkley was just starting a “dark paranormal line.” My new agent sold KILLING MOON to Berkley, who promptly closed all their “lines.” But they made my story a launch book for their new Sensation imprint. They wanted more werewolf books, and I found myself writing a series that I hadn’t planned.

The first books were fairly conventional, except for the werewolf element. But lately they’ve acquired more “out there” elements, like my alternate universe that runs parallel to this one. The heroine of DRAGON MOON is a woman named Kenna, a slave from my alternate universe. She’s sent here to help her ruthless dragon-shifter master invade our world. She meets werewolf Talon Marshall and desperately wants to tell him her frightening secret. But every time she tries to reveal her plight, excruciating pains stab into her head. Even as Kenna and Talon fall in love, he can’t trust her. And she struggles to break through the barriers that control her mind. It’s classic romantic suspense, with the paranormal twists I love.

I had a wonderful time writing about Kenna and Talon, but another character, Ramsey Gallagher, plays a big role in the novel. I fell in love with him, and lucky for me, I’m writing his story right now. He’s a dragon-shifter who’s been on earth for more than a thousand years and is trying to discover his heritage.

I want to urge you to follow your bliss–whether you’re a writer or you’re in some other field. The Moon series has been an awesome adventure for me. And Berkley pays me to write these books!

Have you ever wanted to write a book but were afraid it wouldn’t sell? Or have you ever wished an author would write a certain kind of book?

Museum of Crime and Punishment

If you’re planning a trip to DC, there’s a new museum you might want to check out. The National Museum of Crime and Punishment at 575 7th Street NW, right in the heart of the revitalized downtown area.

They lured me in with a summer special for Maryland, DC, and Virginia residents. If you arrive after 6 pm, when things are slow, you get in for $6. What a deal. Turns out, those hours were perfect because the best interactive exhibits weren’t crowded.

The museum starts with historic crime and punishment, and you might want to speed past the medieval torture devices to get to the more relevant modern exhibits. Although I did get a kick standing next to the bullet-riddled Ford where Bonnie and Clyde were gunned down. And also my up close and personal inspection of the French guillotine.



If I got a chance to redesign the museum, I’d put in more interactive exhibits. A lot of the early material consists of pictures and explanations–like the strict rules for Sabbath behavior in colonial Massachusetts.

You can also look at pictures and read about such notorious episodes as the Lindbergh kidnapping, Patty Hearst and the Symbionese Liberation Army, Ted Kaczynski, Robert Morris (the kid who launched the worm that almost brought down the Internet) and serial killers like John Wayne Gacy, Ted Bundy and Jeffery Dahmer. But some exhibits feature mock-ups or props–like the luxury jail cell where Capone was incarcerated. You can also inspect a real electric chair and gas chamber (with explanations of how they were used.). Then on to lethal injection.

The farther you get, the more “good stuff” there is, like the makeshift weapons confiscated from U.S. prisons and a chilling lecture from a warden to new inmates. (Life as you knew it is over. You will have no privacy. You will obey all rules. If you’re good, you’ll get assigned a job where you can earn twelve cents an hour.) Then you can step inside a jail cell–and escape through a hole in the wall.

Other fun exhibits include a morgue, complete with a “body” on the autopsy table, the crime lab, the lineup, where you can join a crew of skuzzy looking guys. You can also see mug shots of famous people, including Frank Sinatra and Mel Gibson and guess who they are. Of course, there’s also that notorious shot of Nick Nolte.

The most fun stuff was near the end. I watched several people drive a police patrol simulator, then tried it myself. Since most of them ended up crashing or hitting pedestrians, I drove very cautiously. I never would have caught up with the speeder if he hadn’t stopped and waited for me. Next was the best of all, the FBI shooting scenarios, where you’re given a “gun,” then watch a scene unfold on a big screen. When a bad guy tries to shoot you, you try and nail him first. I’m glad to report that I killed him.

In the basement is the studio where they shoot America’s Most Wanted. You can tour the sets and get a friend to point a video camera at you. The picture’s shown on a big screen in the exhibit. But it’s in back of you, so you can’t check yourself out while you’re on camera.

All in all, a fun three hours if you’re into crime and punishment. And a lot to absorb in one visit. I’ll have to go back for more.

You can see the hours and prices for the museum at http://www.crimemuseum.org/purchase_online.html .

Rebecca

From Noah Fielding

There’s a scene in my August Harlequin Intrigue, MORE THAN A MAN, where Noah Fielding wakes up weak and confused. He’s survived a near-death experience, but he doesn’t know where he is–or what time period he’s in. I don’t have room in the book to go into his thoughts in depth. But I’ve written them here, from his POV in first person present tense.

Captivity. Again. But where and when?

Disjointed thoughts swirl through my head, and I can capture none of them. I hear a woman crying. Who is she? Does she weep for me? I try to grab a memory, but it slips away, and I want to scream in frustration. But I cannot speak. Cannot move. Cannot even open my eyes. And my body is on fire.

I fight the agonizing pain in every cell of my body, praying for death. But death eludes me–again.

Where am I? Do the Franciscans have me in the cellars below the abbey, confined because they think I’m in league with the devil? No, that can’t be true. I escaped from the monks long ago.

Has the Doge of Venice arrested me for shipping treasures out of his city-state? But didn’t I bribe my way out of his prison?

Am I in the clutches of the Nazis–because they think I’m spying for the Allied forces? No, I remember escaping from their transport van in a hail of bullets. They left me for dead by the side of the road.

I lie in the dark, trying to clear my head as jumbled images dance like scenes from a nightmare behind my closed lids. So many centuries. So many lives. And always I must hide my identity. I was born in a small village in England. Centuries ago. But I am always apart, separated by my long life and the need to hide my true identity. That was easier centuries ago. I could pretend to die and disappear into the mist. Today computers keep track of everything.

Computers. Ah. Finally I have a reference point. This must be late in the 20th century–or the 21st.

A woman’s cries bring another stab of pain. I have longed for love, yet over the lonely centuries each woman in my life has left me. Some have run from me in horror when they learned my secret. Some have tried to kill me in their anger when they learned my secret. But the worst is when they grow old and die, while I stay the same. Always the same. Year after year. I look like a man in my early thirties with a full head of hair, a vigorous body and a sharp mind. Yet I am centuries old.

Finally, I know where I am and that Olivia, the woman I love, is with me.

My throat constricts as I think of the anguish I have brought her. My eyes flutter open, and I try to speak. But my throat is still too raw.

Oh Lord, Olivia. I didn’t have the courage to tell you my secret for fear you would leave me. You think I’ve sacrificed myself for you. But now I’m coming back to life before your eyes. I see the joy on your face. The wonder. But also the shock and the knowledge of my betrayal. I couldn’t tell you the truth about myself, and now you’ve found out in the most horrible way imaginable.

Fear claws at me. A monster of a man named Jarred Bainbridge holds us both captive. Can I save you from him–or is it already too late?

Noah Fielding.


So would you like to live forever? What are the disadvantages, do you think?

Rebecca

Would You Believe?

When I saw the cover of MORE THAN A MAN, my August Intrigue, I did a double take. The great-looking guy on the cover is the spitting image of my son. Did the art department find a picture of him? Or is it just an accident? The skin tone’s off. My son’s got more olive coloration. And his hair is shorter. But that’s HIM. And if he ever sees this post, he’ll probably come after me with an ax for telling you about my reaction to the cover. I know he doesn’t see himself as the hero of a romance novel. (He once did a sarcastic review of one of my books for a literature class he was taking at the University of Maryland, where he pointed out that the brand of car my heroine drove changed in the middle of the book.)

On the other hand, he’s obviously a danger junky. He’s a State Department Foreign Service Officer, and his assignments are mostly in places I don’t want to visit, like Albania and Kazakhstan. The exception was a posting to Moscow a few years ago. Right now he’s in Afghanistan, on a Provincial Reconstruction Team. And he’s volunteered to stay another year, this time at Kandahar Air Base. Where I can worry about him some more.

He’s due to come home for a brief vacation in–wait for it–July, right around RWA. But his home base is DC, so I hope to see him during the conference. Maybe I can even persuade him to stop in at the Marriott so everybody can compare him to the MORE THAN A MAN cover. If I break away from the conference for a few hours, you’ll know it was to have some time with him. I’d love to rent a beach house for a week while he’s here and get the family together. But I don’t know if it’s going to happen, since he hasn’t answered my questions about when exactly he’ll be in town. How’s that for a cliff-hanger?

Rebecca

Name that Wolf Contest and BRIDE OF THE WOLF

A few weeks ago, I promised you some information about my “Name that Wolf” contest. Right now he’s called Wolfie. But I’d love some help with a new name for him. Something exotic and romantic and perhaps a bit dangerous. I know that makes him look a little bit toothless, but I use it to disguise his savage nature, since he sits in my living room, and I don’t want him to scare little children who visit. Here he is about to eat an Abyssinian cat.

To enter the contest, you must go through my Web site. All the rules are at www.rebeccayork.com/contest.htm .

If I pick the name you selected, I have a fun prize. You get to have YOUR name used in the next shape-shifter book I write.

I’ve got another contest running as well–with some book giveaways. You’ll see it in the same place.

And here’s another blog tour--

Bride of the Wolf by Jennifer St. Giles (Shadowed Series Book 4)

Release Date 4/28/09

When the heroic werewolf Navarro is trapped in the twilight realm, his Shadowed comrades are unable to rescue him. Only a passionate woman with a spirit as wild as his own can set him free….

Oil heiress Marissa Vasquez fled the jungles of Belize to avoid becoming a pawn in her vicious uncle’s wicked schemes. Though she has found temporary sanctuary in little Twilight, Tennessee, only in her dreams does she taste freedom. At night, her spirit intertwines with a magnificent black wolf, and they run together under the glow of a forest moon. When a wounded stranger is brought to the camp where she is hiding, she glimpses in his eyes the mysterious being who has been the partner of her visions. But before she can explore her strange reaction to this man, they are kidnaped and imprisoned once again.

Navarro is a shape-shifting Shadowman, captured by the evil Vladarian vampire who hopes to control Marissa. Injured and blind, he struggles to regain his warrior’s strength as they fight for their freedom — and their lives. Together, their spirits form a powerful link matched only by the passion they discover in each other’s arms. But can a mortal woman attain true love with a man who is half wolf? And will their enemies give them time to find an answer?

Reviews

“With a spin that will shake fans with delight, Jennifer St. Giles continues to make The Shadowed saga one of the best urban romantic fantasy series on the market today.”—Klausner

“Magically believable and overflowing with affecting emotions, BRIDE OF THE WOLF holds your attention during every gripping scene.” Singletitles.com

“Jennifer St. Giles packs an emotional punch that will take your breath away.” Bitten by Books, Brianna.

“BRIDE OF THE WOLF is yet another intense and powerful story from the very talented Jennifer St. Giles.” CK’s Kwips and Kritiques, Debbie

Excerpt: http://jenniferstgiles.com/brideofthewolf.shtml

Cover: http://ecx.images-amazon.com/images/I/51aCDt9I9HL.jpg

Website: jenniferstgiles.com

Blog: jenniferstgiles.blogspot.com

USA Today Bestselling Author, Jennifer is a former nurse and homeschooling mother of three. She has won a number of awards for writing excellence including, two National Reader’s Choice Awards, two time Maggie Award Winner, Daphne du Maurier Award winner, Romance Writers’ of America’s Golden Heart Award, along with RT Book Club’s Reviewer’s Choice Award for Best Historical Gothic/Mystery. Website: jenniferstgiles.com Blog jenniferstgiles.blogspot.com.
Books: The Mistress of Trevelyan 8/04, His Dark Desires 11/05, Midnight Secrets 5/06, Touch A Dark Wolf 9/06, Darkest Dreams 12/06, The Lure of the Wolf 7/07, Silken Shadows 12/07, Kiss of Darkness 4/09, Bride of the Wolf 5/09. Point of No Return: Mammoth Book of Vampire Romances Book 2 9/09. Romance’s first graphic e-book through betweenyoursheets.com. Jennifer St. Giles writing as Jennifer Saints in Wild Irish 5/09 and Smooth Irish 5/09.


REBECCA

Dangerous Heroes

A couple of weeks ago, I gave a talk on the horror genre at the Oklahoma Writers’ Federation Conference in Oklahoma City. As I researched the topic, I realized something interesting. The roots of paranormal romantic suspense reach all the way back to the dawn of time. One of the ways the shaman of an ancient tribe maintained power over his people was to protect them from the scary beings that who roamed the night. And in those ancient spectral creatures, we can see the roots of today’s literary vampires, werewolves, demons, ghosts, and all the other beasts who fill the paranormal universe.

In paranormal romantic suspense, the villains may come from the ranks of these fearsome creatures. But at the same time, the vampires, demons and shape-shifters have also morphed into the heroes of many books. In my Berkley Moon series, for example, I’m writing about a family of very sexy alpha males–who happen to be werewolves. My first werewolf was Ross Marshall in KILLING MOON. He saw himself as an aberration in the modern world, yet he desperately wanted to be part of humanity. And the right woman helped him make peace with the wolf side of his being.

Now Ross Marshall is the linchpin of the family, guiding his younger brothers and cousins into a life they never could have imagined.. In my May book, GHOST MOON, he’s the one who organizes the family to fight a terrorist threat against the U.S. government. And he’s also the wolf who’s secure enough to reach out to my hero, Caleb Marshall, a ghost who was killed by Ross’s great-grandfather.

Intrigue is famous for sexy alpha males heroes. And that’s one of the things I love about writing for the line. For me, the paranormal element takes it even farther. My werewolves may be the heroes of my books, but you never know when their savage side will emerge. In GHOST MOON, Caleb wants to rip out the throat of the man who killed him. Since he’s seventy-five years too late to do that, he’ll go after the guy’s grandsons instead.

How far do you like to take the danger in your romantic suspense? Do you like dangerous, unpredictable heroes? Do you like heroes who live outside the bounds of civilization? Who is your ideal Intrigue hero? Or romantic suspense hero?

Rebecca