Synopsis Sent

After two weeks of fiddling and rewriting, synopsis version 6 is on its way. Thanks to the wonderful Michelle Styles, I now have a story with potential, rather than severe flaws. Of course the editors at Mills and Boon may not agree but even if they don't, I have learned SO much about conflict and action/reaction in the course of the past two weeks that the next sub will be even better. And I like my story a whole lot more than the last one which is a good sign I hope.

So what have I learned?

1. The conflict and thus the story plays out in the action and reaction of the characters.
2. The conflict happens in the present.
3. Internal conflict need not be based on tragedy.
4. Internal conflict can be simple.
5. That action is not talking. Talking is talking.
6. That rewriting one's synopsis completely six times can be a good thing.
7. That one can have too many dinners in one's synopsis.
8. That chocolate is a vital ingredient to synopsis writing.
9. That banging one's head on the table after version 4 hurts.
10. That you still feel sick when you press send no matter how many times you have subbed.

Right, so now all I need to do is write the thing! And thanks to Janette, I have a title: The Art of Attraction. Not a millionaire or a defiant mistress in sight.

Now, on with the NTAI.

Another Minor Epiphany

Yes, I know, two in one week is ridiculous but after Friday's lightbulb moment, I kind of had another. I wanted to use the whole action/reaction/consequence thing on my other WIPs but first I had to really concentrate on the essential conflict of the h&h. And it was as I was doing this that I had another realisation (cue drum roll, please):

Conflict doesn't necessarily need to be based on bad things happening in the past!

Cool eh? Now, you guys may already know this and be thinking, 'yeah, duh!' but up till this point I have been giving my characters all manner of dead families/fiancees/babies or whatever tragedy is popular right now, purely so they would not want a relationship. The thing I suddenly got was that the point is not that the h&h don't want a relationship at all, they just don't want a relationship with a particular person! Why don't they? Because that person threatens everything they believe up till that point in time. And it's only when they come into contact with that person, that there is conflict. Conflict, as Michelle is always telling me, happens in the present not the past.

Clear as mud? For example, I've finally figured out the essential conflict of my Kate and Alex story: for Alex, home is where the heart is. For Kate heart is where the home is. Neither of them have any problem with this UNTIL they meet. And as soon as they meet, there is conflict because each challenges the other. In order to resolve this, Alex must learn that having roots isn't a bad thing and Kate must learn that home isn't necessarily embodied in one place.
Now, I had Alex having lost a fiancee etc, but really, in order for him to believe that home is where the heart is, I don't need any of that. Maybe just the fact that he moved around a lot as a kid is enough. And maybe he was quite happy with this state of affairs. But it's only when he comes into contact with Kate that he feels threatened about it. And voila, instant conflict.

So all in all I feel rather pleased with myself about this. Especially as I have now got real and believable conflicts for all my WIPs. Now all I have to do is plan the stories using action/reaction/consequence, completely rewrite all of them, and Robert's your father's brother. ;-)

Oh yeah, and I signed up for NaNo too. Need to write my next sub, rather imaginatively titled Cat and Sean. Anyone else?

A Minor Epiphany

After a week of banging my head against a brick wall with this new synopsis I have finally - with the help of the perspicacious Dr Jax and the wonderful Michelle Styles - figured out my problem. I simply could NOT get my characters to act without exaggerating my conflicts. And I had to exaggerate the conflicts in order to give them motivation to act. I was STILL getting them to act in the way I wanted them to.

The reason is that they were still passive. They were not taking action. And the reason for that is I have been thinking about my stories in terms of scenes. I think, okay, need a love scene, put one in here. What about a 'save the cat' moment here. And black moment here. And when I think about the scenes I want, I try and move my characters towards the scenes, which is NOT letting them act.

It's like a play. The play opens with the characters on stage. They do the scene, the scene ends, the stage goes dark. Then the next scene opens. How have the characters got there? Where are they going? The scene ends, the stage goes dark. What happens next? We don't know and neither do I!

I have been treating my stories like this play, opening with a scene, then jumping to the next scene etc, etc. Episodic in other words. Great for a play, not so great for a story.

So I've cut it right back. Concentrating on the most essential conflict - my hero wants to control and so has to learn to let people go, my heroine needs freedom but has to learn it's okay to lean on someone. So what happens when a guy like this meets a woman like this? Forget flirtation scenes, think about action. The external conflict puts him in the situation of having to look after her so what does he do? He's all about control so says she has to come with him. Her reaction? She's all about freedom so get lost buster. What is the consequence? Does he force her to go? And if so, what action does she take in response? And right there is where the conflict is driving the story through the actions of the characters. No need for exaggeration because their reactions are based on their essential conflict. Who knows when they'll need a love scene - I'm not sure - but it will be because one of them makes a decision and the consequence of that is making love.

Dunno if this makes sense to everyone or if everyone is goin 'well, duh, I already knew that!'. But this is certainly why I have been having so many problems with conflict. I have already got a plan for the new story based entirely on action, reaction and consequence. Hopefully it'll make a good synopsis but if not, it's certainly been a HUGE learning curve to take!

The Rebound Submission

Yes, that's exactly what my rejected sub was. I had the rejection on the revised full and then, so desperate to submit again was I, that I quickly fiddled with a new story and sent it away without thinking it through properly. Or rather, I over-thought it. I was trying so hard to get it right that in the end I got nothing right, even the stuff I normally do well.

So it's back to the drawing board. Somehow I've now managed to overboard with internal conflict and have to bring it back to the middle ground. Hard? You betcha. But I have been slowly learning even more. Especially about the dangers of too much sex in Modern Heat! Is that even possible? Oh yeah! I tried to do a one night stand story but even as I was writing it, I found myself inventing ways to get my heroine to go through with it. And that should have been my first indication that all was not right in the world of my characters. Again I was trying to make my heroine do something she actually wouldn't by adding all this stuff to make her to do it! Argh! In the end it wasn't convincing and to add insult to injury, the driving force behind the one night stand was only sexual tension. There was not enough conflict! Apparently the sex arises from the emotional conflict, NOT the other way round!

So many things to keep in mind. But this time I am going to make sure I get it right. I am not going to panic-sub. I am going to spend time really thinking through my new synopsis. And hey, I'm already doing better with that on the sex front - so busy working out the emotional conflict between my h&h, that I forgot to put in a love scene!

Romance Writing is Not for Sissies

Okay, as someone told me on the RWNZ email loop today, congratulations on my rejection because it means I'm a writer. And she's right. I can no longer pretend that it's a little something I do in my spare time, that it's a sideline to my real life, that it's my hobby, that it doesn't matter. Because it does matter. I was gutted yesterday, really and truly gutted. I told myself I may as well give up. But you know what? Even as I was telling myself that, I was thinking about the story I'm currently writing and how I needed to adjust the internal conflict a bit more now!

A rejection stinks. It's not easy and it won't get any easier. There will, no doubt, be more rejections to come. You can't control the rejections but, to paraphrase Michelle Styles' wise words, what you can control is your response to them. Yesterday I wallowed completely and utterly, allowed myself to think about giving up, allowed myself to feel I was hopeless and I'd never do it. But now I am done with wallowing. Time for my professional response which is: keep writing. Work on that next submission. Make it the best. Take the hurt and turn it into determination.

I want to say though that part of dealing with rejection is also sharing the pain of it with others who understand and you all who have read this blog do understand. And the support and faith you have given me is amazing. I am so lucky to be part of this community. So huge thanks for all the comments and encouragement from yesterday - it really got me through the worst of it.

And, since I am a writer, I have advice for other writers who want to do this, who are lurking and thinking of submitting: to paraphrase my old boss, romance writing is not for sissies. It's a hard road and a long one. You may take a step forward, only to fall back again. But if you love writing, if you can't NOT write, then don't let the fear of rejection hold you back. Yes, you will get rejected. Yes, it will hurt. But you will not be published if you don't submit, if you don't keep writing, if you give up.

Right, since I am very good at NOT taking my own advice when it comes to my writing, I need to sit down and take a good look at my next submission!

Oh and Aideen? No, you didn't see the words 'give up' on my blog. They weren't there. You must have mistaken them for "NOT giving up" :-)

Missed Again

Well guys, I heard from Anna and no, they didn't want it. As you can imagine, I'm very disappointed. All her comments were right on the money but it's the usual story - you submit something and only after it's gone do you learn more and realise what you should have done.

So, having gone from nearly there to missing entirely, I feel a bit like I've taken the wrong road somewhere and ended up in a dead end. Do I actually know what I'm doing? Maybe I don't. I certainly don't feel qualified at giving advice to people - not that I ever really did I have to say.

Oh well, I guess the only way to go on from this is to keep going even though part of me just wants to give up.

A Riddle Inside A Mystery Wrapped In An Enigma

No, I'm not talking about Russia (thanks Winston Churchill), I'm talking about the wretchedness that is internal conflict. As you know (or should know by now!) internal conflict is where Modern Heat/Modern is at and you'd think, after a year of learning about this, I would have finally figured it out.

Nup.

Witness my Kate'n'Alex story. I was writing happily away (the aftermath of a love scene, hot), my conflict sorted, getting into his introspection about how he cannot possibly want a relationship and then I come up, slap bang against the dreaded 'why'. Okay, says I, he doesn't want a relationship because he doesn't like being tied down. Why? Because his family moved around a lot and he learned never to commit to anything or anyone because he knew he'd have to leave again. Yes, but that's what he did as a kid - why does he continue this behaviour as an adult? Um...because he just wants to??

Grrrr. See what I mean? It's all very well having angsty childhood stuff happening, but there has to be a reason for the character to keep acting that way as an adult. Which brings me to finally understanding why a parent cannot be the reason for someone's internal conflict (yes, I'm slow). A parent can add to it, deepen it, but as an adult, would the character really continue to act the way they had as a child? Especially an alpha male?

So, for Alex, I have to have some reason why he continues to believe the lessons he learned in his childhood. Did he ever try thinking differently? What happened when he did?
I have another hero too who I thought had his conflict sorted. But no. He had a difficult childhood and had issues with responsibility, but again, the difficult childhood seems to be the excuse to for him to continue acting the same way as an adult. Again, I have to ask myself, did he ever try to rise above it? Did he succeed or fail? Why did he fail and how did he feel about his failure?

Argh! Seems you can never stop learning in this business...

In the meantime, after a depressed weekend where my writing and everything about it sucked, I succumbed and bought some NTAI shoes. Wedges as you can see since I cannot wear heels without seriously damaging my feet.
Yes, they were ridiculously expensive. Yes, they are totally impractical. Yes, they made me stop thinking about my sub for, oh, about five minutes. :-)

So, anyone else got a handle on internal conflict? What about shoes?

Attraction

Following Heidi's inspirational video (lord the Modern Heat authors know what they're doing if this is their inspiration!) , I thought I might put one up of my own. I keep seeing this on TV and every time I see it I think, 'yes, that's what the attraction between the h&h has to be like!'.

Except of course, the end of this video isn't the way I'd personally end this particular scene, if you know what I mean. ;-)

Oh and Kelly and Heidi's new books? Three words: Fab. U. Lous. Heroes to die for. Yummmo.

Ten Fun Ways to NOT Win the Harlequin Presents Writing Competition

If you have your heart set on NOT winning the Harlequin Presents contest, here are some (slightly tongue-in-cheek) ways to achieve this.

1. Have no internal conflict.
That doesn't mean car chases and villains. Internal conflict is what keeps your h&h from their HEA if they met in bar one night. And it can't be just because he's a Montague and she's a Capulet - that's external conflict people. If you have to introduce a scheming mother-in-law to keep them apart then your conflict isn't strong enough.

2. Have your hero be the shy, easy-going type.
Sorry guys, he may be sweet but that ain't alpha. And alpha is what goes in Presents/Modern.

3. Have as many sub-characters as possible.
You love the heroine's best friend, her wise-cracking husband and their three adorable children. But devoting a whole chapter to them isn't a good idea.

4. Include vampires and werewolves.
I know, you really liked Twilight, but paranormal isn't where Modern/Modern Heat is at, even if you think it should be. Remember the guidelines.

5. Force your characters to act the way you want them to for the purposes of the plot.
I've been there and it ain't pretty. You may want your hero to eat some bad cheese so that he gets sick and the heroine has to look after him, but you do have to ask yourself: does he even like cheese? And if not, why not? These are character driven which means you let the characters act they way they want. So go on, let them have their head!

6. Have things happen to your characters rather than have your characters make decisions and act on them.
A fire might make your hero rescue the heroine after their black moment but what would have happened if there hadn't been a fire? Would he have made up with her anyway? What decision would he have made if you hadn't cruelly sent him into the fire? Again, character driven.

7. Have your hero enter the story in chapter 2.
If that's the case, then shouldn't that be chapter 1? Don't make us wait! He's the reason we're reading it - at least he's the reason I'm reading it.

8. Make your characters act in seemingly random ways.
Such as your heroine suddenly kissing the hero whereas up till now, she hates his guts. Where is her motivation? Why would she do that?

9. Have either or both of your h&h be drug addicted alcoholics.
This may provide heaps of conflict but not much in the way of sympathy. Your h&h must be sympathetic and though drug addiction and alcoholism are real issues, they're probably a little too real for category romance.

10. And most important, you definitely won't win if you don't enter. :-)

Good luck!

Why I Like Ebooks

Because I am extremely, extremely impatient and downloading an ebook is instant. No getting into the car and driving to the bookshop, no feeling annoyed because they don't have the book you want, no getting back into the car and driving to another bookshop, no waiting in a queue at the fourth bookshop where you finally found the book and need to buy it, and no having to haul said book around in your bag for days afterwards because you can't put it down (thank you Wolf Hall).

Okay, the down sides are irritating formatting and licensing which means that if you want to put it on another PC, it's difficult to transfer, reading on a PC screen (which I have got used to), and not being able to read it in the bath. It's that last one which is the biggie for me because I particularly like reading in the bath. If they ever invent an ebook reader than doesn't mind water, I'm an instant buyer.

And the other reason I like ebooks is that I can get my Modern Heat fix a month early! Woohoo! Now, I like all the Modern Heat authors, they rock, but two of my particular favourites are available for download right now - Heidi Rice and Kelly Hunter have two books out this month on the Mills and Boon site and I am happy, happy, happy. I'm going to be a shameless fan girl here and say that I love Heidi's deliciously strong heroes like I love chocolate, and I love Kelly's way with dialogue like I love chocolate martinis. Yummo. Oh, and I've been hanging out for these two stories for ages...

So I'm planning a happy evening downloading and curling up in front of my laptop. What else is everyone doing this evening (or day, depending on your time zone)?