Yet Another Post About Heroes

Yes, I know, I've probably posted this before but I thought I'd do another one simply because I love a good hero. Always have, always will. I like a good heroine, don't get me wrong, but baby bring on the hero because that's what I read romance for.

Now apparently I do a good hero - according to the editors. And my last (sadly deceased) manuscript had a 'perfect Modern Heat hero', so I guess I must be doing something right with 'em. But it seems that creating a good, Modern Heat alpha male is a problem for a lot of people (let's not go into my difficulties with heroines okay?). Kate Walker did a fabulous blog post about alpha males so I won't go into that either but here's a little bit about how I begin doing mine.

Dr Jax (my husband for those who don't know and no, that's not his actual name) reads all my manuscripts and he often tells me that I manage to get into a guy's head really well - which is pretty much essential in creating a good hero. And that's how I often start. I imagine myself as my hero - how would he feel? How would he think? Guys are not so different, their emotions are the same as ours and essentially they want the same things as we do. They're human right? Okay, at least semi-human. ;-) Their key difference is in the way they express themselves and in some of the actions they take. For example, my heroes are used to taking charge of their own lives. They make decisions and take action, they don't hang back and wait for someone else to do it for them. But they also find it difficult to talk about their emotions because guys generally aren't very good at that kind of thing.

The other thing I find helps me with writing them is very basic - you have to write what you find sexy. If you don't find alpha males at all sexy then creating a convincing alpha male hero is going to be very difficult. If you don't love your hero then no one else will either. I like strong men. I like wounded, flawed men. I like men who take charge. I like intelligent men who have a sense of humour. I like arrogant, witty men. And most especially I like the confident, gorgeous guy who always has a come-back, who thinks he knows everything there is know, and yet who can be brought to his knees by the heroine. Mmmm, yum. Everything that I find sexy in a man goes into my hero. Now, other people may not find him as sexy as I do, but that's okay, everyone's version of sexy is different. But I think if you find writing an alpha male hard, you have to ask yourself why. Is it because you don't actually like alpha males? Or is it because you just can't get into his head?

If it's the latter, close your eyes. You're sitting in a bar. You're not worried about how you look because your looks aren't important to you. You're not worried about your clothes either because clothes are just clothes and they looked fine when you put them on that morning. You're not anxious about what to do if a woman approaches you because you always know what to say. In fact, there are more than a couple giving you the eye right now but you're not interested in them, despite the fact that they're gorgeous. No, because through the crowd you've spotted someone. A woman who is interesting to you in a way you can't quite put your finger on. It's irritating you because you can't figure it out and you hate not being able to figure stuff out. Then again, you do love a challenge, a puzzle, figuring out how things tick. This woman is lovely but it's not her beauty that draws you (beautiful women are a dime a dozen in your world), it's the puzzle she represents that holds your interest. And you want to figure out that puzzle. But she's surrounded by her girlfriends and they've already warded off quite a few approaches this evening. So what do you do?

What would Luke do? :-)

Conference - RWNZ

Warning, this post contains scenes of shameless name dropping...

So, how was the RWNZ Conference? Pretty damn good actually. Romance writers are such a lovely bunch of people - I can't get over how friendly and supportive and just plain old nice they all are. Which makes a conference full of 'em a great place to be.

Anyway, my highlights? Firstly there was a workshop where Melissa Jeglinski of the Knight Agency did a one page critique of people's WIPs. I was pleased to get some nice feedback about mine which kind of set me up for the rest of the conference. :-)

Secondly was a talk from Harlequin editor Mary Therese Hussey about writing for category. She had this to say about what an editor looks for in a first chapter (in general):

Are the opening and closing lines strong?
Do characters make decisions?
Are the conflicts strong and interesting?
Are the characters compelling?
Does the story start in the right place?
Do you want to read on?

Interesting eh? Made me want to hurry back home to check out my first chapters!

She also mentioned the importance of making the conflict clear and understandable and of making sure your story begins where it should. The opening of the story should be at a point of change in a character's life, not before it.

There were some other great craft sessions where I got some more insights about a great fault of mine which is thinking up quirky openings and then struggling to find the motivation for the characters to do the things I want them to. It all comes down - naturally! - to having strong and meaningful conflicts. Asking the 'why' questions. All this made much more sense this year than last year, probably because of what I've learned since then via my rejections and advice from other authors.

Anyway - name drop moment - the main highlight was meeting the lovely Natalie Anderson and having a great old chat about writing and law libraries (she was a librarian as well)! It was great meeting one of the authors for the line I'm trying to write for - especially one whose books are my faves. And also to get a bit of reassurance about the difficulties of balancing strong emotional conflict with the fun, flirty Modern Heat vibe. It's not easy and it's nice to know I'm not alone with that! Cheers, Natalie!

So that's conference this year. Next year promises to be even better and I'm even thinking about hopping across the ditch and going to the RWA one in Sydney too.

All in all a great weekend. Hope everyone else had a good one as well!

Having a Whinge

Having a grumpy 'I hate waiting' day today. Also a 'my mansucript sucks and is boring' day. There's lots of emotion in there - I'm actually wondering if there's too much! - but it still feels boring! Maybe I'm too close. Maybe I need to put a car chase in there to liven things up. ;-) But y'know, with Modern Heat, it's all about the internal conflict and that means keeping external stuff to a minimum. My characters don't seem to do much but go from his house, to her house, to a restaurant, to a beach, back to her house... You see what I mean? This does seem to be the case with other Modern Heats I've been reading (and actually some Moderns too!) but when I read mine, it just feels like there should be more happening. I could stick in a mountain climbing scene, since my hero is a climber, but then that adds nothing to the romance and I'd only put it in to indulge myself.

Aaanyway, which is why I'd really, really like to hear back about what they think of it right now. Like everyone else with subs out there, right? :-) Think I need to go out on an NTAI spree...

Failing that, I could work on the five other manuscripts that I've got festering away on my computer, all in various stages of being re-written. In fact, I seem to have been in re-writing mode for the past six months. I've got the initial stages of a new idea but I keep getting distracted by my earlier manuscripts and ideas on how I can make them stronger.

Anyone else re-writing an old manscript? Or do old stories go down the bottom of a drawer never to be heard from again?

Three Cheers for Editing!

No, that's not sarcasm you hear. I'm actually being serious. Yep, I have been dreading editing this hideous story and yet, now that I'm in the middle of it, I'm actually quite enjoying it.

Of course, I've only done the first half. It's the second I should be worried about.

Now, I had a really clear idea of what I wanted with the first half so the first draft of that isn't too bad. But unfortunately I have a feeling that the second half is going to be vile. I already know that the conflict hasn't focussed on the right things, that I've got distracted and let other issues complicate it - namely concentrating on my hero's emotional growth to the detriment of my heroine. Argh! So it's going to be the devil's own job untangling it - plus not letting it get tangled up again! And I am going to have force myself to do a better job of the ending rather than using placeholding phrases such as "And it all worked out in the end. Cue kiss. HEA." Oh yes, and there's the epilogue to go too.

Sigh. And it's already at 49k! Ah well, I'm hoping I can cut screes of 'just's, 'that's, 'suddenly's and other words I seem to use ALL the time. Not to mention all the smiling and grinning my hero seems to do.

What an exciting week for me. :-) Good job I've got the RWNZ Conference to look forward to!

Another One Bites the Dust

Well, it's done. Done and dusted. In a triumph of internal conflict overcoming external, my story has morphed from that of woman whose wedding for visa purposes falls through and she tries to marry a guy off the street (yes, I kid you not), into that of a risk-averse lawyer who falls for a risk loving climber. Weird huh?

Anyway, it's an extremely rough and dirty draft and there was a moment there when I wondered if I could even give them their HEA (my poor hero had a particularly tough time). But they sorted it out and got there in the end. So, my last thing really is wondering whether or not to put in an epilogue. There is a thread in there that if I wrap up within the story, it will affect the pacing. Then again, it should be wrapped up (will he survive his climb or not??) and the logical place is to put it in an epilogue. Decisions, decisions.

May not make all that much difference if they don't want to see the full but hey, I'm gambling that they will. Six weeks and counting, and considering that it's holidays UK way, I'm thinking I'll be waiting a while yet.

Anyway, what to do now??

I Am a Rock. I Am An Island.

It's hard when you have a hero who won't open up - like Lorraine said in her post, how is the heroine supposed figure him out when he won't tell her anything?? I've saddled myself with a particularly difficult customer. My hero is a climber and they are notorious for being the strong, silent type. Not that he's very silent, he's just used to dealing with his difficulties on his own and he doesn't - N. O. spells no - want to talk about the accident that killed his mother on K2 (second tallest mountain in the world). See the mountain shot to the right? Well that's K2 and he's going to climb it, just see if he doesn't.

Anwyay, all this makes it extremely difficult when I have to convey this past to the heroine. Because why would he tell her? What would Luke do? He wouldn't tell her, that's what! So I've had to rely on a third party. I have seen this method used in other stories so I'm hoping it's okay. And it's not that someone else tells her, it's a passing comment made by someone that sets off a whole lot of tension in the hero that the heroine picks up on, which she then confronts him about. He eventually tells her in strictly non-emotional terms just so she'll shut up about it basically and stop asking him questions. I think it works - hope so!

But now I have come to another dilemma. How do you get a heroine who is all about safety to continue seeing a guy who is all about risk? Especially when she knows she's falling for him and that he doesn't want anything but an affair. Argh!!! Think the lust card might have to be played.

Apparently you can get a computer program that will just churn out M&Bs according to that well known 'formula'. If anyone can find said program can they let me know?? I could sure use it right about now. ;-)

Reflections on Heroines

I have been reading Jane's blog and trying to pass on the advice about internal conflict that I was given in my rejection. Which meant I had to read the damn rejection email again. And you know what? I realise that in fact, I hadn't read it properly. Or at least, I only saw parts of it. Thing is, when you get rejected, the only things you see are the words "However" and "Sadly" and "Sorry to disappoint you on this occasion". And then you close the email because it's a rejection and that's it, it's over.
However, I had failed to see these little comments: "in parts this story is absolutely brilliant" and "your hero is a perfect Modern Heat hero". Don't know how I managed to miss those but having seen them now, I am feeling a lot better about my poor rejected ms!

I wasn't going to look at this story just yet because it felt too sad, but I've decided I'm going to make a push to rewrite it sooner. It seems a pity to waste the parts of the story they really liked, not to mention a hero that is 'perfect for Modern Heat'. However, it does mean a heroine overhaul. Which means a plot overhaul. Part of the reason for the rejection was that I was trying to make my heroine, Christie, do things she wouldn't do, inventing all kinds of reasons for her to act in a certain way that would fit the situation I'd given her. She was a geek with no self confidence and no experience of men who has to set up a date via the internet. And then the date turns out be this incredibly handsome, incredibly confident guy who makes her stammer and stutter, and then she has to choose to have a one night stand with this guy... Argh! You see my problem? Anyway, I loved the setup. I wanted it to work. I gave her a boss who would have fired if she didn't set up the date (it was research for a computer magazine), a friend who pushed her into it, and an ex boyfriend who had found someone new as a catalyst. And still it didn't work - it just wasn't something her character would do and ending up being completely unconvincing.

However, that being said, M&B thought she was a lovely heroine. She was unconfident but she had this little streak of stubborness and fire (she accused the hero of cowardice at one point which again was something they really liked because it struck directly at his internal conflict). So how to keep these nice parts of her and yet give her some decent conflict and a set up that works? Interestingly, in the first draft she had a mother that ran her down all the time and the advice I was given by M&B was to think about this angle when redoing her conflict. Unfortunately I went about it in the wrong way, making her mother's opinion define her when in fact an adult woman (so I was told) would no longer let her mother's opinion dictate what she did (let's just forget about the people in real life who DO actually let this happen for the moment shall we?).

My solution is this: her mother will contribute to her conflict but won't define her character. Her mother wanted a pretty princess and instead got a tall, lanky tomboy who hated dresses. After a childhood trying to be what her mother wanted, Christie decided that she'd never be that person (see? this is her choosing not to be defined by it), and so followed her interests in computers, becoming a hotshot female game developer. This involves her being around guys all the time since that's the industry, but she will see herself as one of them, ie neglecting the fact that she is female. Now her real conflict is that she doesn't realise how much her mother's disappointment in her as a girl has affected her own sense of self worth. No matter that she's successful in her work, she's constantly compared to her older brother who is married with kids and her mother is always telling her she'll be on the shelf because no one will be interested in such an unfeminine woman. But my heroine doesn't want to accept that - she's been accepted in her job the way she is after all. However, her job isn't the same as romance and what she begins to discover is a fear that her mother is right, she will not be loved for who she is but who she's expected to be.

This is not to say that this will work. I actually have no idea yet and probably need to develop this a bit more. But I think, if I can pull it off, it will be a much better conflict than the two scenarios I previously tried to use. And better, I won't be constrained by fitting the conflict around an already written set up. In fact, I'm giving them a whole new setup that won't be complicated by things forcing the heroine into meeting the hero.
Weelll, now that I think about it, there may be a teeny, tiny complication but we'll see how we go. ;-)

Husbands Are Useful or What Would Luke Do?

I knew there was a reason for husbands. I mean apart from changing fuses, cleaning drains, getting rid of spiders and entertaining children. Yes, mine has yet again proven his worth when it comes to sorting out my complicated plot dilemma.

I was telling him about my great new idea that involved a pretend relationship instead of the fake engagement (see previous post) and he was silent for a little minute. And then he said 'that sounds quite complicated' . So I explained that they had to have a reason for continuing their relationship after their one-nighter - which was the whole point of the fake engagement thing, as well as enforcing an intimacy that would deepen the tension. All very good reasons I thought.
But you know what he said? He told me that it sounded very much like I was inventing reasons to make my characters do what I told them. No, he had not read my previous blog post. No, I had not applied my own very good advice to myself. Doh.

So I whined, 'But they need a reason to see each other again.'
And husband says, 'Really? So hot sex isn't enough of a reason?'
'But...but...' I protested weakly.
'Come on,' says husband. 'Ask yourself - what would Luke do? Would he really need a reason other than that to see her again?'
Of course he wouldn't. He's an alpha male. If he wanted to keep seeing her then, by crickey, he'd just jolly well go ahead and do it! And would Anna say no? No, of course not! Would you say no to another hot weekend with a fabulously hot guy?

Okay, so after having pointed out my blatant manipulation of my characters, dear hubby then suggested a way that I could still deepen the tension and enforce the intimacy that wasn't so complicated and contrived. I've got a party in the plot that was supposed to put the fake engagement to the test and hubby suggested making this weekend party occur somewhere away so that my hero and heroine (she'll ask him to the party and he'll say yes) will be together where the chance to get away is minimal. So now I have them in enforced intimacy (to deepen the tension), no fake engagements, no pretend relationships. And the action stems directly from choices they both make. Of course once they get to the party, that's where the fun starts conflict-wise. It was just the getting them there that was the hassle!

This is not to say it all won't turn to custard again. But at least my niggles about contriving my plot have been put to rest. And it may all for nought anyway if I don't get asked for the full. But what this has taught me is that I am STILL a class A manipulator of characters to suit my own evil ends and this needs to stop right now. Think I shall have to print out a little sign that says 'What would Luke do?' and stick it to my monitor just to remind me.

Anyway, here's to hubby, upholder of characters rights, saviour of plots, and stern keeper-in-liner of wayward romance authors!!

Plots - Are Your Characters Driving or Are You?

Plots are the work of the devil. Yes, I'm sorry, but they are. They join internal conflict in their very own special circle of hell. At least, in my own personal writing hell. Why is this you say? Well, because in Modern Heat land (and no doubt in Modern/Presents land too), the plot needs to be driven by the characters. But surely every plot is driven by the characters? After all, without any characters, you wouldn't have a plot right?

It's true that of course without any characters you wouldn't have a plot, but it does not mean that every plot is character driven. This is something that I have slowly been coming to learn over the past few months, especially after Michelle pointed out the flaws in my synopses. In fact, it was something I already knew, but just didn't understand until now.

So what's the difference? Well, I'm still learning and naturally enough I am no expert but here's what I see as the difference. In your suspense/mystery/SF/fantasy/paranormal etc the action is usually plot driven. This is when external circumstances force the characters to act. But character driven plots are where the action is driven by decisions and actions the character makes themselves and not due to external circumstances (which is why internal conflict is so important because this affects how they act). Now, feel free to tell me this is a load of old bollocks and I've got it wrong, but that's what I think is the difference.

Anyway, like I said, for Modern Heat, the action/plot must be driven by the hero and heroine. Which means that if you have an overly complicated set up, you end up forcing your h&h to act in response to your plot, and not because of decisions or actions that they make themselves. Which in turn can make them act in a contrived way. Does that make sense?

A prime example of this is my rejected ms - which was rejected partly because of the setup and because I was trying to force my heroine into acting in a way that she wouldn't. My setup was that my heroine had to use an internet dating site to set up a blind date for research she was doing into the internet dating scene. This was not the problem. The problem was that I had made my heroine a socially inept geek for whom blind dates and dating full stop was anaethma. Good in terms of setting up tension, but not so good for a character driven plot. Why not? Well, why would a socially inept geek want this assignment in the first place? And so I had to make her go through with it by setting up a pushy friend, a broken relationship she wanted to get over, a boss that would fire her if she didn't, etc, etc. You see how I complicated everything? Just so I could force my poor heroine to go on her date.

Now making this setup character driven would have been easy if only I had made my heroine make the decision to go through with the date herself. So she takes charge of the action rather than her responding to the actions of the plot. Maybe she took the blind date assignment because she wanted to do something different, maybe she took it because she wanted to change her life. But in order to make her take charge, she would have to have been a different sort heroine, with a different sort of conflict, and that would mean rewriting the whole book - hence the rejection.

Which brings me to the current wip. I have a fake engagement in the middle of it and although this does stem from an action the character takes, I fear I have manipulated things in order to make the character take that action rather than letting things take their natural course. Since this is in the synopsis I have submitted, I'm slightly reluctant to take it out but my instinct is to do so. Should I trust my instinct I wonder? But that's a whole other post so I'll stop there!

What does everyone else think about character driven plots? Does this make sense or am I barking up the wrong tree? Maybe I'm simply barking full stop!

Conflict Sorted

Back from the joys of Rotorua. Was lovely actually - the highlight being the spa in the motel (sadly heated by gas and not by hot volcanic rocks) and a night time visit to a wildlife park where we saw a kiwi. You'd think, being an NZ'er, I would have seen tonnes and tonnes of kiwis just running around wild right? Not so. I have seen them of course but only in zoos. They are nocturnal and keep away from humans so to see one in their natural habitat without any glass or bars was kind of cool.

Anyway, one of the other highlights was figuring out my hero's internal conflict! Yay! Admittedly it was really my husband's idea, so full credit to him. He's a psychiatrist you see and this can be very useful when it comes to figuring out conflict and motivations. In the end it wasn't that hard though - again, I have been over-complicating it (me? over complicate? Never!) and adding too much other stuff. I think I have a tendency to do this as I'm peeling away the layers of his character - I'm giving the wretched man too many layers in other words! Either that or the focus isn't as sharp as it should be. Whatever the case, his dead mother is the key. Now all I have to do is avoid any pesky Oedipus complexes... :-)

So, my mission this week is to continue editing the WIP and then, once I've pulled all the strands together, finish it. Which will then let me start writing my bright, new, shiny idea. Luckily with the new idea, all conflicts have been sorted and are ready to fly.

As to the partial - four weeks tomorrow. Not that I'm counting or anything. :-)

What's everyone else up to?

Going to Roto-Vegas

We're off for a couple of days down to Rotorua, the home of boiling mud, hot pools and the smell of rotting eggs. The husband has a conference there and after days of trying and failing to get my hero's conflict sorted, I'm hoping that a break will give me some ideas too.

Rotorua is the 'land of passion' as you can see by this April Fool's day ad that was run through various papers this year, so perhaps the smell will give me some inspiration! I am going to be taking my little laptop with me anyway and hope to have some time to give the wip a re-read, perhaps try to figure out just what I'm doing. I've got three strands of conflict that I could conceivably use but at the moment don't know which one to pursue. And all three is going to be way too complicated to resolve in 50k words. I'm hoping it will become clear in the fullness of time but boy, the man is being ridiculously opaque.

Oh, and why Roto-Vegas? Well, it's a bit of a NZ in-joke. We call it Roto-Vegas because Rotorua is NZ's answer to Las Vegas. Don't know why really because I don't think there are any casinos/burlesque shows/huge neon signs/deserts/Elvis impersonators in Rotorua. But it does have lots and lots of motels/hotels and tourist type stuff to do, not to mention being quite expensive. Ah well, at the moment, being winter here, I'll just settle for a nice hot spa to sit in with a glass of cold bubbly by my side, and perhaps my current hero in tight swim shorts to feed me grapes...but don't tell the husband that. ;-)

Black Moments

Ah, the black moment. The best part of a romance. At least, it's one of my favourites. I do love writing them. If I haven't made at least one of my characters cry and/or reach for the medicinal scotch then I feel I haven't done a very good job. In fact both crying and reaching for the scotch are both good outcomes for me. I like also to have them be mean to each other. In fact, being mean to each other is great to write. No physical violence obviously (unless it's the medicinal scotch against a wall) but there does tend to be lots of cutting remarks, hateful sarcasm and downright lashing out.

Being hurtful has to be well motivated though, which is why the black moment is so great. Because all that emotion has to be got out somehow and when you're scared and angry and confused, that's what you do. It's also where you say the things you'd never say normally. That's when my characters confront each other with the big questions, the ones they've been dancing around the whole book. And the big questions don't have easy answers because this is internal conflict here and it's not easy to resolve (otherwise there wouldn't be a book, right?).

I think it's in writing the black moment that I love writing romance the most. All the emotion in it is so powerful. Those gutwrenching, painful scenes are also great because if you've written them well and your reader is thinking 'how on earth are these two going to work it out?' , it makes the resolution that much more wonderful.

Actually, sometimes in the first draft, I don't know how they'll work it out. I have a general idea but it's not until I'm in the thick of it that'll I realise what they need to do in order to be together. In fact, sometimes it's not until that black moment that I understand that what I think the conflict is, is actually something deeper. My current WIP I know is going to be along those lines. There's going to be something in that black moment for both my characters that I haven't figured out yet. Obviously they're both afraid (because fear is at the root of it) and I generally know why but I have a feeling there's going to be more to it than what I initially thought. Better get on to it, hadn't I?!

So, what's your favourite scene to write?

The Hook - Vital Plot Element or Unnecessary Complication?

Okay, you'll all be pleased to know that I'm done with the crows (until I hear from the eds I guess but NTAI!). My poor climber has been left to languish at a crucial moment so I should probably get back to him and give him his HEA. However, my sticking point is my plot. I have a fake engagement hook in the middle of it and though it stems from actions the characters themselves take, I'm wondering if it's a tad unbelievable. It's purpose is mainly to force the h&h together and maybe to deepen his conflict a bit but I'm still doubtful about it. Do they really need something to force them together? Can't they just be together because they're having a hot affair? I'm at 44k already and the black moment isn't coming for a wee while yet, so maybe my fake engagement is just an unnecessary complication...

The other thing I'm having doubts about is my timeline. Maybe it's just me, but does anyone else think that two weeks is an awfully short time to fall in love? Or is it just the nature of the genre and two weeks is fine and I'm being overly picky?
I don't know. Until I get over these stumbling blocks, I'm not sure I can finish the WIP. Might just wait until I hear back about whether the story is a goer or not.

Anyway, in the meantime, I have gone back to rewriting my Feel the Heat entry. It's so much better now I've got the conflict sorted! Since the editorial assistant asked me about it, I think I might submit that one next should the other one not succeed.

Ah conflict, how do I hate thee? Let me count the ways....

Hard Slog

Well, coming into the home straight with my re-write of my climber story, but it feels at the moment like wading through treacle. Not quite sure why. I'm really having to force myself to keep going with this one. Initially I was quite excited about it but the last third of the book has been a struggle. Maybe it's because although I know where the conflict is going, the action feels slow and - yes, go on, say it - boring. Or maybe it's just having to wrestle with my submission doubt and wishing I would hear back about it so I can get some clear direction about how to proceed. No chance of that in the near future!

It doesn't help having a bright and shiny new idea that's calling to me. It feels wrong to leave the climber story unfinished while I immerse myself in the excitement of a new story. Then again, a change is as good as a rest huh? Hmmm, might just go and do a quick synopsis... ;-)

Presents Writing Competition

Great news re the new competition at I Heart Presents. Another fabulous opportunity for people to bypass the usual wait and get their stuff in front of an editor.

Seeing as how I was a runner up in the previous comp and given what I've learned since, thought I'd post a few bits of advice for those keen to enter.

• The key to the romance is the conflict, especially internal conflict. To work out your internal conflict, put the h&h in a room with no one else, no car chases or kidnaps, and ask yourself why can't they be together right now? It must be something inside the characters, their thoughts, feelings, and experiences that make them think they cannot be together. And their reasons must be strong. It can't just because the heroine doesn't like rich men or the fact that he's arrogant. Why doesn't she like rich men? Why doesn't she like arrogance?
  
• Your readers will live through your heroine so make her someone that everyone can imagine being. Someone that everyone can relate to. Stay away from stereotypes and extremes of behaviour.
• Stick to the guidelines (ie don't add paranormal elements to what is obviously not a paranormal line).
  
• Read as many Modern/Modern Heat as you can get your hands on.
• Remember the KISS principle: Keep It Simple Stupid. Which means don't overcomplicate your plot with intricate suspense elements, lots of secondary characters, or subplots. Keep the focus on the h&h and their conflict.
• These are short romances so the hero must appear - ideally - in the first page or two, and he must be alpha. The guidelines for the MH hero have changed a bit - he's more alpha than he used to be so keep that in mind.

No doubt lots of published authors will be posting advice too so keep an eye on the blogs of your favourites to pick up some great tips. I Heart Presents will have lots of sage advice for your entries as well.

I posted some of the editorial feedback I received from my competition entry last year on my blog so do feel free to look through the blog archives if you want to see what they told me about mine. And why it wasn't successful! I think the entry is still up on the I Heart Presents site in the archives somewhere (they didn't put it up until this year - January I think), so it may be useful to read it and then look at the feedback they posted afterward (this is not a subtle attempt to get people to read my writing by the way, more a look at what they liked and what they didn't).

If you have any questions, don't hesitate to ask. I'm not published but like I said, I've learned a great deal since last year's competition so I may be able to help. The final caveat though is that all of this is my own opinion - the one that really counts is the editors.

Good luck everyone!

Submission Doubt

I've put up my scarecrow again because I've got submission doubt and need something to scare away the crows.
These are particularly ornery ones I have to say. It wasn't so bad the first time around because I was just so pleased to have had a full request. And true, the first lot of revisions were pretty intense but then, woohoo, I'd made it to the full-with-revisions stage and that was a great achievement.

But now I'm starting over and I'm wondering if I can do it again. Published authors must get this when it's time to submit that second book and you have to prove that the first one was more than a fluke. Obviously I'm not at that stage yet but the full-with-revisions is a pretty high benchmark to have to repeat. What if I can't? What if they don't like the story? I think it's better than my rejected manuscript - I've learned so much since then - but what if I've missed something vital?

Well, as Michelle S told me, the only thing I can control is the writing. I have to trust that it's a good story and hope that they'll want to see the rest of it. So I shall, which is why I'm continuing with writing the rest of it. And if it isn't then ONE of my stories will get there. I'm damn well going to make certain of it.

I'd just like to say a big thanks at this point to all the lovely people who visit my sorry blog, and to all the other lovely people on the eHarlequin and Mills and Boon forums who have wished me luck. You guys are the best. Determination gets you a long way in this business but it certainly helps having other people being determined with you. So, thanks.

Anyway, I have had confirmation that my partial was received so it's on with the waiting. And the NTAI. :-)

PS. Did you know that the guidelines for Mills and Boon have been updated? Here they are here.

Sent

I've done it. Sent in my new sub last night. Was going to ship it around a few more people to read but, well, simply couldn't face fiddling with it any more and thought I'd just send it and forget it (sorry guys!).

Haven't heard whether Anna received it or not. I hope she lets me know since the last time I did this, she didn't actually get it! Oh well, will follow up on Friday if I don't hear.

So now it's time to NTAI and rewrite the rest of the manuscript!

Active vs Reactive

I've been thinking lately about Michelle's advice re my characters being reactive as opposed to active. At least that's what they were in my original synopsis. I never really thought about this before - of course they were active, they were walking and talking and making decisions, right?
But that is not being active. They didn't take charge of the story. They sat there and waited for stuff to happen to them.

I found this happened with chapter 1 of my re-write. I was feeling unhappy with what I'd done and I couldn't figure out what the problem was. And then the light dawned: my hero was looking at the heroine waiting for her to come to him. The heroine was looking at the hero, too bound up in her conflict to actually take that step. The consequence was lots of staring but not much doing. No action at all. What needed to happen was one of them needed to act.

Had to be the hero - my mountain climber wouldn't stand around staring, he'd get out there and get what he wanted. So this my hero did. He got out and took charge of the scene, making the heroine have to act intstead of her just sitting there waiting for something to happen. And it's a much, much better scene now. It has movement. It's more pacey. And sets off a whole chain of choices and actions that bring both characters slap bang up against their internal conflict. Phew!

Anyway, this kind of thing is new to me so I'm going to have to keep thinking about it as the book progresses. I have to say, being conscious of having your story flow from the choices your characters make, certainly makes things more dynamic. Which for me - a very waffly writer - is a very good thing. And it makes me more certain than ever that they were right to reject my earlier manuscript. The first half was so slow compared to the second half! Nothing a complete re-write wouldn't fix however. ;-)

Okay, I'd be interested to hear what anyone else thinks of this. Any insights?

The Fine Art of Synopsis Writing

Right, forget flowery phrases. Sentences that scream 'look at me!'. Paragraphs that read well but don't actually tell you anything about the story. Throw them out of the window. Why? Because all your synopsis needs is the setting, the internal/external conflict, the evidence of growing attraction, the black moment and the resolution.

Yes, I have been thinking more about Michelle's advice, especially when it comes to writing the synopsis. The first one I did was full of the flowery phrases. It said nothing about how the characters grow and what they learn. It was full of 'he realises' and 'she realises' but nothing about why they realise that. So I wrote another one, and this was full of the 'why's, the internal conflict, what the heroine liked about the hero, what he liked about her, what they learned from each other, why they fell in love, why they couldn't be together and why, in the end, they were. But this one missed the turning points in the story, how it actually unfolded. Wrong again.

So this time I've done a third. And this time - I hope - I've done it right. This time I've actually included the 'hows'. Like instead of just saying ' he shows her that a little risk isn't a bad thing'. I've said how he does this by taking her bungy jumping and rock climbing. And when he comes to realise he needs the heroine in his life, instead of saying 'he suddenly realises....' I've given him some bad news about his father that the heroine is able to help him through, thus showing him what it's like to have support when he needs it.

Okay, it's not perfect, and until I get the okay from the editors, it may not be right, but it's SO much better than my previous effort. And this is a typical two page deal. Michelle said I should be able to write a synopsis in one page and let me tell you, it was difficult exercise. But I managed it! I would actually recommend everyone give this a go. It certainly boils your story down to the most basic nuts and bolts, and it's a great way to see if there are any plot/conflict holes. In much the same way as writing a synopsis centered just on the conflict can be useful too.

Anyway, that's my two cents worth today. This may be self evident to others but it was certainly a big step forward to me. As a pantser extraordinaire, doing a synopsis before I actually start writing is a huge acheivement. Who'd have thought it would help? :-) And it's given me a great start for writing the rest of the story - two chapters down and one to go before spit, polish and send. :-)

You Learn Something New Every Day

Well, what a weekend it's been. My poor husband has been in despair. Mainly because I am being very mono-manic about my writing!
Why? Because I've been inspired! After the wonderful Michelle Styles offered to look over the synopses of my next two subs, I have been having lightbulb moment after lightbulb moment. I think I must be very slow with learning all of this stuff because Michelle did point out things that Anna has already said to me, but for some reason I didn't see it in the manuscripts I've already written. Maybe it's to do with having new eyes to see the wood in spite of the trees, or maybe it's because I only focussed on fixing one thing to the detriment of all the rest, but whatever, the main thing is that it will mean RE-WRITING BOTH ENTIRE MANUSCRIPTS! Argh.

So? What were the problems? I'll point out the things from my climbing story:
1. The internal conflict was complicated for the heroine (again) and my hero was too self aware. There was no clear reason why they couldn't be together.
2. The two characters must grow from the experience. They must learn things from each other. Again, it wasn't clear what the h&h learned from each other or how they were changed at the end.
3. I didn't give any reasons as to why my hero was willing to give up the thing that made him who he was for my heroine. Neither did I make it clear why my heroine would overcome her fear of commitment for my hero other than the fact that she loved him. Why did she love him? Why did he love her?
4. My story was episodic. One scene didn't lead particularly well into the next.
5. My characters were reactive not active. In other words they reacted to stuff that happened to them, they didn't drive the story along by taking action themselves.

Phew! Quite a bit of stuff. And those were just the main points. There were other problems too. Fixing all of this was actually surprisingly easy once the faults were pointed out. To fix things I:

1. Gave my heroine some internal conflict that made getting involved with my hero her worst nightmare. Made my hero peripatetic and loving his freedom, who finds my heroine's need for security claustrophobic.
2. My heroine will learn stuff about herself from the hero and will use what she's learned to eventually get the hero. My hero will learn he can't live without the heroine, that her qualities are what's missing from his life, that he can't do without them, and what happens to make him realise this.
3. I gave them both qualities that each find attractive in the other. The heroine loved the excitement that the hero's risk taking brought into her life. The hero likes my heroine's bravery in how she goes along with one of his schemes even though she deems it risky.
4 & 5. I made the characters decide the flow of events rather than letting lots of outside forces determine the action. This makes them drive the story forward.

I've also learned HEAPS about synopsis writing. It really is an art. I thought I had it but no, I didn't! I am still fiddling around with the current synopsis but it's much better than it was and is certainly a great blueprint for how the story will follow.

Anyway, I'm all energised and desperate to get into writing. I want this story to be the one!

Once again, huge thanks to Michelle for her time. I really feel like I've come a long way since last week!