GENREALITY
March 8th, 2010 by Carrie Vaughn
Excerpt:  Voices of Dragons

A short and sweet post today:  Next week, my first young adult novel is due out from Harper Teen.  It’s called Voices of Dragons, and it’s an alternate history with dragons, rock climbing, jet fighters, and boyfriend trouble.

VoicesofDragons

(Ever since my first book came out, I’ve found it useful to try to condense the premise into a one-sentence soundbite.  i.e. “It’s about a werewolf named Kitty who starts a talk radio advice show.”  People will always ask, “What’s your book about?” and if you take more than one sentence to explain, their eyes inevitably start to glaze over.  So one punchy sentence to sell the book.)

I’ve posted the first chapter over on my website, if you’d care to take a gander.  Voices of Dragons, Chapter One.

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March 6th, 2010 by Sasha White
Choices…and the right path.

Don’t compromise yourself, you are all you’ve got.” ~ Janis Joplin

We often talk about being true to yourself in your writing. Hone your own voice, follow your own path, write the story as you see it, not as others tell you it should be. I firmly believe in those things.

I also see plenty of blog posts or articles that put a lot of emphasis on things being all about the story. Hearing things like “As an author all you can really control is the work.” or “The best thing you can do to ensure a successful career is write a great story.” over and over again, but I don’t believe that.

Now get this straight. I am not saying that the story doesn’t matter. What I am saying is that we, as authors, control a lot more than we’re being trained to think we do. We can control more than the story.

I’ve been agent hunting for about a year now, and I’ve queried many many agents. Some passed on my ideas, some wanted to know more. Some told me what to do, and some talked with me about my choices and options and left it to me decide what to do. However, I’ve yet to connect with an agent enough to seriously pursue a business relationship. I’m being very picky, and I know it. I think that’s okay because I know what I want, and I’ve decided if I can’t get what I want then I’m not willing to settle for less. Instead of settling with an agent I don’t believe in my heart will be my final agent just so I can get some proposals out there, I’ve decided to submit them myself, and use a literary lawyer for the contract work if I need to.

A short time ago an author friend of mine emailed and announced a book sale. She was super excited because it was to a new publisher, and it seemed like a great move. Not only was it a sale, (which is always good), but it was one that would get her more exposure and help her move in the direction she wanted to take her career. Then, a couple weeks after her announcement, she walked away from the deal. It wasn’t an easy choice, but it was one she made because she was smart enough to think ahead and know that she’d regret it later if she didn’t make her stand.

Those are just a couple of examples of the power we have. Power that has nothing to do with the story, but everything to do with building a career. Sometimes we concentrate so hard on being writers that we forget that if we want to make a career out of this that we have to be businesspeople too, and that means that we have to make tough choices at times. Sometimes it’s about more than the story. Sometimes it’s about knowing that the choices you make and the path you follow is ultimately your own responsibility.

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March 5th, 2010 by Rosemary
Stick-with-it-abily

I love getting letters from readers. In particular I enjoy it when teens write to me and tell me they’re working on their own writing projects. They ask me some great questions, and even though they’re beginning writers, most of the principles that I find myself passing on are things that, beginning writer or experienced writer, even now that I’m published, still apply to my writing process.

So I’m sharing today a question from a reader named Grace:
I was wondering how you stick with writing on one topic for a whole book let alone 3 books. I have a slue of journals with stories that never quite passed the 50 page mark. I just lose interest because it is not quite time for the climax and back ground knowledge and thickening the plot can only go so far. How do you keep your self interested until the end of the book?

Interesting that she asked me this question, because it’s something that I struggled with. Before I wrote Prom Dates From Hell, I also had a whole mess of projects/books that I’d started but never finished, for exactly the same reason. I would lose interest and abandon one project for the next shiny thing.

Even now I deal with this; I don’t abandon the project, but there’s a point in every book (The technical term, for me, is “Chapter 4.”) where I bog down, convinced the book is horribly boring, and I suck, and writing a whole big book is an insurmountable task. It doesn’t matter than I’ve done it five times now. Every single book, I look at the mountain of plot I’ve got to climb, and wonder how I’m ever going to manage it.

Now, pre-book-writing, a couple of things helped me: I wrote a bunch of shorter pieces so that I got used to finishing things. A short story can be 4 pages, or it can be 40 pages. But it’s good practice being able to get a beginning, middle and end into a short space. There’s no space for the boring stuff.

For a book, the rise and fall of the plot makes for natural goals. I don’t just plan one climax at the end. I have several turning points that are like mini-climaxes over the course of the book. This is not just about plotting an exciting book. It’s about giving myself goals that don’t seem so waaaaaaaay far away and unattainable.

If you think about the book as a series of successively higher hills rather than one long, tedious climb up a mountain, it really helps. And since those parts are usually fun to write, it’s both a goal and a reward. (I love to write the scenes with the heroine and her love interest, so I tell myself stuff like: well, I have to get through this scene where they explain how magic works, but then Maggie and Justin get to fight then make out… er, I mean make up.)

And to Grace and everyone else (that is, ALL of you, because I’ve never met a writer who didn’t have books and books of scraps and starts and bits and pieces)… Whatever you do, NEVER throw away those journals! One of my abandoned projects turned into the idea for my September book (The Splendor Falls). Way back when, I had an idea for a story about a ballerina who breaks her leg and goes to stay in an old house with a ghost. The setting and whole rest of the plot ended up being completely different, but it all started from about 50 pages of story I began (then abandoned) in high school.

So, whether you’re a young writer, a not so young writer, beginning or experienced, on those days when the book seems too huge and the end too far away, just think about it in chunks. After all, you can eat an elephant one bite at a time.

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March 4th, 2010 by Candace Havens
Our Guest Shayla Black

deliciousThe lovely Shayla Black has stopped by to talk about sexual tension. Years ago when my first agent was talking to me about revisions she told me I needed more sexual tension. At the time, I thought that meant sex. I was wrong. I picked up one of Shalya/Shelley Bradley’s books and I instantly understood.

Shayla has been kind enough to break it down for us. Here is what she says:

Creating sizzling sexual tension is no accident.  It requires commitment from the writer to incorporate four distinct elements into your plot and to take those elements as far as your imagination and believability can.

They are: Awareness – the hero and heroine should be aware of each other as desirable members of the opposite sex and as sexual beings. This sounds elemental, but I’m surprised at how many books don’t take advantage of this simple tip. Show the attraction early and give it power. This can be descriptive (i.e., the hero or heroine thinking about the other from his/her point of view, letting us know what each finds attractive about the other. Another approach is situational, your hero and heroine interacting in a way that’s flirtatious, challenging, or otherwise provocative. These two approaches will work separately and in tandem, depending on the kind of book you’re writing. Take a look at the opening scenes and chapters in which your hero and heroine are together.  Are they observing one another, cataloging pleasing aspects of the other, fantasizing or thinking about the other?  Be careful with this element or the attraction will look purely physical, but early on, you’ll want to acknowledge that, even in the midst of conflict, each finds the other attractive.

Conflict – clashes or disputes between your hero and heroine. The deeper the conflict, the deeper the tension. You’ll need an external conflict for your hero and heroine to share.  The two dogs, one bone sort of argument. I also recommend having ample internal conflict, and by that, I mean having your hero and heroine have differing beliefs, dreams or values.

Forced proximity – what is keeping your hero and heroine together when most people in conflict would naturally drift apart?

The external conflict usually drives this plot element. Abductions, forced marriages, marriages of convenience, joint inheritances, etc. can all play a role. Whatever you can dream up to keep your two characters together, use it!

Personal stake – the reason your hero and heroine each believe that indulging in their attraction for the other would be a bad idea. A character’s personal stake is the worst-case scenario if their fear generated by the internal conflict comes true.  Exploration of the external conflict, along with forced proximity, will lead to more interaction so that the internal conflict can be explored.

Hopefully, you are getting the picture now that if you remove any of these elements and you will have a more difficult time drawing the sexual tension the kind of level that leaves your reader hanging.  For instance:

If you take away the forced proximity, you have people aware, in conflict and cognizant that making love would be somehow detrimental.  In such a situation, most people would simply walk away, rather than confront the difficult issues between them.

If you remove the awareness, you have people who are forced to be with one another and not only have reasons not to engage in sex, they likely don’t want to, given their clashes.

If you take away conflict, awareness and forced proximity will turn up the heat, yes.  And personal stake may keep them from exploring their feelings for time.  But what will they argue about before they hop into bed so that your reader keeps turning the pages?  Worse, what will they argue about after they get out of bed?

If you remove personal stake, the h or h deciding to be with the other lacks punch.  So you have a little conflict with someone.  You’re attracted to them and you’re together all the time.  You can bury conflict for the few minutes necessary to accomplish orgasm.  Personal stake adds the emotional punch here.

Ramp up sexual and romantic tension as the book progresses by adding emotional elements.  Physical awareness becomes awareness of the other’s good qualities, along with their wants, fears, needs.  Each character will also have a growing awareness of their growing emotional entanglement.  As you deepen the emotions, the conflict should shift away from the external.  Now explore the internal, using the heightened awareness.  Characters will be increasingly torn by the feelings they have for the other, despite their fears.  Forced proximity will still be in place, but the growing emotions should hold them together as strongly as the plot element you used earlier to draw them together.  Personal stake should loom larger, ramping up the tension of the romance so the reader can wonder if the characters will overcome their fears and live happily ever after?  It’s up to you, the author, to keep that question looming large and thus the tension crisp.

I told you she had it down, and she practices what she preaches. I have posted an excerpt below of her latest book delicious. Enjoy!

He can’t control his desire.

Luc Traverson’s entire future is planned out—but there is one very sexy obstacle in his path: Alyssa Devereaux . She’s a former exotic dancer turned strip club owner and restaurateur. Recently, Alyssa and Luc shared one night of wild abandon that left Luc terrified by his loss of self-control—and Alyssa desperate for more.

And that’s just the way she wants it.

Fulfilling a promise, Luc is the guest chef for Alyssa’s restaurant debut. The sight of her makes Luc wild, so how can he survive a week without letting loose and ravaging her—especially when she’s begging for it? Luc’s desire for her explodes when he realizes he isn’t the only man desperate to have her. But one of the others is deadly. And that’s not the end of Alyssa’s secrets…which are as dark and mysterious and enticing as her fantasies.

Excerpt:

Until Alyssa Devereaux, had he ever gotten stone hard just by looking at a woman from across a room? Luc didn’t like the answer.

He didn’t have to wonder what was under that little skirt; he knew. Sleek thighs surrounded by garters in some color designed to drive a man wild. A lacy thong that would reveal far more of her assets than it concealed. And under that . . . The feel and taste of her slick, swollen folds dive-bombed his memory and revved him up, as if he’d injected rocket fuel in his bloodstream.

And he had to work beside her for a week. Hell. How was he going to prevent a recurrence of the event he wanted to forget—yet couldn’t?

You’re a professional. Cook and keep your hands to yourself. Besides, it wasn’t as if he had nothing else to think about. Negotiations for his cable TV show were nearly at an end. He had a bit of editing to do on his latest cookbook. There wouldn’t be that much downtime this week, but what little there’d be, he would fill.

Clearly, Alyssa had a way to fill her time as well. The huge slab of man at her side whose cheek she’d kissed a moment ago wore a Sexy Sirens T-shirt stretched across his enormous chest. A bartender? A bouncer? Whoever he was, the guy slanted a possessive glance at Alyssa that Luc couldn’t miss, then glared at him.

Tamping down his irrational anger, Luc reminded himself that if Alyssa wanted to fuck her hired help, that was her business.

The violent urge to dismember her employee would pass.

Alyssa took a step toward Luc, then another.

“Mistress Alyssa,” a female called over the speakers in a saucy vamp voice. “Your turn!”

She stopped. Closed her eyes. Sighed. Bracing herself?

Then, as if the hesitation had never been, she flashed him a cool blue gaze, pointed at a chair in front of the stage, then turned away and strode backstage. Luc couldn’t help himself. He watched her walk away, the sway of those curvy hips a siren call. Damn.

If they had been alone, there was no way Luc could have prevented himself from touching her. Period.

Unless he wanted another brush with his uncontrollable wild side, he needed to forget his reckless promise to her and get out of this job. Now.

Reluctantly, Luc sauntered to the front of the stage and sat in the chair Alyssa had indicated. As soon as she finished whatever the hell she was doing and talked to him, he’d tell her all bets were off. Hell, he’d pay her for her inconvenience.

Because if he stayed, his dick would get him into trouble. He’d have her naked and be between her legs in two minutes. Or less. And that would be bad. He was looking for Mrs. Right, someone uncomplicated who wanted children as much as he did and would help him keep his beast at bay. Alyssa Devereaux, stripper divine, was definitely not that woman.

Suddenly, music pounded through the speakers, blaring with a naughty beat, a wicked slide of horn. Every note suggested sex—the hot, sweaty, no-boundaries variety.

The type he’d had with her and wanted again.

Pulling his loose shirt over his lap to cover his erection, Luc watched as Alyssa strutted onto the stage. She’d piled her straight platinum hair into some wild arrangement on top of her head and donned a sequined bolero jacket in red. He was dying to see what she wore underneath. The way she moved was an invitation . . . and a promise.

She planted her stiletto-clad feet in front of him with a decisive step, then swung her hips, making a sensual circle. She flattened her palm across the bare skin of her tanned abdomen—and began lowering it. She reached down . . . so damn slowly. Luc’s breath caught in his chest until, finally, she touched herself. Oh, hell.

Her fingers glided between her legs, and she tossed her head back as if she was in utter ecstasy.

Luc swallowed. And started to sweat.

With a jerk of her head, Alyssa snapped her gaze back to him, her eyes like focused blue lasers jolting him to his toes.

Damn it, his nine weeks of dating church secretaries, interior decorators, and elementary school teachers showed. Not one of them had incited an erection. During that time, he’d awakened in the middle of the night more than once, sweating, his dick in his hand and Alyssa’s name on his lips. Now, after less than five minutes in her presence, he felt ready to explode.

He had to think about the right F words—future and family. Unfortunately, with Alyssa near, the urge to fuck her again kept killing his good intentions.

In the next moment, she released the soft strands of her hair, which hugged her shoulders, clung to her breasts, flirted with her waist. Then she peeled off the little jacket and left it carelessly on the floor, exposing a tiny half top Luc could swear showed the shadows of her areolas. She stepped over the jacket and strutted toward the pole in the center of the stage. When she gripped it with both hands and undulated against it, pressing it to the juncture of her thighs, Luc damn near choked.

And still she continued to stare as if she danced just for him.

The music swelled, wailing with sensuality and suggestion. Alyssa upped her game, sticking a finger into the wet cavern of her mouth and sucking. More blood rushed to Luc’s cock at the memory of her mouth around him, her tongue slick across the head, inciting a sizzle that burned his whole body. Even months later, he could feel the lash of her tongue, the hot silk of her mouth. He shuddered.

With a kittenish smile, Alyssa popped her finger from her mouth and drew the damp fingertip down her cleavage. Then her palm took over, smoothing her right breast with an invitation to pure sin on her gorgeous face.

Dear God, no wonder she’d built herself a little empire here in Lafayette. The woman was a walking wet dream and did her job well. No red-blooded, heterosexual male could withstand such intense teasing and stay sane.

Out of the corner of his eye, Luc saw Alyssa’s employee, the one she’d touched earlier, sidle closer to the stage. With a quick turn of his head, Luc quickly saw that the mountain in the tight black T-shirt was tense, panting, and sporting a bulge that said he wanted to get busy.

Luc wished he could say that didn’t piss him off. But he’d be lying.

Then, as Luc’s stare returned to the stage, he damn near forgot his own name.

Alyssa turned her back on him and bent at the waist, staring at him over one mostly bare shoulder with a fuck-me look that stunned him. Luc gripped the arms of his chair, willing himself to stay in it, not charge up on the stage, lay her flat, and get inside her again this instant.

The spaghetti strap of her little top was falling down her arm. And that indecent skirt . . . With her bent over, the hint of the bare ass cheeks flashed from beneath the black silk. Her garters were a come-hither red. Her thong—he could see only a scrap of it—matched.

Soft fingers teased their way up her shin, her thigh, and disappeared under that little skirt. Her eyes half-closed, her sultry mouth parted on a silent moan of seeming self-pleasure. His entire body tensed.

He had to get the hell out of there.

Her hands swept up her undulating hips, gathering the skirt with them. She tugged at the little black garment, and it fluttered to the floor. The tanned halves of her backside, bisected by a bit of red lace, crashed fresh lust into his chest, making it damn hard to breathe.

Alyssa had a gorgeous ass. But he’d known that. Luc squeezed his eyes shut so the visual temptation of her bare flesh didn’t taunt him. Memories of tunneling into her ass pounded him instead. Her perfect willingness to take him any way he’d wanted. The tightness of her damp, musky body clasping him. The sweat dripping off of them as he’d thrust deep. Her moans.

Christ, the burning lust had to stop—at least long enough to tell her that he wouldn’t be staying.

Praying the torture would end soon, Luc opened his eyes. And sucked in a breath.

Alyssa flashed him a naughty smile of invitation as she ripped her small top right down the front to reveal a red demi bra that barely covered her nipples. Hard nipples. Pink, melt-in-his-mouth nipples he remembered all too well.

Luc squirmed in his chair—and nearly went off like a teenage boy. Beyond aroused, his cock was so sensitive, the feel of denim sliding against the head nearly had him coming.

He had to leave. Forget the polite conversation; he’d send her an e-mail with an explanation. Because if he stayed, he would shove his long-term goals aside and fuck her senseless.

As he stood, Luc mentally reviewed a list of chefs—female ones—he could pay to assist Alyssa this week. A short list, but a few durable names. He’d send idiotproof recipes . . .

The red bra dropped to the ground at Alyssa’s feet.

Her large breasts were as golden as the rest of her body and swayed gracefully with her every undulation, every step. Those nipples he remembered so damn well beckoned, Taste me.

Turn away! he demanded of himself.

His legs didn’t move.

Alyssa danced her way down the stairs, holding her breasts up in offering. She pranced past her aroused employee and shot the man a mirthful smile as she caressed the side of his face. Luc tensed when the beefy guy tried to snatch her up in his arms. But Alyssa was too fast and spun out of his grip, toward Luc.

The damp spot at the front of her thong kicked him in the gut. He clenched his fists as she danced closer, closer . . .

She dropped to her knees before him and looked up. Their gazes locked. She panted. Hard. Despite his jeans, her hot breaths caressed his cock. Release broiled in his balls, and he hadn’t touched her once.

There was no way he could stop himself from reaching out to tangle his fingers into her hair and bringing her mouth closer.

Visit Shelley/Shayla at:

www.ShaylaBlack.com | www.DoomsdayBrethren.com

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March 3rd, 2010 by Bob Mayer
Are publishers a Brand?

If you ask a reader walking into a bookstore if they were coming in looking for a ‘Random House’ or a ‘Tor’, I doubt a single one would say yes.

More and more, marketing is about branding.  As technology rapidly changes the playing field, a fundamental understanding of the big picture of the book business is being misunderstood:  I submit to you that publishers are not a brand; authors are. Ask readers why they are coming in, many will tell you they are looking for the next Nora Roberts, Dennis Lehane, Sue Grafton, etc.

Publishers understand that.  But they don’t quite understand what it means.  They have been the gatekeepers of the book world for so long because they controlled production and distribution of the product.

They don’t any more.  I have a trade paperback on my desk that just arrived from Lightning.  It’s one of my backlist books I just brought back into print (mostly in ebook format) and I produce it and distribute it myself.  I can’t do placement (not yet), but I can do marketing via the Internet.

Publishers (and even more so, agents) give a stamp of legitimacy to a book.  Any traditionally published book has gone through a vetting process, first by an agent (again, not a brand), and then by the publishing house.  That is one of the key factors that must be factored into the future of publishing.  This book on my desk has a ring of legitimacy because it has NY Times Bestselling Author above my name and excerpts from reviews from PW/Kirkus/Library journal in the cover copy.  It was vetted years ago by the old system.  What is the new system?

Despite the braying of the dinosaurs in the tar pits the business is changing.  Resistance is futile.  Publishers, authors and agents need to embrace the changes, not fight it.

We are all trying.  I see numerous conferences springing up to discuss the changes and what they mean.  I’m sure there are numerous late night meetings in NY at publishing houses and literary agencies to try to chart a course through these rapidly changing waters.  But let me ask something:  at how many of these meetings or conferences is there an author sitting at the table or on the panel, to give input from the creative producers of the product?

One of the solutions to the current problems is to value the author—the brand– in the process.  How many literary agencies and publishing houses have some type of formal training program for their authors?  How many have authors involved in the planning for the future?

Not a single one that I know of.  But, expecting a newly signed author to know what they are doing would be like my expecting a civilian to become a functioning part of my elite Special Forces A-Team because they played paintball four weekends last year.  The expectation is that authors will learn how to be part of the business by osmosis—go to some writers’ conferences and sit in on some workshops.  Network with other authors.  The current marketplace has little time or mercy for such an inefficient system.

When I try to explain my one-day Who Dares Wins: Warrior Writer program, which teaches writers how to be successful authors, to agents and editors I get at best a blank stare, if not outright resistance.  One editor told me they don’t hire authors, they contract for manuscripts.  True.  But the manuscript doesn’t get the 1099.  More importantly, a trend is to put more and more of the marketing burden on the author.  The author has to have a platform, a plan, a social media presence, etc etc.  If authors have to do the jobs of the publicity departments, then what do they need a publisher for?  I’ve already pointed out that two key components in the publishing flow are slipping out of traditional publishing hands: production and distribution.  If I have to do the marketing myself, then what exactly is the publisher doing for me?  Legitimizing the work and placement (although if you are not a top tier author, placement equals simple physical distribution, particularly in brick and mortar stores, which is losing its value as ebooks grab more and more of the market share).

The true indicator of change will be when the first big brand name fiction writer bypasses traditional publishing—that is when the Perfect Storm will have arrived.  A few non-fiction writers have already done this (Stephen Covey’s deal with Kindle comes to mind).

Are there solutions to the current perfect storm in publishing? Yes and I ask for your input here.  And I will be blogging my thoughts about it in the current weeks using my Who Dares Wins strategy.  We will cover everything from authors, to agents, to editors, to publishing houses, to distribution, to the bookstore and the reader.  Let’s build a winning A-Team of authors, agents and publishers and, most importantly, readers.

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