Mining Personal Gems

Award-winning author of The Chameleon Chronicles, Beth Ciotta, is my guest Over Coffee today.


Readers and writers both often wonder where an author gets their ideas. How to build believable characters that ring true and resonate with their readers. Where does a writer get the needed inspiration for realistic characters?

Today, Beth shares with us how she finds her inspiration for believable characters.


There’s a saying: Write what you know. Writing about something you’ve experienced—a job, a tragedy, a thrill, an encounter with certain personality types—lends authenticity to your tale. That’s not to say you shouldn’t research and write about what you don’t know. Why box yourself in? But if you’re ever stuck for an idea or material, consider the value in mining your own buried gems.

Evie Parish, the featured heroine, ALL ABOUT EVIE, EVERYBODY LOVES EVIE, and EVIE EVER AFTER, is a veteran performer—like me. Her struggles and triumphs within the entertainment industry ring true because they’re based on my own experiences and emotions. The same goes with her body-image issues as an over-40 woman living in a youth obsessed society. Because I’m personally keyed into these subjects, I write about them with an honest passion.

No matter your occupation, age, or personality there’s something within you and your history that will strike a chord with readers. I wasn’t always over forty and I couldn’t always support myself on performance gigs. The other day I thought about some of the odd jobs I've picked up over the years to make ends meet. Each one of these inspires an idea for a story or at least a character within a story.

1. Car hop waitress at a hot dog stand (developed an addiction to root beer and chili-cheese dogs)

2. Front desk clerk at a dry cleaner (Man, it's HOT in there! All that steam. Hmm.)

3. Sales-person at a men's clothing store (That employee 40% discount killed me. Spent more than I made. Although I did learn the 'correct' way to fold clothes)

4. Music teacher at a Catholic School, K-8 (Love kids. LOVE 'em. Except for that one out-of-control 5th grade class that made me cry.)

5. Entertainment Coordinator at Resorts Casino (My first taste of being on the supervisory end of entertainers. Whoa.)

6. PR Coordinator at Tropicana Casino (Perks? Learning how to write a press release, and escorting VIPs around the casino. Gary Sinese comes to mind. What a doll!)

7. Secretary/Assistant at two different entertainment-booking agencies (Something I was really good at, but didn't feel it was I was meant to do.)

On the subject of writing what you don’t know, I also have some dream jobs.

1. An ongoing job as a character at Disney World (Snow White's my first choice. Although I'd be happy with Cinderella.)

2. A travel writer (Getting paid to write about exotic foods and locales? Come on!)

Now it’s your turn. Name one real job and one dream job. I’m betting one
or both could inspire a fascinating tale or character. We’re all brimming
with personal gems. Sometimes you just have to dig.
***

Storytelling comes naturally to award winning author, Beth Ciotta. Limiting herself to one sub-genre does not. Dubbed “fun and sexy” by Publisher’s Weekly, Beth specializes in writing Romantic Comedy with a Twist of Suspense and is published in contemporary, historical, and paranormal romantic fiction. Beth’s latest release, EVIE EVER AFTER, is the third in a series with HQN Books and is currently earning rave reviews. Into the Wild, a romantic jungle adventure, is set for release in 2010. Look for these connected stories from HQN Books.

Beth lives in New Jersey with her husband, a zany dog and one crazy cat. To support literacy, Beth works at her local library where she enjoys hawking books almost as much as writing them. To learn more about her chaotic life visit her website at www.bethciotta.com and her blog at http://bethciotta.blogspot.com/

WRITING: DON'T TRY TO CONTROL THE UNCONTROLLABLE

~Sia McKye~

"Writing a book is an adventure. To begin with, it is a toy and an amusement; then it becomes a mistress, and then it becomes a master, and then a tyrant. The last phase is: you kill the monster, and fling him out to the public." Winston Churchill

One of my favorite blogs was discussing the attitude of some aspiring authors and how critical they were of books on the market today. I do read many blogs and the comments as well as discussions on writer’s forums. There is a worry that the writing market is being flooded with wannabe authors. Frustrated writers trashing, not only the books that are being published when theirs are not, but also agents and publishers and the horse they rode in on, because they have passed on their manuscript.

They curse the market that’s buying books that aren’t in their genre. I’ve seen a lot of scrutiny on what is being published. Questions and opinions on formula writing to the market, thrillers and suspense, romance and various sub-genres of romance. Are there too many types of Regency novels flooding the market? Is erotica another word for porn and is it a valid genre? Are Vampire stories a dead end now? Are paranormals on their way out?

I happen to think any idea, if presented in a fresh way, will still sell. I’m a selective reader and will say I do think twice about reading a book or series written about vampires. I’m the same way with Regencies and to a certain extent, paranormals. It has to have that certain something that makes it stand out. Say what you want, but paranormals are still hot and I don’t see them declining in popularity any time soon and I think it’s the same with genres of erotica.

Reading some of the blogs and writer forums is a lot like walking into a room filled with chaos and loud opinions. I tend to do one of two things when that happens, walk out or start watching for the patterns. Make sense of the chaos and find my own path.

There are a lot of opinions and strong feelings on what’s selling today. Speaking as a writer, I am more critical of the quality of writing in books I read, this is true, but not so much that I pan most of the books published today as drivel. I don’t think they are.

I suppose some of the attitude among writers’ stems from the feeling that most books published today are tripe. It may also depend upon the genre of books a person reads. Various genres wax and wane in popularity. When they wane, it’s hard to find a book to read in that genre. I love a good romance but I read several genres, so I usually find something worthy of reading. Right now, I’m reading and enjoying a thriller by Stephen Coonts, called Deep Black: Arctic Gold.

I think some of the attitude among writers might also stem from having their work passed over while others seem to get published. They compare their book ideas or those of their friends with what’s out there and finding it lacking. Some feel that their writing is as good as or better than what’s being published—and that may well be true. I’d say this attitude is both frustration with a highly competitive market and plain jealousy. One you can’t do anything about and the other you can.

I have a good friend who says getting published is like a lightning strike. You need to be in the right place at the right time. Lightning strikes happen more times than we realize. So, following analogy if that’s the case then I am going to be the one out in the storms carrying the lightening rod and trying to draw the lightning.

While I'm ambitious, determined, and success oriented, I've never been a type A personality. I feel that yes, there is some luck involved—being in the right place at the right time. I watch the patterns I try to place myself where I can take advantage of the thread of luck, such as it is. I also feel there is a good deal of work involved. I can’t control the market. I have no control over readers' taste in books. I realized a long time ago, there are few things in life you are able to control, so why waste the energy trying to control the uncontrollable? I can control the quality of my work and improve it so I’m more competitive in the existing market. So, I work.

The thing about jealousy, aside from making you bitter, is the fact that while you are so busy bemoaning another's success you don't have the time to work on your own. I don't begrudge someone his or her success being published and I’m not. Good for them and I’ll have my own soon enough unless I give up—which is not my style.

For me, success has always been about applying myself, believing in myself, getting knocked down but getting back up. I don’t have time to sit in the middle of the road crying over whether something is fair or not, or worry about the market, agents, or publishers. There is one thing about all those writers trying to break into the business though, if I fall and skin my knee, or have hurt feelings from a rejection? I sure as hell better get up quick or I’ll be trampled or left behind. Footprints and dust aren’t the fashion statement I want to project.

So, regardless of the market, the opinions of agents and publishers, my philosophy is: Don’t get caught up in jealousy over another’s success. Don’t try to control the uncontrollable, like readers' taste and what is or isn’t being published. Control those things you can and if you want to be published, be willing to work hard to perfect your craft. If you get knocked down, get back up. Writing is a business so learn the business to the best of your ability. Carry a lightning rod and always keep your eye open to look out for your own luck.

“Opportunity dances with those already on the dance floor.”

What do you say? Shall we dance?

***

Sia McKye has spent over twenty years in marketing and promotion. She's written and published various articles on writing, marketing, and promotion. She's a Marketing Rep by profession and also writes fiction.

OVER TO THE DORK SIDE—WRITING IT FUNNY.

My guest is Tina Ferraro, author of The ABC's Of Kissing Boys. A story about a girl who didn’t make varsity soccer with her teammates, and comes up with a crazy-but-just-might-work scheme to get promoted that involves learning everything she can about the art of kissing.

Some authors seem to have the knack of being able to write humor. One would think its inborn gift and one that requires little effort on the part of the author. So receiving a note from your editor with the suggestion to make it funnier should be an easy thing to fix, right? Tina discusses how she handles those sort of suggestions:

I once read an interview with the witty actress/author, Carrie Fisher, where she recounted how painful it was for her to go on talk shows. For not only did she need something interesting to say, she was expected to be funny. And while she knew she was capable of making people laugh, she simply could not count on her sense of humor walking out from behind the curtain with her.

I totally related. While no one’s going to ask me onto a talk show, the young adult novels that I write for Random House are considered by my publisher and reviewers to be humorous. I admit that I have an eye for the absurd, and have been known to “crack up” my fellow airport shuttle bus riders or the back row of a PTA meeting with LOL one-liners. But like Carrie Fisher, my humor is not something I can control.

So imagine my horror when I got the line edits back on my 2008 release, How to Hook a Hottie, and saw notes from my editor that said things like, “Good, but make this funnier.”

Make this funnier? Make this funnier?

Would if I could!

I went into a total tailspin--including taking a dive for cover underneath the nearest bed. Only to find the space crammed. With the workout clothes. Dust bunnies. Tooth fairy teeth. Which meant in order to complete my breakdown, I was going to have to clean. And sorry, but that was a deal-breaker.

So back I went to my line edits. Make this funnier.

Heaven help me.

Next up: I grabbed a carton of ice cream and my Sienfeld DVD’s, and began my own private marathon. Trying to immerse myself in the obsessive, zany, and over-the-top humor that makes me laugh.

Eventually, I had no choice but to return to the manuscript. With a heavy heart and even heavier stomach, I flipped to those scenes and addressed my editor’s concerns, and tried to make them funnier. Whether or not I hit the high notes is a subjective call. But I must have done “well enough” because the American Bookseller’s Association named it one of their top teen picks of the season. And it was recently named a finalist in the Gayle Wilson Award of Excellence contest. I’m proud of those accomplishments, and of the book.

But here’s the thing. If we ever meet face-to-face (and I hope we do), and you want to see a glimpse of my humor? Don’t mention this blog or my books. Don’t ask me about my writing process or my kids’ teeth.

Tell me I have leaves in my hair. Or better yet, that I sat in something that looks like melted butter. I can pretty much guarantee, in the throes of my utter embarrassment, I’ll be funny. Because I’m starting realize...that’s where my humor goes when I can’t find it.

Over to the dork side.

Hey, think this revelation could help Carrie Fisher?

Tina Ferraro is the author of three young adult novels, Top Ten Uses for an Unworn Prom Dress, How to Hook a Hottie (2009 RITA finalist), and The ABC's of Kissing Boys. Her fourth book, When Bad Flings Happen to Good Girls, releases summer of 2010.

She lives behind a computer screen in southern California with her husband, their cat, and whichever kids happen to be home.

Some of Tina’s favorite things include reading, drinking lattes, hanging with her family, watching the TV show Lost, and chatting with her readers through her Website, www.tinaferraro.com

and her blog at www.yafresh.blogspot.com.

Finding The Spark

Today my guest is Tawny Weber, a woman who loves romance, happily ever after, hot love scenes… all the good things in life. She writes romance hot and sizzling. Her newest release, COMING ON STRONG, was awarded four stars by Romance Times.

Today she talks about what brings our words to life and makes our characters real to our readers.

As a reader and a writer, there’s nothing I love more than reading something that sparkles. Not with glitter, ala pixie dust fun (although that would be cool, huh?). I mean that special something that brings the words to life, makes the characters seem real, and gives the reader that sense of Wow-connection. I call that spark. Some writers do it with intense plots that have the reader holding their breath in anticipation of what comes next. Others create characters that touch hearts and live in the minds of readers long after the cover is closed. There’s suspense spark, humors spark, sexy spark – the list could go on forever. For me, because I’m not an analytical reader, it’s never easy to pinpoint just what creates spark on a page. I just know it when I feel it.

As a writer, it’s a little easier. I know when my writing seems to spark – it’s that special feeling that the words just work. It all comes together and has an edge. It’s not comfortable, it’s not that “oooh that was easy to write” feeling (that usually means I didn’t work hard enough *g*). If I had to give it a label, it would be love. Loving something about the story, for me, gives it life-or spark. If I fall in love with the characters, or I’m so intensely connected to the story and how it plays out, that shows in my pages. If I believe in the story, if I’m emotionally invested, that comes through on the pages.

To all the writers out there, when you write, what’s going through your head as you put words to page. Yes, I know the story is there in the forefront –that’s what you’re typing, right? But what’s happening in the background? Doubts? Irritation or apathy? Are you thinking ‘this one is it’? Or are you rereading your latest rejection letter or bad review? IMO, nothing’s better at smothering spark than negativity. Some tools I use when I wrote to keep my focus on the story and not the chattering background voice is music. It just drowns them out *g*. Other ideas are to write down all the worries before you start writing, then rip them to shreds. They have no place in your writing time. Hey, there are plenty of other hours during the day to worry, right? Just not while you’re writing.

Another spark killer? Feedback. Oh, don’t get me wrong; I love feedback as much as the next person (especially good feedback LOL). But there was a time that I entered a lot of contests looking for feedback and I learned fast that if I took everyone’s advice/comments and changed my story to suit those, it would be a sparkless as a glass of tepid water. As much as I respect other’s opinions, the bottom line is the story has to resonate for me. I take two opinions into account when I write – two people that know my writing, know my voice and totally believe in my stories. My CP, and my editor. That’s not to say that I don’t respect reviews and feedback – I do. I store it all, I consider what clicked or didn’t click for readers, and try to keep that in mind as I work on my next story. But the bottom line is it always has to spark for me first.

So how about you? Do you recognize spark when you read?

Are there stories that just jump to life off the pages for you?

How about in your writing? Can you see when it’s there?

Do you have ideas for bringing more spark to your pages?

***

Tawny Weber is usually found dreaming up stories in her California home, surrounded by dogs, cats and kids. When she’s not writing hot, spicy stories for Harlequin Blaze, she’s shopping for the perfect pair of boots or drooling over Johnny Depp pictures (when her husband isn’t looking, of course).

Tawny’s most recent Blazes: COMING ON STRONG and GOING DOWN HARD are out April/May of 2009. Come by and visit her on the web at www.tawnyweber.com

Available May 2009

Did you know? One in ever six mass-market books sold in North America is a Harlequin or Silhouette Novel

HOW CAN YOU BE A WRITER IF YOU'RE NOT A READER?

~Sia McKye~

I read a number of blogs. One blog I regularly read is written by an agent. On this particular occasion there was an informal discussion going on between several agents and editors, chatting about a dichotomy between readers and writers. The gist of it was that there were a whole lot of writers out there that weren’t readers. People convinced that they had a “book or two in them,” but they weren't readers. Then there were the writers who felt you shouldn't read other’s work in your genre because it would interfere with your "voice".

To me, the question has always been how can you effectively write a book if you don't read them? Base it on TV? Your fascinating life? Because you're a professional writer on the job?

I write many things professionally, articles, seminars, notes, and lots of reports. I'm writing something every day and while I don't have the time to read six or more books a week anymore, I do read something everyday. I read for pleasure. I also read to keep an eye out for what is selling, what’s not, styles of writing, and premises used.

I write creatively and have completed two 90k contemporary romance manuscripts of a trilogy and I'm working on a paranormal trilogy. So, I'd say I had “a book or two in me”. I’ve told stories all my life. I come from a very creative family of oral storytellers and published authors.

My love of books came from reading voraciously throughout my life. As a child my parents and grandparents felt to be well read one must read classic literature first. I was also encouraged to branch out and explore various genres, not just one. Consequently, I regularly read various sub-genres of romance, paranormals, suspense and thrillers, and I love Sci-fi. You could say I'm a mood driven reader. I'm the same with music for much of the same reasons--my parents and grandparents.

There is a perception out there that you can't read another’s words when formulating your stories--something nonsensical about copying the voice or premise, yada yada. To me, that's BS. My voice is mine and doesn’t change just because I read someone’s work.

I often think about how coaches train their athletes. It isn't by ignoring the competition. To the contrary, they watch recorded games of the competition so they can be better. Actors know the style of other actors--they watch them. You don't think musicians aren't aware of those who produce the same style of music? Or artists aren't aware of whose style is similar?

As an author, to know what’s marketable you have to read it. Analyze it. That’s keeping your finger on the pulse of market.

I’m a marketing/promotion rep by profession, to sell my products and people; I have to be familiar with what’s out there. Is their product comparable? Better? Worse? How is it packaged? Any book I write is my product and to market it effectively I have to know what’s selling, what my target demographics are and why.

So, you want to be a author? Read. Particularly in your genre. Know what’s selling out there and why.

Sia McKye has spent over twenty years in marketing and promotion. She's written and published various articles on writing, marketing, and promotion. She's a Marketing Rep by profession and also writes fiction.

Psychotherapy With My Muse

My guest today is a delightfully quirky Scot, Malcolm Campbell. He's worked in and around the writing field for some years and has taught college level journalism and does book reviews for several sites. He has also written a wonderful story, The Sun Singer. Today he talks a bit about the writing process and his muse, who seems to a be a rather multi-talented being.

Let’s get the obvious out of the way first: I was reared by dysfunctional alligators in the Everglades where I cut my teeth on panic grass, ate anhinga for dinner, and played cops and robbers with a Florida panther.

Potentially, I’m making that up. But if you’re a writer, you know this is what people think. Other than fate or flat out insanity, nothing else but this kind of upbringing can explain what environmental conditions cause writers to materialize.

Last October, my friend Chelle Cordero wrote an article in which she said, “Every now and then I feel like an alien living in my home. Often misunderstood, mostly tolerated and usually hidden away. When family members are asked what I do, their voices tend to lower, they avert their eyes and finally, after shuffling their feet, whisper in a clandestine tone – ‘She’s a writer.’”

I can identify.

While hearing voices inside my head and seeing things that haven’t happened seems completely normal to me, non-writers tend to think there’s something “a little off” about it. But then what would you expect from a guy who grew up in a real or imagined swamp?

Generally speaking, people understand quantum mechanics, psychology and aquatic macrophytes and rocket science. But they don’t understand writing. They actually come up to me during funerals and/or on busy street corners and ask why I write and where my ideas come from.

My short answer is “psychotherapy.”

Since people think I’m making that up or being purposefully obtuse, they go away and don’t ask me again. Sometimes I hear them talking amongst themselves, “Hey, you see that guy over there; his best friend was a Florida Panther. Now we know why they’re on the endangered list.”

Unfortunately, the truth of the matter about why I write and where my ideas come from sounds a lot more dramatic than it is. While it really is psychotherapy, you know, due to my childhood, etc., the whole writing session shebang is just me sitting at my desk wondering what the hell I think I’m doing. I know one thing from experience: my feelings about myself and the subject matter of the story won’t become clear until all has been said and done.

My writing sessions are psychotherapy sessions with my muse. She's the analyst; I'm the analysand. There's libido there before my appointment begins, energy of some kind, and when I tell my muse what it is, she knows--because we're sitting face to face--that I will stall before I come to the real point.

I've had dreams, whispers of intuition, and sensed the influence of archetypes, but I'm not yet sure whether I want to confront them directly. They are as yet unconscious, behind doors where shadows lurk. How will I be changed, by permitting full knowledge of them? I am seldom in a hurry to know.

As the heroes of myth traveled out into the unknown forests in search of treasure, the writer travels away from his ego into the vast and often forbidding landscape of himself to find the story he must tell. He tells the story to become whole. He tells it out of necessity rather than choice.

When I confront my stories face to face, I may see joy or beauty or frightening secrets. Then and only then do I know how I feel about them. While the reader may define the image as a novel, a short story, an essay, or as nonsense, I know it's a shard from the infinite mirror of my mind's eye.

-
THE SUN SINGER, published in 2004, is a magical fantasy adventure about a young man who learns how to bend time, change the past and become the Sun Singer.

"The Sun Singer is gloriously convoluted, with threads that turn on themselves and lyrical prose on which you can float down the mysterious, sun-shaded channels of this charmingly liquid story." Diana Gabaldon, A Breath of Snow and Ashes

In addition to his novel, Campbell’s writing has appeared in Nonprofit World, Living Jackson Magazine, Nostalgia Magazine, POD Book Reviews More http://podbram.blogspot.com/ and More, The Smoking Poet, the Atlanta Journal-Constitution, and the Rosicrucian Digest. He has worked as a college journalism instructor, technical writer; grant writer and corporate communications director. You can visit Malcolm at his website http://www.malcolmrcampbell.com/.

The Dreaded R Word

My guest today is, Aussie author Annie West is a bestselling author for Harlequin Presents/Modern/Sexy. Annie discusses her love/hate relationship with revisions and what she calls "hardest part of your writing life"; the waiting.

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People talk about being in deadline hell and I sympathise, oh boy, do I sympathise. But finishing the book isn’t the end of the story. I wish it was! Often there are those r…r…(oh go on and don’t be a wimp)…those REVISIONS.

I have a friend who tells everybody she loves revisions. They give her the chance to make the book the best it can be. I understand the sentiment. I spend so many hours slaving over a hot manuscript, trying to make it the best I can get it, of course I agree. I still think my friend is odd. Odd? Let me be frank – I think she’s loony.

I like the result of the revisions – a polished story. But the process? Argh!

I love the first set of revisions. It’s wonderful to sit in a comfy chair away from the computer with a manuscript, a red pen and a cup of coffee. I’ve achieved something. There’s sparkling dialogue, sexual tension, page turning chapter endings and…OK, maybe a few things that need changing. But I feel great when I work out how to fix them.

I get back up from my friend, historical author Anna Campbell, who reads my manuscripts as I read hers. I rely on her to find things that never occurred to me. What? Me get too close to my work?

Finally I send the story to my editor and wait. No one told you before you sold that waiting would be the hardest part of your writing life, did they? She’ll love the book. After all, I think it’s terrific and I’m an expert on this story.

Funny how editors see our work differently. Call it distance. Or an understanding of the market and reader expectations. Of all the books I’ve sold to Harlequin Presents only one got through without revisions.

Why do I con myself there’ll be no request for changes?

The email comes setting out areas to improve. Problems here. Possible solutions. I read and my head spins. My mind goes blank. If I change that thread so much else will have to change. Easy revisions are cutting word count, getting rid of a secondary character, losing a chapter (can you tell I write long?). Harder ones involve rejigging themes and motivation.

I spread the hard copy on the dining room table. It takes me days to work through the implications. I highlight major points, underline specific changes, query others till I think I know how to bring it off. I have a scrawled list of ‘to do’s’. Post it note reminders multiply as each change has consequences elsewhere. I write new sections, hoping I can hold it all in my head. Hoping I can bring it off. It’s a mess of notes, new dialogue, altered timelines and haphazard memos. At some point it doesn’t feel like my story but a maelstrom. Finally it settles into shape and…I think it works. I don’t believe it though because I’ve been to hell and back reshaping it and I’ve lost perspective.

Then I wait. Word comes that my editor loves it. Whew! I want to celebrate but I’m pooped.

Then the longer wait. Eventually the book is out and a reader contacts me. She loves the characters and lost herself in the story. Really? Those revisions worked after all.

I think about the story I’m writing now and realise it’s so much better. A corker of a story. This time there’ll be no revisions. I’m confident!


Aussie author Annie West is a bestselling author for Harlequin Presents/Modern/Sexy (depending on which country you’re in). She gets a kick out of going to Australian writer and reader conferences where she gets described as ‘a Sexy author’! She’s won and been shortlisted for several reader awards and is just about to start work on what she hopes will be her 11th book for Harlequin. Annie loves her work, spending days fantasising about gorgeous men and their love lives. It’s a hard job but she has no regrets. Annie lives with her family on the east coast of Australia between the Hunter Valley’s world class wine country and some of the state’s best beaches.

Her next releases are The Desert King’s Pregnant Bride (Harlequin Presents Extra in North America in April) and Blackmailed Bride, Innocent Wife (Mills and Boon Modern in the UK in May). You can read excerpts of her books or enter contests to win new releases on her website.