LOVE WRITING
A GUIDE TO WRITING AND GETTING YOUR ROMANCE NOVEL PUBLISHED
(WITHOUT LOSING YOUR PERSPECTIVE, PASSION OR SANITY)
BY
VIRNA DEPAUL
WITH
TAWNY WEBER
Copyright 2010 by Virna DePaul and Tawny Weber
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the copyright owners.
Printed in the United States of America
FIRST THINGS FIRST: CALLING ALL WRITERS
So you want to write a novel? Maybe you’ve started one and just need a little push to finish it. Or maybe you’ve written one and want to write a second, third, or fourth? That’s awesome! Whether you’re just beginning to write or you have a few manuscripts under your belt, we hope this book helps you get a little closer to attaining your writing goals.
Writing is both a challenge and a joy. Being a successful writer starts with three things: 1) knowing yourself and what you really want out of your writing; 2) being willing to devote the time, money and effort necessary to achieve your goals; and 3) knowing what challenges you will face if one of your goals is to be or stay published.
If you’re a less seasoned writer, this book sheds light on what are some of the most important writing concepts, but in one streamlined method, which includes various worksheets to help you in the writing of your story. In addition, it describes the hazards of pursuing publication while providing inspiration and guidance to overcome them. Finally, even if you’re an experienced writer, we hope this book reminds you why you started writing in the first place and provides you with a new way of approaching your writing goals, as well as your story.
TO TRUST A STRANGER: OR, IF YOU’D RATHER NOT, A LITTLE ABOUT US
ABOUT VIRNA
Virna DePaul was an English Lit major who practiced law as a criminal prosecutor for over ten years. She began writing in September of 2006 and by January had a top-notch agent and editorial interest from a New York publishing house. Despite that grand beginning, it took her a little over three years to make her first sale. When she did, she sold the first two books in a paranormal series to Berkley Publishing (Penguin Group). The first book, Chosen By Blood, comes out in May 2011. She also sold to Harlequin’s romantic suspense line.
ABOUT TAWNY
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). A lifelong romance reader, it took a push from her husband for her to try her hand at writing. She started in 2002, joining Romance Writers of America and going on to final multiple times in RWA’s Golden Heart contest, as well as serving on a variety of chapter boards and offices. After winning the Harlequin Blaze Challenge, she sold her first book, Double Dare in 2006. In September 2010, her tenth Blaze, Riding The Waves, hits the bookshelves.
LONG TIME COMING: WHY VIRNA WANTED TO WRITE THIS BOOK
I was an English major in college and primarily studied classic novels by authors who’d already passed away. I think this is why, on some level, I’d always felt that writers were above ordinary people. They were special. Geniuses. Plus, they had time and money to isolate themselves from the drudgeries and distractions of reality. Think: Italian villa and Colin Firth in Love Actually.
Nonetheless, I’d read romance novels for years and repeatedly had the urge to write one. Unfortunately, it seemed like an insurmountable task to learn all the “rules” involved. Eventually, I had three children and I was sure the dream was over before it had even started. I had a full-time job. Responsibilities. I was just an ordinary person. Sure I had an English degree, but I hadn’t focused on creative writing. In fact, it had always scared me. Who was I to think I could write a novel?
So, my life led me in other directions….Before I began writing full time, I spent over a decade practicing law as a Deputy Attorney General for the Appeals, Writs and Trials Division of the California Department of Justice. In other words, I was an attorney. Unfortunately, when I told people what I did for a living, it was always with a hint of embarrassment. I don’t think being an attorney is anything to be ashamed of (yes, you heard me right), but identifying myself as one never felt right, either. You see, although I was proud of the work I did, I knew early in my career that being an attorney was not my passion or purpose in life. Every time I said the words out loud, I felt like a fraud.
Today, when someone asks me what I do for a living, I proudly say, “I’m a writer.”
How cool is that?
Getting published didn’t make me a writer. I was a writer before I left my law job and before I sold. I immersed myself in the writing community, joining five local writing chapters, attending conferences, and, more importantly, completing one full manuscript after another. I discovered what I loved almost as much as writing itself—my fellow writers, as well as the excitement of honing my craft.
Even so, it wasn’t until I attended several romance writing conferences and close to 40 Romance Writers of America (“RWA“) chapter meetings, and completed my third romantic suspense manuscript that I realized most of the craft I’d learned in bits and pieces could be combined into a streamlined process. In addition, in the three years it took me to sell, I often wished I’d been better prepared for (or at least warned about) the difficulties I would face.
One of the people who helped me on my writing journey was Tawny Weber. Tawny and I met through our local writing chapter but our friendship deepened when her daughter and my son became play date pals. While they talked Pokemon, we often talked writing. I learned we had many shared experiences, similar ambitions, and, most of all, a desire to give back by sharing what we’ve learned from so many other talented people over the years. Since we write very differently and have different perspectives, I asked Tawny if she wanted to collaborate on this book with me. To my great fortune (and yours!), she did.
Depending where you are in your writing journey, some portions of this book may be more helpful than others. Skip around. Pick and choose. Take what works for you and set aside the rest.
Living an authentic life complete with purpose and passion is the key to happiness, but only if you maintain balance and continue to have fun. As J.A. Konrath explains in his book, The Newbie’s Guide To Publishing, the Theme of his novels matches his philosophy in life: “Try the best you can, because trying is all you can do. But if you try too hard, life isn’t worth living at all.”
I try to live my life this way. Sometime I fail, but I keep trying. I hope that in some small way, this book and our stories encourage you to go after your dreams and live the life you want.
HOW TO USE THIS BOOK (AND WHY IT’S STRUCTURED THE WAY IT IS)
This book is divided into four parts. We start with the good news first—the top ten things a romance writer can do to write a good book. This includes breaking down a detailed method for plotting your book and various worksheets that can help you with writing your story. We start with this section because, in the end, writing a good book is what it’s all about.
Part II deconstructs a published romantic suspense book, You Only Love Twice, by Lori Wilde. (Don’t worry, there aren’t any serial killers involved. Lori Wilde writes compelling suspense with a fun, sexy edge.) Part II focuses on how Wilde took advantage of the principles highlighted in Part I.
In Part III, we discuss some things you might want to know if you’re pursuing publication. We do this by telling you (first generally, and then in more detail if you’re curious) about our writing journeys and some of what we’ve learned so far. Like most writers, our journeys were full of challenges and disappointments, but because we persevered, we eventually achieved that first sale and additional success.
Finally, Part IV provides tips and worksheets to make the writing process easier. It also touches on miscellaneous information, defines terms, and lists additional resources to explore.
You May Be A Romance Writer If….
People often ask when you’re going to write a “real” book.
You know what a “crit” is. You’ve probably bought one at one time or another at a fundraising auction.
You stay up all night because you have to see how a story finishes.
You think of yourself as a “plotter,” “pantzer,” or something in between.
You’re never without your “WIP.”
You occasionally exclaim, “Why didn’t I think of that?!”
You know how to print multiple pages on one sheet of paper.
You’re horrified by the thought of your father or your children reading your book.
Working and gaining weight are often inextricably related.
You walk around muttering, “the same but different.”
CHAPTER 1: DOES SHE DARE? MORE TO THE POINT, SHOULD YOU?
Do you really want to write a novel? If so, why? Whether your goal is to get published or not, writing a book requires a lot of skill, as well as dedication, courage, and perseverance. Consider the following:
REASONS TO WRITE A ROMANCE NOVEL
You love to read them.
You love to write.
You’ve often thought about writing one.
You have stories in your head to tell.
You often mentally rewrite the endings (or beginnings or middles) of books as you read.
You have a message to share.
You want to entertain others and are willing to work hard to do it.
REASONS TO RECONSIDER:
You think it’ll be easy.
You have no love for writing.
You need to make money.
You want to be published right away.
You think writers are cool (which is true, but you don’t have to write a book to hang out with them).
You’ll be devastated or judge yourself if you don’t sell.
In choosing to write, you’ve set an amazing goal for yourself, but please don’t ever think it’s an easy one. Writing a complete novel, even a short one, is a lot of work. Furthermore, if your goal is publication, the journey towards publication can often be brutal.
However, if you’re going to write, and if you’re going to thrive mentally and physically as a writer, you need to accept the process for what it is. It’s a bit like that Kate Perry song--you know, it’s up and down, black and white, joy and grief, and every possible emotion in between. Reading this book and talking to other writers is a great way to learn what it’s like. Once you know, don’t be intimidated into quitting (or never starting). Be glad you know what you’re facing. Train. Gather tools. Even take a break once in awhile. Make a realistic plan to achieve what you want and don’t be blindsided when you encounter a few obstacles along the way.
As Tawny often says, “pull up your big girl panties” and get the job done. (If you’re male, you get the drift—and thank you for joining us.) Remember, however, that for all the difficulties you’ll encounter, you are not alone. Plus, for all the “bad” news, there’s plenty of good. If you can keep perspective about the low points and the business side of publishing (most often they are the same thing), writing can be a joyful experience. You can meet wonderful, creative people, increase your skills and versatility, and write a book you would love to read. Moreover, getting published is possible so long as you don’t give up.
Always, your primary task is to sit down and write. It gets trickier from there. You need to write a good book. You want to enjoy writing, of course. In the end, you want to consistently do both. Your patience will likely be tested the longer you continue to write, but, at the same time, your skill should constantly be growing. Hopefully, so will your passion and your confidence.
Write. Love writing. Love your writing life. Do all three and you’re that much closer to writing a better book and selling it!
You May Be A Romance Writer If…
You buy (maybe even use) a lot of sticky notes and highlighters.
You send out query letters. A lot of query letters.
You’d be willing to pay someone to publish your book (because you know if people could only read it they’d love you).
You volunteer to judge others and then alternately feel great or horrified about your own writing.
You write when others are sleeping.
Your office is a Starbucks.
The Internet History file on your computer would horrify your neighbors.
You scour magazines for pictures of your “ideal” man, pin them to your bulletin board, and don’t even feel guilty when your husband sees them.
You find yourself wondering how you can make a “zombie” story sexy.
You believe that rather than misleading young girls about what they can have, you are empowering them to demand what they deserve.
PART I: DOING THE WORK TO WRITE AND GET PUBLISHED
CHAPTER 2: WRITING THE BEST BOOK YOU CAN
Writing is truly our passion. However, as we will stress throughout this book, trying to get published can be brutal. We have suffered amazing highs and amazing lows, and one thing that has been able to keep us going is the knowledge that writing is both art and craft. Writers can explore different methods and different structures for writing. We can change genre, voice, and even the name we write under. We can focus on concrete ways to write better when our “best so far” turns out to be “not quite good enough.”
In Part I of this book, we describe a 10-Step method that sheds light on important craft concepts (Theme, Story Question, Character, Conflict, Plot, Raised Stakes, Three Act Structure, Turning Points, Scene/Sequel & Resolution), but also actively leads you through the process of brainstorming, developing, outlining, and submitting your story.
BEST KEPT SECRETS: TEN THINGS YOU CAN DO TO SUCCEED AT WRITING (PREVIEW OF STEPS)
STEP 1: SET REALISTIC GOALS
STEP 2:READ, EXPERIMENT AND FAMILIARIZE YOURSELF WITH THE “10 FOR 10”
STEP 3: BRAINSTORM CHARACTER, BACK STORY AND PLOT POINTS
STEP 4: CONFIRM YOUR STORY FITS THE SUBGENRE/LINE YOU’RE TARGETING
STEP 5: EXPAND UPON YOUR STORY’S THEME; BRAINSTORM MOTIF AND SYMBOLISM
STEP 6: CREATE A LOG LINE, A STORY PREMISE, AND HIGH CONCEPT PITCH IF POSSIBLE
STEP 7: BRAINSTORM SCENES
STEP 8: WRITE A SYNOPSIS
STEP 9: WRITE AND REVISE
STEP 10: SUBMIT, SURVIVE & START AGAIN
CHAPTER 3: TAKE THE FIRST STEP THAT WILL GET YOU THE FARTHEST (STEP 1: SET REALISTIC GOALS)
“A Goal Is A Dream With A Deadline.” --Napoleon Hill
Chances are if you’re reading this book, you have a dream. A dream to write a novel. Maybe to get that novel published. One of the best ways to make your dreams come true is to set goals. We all know what goals are, right? They’re things we want. Things we’re striving for. Things we’re willing to work for, not just desire. Here are some tips for setting and achieving your goals.
MAKE IT BLACK AND WHITE
“Vague Goals Produce Vague Results.” -–Jack Canfield
What, exactly, is a vague goal? One that doesn’t clearly define the results you want. To write a novel is a great goal, but it’s not specific enough. What kind of novel? How long? Do you want anyone to read it? What readers are you targeting?
In the same vein, to sell a book is another great goal, but again, it’s not specific enough. This goal covers everything from self-publishing a “how-to” on building a steam engine, to selling a “book here and a book there” to different publishing houses in a variety of sub-genres.
So be specific. Specific but flexible.
You don’t want to cheat yourself out of a goal. For instance, what if you start writing one genre and find you hate it? Or what if you target one publishing line, only to find the line closes? Being specific about your goal, but being able to adjust your goal in the face of obstacles, will increase your chances of accomplishing it.
A fun tool to help you narrow down your goal is to try and picture it. If you’re a visual person, close your eyes and imagine the goal. See it in your mind as if it’s happened already. For instance, see yourself in the bookstore watching people buy your book off the shelf. See yourself winning major writing awards or your name on the New York Times Best Seller list. Whatever your goal is, see it in your mind. If you’re not visual, imagine how it will feel. Bring in the emotions and excitement you’ll experience when it happens.
Once you’ve narrowed down your goal, honed it, and made sure this is exactly what you want, the best thing to do is write it down. Writing down your goals empowers them. It gives that extra boost that takes them from a wish to a determined path you plan to take. In 1953, one famous study focused on a graduating class from Yale University. The study concluded that the 3% of graduates that had written down their goals accumulated more wealth than the other 97% of the class combined.
Where you write your goals is totally up to you! You can type them up in a computer file or you can create a goal book and note them there. Experts say that handwritten goals and affirmations carry more weight because they involve more of your body’s focus and effort, but the key is to write the goal and keep track of it.
EXERCISE: List three specific, major goals you have with respect to writing.
BREAK IT DOWN
“Shoot for the moon. Even if you miss, you’ll land amongst the stars.” –Les Brown
How do you eat an elephant? One bite at a time, right? Okay, none of us are going to be eating elephants anytime soon, but you get the picture. So many of our goals are huge. Let’s face it, the process of selling a book, or losing 10 (or more) pounds, or getting out of the mid-list (where your books sell fine but not in huge numbers) are not one-shot deals. They take work, and the easiest way to do the work is to break it down into smaller, manageable steps.
Say your goal is to sell a book. Here are the steps Tawny personally used to break this goal down. Your steps might vary, of course.
Choose a genre/sub-genre.
Research what sub-genres are selling in Romance.
Analyze my own writing to see where my voice and style fits.
Investigate which houses/editors are buying and what their requirements are. Compile a list to refer back to.
Consider ways to make this book stand out, or be different from all the others already doing well in this sub-genre or currently being submitted.
Plot/outline/pantz the book (Because I’m a plotter, I always start with a plotting party and create an outline. Pantzers would probably just dive in.)
Create a writing schedule. (Make it a livable schedule. Writing, like exercise, is something that’s best done on a steady, regular basis.)
Create benchmarks for the schedule to keep myself encouraged and focused.
Add rewards - chocolate is always good.
Write.
And write some more.
And write even more.
And keep writing.
Get feedback. Could be via critique groups or partners, contests or editor/agent feedback.
Revise if necessary.
Submit.
Go back to that list of houses/editors I investigated and submit to as many houses/agents as I feel comfortable with.
Use any feedback received from submissions, then submit some more.
Start a new book. Always, always start a new book.
This same breakdown process can be applied to other goals, from going back to school to losing weight. Isabel Santos, Tawny’s heroine in her January 2008 Blaze, Does She Dare?, applied this exact same process to get herself a man!
The key is to look at your goal and figure out how to make it manageable. For some people, the breakdown would be bigger steps (write, submit, write, submit). For others, the steps might be broken down even more. Everyone will have a slightly different method, of course, but the advantages of breaking your big goals into smaller steps are many:
You can easily track how close you are to making that dream into a reality.
If you find yourself frustrated with what seems a lack of progress, you can pinpoint where you need to focus (i.e., submissions not getting good responses? Go back to step one and research your sub-genre again to figure out why yours doesn’t fit. Or possibly get more feedback through contests or critiques to see what area you can work on improving).
Smaller steps can help keep you focused and keep away feelings of discouragement. There are far more reasons to celebrate when you take it in small steps--and celebrations are one of the best ways to stay encouraged and focused on the big picture!
EXERCISE: Breakdown your three major goals into manageable steps.
PUT IT ON THE CLOCK
“There is no scarcity of opportunity to make a living at what you love; there’s only scarcity of resolve to make it happen.”
--Wayne Dyer
A goal needs a timeframe. This is actually one of the most important steps in goal setting. Without a “when” to be done by, it’s just a lovely idea you want to happen “someday.” Once you put a “due-by” date on the wish, then it’s a goal.
So, how do you put it on the clock? First of all, look at your goal and ask yourself what the big picture due date is.
Tawny had a goal to sell by 2005. Of course, she always hoped it would happen earlier, but that was her deadline. (She sold in May 2006, which we’ll cover in the last step, ALWAYS HAVE A BACKUP.)
To decide on this deadline, she did a little research and found that on average (again, mileage will vary) many writers took four years of serious writing to sell their first book. Kind of like college, right? She figured she was serious and she was doing everything she could to make it happen (i.e., she was working the steps she’d broken down, taking classes and workshops, using feedback, submitting). Because selling a book is such a huge step, she’d actually factored in a number of smaller accomplishments she wanted to achieve as well, such as finaling in local contests and the Golden Heart.
So what kind of time frame will you put on your goals? First decide what your deadline is for the big goal, then work backward. You’ve already broken them down into steps--look at each step and ask when you can reasonably complete it. Reasonableness is the key here. If you’re working full-time with kids to run here and there, you might not have as much time to focus on writing as someone with fewer commitments. (Note, however, this is not an excuse not to write. If you want to, you’ll find the time. Just be realistic about how much time that will be.)
If you’ve already sold and are trying to reach the next level, you’ll have to factor in current writing and promotional deadlines. Real life is less intrusive if you make allowances for it in the beginning. Give yourself time for holidays and family commitments. Realize that some things are out of your hands, like editor response times. You want your timeframe to be realistic, but still challenging.
Once you’ve set your deadlines, be sure to read your goals regularly. Keep your calendar where you can see it. Don’t put it in a drawer and forget it, or you’ll lose that building momentum that will help make it come true. If you miss a deadline, revisit how that will affect the big picture and ask yourself what elements factored in. Was it because you just didn’t feel like writing or was it because you were in the hospital? Was it because you waffled on submitting or was it because the editor was backlogged and took nine months to get back to you instead of the standard five?
Keep these elements in mind if you revise the deadlines. They’re great tools to help analyze if the goal is one you’ll work for (or are working for) or if you just like the sound of it.
EXERCISE: List what you want to have accomplished each month for the upcoming year.
IT’S ALL ABOUT SUPPORT
“Keep away from those who try to belittle your ambitions. Small people always do that, but the really great make you believe that you too can become great.”—Mark Twain
We might dream alone, but dreams are easier to achieve with support. Friends, colleagues, family-- everyone you deal with will play a part in your goal achievements. Either they’ll help build your confidence (give you support and believe in you, and offer feedback and ideas) or they’ll tear you down (not respecting your time or when you say no, offering passive-aggressive (or all out aggressive) comments that chip away at your confidence, or belittling your dream). Even indifference may hurt you.
Take a look around and ask yourself where the people closest to you fall. Do they make you feel good? Like you can catch the moon? Or do they make you doubt your chances or feel unworthy? Your support team is all about the people who make you feel great. People who help you feel like you can have all your dreams come true. These are the ones you want to share your goals with and enlist for support. It could be a critique partner, a weight loss buddy, a family member or teacher. It could be one person or ten.
This is your team--who do you want on it? Once you’ve decided, go talk to them. Tell them about your goals, and share your timeframe and breakdown steps. Let them know what they can do to help you see this dream come true. In return, maybe you can do the same for them.
Once you’ve decided whom you want on your team, ask yourself what’s missing. Do you have a great cheering section, but need help honing your craft? Perhaps you’d like a mentor on your team, or a series of workshop instructors who can help you grow and encourage you.
Think about it. Even if the perfect person to fill that empty team spot isn’t already in your life, just keep an eye out. Once you define the job description, you’ll be amazed at how fast you find someone to fill it.
Always remember two things, though. First, support is a two-way street. Second, no team in the world can make our dreams come true for us--only we have that power.
The bottom line is we have to support and believe in ourselves. We are each our team’s captain and everyone will take their cues from how dedicated we are to motivating ourselves toward our goals. We’re the ones with the most at stake, after all. Because if we give up, we’re the ones who pay the price. Excuses might let you off the hook with others, but the bottom line is--when you give up on your dream, you’re the one who loses.
EXERCISE: Who’s on your team? List each team member’s name, his support role, and how you’ll ask for help with your goals.
ALWAYS HAVE A BACKUP
“Stay committed to your decisions, but stay flexible in your approach.” --Tony Robbins
Reality is a tricky thing and, even when we’re doing what we need to do in order to pursue our goals, our goals can still be derailed. The trick is not to give up.
When she first started writing, Tawny hoped to sell to Harlequin Temptation. She was really close to making that happen when the line closed. She had to regroup and rethink her goal. She refocused and shifted to her new goal—sell to Harlequin Blaze.
Tawny’s original “big” goal was to sell by the end of 2005. That was a reasonable timeframe. She did all the right stuff. Took the workshops, entered the contests, listened to the feedback, and did all she could to improve her writing craft. And then came the end of 2005 and she hadn’t achieved her goal.
Was it time to give up? She looked at her goals, written on an index card tacked next to her monitor, and had to decide: How reasonable was the dream? Was she on track? Were there indications that it could come true if she kept working? Definitely.
Did she want the dream or didn’t she?
Of course she did, so she revised her timeline and stuck it out. Five months later, she sold to her dream editor.
When your goal shifts, regroup. Take into account your big picture and ask yourself how you can still have it. If your goal is to sell to a specific editor and that editor leaves publishing, how can you adjust? Find a new editor, of course.
The key to making your dreams into reality is to stay flexible. Like any good writer knows, revision is part of the process. That goes for your goals, too.
You might find you need to change the goal more drastically. Maybe the paranormal market is dead and you have to decide if you want to focus on the historical or the suddenly revitalized romantic comedy market.
You might find you need to revise your timeline. Or the steps of your game plan might have to be reconsidered. Be open to change. Even if you don’t actively focus on your goals on a daily or weekly basis (i.e., you don’t read your goal list and check your calendar to see if you’re on track) checking in quarterly is a great idea. You’ll be surprised to find how much you achieved. Once you start checking goals off your list, then you can add more goals and steps.
If your dreams are worth having, they are worth making a reality.
THINGS TO ASK YOURSELF IF YOU’RE NOT MEETING YOUR WRITING GOALS
How much time are you actually spending writing versus “learning to write?”
How many projects are you working on at one time?
How many people are reading your work? Offering feedback?
Is what you are writing something that is marketable at the moment?
How much attention are you paying to grammar, format, and guidelines?
Are you being a “lazy” writer by doing the easy thing or are you challenging yourself to do the hard stuff?
Are you listening to those with more experience?
Is your ego preventing you from revising or cutting?
Are you reading what you’re writing?
Are you reading what’s currently selling?
Are you treating your writing like a business and your story as a product that people are going to pay good money for?
Are you taking rejection/criticism personally?
What do you do after you receive rejection/criticism?
Are you seeking help when you need it?
What are you giving up to write? Can you give up something else?
CHAPTER 4: DOING THE PREP WORK SO YOU CAN SCORE BIG (STEP 2: READ, EXPERIMENT AND FAMILIARIZE YOURSELF WITH THE “10 FOR 10”)
“First say to yourself what you would be and then do what you have to do.” --Epictetus, Greek Philosopher
So you have a story idea. It could be about a character, place or situation. Something you’ve observed, heard or read about. Something you’ve lived or imagined. Whatever it is, you want to write it down. Maybe even share it.
How should you go about doing this?
It depends on what you’re trying to accomplish. There are many ways to write a novel: organic (naturally, as it comes to you) or structured, consistent or sporadic, circular or linear. Writers instinctively gravitate towards one style. If you’ve had any amount of success (whether that means just finishing a novel, self-publishing it, or selling it to a New York publisher), you might be inclined to go with the “tried and true.” However, what happens when your success falters? What if you get bored and want to try writing something new? What if further success doesn’t come fast enough?
Needs and methods change, by chance or by design. Everyone, no matter where they are in their careers, can benefit from seeing how others approach craft.
Now, is “craft” synonymous with “rules?” We have been told at many workshops that a writer must first know the rules before she can break them. In our opinion, there are no “rules” when it comes to writing your story. What look like “rules” are only options previously used to successfully engage readers.
For example, we’re fans of commas and periods. They certainly serve a purpose, as do other rules of grammar. In addition, certain publishers have “rules” specific to a target market or line. However, writers have been known to break grammar rules by writing in stream of consciousness or eliminating punctuation to create a certain effect. In addition, publishers have been known to deviate from established guidelines in order to expand a line with something they consider particularly brilliant.
Nonetheless, familiarizing yourself with established methods gives you the power to experiment and make reasoned decisions. Learn, then go with what feels right. Bottom line, why limit yourself?
Know yourself. Know your options. And know what your current needs are.
The first step to knowing your options is knowing whether you are writing commercial/genre fiction.
Virna didn’t truly understand the distinction between commercial and literary fiction until she read Mary Buckham and Dianna Love’s Break Into Fiction®:11 Steps to Building a Story that Sells. They explained that literary fiction is based on the reader’s belief system that one cannot change their world but they can understand it better.
On the other hand, commercial or genre fiction (in addition to sharing a common narrative structure) tracks the striving of a central character as he or she overcomes obstacles to achieve a goal. The story ends on a positive note of some sort. Through his or her struggle, the character affects personal, positive internal character growth and changes himself, which can make a change in the world for the better.
Romance is commercial, genre fiction. If what you want is to write a romance novel and get it published, read what you want to write. This doesn’t mean you need to imitate other writers or even follow any set process, but genre fiction follows a formula, which in turn creates reader expectation. If you hope to compete with other authors in the same genre, you need to know what they are doing and decide whether you are going to do the same thing or something just as good, only different.
In addition to reading other authors who write in your genre, you might want to explore different methods for writing your story. If your natural instinct is to jump right in and write, that’s great. However, it doesn’t always have to work that way. Some people “prepare” to write.
People who plot are often called “plotters,” and there are a variety of tools they use, including plotting boards, post-it notes, spreadsheets, index cards, and writing journals. They may even collage before they start writing, collecting magazine pages or found objects that remind them of their imagined characters or plot points, and serve as inspiration during the writing process.
Tawny is a plotter. She needs to know her characters’ goals and motivations before she starts writing. She also needs a workable plot, with a solid Inciting Incident that provides enough conflict to carry the story to the Climax (we’ll explain these terms a little later, but you can also look in the glossary at the back of this book). What comes between those two events, though, is often a surprise. Despite that, she does do a plotting board, roughing out scene ideas and major emotional changes the characters need to experience.
Does her final product look like her initial plotting board? Rarely. But having the map frees up her mind to focus on the story.1
Some writers, on the other hand, find outlining represses their creativity because it tells them how the story is going to play out, and they want to discover details about character and plot as they write. They prefer the element of surprise and unknown possibilities. These types of writers are commonly referred to as “pantzers,” because they tend to write by the seat of their pants.
Virna is a reformed pantzer. She wrote her first two manuscripts with no specific structure in mind. And even though they were good enough to get her a great agent, she now knows they could have been better.
Virna tells a little about her transition from pantzer to pantzer/plotter here:
When I started writing, I needed to realize my creative possibilities. I knew following guidelines would stifle and intimidate me. So I didn’t pay attention to rules or even what the market was asking for. I loved reading romantic suspense, so that’s what I wrote.
The upside was that I immediately connected with the writer inside me and confirmed I did have stories to tell. Passion motivated me to write and meet other writers. This gave me unbelievable momentum. I threw myself into my writing and within three months I had pitched to an editor, finished my first manuscript, and got signed by an agent.
The downside of jumping into writing was that when my first manuscript didn’t sell, I didn’t know what to do next. The same editors who told me I wrote well, had an engaging voice, and created intriguing plots and characters also rejected my manuscript because it ultimately wasn’t “compelling” enough to stand out in an impacted market.
Not compelling enough. That was it. No explanation of what that meant. No guidance on how to fix it. My agent reassured me this was just part of the business and to concentrate on writing the next novel. But I had to decide how I was going to do that. Would I again go with my instincts and assume I could fix whatever had gone “wrong” the first time? I saw that as potential waste of time.
I needed creative freedom to start writing, but I didn’t want to keep writing book after book with no idea whether I was any closer to getting published. That being said, I’d learned a lot about craft, but not enough to come up with an overall game plan or process. All that changed when I learned about several key concepts and their connection to one another.
In the following section, we expand upon these concepts.
THE “10 FOR 10” TRIANGLE
“10 for 10” refers to the coincidence of there being 10 Steps in Part I of this book with this step (step 2) discussing what are, in our opinion, the 10 most basic but important concepts in writing.
Jennifer Crusie once said that plot can be envisioned as an inverted triangle because your first line “eliminates 99% of the choices” and these choices continue to diminish as the story continues. Everything in the plot leads to the last scene, which is critical to the structure of the entire story.
This triangle analogy also works well for describing how Story incorporates 10 interrelated writing concepts. The “10 For 10” triangle illustrates from top to bottom the progression of Story, starting with the largest, most inclusive principles and working towards the more detailed and unique aspects of a story, including individual scenes and the story’s resolution. As you work down the triangle, the next element will always subsume and be affected in some way by what came before.
Imagine that the top of the inverted triangle represents the two “biggest” and “broadest” components of your story: Theme and Story Question. (Note: this does not mean you have to nail down your Theme before you start writing. Most people won’t know their true Theme until they start writing. Rather, it illustrates that every component listed below Theme will be used to prove your Theme.) The rest of the triangle is devoted to the framework and individual components of your story—everything you need to prove your Theme and answer your Story Question is funneled through the top of the triangle.
The components of Story are physical and emotional. The building blocks are:
1) Who (Characters);
2) What (Plot);
3) Where (Setting/Location);
4) When (Setting/Time); and
5) Why (Intent).
These building blocks are not just dumped into the triangle at random. Rather, they are placed with deliberation. They may be moved around a lot, but they’ll still eventually find their place in the Story.
After 1) Theme and 2) Story Question comes:
3) Character;
4) Conflict; and
5) Plot,
which are discussed individually, but actually work in concert. The next five components are:
6) Three Act Structure;
7) Turning Points;
8) Raised Stakes/Options Narrow;
9) Scene versus Sequel; and
10) Goal/Happy Ending.
Finally, subsumed within these ten Story components is the concept of Character Arc (as well as other principles that will be discussed) because Character Arc attaches to the main characters and develops throughout the story.
By familiarizing yourself with these concepts, they will find their way into your writing process whether you consciously think of them or not. It’s all about having the tools and options to write your story in whatever way you choose to.
Below is a diagram of the “10 For 10” triangle. If you have trouble distinguishing the individual elements because of the limited sizing of this book, you can find the triangle at www.lovewritingbook.com.
“10 FOR 10” – Diagram 1
You May Be A Romance Writer If…
You have a subscription to Publisher’s Weekly or bug a friend who does.
You know the difference between a WIP, an MS, and an HEA.
You go to “chapter” meetings.
You’ve heard of NaNoWriMo. You might have tried it. You might even have completed it.
You are shocked at how much money some authors make and how little money others do.
You pay people to reject you (contests).
You view a request for revisions as a minor miracle.
People reject you for free (queries).
You’re surprised when people don’t reject you.
You proudly display your first rejection and tell others about it so you can become a “PRO.”
CHAPTER 5: THEME
Did you know? Theme is what gives your story universal meaning.
Theme touches everything in a story even though it is only one element among many. But what is it? According to the dictionary, it’s a topic of discourse, but that’s not very helpful, is it? Really, Theme is about giving purpose and meaning to your story at the same time you entertain your readers. Meaning can be found in tone, in individual words, in concepts and imagery, and in broad messages, subtle or not. When crafted deliberately, Theme shelters or exposes your characters and gives significance to their actions.
Generally, Theme represents an underlying truth--a view about life and how people behave that establishes a common ground with your reader. It is the “global” hook that tells the reader why he should read your story, and it encompasses the story hook--that is, the reason why the reader will be interested in the actions, growth, and fate of your specific characters.
Theme can be broken down in two ways. First, as Bob Mayer puts it, Theme manifests your intent in writing a novel. What global message and mood do you want to impart? How do you want your reader to feel? With romance, the reader expectation is an affirmation of love in the form of a happy ending, but there can be several ways to get there. Will your reader be exposed to the darker side of life, or will you make the drive a light and funny one? Will you try to incorporate both? Make an informed choice because your thematic intent will be obvious from the very first line of your novel. It is a promise to the reader that, once made, can’t be taken back.
Word choice, imagery and symbolism, and concepts will all affect the tone and mood of your book, and thus your readership. If a reader opens your book and reads a first line indicating a dark intent (maybe your first scene is written in the point of view (“POV”) of a psychotic killer), she might not be in the mood for dark—even if a happy ending is waiting. Likewise, if a reader is struggling with difficult issues, maybe she won’t appreciate a snarky, funny tone, even if she normally would. You can’t control reader mood or preferences, but you can control the mood of your book, make a reasoned decision, and tell the story you need to tell.
Second, Theme posits a global question to the reader, with you asserting (and supporting) a particular conclusion about life and humanity. Yes, your characters say and do “XY&Z“ to get to the happy ending, but the result shouldn’t be random—it should be based on some greater principal that will apply to the majority of people, not just the characters within the covers of your book. Theme does this by focusing the story on a global struggle faced by mankind. The struggle rests on something important that most likely transcends time and culture--something visceral and compelling that speaks to mankind’s basic needs. It gives answers to questions your readers are probably already asking, thus giving them another reason to identify with your story and your characters.
For example, in Chosen By Blood, the first book of Virna’s paranormal romantic suspense series, the Theme is “In order to live a fulfilled life, one must balance duty with desire. ” Given this type of thematic message, a message that almost any reader can relate to, the reader’s continued participation in the story will probably be motivated both by self-interest and a genuine interest in your characters’ fate.
Sometimes you might not recognize your thematic message until you’ve brainstormed characters and plot, but that’s okay. With this writing method, you will revisit Theme, as well as different ways to thread Theme throughout your book, in different ways. At some point, however, you should have your thematic message firmly in mind because you can powerfully yet subtly prove your message in every scene you write, thus subconsciously reinforcing its importance to your reader.
For ideas on thematic messages, look to biblical literature, mythology, or universal concepts (such as the seven deadly scenes or seven virtues). For example, you might want to explore greed, one of the seven deadly sins, and whether loving a person means being willing to give up all material possessions for them. Or you might play with the notion of “judgment” as illustrated in the Bible to explore why true intimacy isn’t possible until judgment is exchanged for compassion, in particular self-compassion. Finally, you might use mythic stories to form a Theme about resistance, and how resisting Fate is often the very thing that leads a person to fall prey to it. We’re not saying your book will refer, explicitly or implicitly, to religion, sin, or mythology at all, but you can use these larger philosophical tenants to develop a global message for your reader and to develop a plot.
Study how concepts, beliefs, superstitions, or behaviors impact mankind. Form a conclusion (for example, that acceptance leads to happiness, but resistance leads to disaster), state this conclusion early in your story (you can use subtext or even have a character comment on his/her beliefs regarding the Theme), and spend the rest of your story trying to prove you’re right.
That being said, try not to lecture. You need to walk a fine line between imparting a message and ramming your individual morays down a reader’s throat. Readers want to be entertained and informed, maybe even challenged to a certain extent, but few want to defend their political or religious choices when reading genre fiction.
EXERCISE:
List three universal concepts from which you can build a Theme. Example: Crime; Loyalty; Friendship
For each of these concepts, make a thematic assertion. Example: Crime doesn’t pay; Loyalty can be carried too far; Family does not always trump friendship.
Choose the one thematic assertion that speaks to you the most and reword it so the essence of your thematic assertion is phrased as follows: In order to be happy, one must ______________.
Example: In order to be happy, one must believe that goodness is rewarded and crime is punished.
Think of a character (but make it someone a reader can ultimately root for) who might not believe in your thematic assertion. Example: A successful thief or a victim of a crime.
Describe how this character could end up proving the thematic assertion true. Make sure that in order to prove your thematic assertion true, the sympathetic character must defeat another character in some way. Example: A redeemed thief helps bring down the criminal organization he’d previously been involved with or a woman helps apprehend the husband who tried to kill her.
Analyze the mood of the story you just described. Is it a light, funny story or a darker, edgier one? Either way, describe a story that proves the thematic assertion true, but this time by targeting the opposite kind of mood. Example: A 10-year-old thief accidentally left home alone for the holidays prevents robbers from getting into his house.
CHAPTER 6: STORY QUESTION
Did you know? The answer to your Story Question is justified by your Theme.
In addition to proving a stated Theme, Story serves another “big” purpose by answering a novel’s central Story Question—“Will the protagonist (the main character who changes the most in your story) defeat the antagonist (the character that most gets in the way of what your main character wants) and get his or her story goal?” We will be looking at all these concepts in much more detail, but right now, focus on the question. It’s the question that identifies and brings to life the components of your story (the main characters, their competing goals, their actions, and the result of their ensuing contemplation and reactions). It also exemplifies why writing commercial, genre fiction (fiction that follows a formula in order to meet reader expectation), and in particular romantic fiction (fiction that has a happy ending), is so difficult.
Since romance comes with a happy ending and readers expect the protagonist to “win,” romance writers have to craft their story so well that the answer to the Story Question isn’t obvious (otherwise there is no suspense or tension to keep the reader interested) but only makes sense upon retrospection. In effect, romance writers want to make the reader forget the outcome she’s expecting, and then rejoice when she actually gets it.
In the “10 For 10” triangle, the eight story components that come after Theme and Story Question exist under the shadow of these two broader elements. We’ve heard many authors (including Mary Buckham and Bob Mayer) refer to Theme and Story Question as a foundation, and the remaining components as the framework of a house. We think of Theme and Story Question as a puppeteer’s handle, and everything else as the strings and puppet itself. Theme and Story Question breathe life into the story, just as the puppeteer breathes life into the puppet.
Your story components prove your Theme. In addition, each story component is introduced simply as a means to answer the Story Question. As the tip of the story triangle narrows, your main character, the protagonist, will move faster and faster towards his “goal” (the thing he wants) with his choices becoming fewer and fewer. Pacing intensifies. Character growth spikes. Stakes rise. All of this pushes the reader to continually ask:
Will the protagonist defeat the antagonist and get his goal at the end of your story?
The answer to this question is going to be justified by your Theme. In other words, everything in the story, including how the story ends, should serve to prove your thematic assertion true. In a romance, since we know the protagonist is going to get a happy ending, that happy ending is only going to come about because the protagonist has learned and lived the lesson of your Theme.
EXERCISE:
Based on the previous exercise, use one of the stories you described to prove your thematic assertion true and list three things your sympathetic character (protagonist) and the character he/she defeats (antagonist) might want. Example: The woman whose husband tried to kill her might want: to save her sister, to find love again, to live in peace; the husband who tried to kill her might want: to kill her sister (and then her when he discovers she’s still alive), information, or revenge.
Now, using the list you created above, pick one thing the sympathetic (protagonist) character and other character (antagonist) each wants and reword your story description so the conclusion is in the form of a question. Example: Will the heroine defeat the husband who tried to kill her (and who now wants revenge), and get her goal of saving her sister’s life?
You May Be A Romance Writer If…
You hide when an outgoing “board” member from your chapter walks by.
You try to beat out hundreds of others for a decent pitch appointment but end up throwing your computer against the wall when you can’t sign on to the RWA website.
You feel proud when you can stand in the buffet line next to an editor or agent and act like a cool, non-desperate human being.
You’ll stop reading an author because you’ve met him/her at a writing event and had a bad experience.
You spend a lot of money on raffle tickets.
When your husband asks “Weren’t you just at a conference,” you look at him blankly and say, in all seriousness, “Yeah. So?”
You’re willing to hang out with smokers in order to make contacts.
One of your personal heroes is named Nora.
You’ve thought about crashing the Harlequin party (although of course you never have!)
Your “to be read” pile quadruples after July.
CHAPTER 7: CHARACTER
Did you know? Your characters are the vehicles with which you prove your Theme and answer your Story Question.
Previously, we talked about proving Theme and answering Story Question. In order to do both, you will need characters.
Characters are the heart and soul of any novel. After all, what is a story if not events that happen to and affect characters? Readers read because they want to be entertained, but also because they want to feel and be touched on a deep level by what is happening to your characters. The best way to accomplish this is to have complex, fully developed characters that reveal themselves in the story so that the reader cares about who the story is affecting.
In generating a story idea, you might ask yourself what type of character you want to write about. Sometimes this will come naturally if you have a distinctive plot in mind (i.e., a suspense or thriller will usually have characters involved in law enforcement or the military). It’s crucial, however, to then take these character “types,” (a broad, generic description; i.e., teenager, librarian, vampire, etc), and mold them into something more.
Characters should be multi-dimensional and unpredictable. Yet, they must also have human qualities that readers will relate to. Either way, you need to go further than “typing” your character. You must also consider what it is about these characters that will make a reader care about whether they get their goal or not. They will need a past, a present, and dreams for the future. They will need flaws and attributes, hobbies, quirks, and a distinct way of speaking.
A complex, fully developed character is one that “seems real” to the reader--someone the reader can identify with, understand, or be intrigued with. It is someone shaped by past experiences and well-motivated to change (or not change in the case of the antagonist).
If you write a story with a villain who kills someone on every page, but you don’t give the reader any information about the villain, why will your reader care? Likewise, even if your story is exclusively about robots, those robots must possess at least some human qualities and characteristics in order for the reader to relate to them. And finally, even if you purposefully craft an unlikable character, that character must be someone the reader is willing to spend time with, and this means he must be well-motivated.