3 Tips for Writing Paranormals by Mina Khan

This week we have not just one but two guests! Feels a little strange because that means I'm not blogging on here except for Friday's round up. But when I have guests with great things to say, I can't resist! 
So today I'm welcoming back Mina Khan who is debuting Nov. 1 with Harlequin. Congrats, Mina!
Now, over to Mina...



3 Tips for Writing Paranormals
by Mina Khan

Hi all!Thank you Roni for having me over again!

I loveRoni’s thought-provoking blog posts that make me think and always teach mesomething new. So when she invited me blog here to celebrate my upcomingrelease – THE DJINN’S DILEMMA, available Nov. 1, I wanted to try and uphold herstandard.

I writeParanormal Erotic Romance because, well, that’s what I love to read.  I like a story that helps me escape the chaosof ordinary life (having kids, cats & dogs will do that) with itsparanormal elements, that brings together love and spicy sex for combustiblechemistry. Mmm, delicious!

So itsaddens me to hear predictions like the paranormals are on the way out,vampires are dead (actually, they are the undead…so there!) and the market isglutted, so new stories aren’t selling. Here’s what I believe: there’s alwaysroom for a good story with great characters.

The bestthing about being a paranormal writer is bringing to life the fantasticcreatures that haunt our dreams and live in the shadows of our psyche. Thehardest thing is bringing them alive in readers’ minds. Here are some tips Ipicked up in my writing journey:

1.       Look within you. You can assign thesame topic to five separate writers and end up with five very different storiesbecause people are individuals. We all bring our own brand of fears, secrets,desires, and experiences to the writing table. Use them and you will create newtwists and unique creatures. 
For my novella, THE DJINN’S DILEMMA,I delved into stories of djinns and ghosts from my Bengali childhood, broughtin my experience as a journalist in Texas, and added a liberal dash of what Ilove about men as a grown woman. J

2.       Yes, you’re writing monsters andcreatures, but make them real, almost flesh and blood.  I’m not saying they have to be human in anyphysical sense, but they have to be real and relatable for readers. Things Ilove about my hero Rukh O’Shay include his sense of humor and his take on life.When he hurt, I hurt. I actually cried when I wrote one scene toward the end.

3.       Have fun, stretch your imagination,and then make it plausible. Since this is your world, populated by yourcreatures, don’t limit yourself. Write what you want to write. Rukh, my djinnassassin, melts into shadows and controls air, he flies around all over Austinwithout an airplane, and he pops in on the heroine (the Texas journalist) inthe middle of a shower.  All completelyfun…and plausible within the context of the story.

As a writerI love letting my imagination run and play with crazy possibilities. Some daysI feel quite a bit like Dr. Frankenstein. How fun would it be to have a ghostwho’s scared of the dark or a super-model who turns into a hairy werewolf? So,if you were coming up with paranormal characters, what kind of specialcreatures would you create?


MinaKhan is a Texas-based writer and food enthusiast. She daydreams of hunkyparanormal heroes, magic, mayhem and mischief and writes them down as stories.Between stories, she teaches culinary classes and writes for her local newspaper.Other than that, she's raising a family of two children, two cats, two dogs anda husband.

You canfind her on facebook www.facebook.com/Mina.Khan.Author
Her websitehttp://minakhan.blogspot.com/
or ontwitter @SpiceBites



The Djinn's Dilemma will be available Nov. 1 from HarlequinNocturne’s Cravings line.
Blurb: Rukh O'Shay,half-djinn and assassin, is used to taking out the bad guys. But his latestassignment, Texas Journalist Sarah White, is nothing like he expected. Aglimpse of her bright aura reveals her gentle spirit, while her beauty makeshim long for only one thing—to taste her.
Sarah sharesthe raw desire to connect with Rukh. He can turn her on with a glance, andsatisfies needs she didn't even know she had.
But Rukh hadbeen hired to kill her—and the only way to save her is to find out who wantsher dead before someone else finishes the job….

"Revved up and red-hot sexy, CRASH INTO YOU, delivers a riveting romance!" --Lorelei James, NY Times Bestselling author of the ROUGH RIDERS series

CRASH INTO YOU is now available for pre-order!
Read an excerpt here.

All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

How I Built My Platform and What I'd Do Differently


Hey guys, I've been interviewed over at Laura Barnes' blog for Savvy Sensation Saturday about building an online presences, social networking, and what's worked and failed for me. I'd love for y'all to stop by and say hi!

Hope everyone has a great Saturday!


“...a sexy, sizzling tale that is sure to have readers begging for more!" –Jo Davis, author of I SPY A DARK OBSESSION

CRASH INTO YOU is now available for pre-order!
Read an excerpt here.

All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

Bringing Humor Into Suspense by Joan Swan

It's genre Monday. This week author Joan Swan is talking to us about bringing humor into your suspense. Take it away, Joan...

 

The Benefits of Humor in Suspense
by Joan Swan

 

Humor isn't an element one might immediately associate with suspense or thriller fiction, but it’s one I've found very delightful lately in a number of suspenseful reads.
I find humor a double benefit to the suspense novel:
1) Humor lightens the darkness, eases the intensity, providing a "break" for the reader
2) Humor quickens pacing
Yes, we want our suspense tight.  We want white nail beds gripping the edges of our Kindles and Nooks.  But, honestly, if there isn't any break in that muscle-knotting tension, many readers will put a book down just to get a breather.  A touch of humor, on the other hand, gives a reader just the break they need...without ever leaving the pages.
I've noticed with several recent reads how authors particularly talented at writing humor--whether witty or sarcastic, within character or dialogue--can make the pacing of a story fly.  Time flies when you're having fun, right?  Reading on to the next line, the next paragraph, the next page for the those quippy zingers or quick bites of sarcasm make time pass without notice.

An author who is utterly amazing at using humor as a compliment to suspense is Darynda Jones.  Her debut novel, FIRST GRAVE ON THE RIGHT, the winner of the RWA's Golden Heart contest in 2009, was picked up by St. Martin's Press and printed out of the shoot in hardback.  Both her premise and her writing are stellar and unique.  I just finished Darynda's second novel, SECOND GRAVE ON THE LEFT, and I loved it even more than the first -- which enthralled me.

Darynda makes me laugh out loud.  She makes me feel good and keeps me intrigued all at the same time.  She makes me lose myself in her characters and intricate multiple plot lines.  Her novels are true quality entertainment.
If you like a touch of humor with your suspense, I'm recommending either (preferably both) of Darynda's GRAVE novels.
Which of your favorite authors do a great job of adding humor into their suspense?  What is one of your favorite novels incorporating suspense and humor?

 

 

Joan Swan is a triple RWA® Golden Heart finalist. She writes sexy romantic suspense with a paranormal twist, and her debut novel, FEVER, with Kensington Brava releases February 28, 2012.  A second in the series, BLAZE, releases October, 2012.  You can find Joan at her blog, One Word At A Time, her website or Twitter.

 

 

 

 

 

 

 

"Revved up and red-hot sexy, CRASH INTO YOU, delivers a riveting romance!" --Lorelei James, NY Times Bestselling author of the ROUGH RIDERS series

 

 

CRASH INTO YOU is now available for pre-order!

Read an excerpt here.


All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

 

Save the Pantser! A Solution for Pantsers with Plotter Envy

Today I'm a guest over at Janice Hardy's awesome writing blog, The Other Side of the Story. I would love for y'all to stop by and say hi.

 



 “...a sexy, sizzling tale that is sure to have readers begging for more!" –Jo Davis, author of I SPY A DARK OBSESSION

 

 

CRASH INTO YOU is now available for pre-order!

Read an excerpt here.


All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

 

Guest Blog & Contest: Writing a Quality Medical Scene by Wendy S. Marcus

Today I have something a bit different for you. Author Wendy S. Marcus is going to give us some insight into writing medical romance (and a chance to win a book!) This may be a subgenre you've never heard of, but I'm sure you all are familiar with the medical shows that have been so successful on television. Hot doctors. High drama. Life and death stakes. What's not to love? 


Well, Harlequin has a whole line dedicated to those types of stories! : ) So I hope you'll give Wendy a warm welcome and a congratulations on her debut.

Writing a Quality Medical Scene for Romance
By: Wendy S. Marcus

Thank you so much for hosting me on the 24th stop on my blog tour to promote my debut Harlequin Medical Romance, WHEN ONE NIGHT ISN’T ENOUGH. Today I’ve decided to chat about writing a quality medical scene for romance.

Medical scenes are great for infusing tension, drama and emotion into a story. They are also fraught with risk that too much detail, gore or technical speak will pull a reader out of a story.

The most important first step is to know your audience. A reader who picks up a medical thriller or suspense and adventure book is expecting a different experience than a reader devouring a romance.

The second step is to determine what you want to accomplish with the scene. Is it to introduce the heroic doctor and compassionate nurse? Is it to show how well they work together, how skilled they are, and/or how much they respect each other? Is it to drive a wedge in the romantic relationship of a non-medical hero and heroine? Or, conversely, is it intended as a catalyst to bring an estranged couple back together?  

After that, you need to identify which of the characters in the scene has the most to lose or gain, and write in their point of view (POV). Is it the mother whose three-year-old son has been rushed to the Emergency Room after being found at the bottom of a neighbor’s swimming pool? Or the nurse on duty who is struggling to function while reliving the night her own young son died as the result of a drowning accident one year prior? Or the neighbor who was in charge of babysitting the child, who loves the child as if it were his own, and who had planned to propose to the child’s mother that evening? Or is it the doctor who remained at work after the end of his shift to assist in resuscitating the child, who refused to report off to his relief so he could be certain every possible measure was taken to save the child’s life, despite his fiancé’s ultimatum: Come home on time or we’re through?

Do you see how identifying who has the most to lose or gain in the scene and writing in their POV adds a whole other dimension? (Now I know some of you may have been quick to think: Of course it would be the mother who had the most to lose. Not necessarily. It’s all how you, the author, choose to write the scene and who your hero and heroine happen to be.)

Next, write the scene through the senses of the POV character. Let the reader experience the emotion of the scene through your character’s observations and reactions. A medical scene needs to be about more than cataloging injuries, sopping up blood, and treating illness. In medical romance, as in all category romance novels, the focus of each scene needs to be on the relationship of the hero and heroine. How does the medical scene impact the POV character? How does it impact the relationship between the hero and heroine?

You don’t need to be a medical professional to write a medical scene. Not all medical romance authors are doctors or nurses. My editor says, “If you’re good with research, you can write a medical romance.” But don’t skimp on the research. Even though I’m a nurse, I do extensive research before I write each medical scene to make sure my information (and memory) is accurate. Even though you’re writing a romance, you still want your medical scenes to be as realistic and accurate as possible - while keeping the blood, guts, and gore to a minimum.

And readers like closure. If you go into the backstory of a patient, or he/she shows up in more than one scene, your readers will want to know what happens to him/her.

Here is an excerpt of a medical scene from Chapter 9 of WHEN ONE NIGHT ISN’T ENOUGH:

Allison a.k.a Ali, a nurse, is my heroine. Jared a.k.a. Dr. P., an E.R. doctor, is my hero.

Gas pedal met floor mat and the car took off. Ali made a screeching turn up the hilly drive to the hospital, honked at pedestrians too stupid to look where they were walking, and skidded to a stop under the bright red “Emergency Room” sign. She slammed the car into park, and, heart pounding, jumped out and ran for help.
            “Come on. Come on.” Gramps could die in the time it took the freakin’ electric doors to open. Once inside, Ali yelled out as loud as she could. “I need help. Now.” She ran for the empty stretcher in Trauma Room One. “Dr. P., Polly. Where is everyone?”
            Pushing the stretcher to the sliding doors Ali met up with Jared who ran out of Exam Room Three and Polly who came from Trauma Room Two.
            “It’s Gramps.” Nothing more needed to be said. Polly helped her navigate the stretcher. Jared ran out ahead of them. By the time Ali and Polly had the stretcher out to the curb; Jared stood holding Gramps in his arms. 
             “He’s conscious,” Jared said.
            The second Jared laid Gramps on the stretcher Ali started to push.
            “Wait,” Polly called. “The side rails.”
            Ali knew better than to transport a patient without the side rails up. She locked the railing on her side of the stretcher into place while Polly did the same on the other side.
            “Let’s go. Let’s go,” Jared called out. On the way in Ali rattled off Gramps’s past medical history, including a prior myocardial infarction five years ago and his current medications.
            Another nurse on duty joined Jared, Polly, and Ali in Trauma Room One. She whipped out her scissors, prepared to cut up the front of Gramps’s shirt. “Wait. That’s his favorite shirt,” Ali said, fumbling to undo the buttons.
            “You shouldn’t be in here,” the nurse, not one of Ali’s favorite people at the moment, said.
            The shirt unbuttoned, Ali struggled to take it off. Polly tried to help, twisting Gramps’s arm into what looked like an uncomfortable position. “Careful. You’re going to hurt him,” Ali said.
            “We need to get him hooked up to the monitor,” Polly said. “Think like a nurse, or Teresa’s right. You shouldn’t be in here.”    
            The shirt finally off, Polly attached the chest leads, Teresa hooked up the oxygen, and Ali primed the IV tubing. That done, she grabbed the basket of IV supplies and prepared to insert the peripheral intravenous cannula. She straightened the arm and tied the rubber tourniquet above his elbow. She exposed the antecubital fossa and palpated for the vein. Once she identified the insertion site, she opened the prep pad and cleansed the area. She operated on autopilot. Had done this thousands of times.
            Bevel up, she positioned the needle and prepared to puncture the skin. Gramps’s skin. Her eyes filled with tears. She wiped them away. Lowered the cannula. Her hands shook. A tear dripped onto the surface she’d just disinfected.
            “Outside,” Jared said. His tone authoritative.
            She didn’t move, knew she was hindering their care but couldn’t get her legs to walk. Gramps’s color looked gray. Not good. The cardiac monitor beat out an irregular rhythm, far slower than normal. He lay motionless on the table, except for the shallow rise and fall of his chest. 
            A strong arm came around her shoulders and led her to the door. “We’ll take good care of him, Ali,” Jared said. “Wait in the lounge.”
            “Line’s in,” Polly said. “IV infusing.”
            “Waiting for medication orders, Dr. P.,” the other nurse said.
Ali pulled away and ran for the stretcher unable to bear the thought this may be the last time she’d see him alive. “I have to tell him where I’ll be.” She leaned in close to Gramps’ ear, crying in earnest. “I’ll be right outside, Gramps. Polly’s here. And Dr. P. They’ll take good care of you.” She kissed his cool, clammy cheek. “I love you. Don’t you leave me. I need you so much. Especially now.”


To learn more about me or to read an excerpt from the beginning of WHEN ONE NIGHT ISN’T ENOUGH, visit my website: http://WendySMarcus.com

If you like what you’ve read so far, WHEN ONE NIGHT ISN’T ENOUGH is available:
In the UK in stores and on Amazon 
In Aus/NZ in stores and on the Mills and Boon website
In the U.S. online at Amazon 

So what’d you think about my excerpt(s)? Can you envision yourself adding a medical scene to your next manuscript? I’m happy to answer any questions you may have about writing a quality medical scene for romance or about Harlequin Medical Romance in general. Are you a fan of medical romance? Do you watch medical drama shows on television? Are you willing to give my medical romance a try? One lucky commenter will win a copy of my 2in1 UK edition which includes a complete novel by author Janice Lynn! 



Wendy S. Marcus lives in the beautiful Hudson Valley region of New York with her husband, two of her three children, and a much loved Bichon Frise named Buddy. A nurse by trade, Wendy has her master’s degree in health care administration. After years of working in the medical profession, Wendy has taken a radical turn to writing hot contemporary romance with strong heroes, feisty heroines, and lots of laughs. When she’s not writing, she enjoys spending time with her family and blogging/e-mailing/tweeting with her online friends. To learn more about Wendy visit her website, http://www.WendySMarcus.com. 

Visit me on Facebook
Visit me on Twitter
Visit me on Goodreads 




 All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

Writing In Flow - Burning Questions Answered

 


Today I'm answering burning questions over at Beverly Diehl's Writing in Flow blog. I'd love for y'all to stop by and comment.

 

Here are some of the questions I'm answering:

 

  • You got your agent - and book deal - through being a fabulous writer, obviously, but also through building an online presence and networking.  Let’s say someone is old school - they have a great novel which has been polished like a diamond, but they have ZERO online presence.  With your knowledge of the publishing world today, would you advise them to go ahead and start querying, then begin building their online presence while waiting for replies?  Or, in your opinion, would it be wiser to perhaps invest six months to a year in building a platform, before querying?
  • Your writing schedule - do you write every day?  Write steadily, then blog, then Twitter breaks, or check your e-mail first, or is it all dogpiled together?
  • Although your blog is PG-13, you write dark erotic suspense material, and you’re open about using your own name and photo, not a pseudonym.  Tell us about the thought process that went into that decision, and how your (extended) family feels about it.

 

Hope to see you over there! :)

 

All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

Love Scenes in Fantasy by Paul Anthony Shortt

One thing I love about having guest bloggers is that I get to hear (and share) things from people with different perspectives and expertise. I'll admit that my experience with the fantasy genre is not extensive. Beyond my love for A Wrinkle In Time and The Never Ending Story as a kid and reading some urban fantasy as an adult, I'm woefully under-read in the genre.


So when I held an impromptu "pitch me a guest post idea" contest on Twitter a few weeks ago, I was so happy to see Paul Anthony Shortt throw out this topic. I selected him as the winner (though is it really winning if I make you work and write a guest post, lol.? Not sure.) and he generously put together this fab post for us. Hope you enjoy!

 

 


Love Scenes in Fantasy by Paul Anthony Shortt


Although I don’t write romance, I believe sexuality is an important part of defining a character. It is one of the most driving needs people have, to feel sexually fulfilled and compatible with another person. As writers, we should take the time to understand the significance of how we choose to, or choose not to, express this need.

 

Fantasy artwork is filled with images of well-endowed women wearing highly impractical clothing, all manner of bits exposed to swords and arrows and evil, leering wizards. It’s safe to say that the genre hasn’t been especially kind to women in the past. As such, popular fantasy, for all its innovation and imagination, can feature some very stereotypical depictions of sex. Men are often sex-obsessed, while women are either virginal things to be conquered, or temptresses placed there to seduce the male hero away from his goal. Not that all fantasy is like this, or that these stereotypes can’t still be used effectively, but with its roots in ancient myth, it is only natural for the Fantasy genre to incorporate such elements. These motifs harken back to traditional gender roles in storytelling, where women represented two extremes: Purity or temptation. Peacemaker or obstacle. The woman was representative of the rewards the hero would receive for staying true to his goals and serving the greater good, or of the ease with which he can succumb to base desires. 

More modern titles, particularly Urban Fantasy, where women tend to receive more important roles, introduce a new side to this. Newer heroes such as Laurell K Hamilton’s Anita Blake have experienced sex as a means to gain new power, to become more than the mere mortal they were before. Similar situations crop up in The Dresden Files, by Jim Butcher, where sexual energy can be used to fuel spells, or as part of ritual magic. This treatment of sex seems to draw again on ancient myth and occultism, where sex was part of spiritual practices, a way of connecting the mortal self with higher powers. Of course, the danger here is that the spirituality of the act can be forgotten, leaving the reader with the impression of sex becoming a path to power. That said, we can examine such decisions by a writer to determine whether they may be portraying the embracing of sex as being, in and of itself, empowering. By realising their sexual natures, the characters are freed from previous limitations. 

In some cases, there is a more disturbing side shown in characters. In The Baker’s Boy, by J.V. Jones, we see many sex-focused men and just as many women who treat sex as something to be given to a man, simply as a matter of course. As a reader I found this unsettling, and spent a long time wondering exactly what the author was trying to say. These are traits often given to characters with whom we are not meant to sympathise, or who are portrayed as misguided or forced to behave a certain way. Representations of sexual servitude go back to the Gor series and beyond, but can we consider them love scenes, even when they are consensual? Is there any emotional connection between the characters, or is this as mundane to them as being served a cup of coffee?  

The risks inherent in writing love scenes are as present in Fantasy as they are in Romance, if not more so. With Romance, readers expect that relationships and emotion are the focus of the story. Characters grow through experiencing emotional upheaval, rather than by facing physical dangers. In Fantasy, there is no inherent expectation of romantic encounters. Readers may not be used to finding them, and authors may not be used to writing them. If a love scene feels added in just to titillate the reader, it loses its power, and any sense of purpose. Just as in Romance, a love scene should represent something deep and meaningful, for the good or for the ill of the characters involved. It may be the culmination of a love story, where two characters are finally united and become stronger for their new bond. It may be a sign that a character’s innocence is now over, and they must stand as an adult against the threats that come. It may even be a last desperate act to cast aside inhibition, embrace a darker part of the self, and hopefully become stronger for it. 

Then, of course, there’s no reason why it can’t just be a simple act between two lovers. An expression of their feelings as they come together at the height of the story’s tension. For all the different ways a love scene can be included in Fantasy, and all the different themes it can represent, the emotions of those involved, how they react, whether they are at first reluctant or have sought this out, should be as they are in Romance. Human. Stories are about people, and so long as the simple human responses to love and sex are held to with consistency and integrity, an author should be able to give us a scene that is engaging and satisfying to read on an emotional level.

In this way, Fantasy authors can learn an awful lot from Romance authors. Both genres deal with heightened emotions, larger than life stakes, whether internal or external, and the expectation that, in the end, all will be well. So with these similarities in mind, it stands to reason that the attention paid to personal relationships, and their highest form of expression in love scenes, in Romance should guide Fantasy authors to better understand the power that their choices can have in how the readers responds to the story they tell.


 Paul Anthony Shortt is an avid reader and lover of music and film. He lives in Ireland with his wife, who is expecting their first child in a few weeks, and their dog, Pepper. His first novel, which is still undergoing title edits, is due to be released by WiDo Publishing in 2012.


Blog: http://paulanthonyshortt.blogspot.com/

What differences do you see genre to genre with regards to love scenes and the romantic thread? 

 

All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren |Copyright Statement|

Five Promotion Tips for the Shy Writer by Lindsey Bell

For those of you who don't know, next week is the Romance Writers of America (RWA) Conference in NYC. This is the biggie, the grand poo-bah, the conference we romance writers start countdowns for the minute the last one ends. It's basically four days of non-stop awesomeness--workshops, book signings, parties, and best of all hanging out with writers/industry professionals from all around the world.

If you've never been and you write anything with a romantic thread (including you YA-ers), you should make a point to get to this conference one year. 

So anyway, this means that next week I will be too busy to blog. (Though I will be tweeting from the conference, so be sure to tune into that.) 

But since I won't be around, I've hooked you up with a week's worth of awesome guest bloggers. Yay! And I'm actually starting the guest blogging a little early. The fabulous Lindsey Bell sent me this post and I told her I had to put it up early because for those of you going to the conference (or any place where you'll have to pitch or promote yourself). This is great advice. 

So take it away, Lindsey...

How to Promote When You’re Too Shy to Promote

by Lindsey Bell

If there’s one thing you need to know about me, it’s this: I’m shy. I’m an introvert at my core. Public speaking makes me nervous. Talking to editors intimidates me. My voice even gets shaky when I talk to other authors. I guess there’s a part of me that still wonders if my writing is any good. You’d think getting published would alleviate these fears, but for me, it hasn’t. I’m still shy. But…I’m learning to manage it.

Last fall, I did something I’ve avoided for years. I pitched my book to several editors and agents at a writing conference. Yes, I was petrified. Yes, I was drenched in sweat by the time the pitches were over. (Seriously, I should have brought an extra shirt.) But it was worth it. I met my agent at one of those pitch sessions, and we’ve been working together for the past six months to get my manuscript polished and submitted.

As a writer who has finally learned how to manage shyness, I feel obliged to pass along some tips to other nervous writers.

  1. Dress the part. I try to wear professional-looking outfits when I talk with editors, agents, or other authors. I’m telling you, it works. Just as wearing a fancy new dress makes you feel pretty, wearing a professional outfit makes you feel like a professional (even when everything inside of you is screaming that you’re not).
  2. Come prepared. When you go to a writing conference and plan to promote your work, be prepared. Bring your book proposal and sample chapters. (In fact, I’d bring several copies of your proposal, just in case you run into another editor who likes your work). You should also bring business cards.
  3. Perfect your pitch. The pitch should be a couple of sentences long and include the title, theme, and basic story line of your book. Once you’ve written your pitch, practice it. Have it so well memorized that you can say it without even really thinking about it.
  4. Remember that they are people too. Editors, agents, and other authors are just like you. Try to take them off the pedestal and view them as normal human beings. It’s also helpful to remember that they are rooting for you. They want you to succeed.
  5. Believe in yourself. So what if you’re a first-time author? So what if you are young . . . or old . . . or whatever thing you think makes you less qualified? Believe in your writing, and believe in yourself. Because when you do, you’re a lot more likely to find someone else who will believe in you as well. J

Good luck, and happy pitching!

Lindsey Bell is a nonfiction author, stay-at-home mother, wife, and blogger. She is working with the Blythe Daniel Agency to find a publisher for her parenting book entitled “Searching for Sanity.” When she’s not writing or chasing after her two-year-old son, Rylan, she’s likely spending time with her husband, Keith. Or then again, she might be taking a nap.

Contact Information:

Author Blog:

www.lindsey-bell.blogspot.com

Miscarriage Blog:

www.livingwholeagain.blogspot.com

Facebook:

http://www.facebook.com/AuthorLindseyBell

Twitter:

http://twitter.com/LindseyMBell

Thanks so much, Lindsey!

 So are you shy like me and Lindsey? Does the idea of pitching make you want to curl into the fetal position? What things have helped you get through conferences or pitch sessions? And who is going to be at RWA next week?

Tweet All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren |Copyright Statement|

Guest Blog: Cooking Up a Character with Rashda Khan

 

 

Hope everyone had a wonderful holiday! I'll be back to blogging on Wednesday, but today I have another special treat for you. Rashda Khan is tying her love of cooking with her love of writing and talking about how to cook up a character. Hope you enjoy! (Although, I promise you'll probably end up hungry after reading this. :) ) 

Cooking Up a Character by Rashda Khan



Even though Roni and I are both in Texas, we ended up meeting in Twitterverse and I discovered her blog, which I thoroughly enjoy. So when she sent out an SOS for guest bloggers, I decided to come out of my shell –lurkmode—and volunteer. In the past, Roni’s posts and those of others have educated and encouraged me, so I figured it was time try and do my part. So without further ado, let’s cook up some characters! J

A good story, to me, is like a warm bowl of home-made soup on a bone-cold winter evening. Nourishing and filling. You can’t stop until you’ve scraped together the last spoonful. For me this magic happens with characters as real as my best friend, or the helpful librarian, or the flirty bartender at my favorite bar. Someone so real that I forget “it’s just a story” and root for their dreams, gasp when they are in danger, and cry for their heartbreak.
When I first started writing, I knew I wanted real characters. Easier said than done. I looked at all kinds of character worksheets, some of which were frightening in their length. But just as you can’t force an pantser to plot, worksheets and I do not get along. So instead, I decided to imagine character building in cooking terms. It worked for me, so I’m sharing it in the hopes that if there are other foodie-writers out there, maybe this method will help them create characters.
The readers, first and foremost, must be able to relate and care for a character. So think of a character, now think of him/her as a soup. Everyone has sipped soup at some point in their life. A bowl of soup can hearty and casual, something you curl up on the couch with while wearing your bunny slippers. Or it can be sinfully rich and made with fancy ingredients like truffle oil and escargot and served on fine china by a waiter waltzing to your table. It can be hot and sour, or sweet and mellow. What kind of soup would your character be?

Most people imagine the goodness of soup comes from long hours of slow simmering on the stove-top. Not so. There are some basic procedures and tips that can help you make soup in a cinch. Characterization doesn’t have to be an arduous process either as long as you keep the basics in mind. Remember food should appeal to our different senses through aroma, color, texture and taste. So should your character.


What Goes In the Pot:


Build the Base (Vegetables, trimmings and soup bones) – these provide a flavorful soup base). For a French flavor you’d use the mirepoix, an aromatic combination of onions, carrots and celery provide the base of many dishes. But for an Asian soup, I’d probably go for onions, garlic and ginger. Whatever kind of soup you make, it’s important to have a base to build on because it provides underlying flavor and depth.
In terms of character: your base would include goal, motivation and conflict. In other words, what does the character want, why does he/she want it and what keeps her/him from it (the conflict should include outside influences –the antagonist—and inside influences, fear).


Fat – only a small amount (about 2 tablespoon) is needed to cook –or sweat -- the vegetable base. You can choose rich, golden butter, lean and dark olive oil, or the boy/girl next door equivalent –canola or vegetable oil.
The backstory equals fat. You can’t do without it, but a little bit goes a long way. Like oil, it’s an underlying layer that shouldn’t be overly conspicuous.


Main Ingredient­-- In a chicken soup, that would be the chicken. In a lentil soup, that would be the lentils. In a story, go with the overriding description of your character. Former ex-marine turned detective, or mousy accountant taking on the mob.


Seasonings – such as spices, dried and fresh herbs, garlic, shallots should complement the main ingredient, enrich and deepen the flavors of the soup. 
Character traits and quirks help define the character and add more dimension. Think of the obsessive-compulsive TV detective Adrian Monk with his phobias and brilliant eye for details. Now compare him to Sherlock Holmes or Stephanie Plum. Each one of them solves crimes, but each is unique and different.


Liquid–you can use water, but broth or stock is more flavorful. Use more liquid in a soup with starchy vegetables –winter squash, lentils, potatoes and beans—and less when working with vegetables with high water contents—leafy greens.


The liquid in your story is your plot with all its twists and turns, pacing and reversals. The nature and amount of the liquid depends on your story. A woman’s fiction would have slower pace, rich with flavor, and different twists and turns. Think of Steel Magnolias where the issues are friendship, family and dealing with the complication of diabetes and loss—flavor provided by a cast of colorful small-town characters. Now compare it to an urban fantasy, which would require tighter pacing, danger and kick-ass-itude out the wazoo, spicy and sharp in taste,  such as Ilona Andrews’ Kate Daniels series, where the main character wields a sword and an even-sharper tongue, while dealing with magic and monsters, as well as identity, relationships and loss.


Plot is also colored by your particular character’s nuances. For example, your mousy accountant is not likely to cuss like a marine and beat up the mobsters…unless you give her a plausible backstory.


Thickeners -- are ingredients added to give more substance to the soup. These can include barley, pasta, rice, potatoes and flour.


In terms of writing, secondary characters would serve the same purpose, they help round out your main character and expose hidden layers.


The best example of this is JD Robb’s Death series. Eve Dallas, the main character, is a tough, driven, workaholic cop. Her hero, Roarke brings out the feminine, the playfulness and romantic in her, colleagues and friends like Peabody, Feeney, Nadine and Mavis show us the respect her dedication has earned Dallas in the job, and show her loyalty. Even antagonists like Roarke’s butler, Summerset and the cat, Sir Galahad, bring out her soft spots and her inner child.


Garnishes – are added at the end for visual, aroma, texture and/or taste. Typical garnish include: chopped herbs, lemon or lime juice, chopped or fried onion, or sour cream etc.


When it comes to characters, the garnish would be those physical details, like height, color of hair or eyes, build, voice etc. You just need a bit of garnish to help readers imagine, but choose wisely because too much can overwhelm your soup, while the right detail can add a whole new layer to the overall dish. Many writers pull the garnishes out first, but these should be added in the end. Just like chopped parsley adds a burst of green to a bowl of soup, details should make your character vivid.
Let me share a piece of Robb’s description of Roarke: His voice was smooth, with a whisper of the charm of Ireland over it, like rich cream over warmed whiskey. Yum!


To cook a soup or a character, we have to pull all the raw ingredients together. While we don’t have to cook for hours, we do need to let everything simmer so the flavors meld together to form a satisfying dish. So step back from the character for a bit, try to imagine this person in your head, sitting curled up on the couch next to you. Share a bowl of soup with them. Talk and visit instead of rushing him/her on to the page.


So does any of this make sense? Let me know what you think & Happy Writing!

 

BIO:
Rashda Khan is a West Texas-based food enthusiast and writer. She teaches culinary classes and writes The Family Table column for her local newspaper. She also day dreams of hunky paranormal heroes, magic and mischief and writes them down as stories. Other than that, she's raising a family of two children, two cats, two dogs and a husband.
She can be reached at rashda@rashdakhan.com Or @SpiceBites on Twitter. You can also find her at her blog  Hot Curries & Cold Beer.


Thanks so much to Rashda! 


So what do you think? What ingredient gives you the most trouble? Which do you sometimes forget to give proper attention to?