Oh My G**, I Missed a Period!

Hi everyone!
I'm Stephanie Michels, the new slushpile surfer on Writer's Evolution, and I'm looking forward to getting to know all of you. A little about me: I've been an avid reader all my life (my folks taught me to read at age four, I believe to spare themselves my incessant demands to be read a story). I've written ever since I discovered stories were just words put together in a fun way. Now, I live in Mid-Michigan, where I work as a Financial Planner by day and write mysteries by night (and weekends, vacations, holidays, etc.).

This week's Writer's Evolution topic is Designing a Heroine, so I'll weigh in on that in this post. I've heard it said that everyone's stories are a little autobiographical. That must be why my heroines are young, classy, smart and smart-alecky-- because that is soooo me.

Not.

Actually, I tend to write my heroines like women I admire. Strong, smart and with a sense of humor. Some of my inspiration comes from the more recent generation of Disney heroines: Princess Jasmine, Pocahontas, Mulan and my personal favorite, Belle from Beauty and the Beast. These heroines are women who know their own minds. They are loyal, have strong beliefs and are willing to sacrifice for them. Although they are romantics, they don't just sit around pining for a prince to come along to rescue them. They are the masters (mistresses?) of their own destinies. I like that, and I want that for my heroines.

So, whether I'm working on my mystery thriller, Retribution, or my cozy mystery, All Teed Off, I want my heroine to "be like Belle." Someday, I hope a publisher will see them and agree with my choices.

Until then, I'll keep surfin' the slush piles, the market news, and all the writing websites.

Talk to you soon,
Stephanie

P.S. The missed period refers to a missed punctuation mark in a manuscript I just finished editting.

Parting is such sweet sorrow...

I am sorry to say that it is time for me to leave the company of the great writers of WriEvo. I loved being a part of this fantastic, energetic, creative, irreverent group of writers. You have all become dear friends to me. Thank you for welcoming me among your group.

But I have to go now. Because, you see, I have a little branding issue going on. Being the only non-erotic romance writer among you has been wonderfully eye-opening, and a blast. But as I develop my image as a writer, I fear I may confuse my future readers when they click to read about a contemporary romance writer and find all your beautiful erotic book covers.

I've been working with my critique partners to create a new blog site, and I hope you will join me from time to time at The True Colors Writers blog. We will be discussing a variety of topics close to my heart - writing, food and reviews of books, movies, and music.

I wish all of you good luck with your future endeavors. I hold you all close to my heart.
*sniff*
I have to go now. My keyboard is getting splashed with tears, and I am afraid of electrocuting myself.

Love, Andrea

Men by Dakota Rebel

My heroes are usually based on celebrity crushes. Shallow but true. The flavor of the minute ends up with a starring role in my mind when the new books roll around. I think only two men were ever based on 'real' men, and they work far away and are just as unobtainable to me (thank goodness) as George Clooney, so there is still that safety there.

I prefer my men to be sort of...well, jerks I guess. I want them to be a little stand-offish, I prefer the heroine or hero, not really like them. I want the relationship to struggle at the start. And I want it to be the man's fault. I don't know why. Maybe it's becausel I used to date jerks, and I wanted them to redeem themselves, but they never did. (If you've never read my books I'd like to assure you, the fake men always do.)

My heroes are very demanding. And I very rarely plan out their paths. I prefer to let my characters lead their own way, and I just type for them cause they are too busy to do so for themselves.

XoXoXo
Dakota Rebel

there's no pattern or fabric to contain him...

I'm not certain I've had the need to "design" a hero. Most times the hero I see in my mind's eye arrives prior to a plot. He flashes into thought at the end of a work, preparing me for the next story before lingering in the wings to taunt me. He wants existence, substance, and form. He broods with sexy, dark looks from the shadows while I work. Then as I wrap up the former plot, steps into the light with a wicked smile and knowing eyes.

It may not come in so dramatic a way as the above, although that's been known to occur, yet it is the same principle of dominance I see each and every time a new story is in its birthing stages. It's a still and quiet presence or an image, the inkling of a scene or a feeling which holds in the air and for a moment, I am dragged to that suspended wisp from my work in progress to consider it. It's enough to catch my attention, however momentarily, before I go back to the work at hand.

That introduction is necessary, too. If not for the early awareness of him, my subconscious would not begin to fester with the germs of a plot specifically tailored to that hero. But whether it be days or weeks, the plot does come forth. It carries the sense of certainty that it is his plot. To ignore it would be unwise and unbelievable in its development.

Generally I hang on as the rest unfolds. I type what is seen in my mind and because I met him earlier, because I had that chance to get a feel for his personality without his saying a word, because I know him, I know what he would and would not do. I believe this to be the key. In developing a character, you must first know them. Otherwise you are discovering them as the reader does and subject to inconsistencies in behavior and plot.

How do I design a hero? I don't. He designs himself and I simply listen.

I'd Like To Place My Order For A Hero

Designing a hero - reminds of shopping through a catalog, I want those eyes, that hair, these lips, and man I need those abs and gotta have that ass...

The physical aspects of a hero are relatively easy - hot and gorgeous. It can be as simple as looking at a bunch of photographs and writing down the details - 6'2", solid muscle, broad shoulders, solid abs, black hair, dark eyes - because after all he looks a lot Antonio Banderas.

But the flip side - the emotional, mental, and intellectual part of said hero are of greater consequence, because even bad guys can be hot. And some heroes can be average because of their internal character is such as that he is proven to be trustworthy, honorable, and kind. And willing to walk on the dark side for the one he thinks is 'the one'.

Sure heroes have to be strong and cavalier, but they must be smart and face themselves as well as danger head on. And then there is a hint of vulnerability that is slightly visible to some, and completely open to their soul mate, who wraps it in their love and dares the world to try and destroy the hero with it or anything else.

The Perfect hero is decidedly imperfect, but he's perfect for one person.

Happy Reading,
Simone

Sing it, Bonnie! Sing it!

I do believe Ms. Bonnie Tyler hit it on the head with her great song, Holding out for a Hero. She pegged all the criteria for designing a hunky lead man. He's got to be strong, fast, a fighter, a white knight. Who doesn't love just a hint of damsel-in-distress? Even though we all know in this 21st century that all our heroines are capable of kicking plenty of booties themselves.

He's confident, larger-than-life and somewhere out there watching his heroine. Ahhhh, to be the center of this man's attention! There is such unreleased sexual power in a stare. To know that she is his one and only.

And of course there is chemistry, LOTS of chemistry between the hero and his heroine. She can feel him coming 'like the fire in my blood'.

But don't forget his flaws. The best hero will always have flaws, preferably something that requires the heroine's help. And a physical flaw adds a nice touch of realism, so the reader can relate a little more.

So with that in mind, here is Bonnie Tyler and her tribute to great men, Holding Out for a Hero.

Bonnie Tyler - Holding Out For A Hero

Where have all the good men gone
And where are all the gods?
Where's the street-wise Hercules
To fight the rising odds?
Isn't there a white knight upon a fiery steed?
Late at night I toss and turn and dream
of what I need

[Chorus]

I need a hero
I'm holding out for a hero 'til the end of the night
He's gotta be strong
And he's gotta be fast
And he's gotta be fresh from the fight
I need a hero
I'm holding out for a hero 'til the morning light
He's gotta be sure
And it's gotta be soon
And he's gotta be larger than life

Somewhere after midnight
In my wildest fantasy
Somewhere just beyond my reach
There's someone reaching back for me
Racing on the thunder and rising with the heat
It's gonna take a superman to sweep me off my feet

[Chorus]

Up where the mountains meet the heavens above
Out where the lightning splits the sea
I would swear that there's someone somewhere
Watching me

Through the wind and the chill and the rain
And the storm and the flood
I can feel his approach
Like the fire in my blood

The slapping of bodies and body parts together in that wet sliding pop of flesh and moisture and sweat that gets the reader all hot and bothered.

Yet it lacks all the messy clean up and the annoying half-assed hopping on one foot to yank off your shoes and totally lacks any kind of sex appeal but because we are trying so hard to get nekkid and busy we don't care that we are imitating and luniacal (my word) ostrich on crack just so that we can bump uglies and grunt and sweat all over each other. If you think about the mechanics, it ain't too sexy. Not really. Rubbing flesh that shivers with cellulite and eyes that roll back in the head and open gasping breaths. Maybe even heads bumping on headboards with less that romantic creaking springs that announce your current state of "affairs" to anyone within hearing range like a bugle boy sounding an alarm. "They're screwing. They're screwing!!!"

How much of this DO we want in our books? Romance books gloss it over the tough stuff, letting clothing dissolve into oblivion, slide from bodies, and basically disappear until eager nipples and straining Erectile Functions are ready to engage without hindrance. Then they move together like music, complementing each other like dual notes reaching the same climax together at the crescendo of pleasure. Romance books skim across the clean up (which astounds me actually because two seconds BEFORE sex, she was wet to the knees and practically puddling on the floor and he is bursting with NEEEEEEEEEEE----EEEEEEEE-----EEEEEEEEED) and it always seemed to me like they should have either put down a towel or at least mention the wet spot. C'mon we all know about the wetspot. And usually it's the woman's side of the bed, isn't it?

Real sex is awkward and bumpy and fun and embarrassing and ill-timed. Romantic sex is smooth, hot, sexy, perfect, and the culmination of all time, space, energy, and human existence wrapped into shattering senses and joined bodies. Yeah, so much prettier. It's why we like them.

So how much of it is too much (see? I eventually get around to the point. Just give me a sec or two---oh, oh, oh, OOHHHH--just kidding). Personally, I can't get enough. Okay, wait, that's real life. In fiction, it annoys me when people are dying and all the characters want to do is rub crotches in holy bliss. I'll read it, but I'll be wrinkling my nose and they'd better damn-well have a great reason once it's over.

Okay. I'm finished now. You can get off.
Heh.

Love,
SWX

Sex, sex and more sex

As it's been mentioned, there's a definite trend with publishers wanting the sex to take place early and often. And as it's also been pointed out, that's not always possible - or, in my opinion, even desirable.

For me, the inclusion of a sex scene needs to have more of a purpose than titillation. Sure, I’d prefer that the scene is hot, but it needs to move the story forward with either plot or character development. There should be no unnecessary events in a story and that includes pointless sex – no matter how steamy it is. If the reader doesn’t learn something new about the characters and/or if the characters don’t discover things about their partner(s) or themselves, that scene probably shouldn’t be included in the story.

These don’t necessarily need to be earth shattering, mind blowing revelations like ZOMG! the heroine is really an amnesiac Faery Queen and her true identity is discovered when the hero sees the tiara shaped birthmark on her ass. It can be something less dramatic, like maybe the hero realizes that waking up with the heroine in the morning isn’t the terrifying trap he’d always thought it would be. Or the hero figures out the heroine’s need for control during sex stems from the fact that she’s a rape survivor. Another character might realize that being restrained isn’t something to be feared and she actually finds pleasure in giving up her control to someone else for a while.

As weird as it might sound, sex is actually a great place for character development. It necessitates a certain vulnerability. Physical vulnerability is a given, but it also requires emotional vulnerability. That can be harder than hell for our emotionally wounded characters to deal with, but it can also provide satisfying growth and discovery for both character and reader. And isn’t that what we’re all trying to accomplish? (One orgasm at a time.)

I has a sick

...and it is not attractive. I feel terrible today and I forgot to pre-post so you get my half-ass attempt at staying on topic today. How much sex is too much?



















I don't know. You tell me.

XoXoXo
Dakota Rebel

Sex: How much is too much in a book

As someone who writes character driven stories, my answer has everything to do with what the characters would want. If Mavis is especially hot for Marvin and they finally get it on. She will not suddenly become inhibited or withdrawn. No, they will go at it like bunnies. And while I've never seen a bunny perform a blow job (the animal bunny), take it in the back door, or English mount another bunny, my characters will if the thought occurs to them for such a position.

Easy enough, yes? And yet there are still the publishing requirements. One publisher wanted sex within the first four pages. From Mavis meeting Marvin for the first time, to having his face buried in her p*ssy, there was to be immediate sex play. Once established, the idea was to keep it coming throughout the story. I believe the request is, quick, hot, often with a focus on sex and a plot directed at allowing sex to occur.

Another publisher requested (different than require but not by much) sex within the first 3k (12 pages). Much more do-able, if you'll forgive the pun. At least the characters can get beyond the handshake-jackmeoff moment and into, I'vejustmetyoulet'sfucknow moment. Breathing room.

Why do these publishers have requirements like this? Because it sells. With all the discussion around who has too much and who doesn't have enough and what does the reader really want to see, there is still that hidden question. Yes, we tell our stories and we give you the characters that you want to read about. But if you only wanted to read about the plot, most likely you wouldn't be book shopping in the erotic section (link). Or am I off-base?

There has been a strange twist in the market where the over abundance of gratuitous sex way overshadowing plot has reached an all time high. Readers are now saying that even erotic novels or short stories have too much. Where is the threshold? I believe we are currently seeking that line as authors and publishers.

So how much IS too much? Publishers push for more but have seen the downturn in sales. Readers want it but are disappointed in the level of plot development. Writers are frustrated, caught in the middle, wanting to give the readers what they want while reaching the demands of the industry standard.

I believe we need to write what fits. If Mavis and Marvin and nymphos, fine. Perhaps they are nymphos who meet in a hotel which has now caught fire and they are trapped on the top floor with the added twist that they must have sex on every floor to win a bet of some juvenile nature. Or perhaps Mavis is shy but a hot one and Marvin is the computer geek with whom she works. This character combo allows for a delay before intimacy begins. It would be out of character for Mavis to straddle him at his keyboard and go wild. Write what fits.

I believe that as long as the book isn't being forced and the characters made to act out of character, your reader will follow along with you, quite happy with the direction of plot and sex. But when it's forced and rushed... the reader will know it and knowing it creates discomfort. They will feel it in their gut that you, the writer, had it wrong. And potentially this wrong-ness could alienate them enough where they will be betrayed (see betraying your reader), possibly never coming back to you again.

If it's believable, write it. If it isn't believable, make it believable. It's your contract with your reader and is far more important than the contract you hold with your publisher. Change your story if you must, but do not betray your audience.

Not A Sex Manual

I write erotic romance, which means sex is expected, but there can still be too much. I'm not writing a sex manual and hopefully not a bunch of love scenes strung together with some dialogue and no story or plot.

The amount of love scenes and sexual tension needed is completely dependent on the story. And each time there is a love scene it should be adding something to the story, not be there just because. For the plot and the characters, the placement of the love scenes needs to makes sense and seem natural. Not forced, which is different than consensual and non-consensual.

If hero A is never touchy feely or touchy period, but Hero B is, then A is probably NOT going to initiate intimacy until towards the end when his fears have been conquered with help of B, who he knows now isn't going to do whatever scared him. At the same time if heroes C and D have known each other for a while and are finally acting on their mutual desire, sex will probably happen a lot more frequently. But it's still not necesarily going to happen every chapter.

If the characters spend all of the time in the bedroom, so to speak, then how do you know they actually grew any?

Happy Reading,

Simone

Not this chapter, honey. I have a headache.

How much sex is enough or too much? Well, it obviously depends on the genre.

As I write women's fiction and contemporary romance, my characters are not necessarily going to be going at it in the first or second or even the third chapter. The romance of the relationship takes longer to build, and there are usually conflicts that keep my characters apart physically, whether they are internal and/or external conflicts.

Eventually though, my hero and heroine work out their differences and tell me when they are ready to go to bed together. This is usually preceded in an earlier chapter by their first kiss, then more angst about why they can't be together, more lusting and fretting, another scene where they give in to their mutual attraction and kiss and perhaps go a little farther, followed by more conflicts to tear them apart, and finally a chance to play nice (or naughty) and hop in the sack together.

Whew! It sure did take them awhile to get there. And hopefully they will 'get there' more than once in a book. They worked so hard for it, don't you think they deserve more than one scene of great sex?!?

Because OF COURSE they have the greatest, bestest, most profound sex of their life. That's how they know they belong together!

Influencial people influence stuff because that's the point of calling them influential. Otherwise they would be those draggydowny people ...

who make you all depressed and suck the life out of you like those whoseywhatsit people... oh yeah, energy vampires. So the way I figure it, influential people must be the very opposite of energy vampires and they are energy blowjobbers or something. Except not in the nasty way unless that makes you happy and joyful to think of rainbows being blown up inside your hoo-ha until you are filled with great ideas and motivation.

Cum to think of it, I do think I'd find that motivating.

But I'm getting sidetracked and, honest to self, I think that is great fun but I'm supposed to be spouting serious topics here and am feeling decidedly unserious. Can't I just be "that poor little soul who tags thought on to the end of the week and we pat her head and say lovely things but basically she's something of a flake whom we humor?" That role would be ohsosweet.

Influences are like caffeine to the muse (be you tea or coffee or coke drinker... or none of those if you're Brynn who prefers slightly stained water heated up in a mug). My influencers are my friends. Whether or not I ever pick up their books, their way of being inspires me. I've just harassed Brynn so I'll start there.

Brynn makes everything look easy. I know it isn't and I know she works damn hard, but she has this creative spark of ingenious that makes the back of my throat widen like "awwww" even if my lips don't follow suit. Yeah, I know that's weird, but trust me, my eyes get all doe-y when she's on an impressive tear. Brynn is like Queen Talent with her fingers in everything and she makes my head spin with organization orgasm. Cause I love lists and charts and shit and she can make THE. SEXIEST. CHARTS. plus she's totally an awesome writer.

Bronwyn is goddess earth mother of love and all things accepting. She's a walking hug and a sunny smile with that twisty sense of humor that is totally the key in my lock. In a platonic way. Cause while if I were a guy I'd be all over that, I'm not and therefore have to look upon her with longing fondness. And that girl can flat out write. Best emotional love scenes on the planet.

Sweet, snarky, witty Dakota keeps me on my toes. She's sharp as a tack and possesses personal and writing chemistry that sparkles from person to page and back again. Dakota is the embodiment of the tummy-flipping moment with a strange shy edge that keeps you guessing.

Carol. God. Carol is brilliant and fast and talented and frankly? poised on a pedestal. Over sixty books in something like two and a half years with a fan base that's out of this world. But she's solid. No bloated ego or diva-ness going on there. Nope. She's grounded, generous, hospitable, and deserving of every fragile laced, kindness you could offer her. And if you break her, ALL the above people and me would come after you.

Simone, I'm just getting to know. I think she's something of an open book because baby, there's one secret you suck at keeping and I don't think I'm supposed to know you know. You know? Cause I do. Know, I mean. But you try so hard and are a sweetie. I look forward to seeing you soon.

Kim isn't here but what I know about her is all good and raging with talent. Wish I knew her better.

Andrea, honest to self, cracks me up. She has claimed a phrase that makes me chuckle with each use (seriously, EVERY time, I laugh when you use it) but it also touches me because in a way it's honoring of me and my ADD-ish ways. Thank you, honey. She's supportive and funny, sweet and energetic.

Molly, who always responds to posts is persistent. Her good-will and humor never flag. Her fandom is loyal loyal loyal and completely humbling. She's generous and eager and finally has seen her day in the sun.

My love-fest up there is all about influencers. I'm influenced by all these people and more. Some don't read this blog so I haven't posted their names, but they're out there (Amber, Tessie, Rita, Anny, Cindy, and others who don't know me but I know them). Every characteristic reminds me of something I need to incorporate whether generosity, kindness, crazy talent, kindness, energy, kindness (I've got a theme here, let me go with it), tree hugging... you women all have it and make me a better person for knowing you. Oh yeah, and kindness.

Whew. That's way too serious. How's your blowjob cumming? Are you feeling rainbow-y yet? Hey MARGARET! I totally wanna blow a rainbow on you. I've never met you and rarely talked through comments but I'm completely sure that you are a raging awesome collection of nifty sunshine and I'd adore you in person.


So bring it on all you influencers. Because even when you think you aren't. You are.

Love and tree hugs and daisy kisses,

SWX

PS. I didn't mention the editors because they scare the shit out of me. And they know it.

The Great Ones

It’s hard to say ‘These authors have influenced me’. I’ve had so many influences. In a way, every author I read influences me in one way or another. They inspire me to be a better writer, to be creative or to never ever do something they’ve done. They can influence me by their writing or by their actions.

Take several unnamed authors I personally know. They sold their first books and they turned into total divas. Seriously, these people I used to like being around, are suddenly persona non grata on my list because their behavior gets so bad, like they’ve totally ‘made it’. Oh please God, NEVER let me be a diva. Every time I see that, and every time I’m faced by the ‘great ones’ too, I get a smack aside the head. No diva-ness for me.

Another writer who’s influenced me is actually unpublished as a novelist. My mom has written for my entire life. I’ve watched her write and create stories that whole time, and she’s really, really good. It’s because of her I wanted to be a writer. It’s because of her I have my love of words. It’s also because of her that I knew a regular person could be a writer. I didn’t have to be some literary great to craft a book people would read.

And then there are the ‘great ones’. These are authors I revere and who shaped and molded me during my formative pre-published years.













The person who has and will always have the number one spot as an influence is Johanna Lindsey. Number two is Jude Deveraux. These women captured me and I learned story form from them.













They each wrote stories that spanned the ages from medieval to nearly contemporary. Between them they wrote time travel and sci-fi and paranormal. They taught me I could write whatever genre I wanted as long as I put in the time for research and world building. I didn’t have to be constrained to just historical or just paranormal. They also wove together series of books without them being a true series. I was enamored by the way they wrote about the same families throughout time and I wanted all of them, yet each book stood alone and I didn’t need to read the others to ‘get it’. I knew that I’d do the same.

Later, when I’d exhausted the books of my top two, I discovered a few other authors who’ve influenced me in various ways. Suzanne Brockmann taught me deep POV and trust me I revere her too for what she’s imparted and for her skillful writing. She’s a master. Lynsay Sands world building for her vampires amazes me. The deep emotion in her books also enthralls me.














So does the emotion in Lynn Kurland’s historicals and time travels. I love her men. I love the history she brings out. I love the emotion.













These five are the ones I call the ‘great ones’ or ‘the masters’. The great ones aren’t divas—at least not that I’ve experienced—and they don’t take for granted their position. They don’t pop off crap books and sell them on their name alone. And that’s something else they’ve taught me. They have called me to do my very best with every book. And they continue to influence me every day.

Influence

As per usual I am going to give a different take on this. The influence I am going to post here is not someone who influenced my writing. In fact, until 10 minutes ago I had never heard of her. Never read this. I just found it and I have to share it with you.

http://aiminglow.com/2009/08/dear-31-we-need-to-talk/#more-755

I think this post just changed my life. It is a powerful post. I don't know if she meant to make it one, which if she did that is cheating due to the nature of the blog in general. But no matter what she wanted to accomplish with it, she struck a chord in me. Big time.

The post, if you are too lazy or uninterested to click through, is a letter from her 30 year old self to her 31 year old self. She says a lot of things I have thought but never acted on. She says some things that while I had never thought of it, have now become the absolute most important things to me.

This is influence. Saying or doing something that inspires someone to act. I will change because of this small post. I can feel it. It's almost as if she were actually writing to my 31 year old self. Granted, my 31 year old self is a year and a half away. But my 30 year old self is around the corner and she is paying attention.

So thank you Rachel. Whether on purpose or not you have made a difference in the life of an author. And I have taken note.

XoXoXo
Dakota Rebel

Visit Rachel at her regular home http://asouthernfairytale.com/

Writing Under the Influence

If there isn't a WUI, there ought to be. Considering the direction of my college studies, I think it's rather impossible not to include nearly every literary writer on the market. My favorites were always historical though I find myself thinking of Shakespeare quite often these days. I realize that sounds pompous and stuffy.

Let me explain.

I took a course in Shakespeare concentrated studies. I thought it would bore me, yet instead, the creative geniusness filled me with new wonder. Here is a man who tried to include all audience preferences in every single work he produced. There were the comedies and tragedies of course. But he varied scenes, using levity to play off the seriousness of a tragic prior scene. He kept the rise and fall of action by balancing that as well. He used secondary characters to do the ridiculous or forbidden, managing to touch all the issues without actually stepping on the royal toes of those who would otherwise be offended.

Interestingly, he still comes to mind as I read other authors. Not as a comparison, rather as an additional expression of learning something which fills out the greater experience of a current work. It allows me to explore possible alternate scenes in my work and the work of others, bridging the gap between classic and contemporary.

My peers have opened my eyes to so many possibilities. Menage via Brynn Paulin or Tia Fanning as a technique I've not tried until Claimed by Darkness. Group or voyeur sex as seen in Bronwyn Green's Overlord's Vessel (still one of my favorites), male/male through Carol Lynne or Claire Thompson and vampires through the eyes of Dakota Rebel to name just a few. I will even concede to reading Jade Black's work occasionally.

Every piece I pick up holds me in thrall with new writing. Every writer before me carries a new and varied technique worth appreciating. May I do the same for another.

Fame. Power. Influence.

When I first saw this topic, I thought it'd be easy - a lot easier than last week -- ha! -- I started this around 8 or 9 this morning....oh boy....

When does someone become influencial? Powerful? or Famous? And as far as influence goes - does it really matter?

Probably not. Sometimes the most influencial and powerful moment comes from a single, unknown person who follows their heart and changes your life forever. Without knowing.

As far as writing goes - I can credit Brynn and Bronwyn's influence into taking a leap of faith and taking my writing into the realm of erotic romance. But in my writing style and life - that's a little more difficult because to me, everything influences everything else. I have my favorite authors that I gravitate toward - which I know influence me, and every author offers something different. I have found influence in Bram Stoker, Mary Shelley, Shakespeare - love him, as well as Christine Feehan and Gena Showalter as well as my text books, history books on subjects like the Trail of Tears, ancient civilizations, mythology, or the first settlement of New York.

For grounding, when my brain is completely frazzled and all wiggy on me, I read The Inheritance by Louisa May Alcott.

I love the details and research that Lyn Hamilton has not only in her Archaeological books but on her website.

There is description and a preciseness in the Temperance Brennan books by Kathy Reichs, that I like and look forward in all it's gruesomeness.

And the world building by JRR Tolkien in the Hobbit and the Lord of the Rings as well as JK Rowling.

I read Memphis Belle in high school so many times the cover fell off, and I loved the comradarie of the characters and the adventure.

JD Robb's Eve Dallas books - Roarke -- reason enough

It's impossible, not to take away something from every book I read. Every romance - whether its one of the thousands of print books filling my very small apartment, or the e-books that are sitting on my hard drive reminds that love is possible for everyone, and that happy endings really are the best endings out there.

The other thing that I find more energizing than influencing - or maybe both - it's seeing authors like the fabulous ladies I share this blog with among others stretch their creative wings and explore something different.

Happy Reading!

Simone

New Author with Influence

I am so excited! Suzanne Graham, my best friend - we are so close, we could be twin sisters - just published her first story! And it is available for sale today!!!!

Suzanne started writing erotic romance last year and has already surfed her way off the slush pile. Go Suzanne!!!

Suzanne's story The Birthday Present is a hot read, set in Tenerife, Canary Islands, about two couples finding a special way to celebrate a birthday. I got the inside scoop from Suzanne that these four sexy people will return for a very special holiday in The Christmas Present.

So I hope you will buy Suzanne's book today. It's only a few bucks, and it's totally worth it!

Making a Scene... which to me sounds a helluva lot better than setting a scene because making a scene allows me to act wildly inappropriate.

First an apology! So sorry this is late. I'm on vacation while I do move-in stuff long distance and long rides without reliable internet access. Then I get to my computer today, which was working just fine last night thank you very much, and it wouldn't turn on! UGH! So an hour on the phone with Dell later and I'm up an running again although not a huge fan of Dell (which I loathe and desperately want my Gateway back but it's not working right after much writerly abuse) but it's what I've got.

Sigh.

NOW to regularly scheduled programming...

I'm a firm believer in having silence when I work without little people running in to ask questions or the spousal unit asking inane questions every two minutes. This also means I don't use music or candles or mood lighting to set my writing scene in order to set my manuscript scene. :) That's just the way I roll.

When it comes to writing, I like to close my eyes and think of the place I'm seeing. I may or may not use those images and observations, but I think that somehow knowing the details gets across to the reader. It's in the casual way a character flicks her fingers across a side table and pulls back a dusty finger or the way the hero is squinting against an errant beam of sunlight and the heroine doesn't realize it's not a glower directed at her for having just said that she thinks pink velcro covered heels are the awesomest thing to hit the runway... or it could be both and only the hero knows that he hates stupid velcro and who'd want to run the risk of sticking to burbur carpeting while he's also dealing with the onslaught of a light-induced migraine headache.

I like to include sounds and smells, too. It's that five senses thingamasaying stuff. Except that I don't know about you, but I don't often taste my environment. Licking the dust off the end of my finger is just nasty and the idea of walking into the library, dragging my tongue through the hero's hair to detect a slight minty undertone to the Jojoba rinse he uses is probably not deemed socially acceptable. Just a thought.

And seriously? I know sometimes you can taste smells but let's not get carried away with the disgusting odors because, just, ew, okay?

Anyway that's my take on scene setting. After all that visualizing the scene usually just flows for me. Though, there could be some danger that my heroine will pick up the hero's discarded necktie and dust the dang table.

Love,
SWX

...who hates house cleaning.

Minimalism With Bron

I've noticed something about myself when setting scenes - I'm not really much of a scene setter. Sure, I've got a location. Whether my characters are walking alongside the storm tossed waves of Lake Superior or sitting behind the curtain in exam room two in an emergency room, there should be no doubt in the reader's mind about where they are. However, I consider myself a minimalist -- trust me when I say this is the only area in my life where this applies...but I digress.

I'd rather have a couple of strong descriptions than a ton of detailed ones. For instance, I'd rather describe the spray of blood across a doctor's green scrubs as an IV needle is ripped from a seizing patient's vein than the various shiny instruments on the suture tray. I'd rather describe the whispery brush of dry autumn leaves scuttling across the rocks than a sweeping catalog of the size and shape of clouds in the sky.

For me, the emotional setting is far more important than the physical setting. I want to know the emotional state of the character going into a scene in order to fully appreciate how he's going to respond to events that are about to take place. In the same way, I want the reader to know something about the character's history to more fully appreciate the current action. For instance, no doctor wants to lose a patient to a drug overdose, but how much worse is it if that doctor loses a patient because of the same drug dealer that killed her brother?

When I read a book, I'm satisfied (setting-wise) as long as I know where the characters are and what they're doing. I don't need an elaborate description of a mauve, embossed velvet settee. I do however need to have an emotional frame of reference for the people sitting on the fussy couch.

I started this post forever ago when I was still coherent and it's now almost 2am. Here's hoping it makes sense tomorrow morning when you all read it. Also...OMG...look at my prettyful new cover off to the left. I heart it! :)

Scenely Scenic Scenes

Rose pettles. Candles. Josh Grobin crooning in the background. This is not how I set my scenes.

Sure there is romance in my Erotic Romance novels. But what I really like is the passion. The "I have to have you right now or important organs in and on my body are going to explode all over the place" scenes are my favorite to write.

When two guys are finally ready to go at it and end up busting a table into many bits and pieces, thats the scene that I set. No one remembers or even cares what color the table was...if I even bothered to mention it. No one remembers what pattern was on the curtains in Kit's room. No one cares how soft the chair was in the backroom of the bar in Mitch when he meets his handsome stranger.

Simply saying "a couch" may not help your word count as much as explicitly describing the tone, color and aura of said piece of furniture, but the bottom line is it just doesn't matter. If your editor doesn't erase the words his/herself then the reader will as they skim over the opal tones of velvet to get to 'the good stuff.'

I am probably the worst person to give advice on anything I swear. You should just let me tell jokes or share limericks on Thursdays and get your advice from people who know what they are doing. I just fly by the seat of my pants and tell you how you can do the same.

It's fun though huh? I guess I'll hang around and tell you how I do things and you can decide for yourself if I'm crazy or if there is some glimmer of truth to my words. It's like a game. Who doesn't like battleship?

XoXoXo
Dakota Rebel

Stage Left, Please.

Scene setting is important. Often I begin writing only to discover several paragraphs in that I've had no dialogue. Like a comedian who sets the stage and all the components of a good joke, a writer has to set the scene in order for the reader to absorb the nuances of meaning.

Debbie and Steve fighting about an affair while birds twitter and jasmine floats on the breeze has a different flavor than Debbie and Steve fighting on the rocky shore with crashing surf behind them and boiling clouds roll in. For me the scene is critical to the development. I may not embed meaning through setting or symbolism, but I do rely on the mirror effect of setting on the intended interaction.

Sometimes I require that it blend away so as not to over dramatize a situation. Others it subtly reflects the inner turmoil (but if the reader is openly aware of it, I feel it is overdone). And for humor, it benefits my intentions if the scene mocks the interaction with opposites. It's like comedic timing and can be used in every situation.

Debbie and Steve fighting about an affair during a water gun fight... could be something to that.

Walk Into My World

Are we talking emotional or physical scene setting?

Everything is so dependent on what's going on and where. Physically more detail is needed when dealing with a completely different world and culture - say one I've made up and am asking my reader to go to. Emotionally - um...hmm... let get back to you on that one.

I was told early on that the best scenes have all five senses involved, so that people can see, smell, feel, taste, and hear what is going on. Which reminds me I have a scene to fix. There can be feeling of glossing over the big stuff in order to show the important details. If your hero walks into his favorite bar, that is most likely what I'll say - giving a hint that its either upscale, a hole in the wall place, or a country bar or what have you - using simple phrases because what's important isn't the bar itself, its the new guy who is sitting in his spot at the bar that first annoys him followed by stirring his desire that you really need to know about.

I have to make a decision on whether I think something is necessary for the story or not. The reader doesn't need to know the full detailed layout or the decor of each room of Tristan's house, but I do. So that when Nick turns right he is always heading for the living room and not the bedroom one time, the living room another, or the bathroom another. The same with the bar the hero walked into - I need to know all of the details, but only some of them will further the story along and that's what needs to be shown.

Simone.

Please set the table...errr scene

I'm sort of a minimalist. I don't do a lot of heavy scene description in my stories. I try to touch on the five senses within the first page of a new scene so my reader feels she is there, but I don't get into big block paragraphs of descriptive prose. Never liked it as a reader and don't have the desire to do it as a writer.

When entering a new scene, I look at the setting through my POV character's eyes: What about the setting is important to her? Based on the state of mind she is in, what does she notice? The weather can also add to the mood of the scene. Is it hot? rainy? crisp and cool? How does my character react to the weather?

Also important is to anchor my characters in the scene. Who's standing, sitting, laying? and where? I hate reading talking heads that float through a page or two before they are anchored to their surroundings.

As Dwight Swain writes in Techniques of the Selling Writer, "You need to remember three key points about the world in which your story takes place: a. Your reader has never been there. b. It's a sensory world. c. It's a subjective world."

Now will someone please come set the table?

Happy Monday!
Andrea