Emerging from the Salt Mines

. You know you’ve done your job right when you raise a son who’s comfortable dressing as a pink unicorn while he enjoys the last day of the season at Heavenly with his cousin. He’s had a hard time the last few years, and it’s great to see him enjoying himself. His 4 year old daughter will be so proud of her daddy, the Unicorn.

But I digress. I’ve been working my tail off, trying to get Heartless ready for take off. I’m thinking that May 15th will be publication date, but man, there’s so much to do for indie publishing. I’m not a control freak, so it isn’t a total thrill, but it’s interesting enough for me to enjoy. I’ve got a fabulous cover, slaved over the cover copy, I’m still dealing with challenging edits, then proof reading, formatting, and … ta da!

I’m still trying to figure out how to balance a second full-time job in my life (publishing as well as writing) but the freedom is enormous, and since I’m very much “the glass is half full” kind of gal I expect, as Crusie says, nothing but good times ahead.

And I’ll get back to my new stories! Ooops and Not Quite a Miracle and Forever Autumn and Mary-Stewart-in-Spain and eventual Ice – the Next Generation and …

Interesting. None of those are historicals. Well, I’ve just spent two years immersed in HEARTLESS (what with the shoulder replacement and family traumas it’s taken me longer to write than usual, plus it’s probably my longest book, and you should have seen how much I’ve cut!)

But for today I finish the revisions, run through every kind of checker I can get to pick up typos, and then pass it to my proof reader while I wait to hear from Mollie, my marketing and web guru. Fortunately I’m in love with the book, with Emma and Brandon, and they’re going to be so happy to see the light of day after maundering for three years.

Oh, and if anyone out there loves a book of mine (I tentatively assume there are) go post a review somewhere, like Amazon or Good Reads. I went searching for reviews last week, always a bad idea but I needed to check feedback on a certain plot point in a certain book, and I was surprised at how few there were. Only if there’s a book you love that you feel hasn’t got enough attention.

Or hell, if there’s one you hate, go ahead and trash it. I’m a firm believer in honesty.

I’ll have more deets on HEARTLESS, including the cover. In the mean time, be excellent to each other and party on, dude.

Groundhog Day

Well, I suppose I could do the same paragraph over and over again in honor of Bill Murray’s movie, but I’ll resist the temptation. But man, I love Bill Murray!

So someone came up with the idea of doing a piece of art every day in February on Instagram. Unfortunately I don’t remember who it was, but the suggestion was mostly for visual art, drawings etc. Of course I’ll take it one step further – it gives me a way to explore Instagram and connect with more people.. I’m relearning how to play the guitar, and last night I worked out “Will You Still Love Me Tomorrow.” Key of C, which is a pain because F-chords have always been a pain, but it’s good key to sing in. I think I’m going to have to accept F chords if that’s my new key.

Upate on everything – I’ve started the process of getting HEARTLESS edited – I never need heavy editing so it shouldn’t be much, and then we go forward with covers, etc. (unless some traditional publisher swoops in with an offer I can’t refuse). So HEARTLESS, Brandon and Emma’s story, is getting closer to the light of day.

The Harlequin Reprints are momentarily on hiatus while I rework them – I have interesting ideas about things to do with them.

Ice/Heat is on hold for its turn in the line-up. I want to do Remy’s story in New Orleans, then enough time has passed for Peter and Bastien’s children to grow up. I’ve got so many books in my head that I’ve forgotten who has who, but I know Bastien has a daughter and Swede, and Peter has a daughter and Mahmoud (wasn’t that his name?) plus Dylan from On Thin Ice. Anyway, I love the idea of Mahmoud and Dylan both wanting the same young woman, who loves them both (normally I don’t like triangles but this might be a quadrangle or an incredible tangle of emotions while the fate of the world hangs in the balance, and I’m going to love playing with them.

In the meantime I’m playing with a new idea that I’ve wanted to write for probably 25 years – I remember Harlequin shied away from it and that was looooong ago.

So masses of things to do and not enough time to do it.

I do have a question, but there’s no need to answer if you don’t have an opinion. I’m wrestling with POV and tense on the new MIP (Mess In Progress). It’s almost definitely going to be alternating first person hero and heroine, but for some reason I started out in present tense. It seemed to demand it. Now I’m rethinking the whole thing.

Some people find present tense incredibly annoying. For me it’s basically invisible if the book is good.

Does anyone out there have a strong opinion for or against present tense? (You know the Dracula comes into the room instead of Dracula came into the room).

The New Year

. Good morning, my darlings. I’ve been having lots of Great Thoughts, and I’ve decided to share them all with you. Now, in general I’m not crazy about writing blogs – I’m ambivalent about teaching. What works for me might not work for other people, and I dislike being the Voice of Authority. OTOH I don’t mind being Sister Yoda, ancient voice of wisdom, mainly because I’ve lived through a lot of shit and managed to glean a few bits of helpful hints along the way.
Another problem with blogs is that they tend to be all about selling, and selling things makes me feel scabby. Mind you, there’s nothing wrong with selling – my son is excellent at it, and I’ve had other great salespeople in the family. It just doesn’t work for me. I’ll give almost anything away if someone wants it, I’m physically incapable of handing one of my books to someone and receiving cash in the other hand . Then again, I have deep-seated money issues, as so many people do, so it’s little wonder. I think I should have been born fabulously wealthy – I’d give most of the money away and I wouldn’t have to worry about things.

But I also have another blog where I faithfully write at least once a week, seldom talking about writing, just talking about my life, and I decided to move that over here and add in writing stuff as well. This way if people are interested they can engage, and it won’t seem like I’m ignoring things. One thing I do promise – I won’t ask stupid questions to get web traffic. I’ll ask questions because I want to know the answer.

Let’s see – today is Wednesday. I can try for every Wednesday, or pick a different day, but I’m going to start checking in here on a regular basis.

Here’s what I’ve been doing.

I belong on an episode of Hoarders, and while I’ve been working on it for years (I’ve stopped buying things and I donate bags and boxes of stuff all year long) it’s still out of control. I love the calm of a clean house, I just don’t love it enough to do it.

But it was time to attack our bedroom. It’s been a disaster for more than six months, and when I facetimed with my son Tim on Friday he was horrified, and he grew up with me as a mother. (The mother of one of my kids’ friends once told me I was put on earth to make other women feel better about their housekeeping). I should have taken photos of before — I had some, but it got substantially worse before I finally had enough. So I dove in, and made surprisingly good progress. If I get really energetic I’ll upload some before and after photos.

And I’ve been writing after a fitful couple of years where I stopped and started a number of things. My shoulder went haywire and I ended up having it replaced, so the combination of the physical issues of typing and the time surgery and PT took, added with the toll that anesthesia takes on your creativity, and I’ve spent a lot of time drifting and rewriting. Then I ended up with no new contract (the case for most of the writers I know given the sudden shift in publishing and the virtual death of mass market) which, being a traditional writer I found depressing. Plus the book I was working on was a royal pain in the butt.

But it’s done, and I’m working on getting it out ASAP – it’s finally Brandon and Emma, and I’ll tell you all about it next time.

But first … The Shape of Water. (An endless moment of rapturous grinning ensues).
Just … so wonderful. Not like the rampart scene in Last of the Mohicans or the bed scene in The Big Easy, more along the lines of the end of the Big Easy,when they’re dancing. I just sat in the movie theater with a big smile on my face, the one that Richie calls my Disney smile. It appears when I first arrive at Disney World. It appeared when I found out I was having a granddaughter. It’s sheer, innocent joy untrammeled by reality. You don’t find that very often, but I found it last night. I’m still smiling.

A good portion of the audience was bemused. It’s got a difficult premise (not difficult for me – I swallowed it whole, but many people aren’t as eager to throw themselves into fantasy as I am). But the Oscar nominations thrilled me, and if you’re open-minded I recommend it highly.

I’m going to toss a writing nugget out there every time as well, and I’ll start out with one of the most contentious. You’ve heard all about “no prologues, epilogues or flashbacks.” My BFF Crusie (I have two, Jennifer Crusie and Sally, my BFF from childhood) – anyway, Crusie believes in the rule with steely-eyed resolve.

Not me. Tools are made to be used, rules are made to be broken. For every reason not to use the three, there are strong viable reasons to use them. I know why writers and others hate them – prologues, epilogues and flashbacks are not the story you’re reading. They exist in another time, and in the best of worlds the book should be all about what’s happening on the screen, not other times.

But sometimes there’s no better way to do it. I find a good rule of thumb is to see if there’s any possible way to avoid them. If you can pass important background information without a flashback, do so. Same with the prologue. As for an epilogue (the one I do most) you try to set up the book so that you know they’re going to have a happy ending without a scene with a dozen babies.

BUT — I write really terse endings. I don’t like 5 pages of mush and oh my darlings after everything’s been resolved. My favorite ending is the one from NIGHTFALL, and it’s very … abrupt.

Because of that, in my historical in particular, epilogues can be very useful, sometimes even necessary to ensure that the battling couple really does live HEA. And I’m thinking of writing some epilogues to some of my older books, now that 20 years has passed, to see where my couples are now.

So those are my grandiose plans. Writing tips, popular culture (movies, men, music), regular life and epilogues. It should be fun.

You’ve got your movie suggestion. Your song of the day: America’s Sweetheart by Elle King.

Welcome to my new headquarters!

Oooh, cool. I’m on new software, and it’s actually the same as my old software, and suddenly I can do all the things that were such a pain in the butt in the old blog program (I shall name no names). The sun is shining, the revisions are going well, and all’s right with the world.

But … I’m not getting enough work done in my allotted time, and I have all these books I want to write. Granted, I took a number of false turns with the MIP (Mess in Progress), the final book in the Rohan saga (unless I find Brother Charles salvageable and kill his wife). So I’ve tossed 20 pages here and 20 pages there (don’t worry – I’ll toss ’em up on the website later on). I’m ripping and rewriting and adding and subtracting but I don’t seem to be making progress quickly enough. Maybe I’m a little gun-shy – I kept plowing ahead with this (tentatively called HEARTLESS), thinking I could fix it in revisions, until I got so tangled up that I couldn’t go any further. I’m wary of traveling down that same road, so I may be overthinking. I’m a very instinctive writer – too much left-brain activity isn’t good for me.

I suppose all I can do is keep my head down and keep going and stop being so hard on myself. Books take as long as they need to get written, and this one seems to be taking its time. Barbara Keiler (Judith Arnold) used to say she wrote the easy ones first. For me, some are easy and some are hard and some are such a pain in the butt that I never want to read them again (I will name no names). Some of them are a massive pain in the butt and I adore them.

The longer I write (and I’ve been writing a long time) the less certain I am that I know anything about writing at all. I’ve been saving writing tips on Pinterest that I might eventually find useful (it’s not all sewing and doll clothes for me ) and working on being even more disciplined. Maybe I just need to cut myself some slack and keep going.

So masquerade romantic suspense in Spain has to wait. Revenge porn has to wait. Finale to the Fallen series has to wait. RAF pilot has to wait.  So many, many things that I want to write have to wait their turn.

Usually I love revising, but right now I want nothing more than to dive back into the book with more sex, violence, humor, passion — all those nice juicy things that usually aren’t in the revisions. I’m just not feeling like an editor right now.

Okay, enough crabbing. I’m so glad Mollie change my website – this software I know how to handle.

For now, though, it’s back to work!

Revising Old Books

Sometime I’m really going to have to learn how to use Squarespace, but I’m like most people – I jump right into a program or a piece of technology and it’s only under duress that I RTFM (Read The Fucking Manual). But I digress.

That’s a very old book of mine – Banish Misfortune (which belatedly all the editors realized you said Banish Mishfortune if you weren’t careful)l. When Harlequin was finally going to reprint it they were going to change the title, but then we took it back and I’m going to leave it, because Banish Misfortune is a wonderful old fiddle tune that’s important to the story (and if I knew more about Squarespace I could put a youtube video or music file right here). Editors grab titles out of nowhere (think A Rose at Midnight) and sometimes we writers can save the day (I was given the title One More Valentine but I managed to put it into the book is a really interesting way). You remember I’m somewhat overfond of my own writing, right? I’ve never written a ghastly book, but some could easily disappear and I wouldn’t shed a tear, and others, to me, are absolutely brilliant. Revising my older books has been an instructive journey, but this particular book is unlike all others.

This was written in 1983, on a typewriter (God help me). Back then Harlequin American had just started, and they decided they wanted a single title off-shoot – this was one of their many experiments before they finally got it right with Mira. I think there were five of us who wrote these – they were called Harlequin American Premier Editions. But like most of HQ’s early single-title experiments it foundered, and BANISH MISFORTUNE, the third of the five books they put out, had a total of just over 5,000 copies sold. That, at a time when romances were selling insanely well, was absurd.

Since then (early 1985, it turns out) it’s never been republished, also unknown in the Harlequin universe, and had no foreign sales. Which is no big deal except it won the precursor of the RITA that year (called the Golden Medallion, but RWA considers it a RITA for statistics’ sake). To my amusement it beat out a Lavyrle Spencer book (albeit a minor one). And damn, it’s a good book. But …

I’ve noticed going through all these older books that there wasn’t much editing done. I knew that anyway – I’d sometimes get mss. back with not a pencil mark on them – I think BLACK ICE didn’t have red marks until page 117 (that stuck in my mind). Now BLACK ICE is one of my best books, but even I, in my own inflated self-esteem, know i’m not that good. I think part of the problem was that I was uber-literate compared to some of the other writers – I was published when I was 25, I grew up in an academic family so grammar, sentence structure, all the technical stuff were ingrained in me, and editors seldom had to bother, so they kept attention on the ones who needed more help. (That’s not all of my books, of course, and I had some real howlers, including one where, in technically grammatical terms the hero was wearing pink panties and a lace bra instead of the heroine he was looking at.)

I caught a lot of the more ghastly ones, which I’ll tell you about later. But in the meantime, I have BANISH MISFORTUNE back in my lap, and I’m shocked, shocked I tell you.

For one thing, I head hop! Oh, the humanity! It’s one thing I find very difficult in other writers – there are some lovely books with mixed POV, but I never write them, never read them, have always considered them even worse than Jenny Crusie considers flashbacks and epilogues (and for her those are practically moral crimes). I have no idea how I could have done it it – at first I wanted to blame the editor but it happens too often for it to be someone else fucking up my book. We just go along in the heroine’s POV, where she’s looking at the hero and thinking how hot he is (or something like that) and suddenly we have a paragraph of him thinking how hot she is. Not a great crime for most people, but it is for me, and my husband’s been listening to me howling while I go through the mss.

I can only blame the typewriter. The process is so different, and while you’re mentally in the story the entire time, you’re not physically in all of it when some of it is down on paper and some of it is in the machine, beneath your fingers. I haven’t run into this before, but then, my first five books were first person, making it an non-issue. But the other ones I wrote around that time weren’t similarly afflicted.

I’ve probably written over 100 books and novellas in my 46-year career, and going back over them, picking and choosing the decades they were written, has been incredibly enlightening. Some treasures bored and embarrassed me. Some throw-aways turned out to be brilliant. But this one has been a revelation.

For one thing, it’s painfully autobiographical. Several friends of mine, like Kathleen Gilles Seidel and Donna Ball (Rebecca Flanders) had already written long books and needed a place for them to be published. (I think Kathy’s brilliant one, AFTER ALL THESE YEARS, won the RITA the year before I did.) Some of us were simply given a contract to write one, like me and Beverly Sommers, a wonderful writer (if you ever find her stuff in a used bookstore you should grab it). Anyway, I was young, and I had the impression that it was supposed to be Women’s Fiction (before anything was called Women’s Fiction) so I went for the jugular – my own. I described my dysfunctional family dynamic, the suicide attempts, I combined characters and split other ones, but as I read through it again everything gave me an unsettling feeling of deja vu. I’d lived all of that and in the years since I wrote it, I’d blessedly forgotten a lot of it. Sigh.

That was okay, though painful. It has the absolute ring of emotional truth because it is the truth, making for a complex main character (who’s painfully thin and borderline anorexic when the book opens, so all resemblance to me quickly disappeared ). Once I accepted the hard truths I then dove into the head-hopping. Urp.

When I rewrite books I don’t want to update them – rather I try to take away phrases that set it in a particular time. I don’t put cell phones and the internet in, because that makes such a huge difference in plot (since almost all my books have some kind force of evil that has to be overcome. Not in this very different book, though). So I started stripping stuff out (she wore designer clothes by very ’80s designers, etc). Since this was a long book I had a secondary love story, and that heroine came a lot from me as well – she lived the life I was living when I wrote it (though fortunately I had the love of my life with me), she drank the wine I drank back then, she wore the clothes and lived in one of my family’s houses (my main heroine lived in another one). I set it in Vermont, technically 70 miles from where I live, but mentally the same small town, with the names of the now-dead postmaster and farmers, and I don’t write books set in the place I’ve lived in for the past 46 years and visited every year before it. I don’t know why, I just don’t, but I did this time.

So I’m back in this microcosm of a time I once lived, and it’s rattling. I was almost at the end when I finally realized that I didn’t want to move this out of time. The place it existed is a place of truth, and updating designers and cars weakened it. Now BANISH MISFORTUNE (and hell, I may change the title) exists in 1985, with a new, final chapter set in the present.

When I was a kid I used to read Nancy Drews (of course) and for some reason I really loved the ones set in the 1930s, before they started updating them. I loved her snappy little roadster, etc., but clearly most people wanted them to feel current. Anyone got an opinion on this? It would probably work better for people if I did my date-less update, bt the feel and sense of the time is so rich for me that I really don’t want to.

Ah, well. I imagine it’ll come out some time in May.