As a writer or a reader, the types of stories we love reflect something about us: the kind of people we are (or would like to be), eras and places – real or imaginary – that we want to visit, characters we wish we could hang out with. (Book boyfriends, anyone?)
Whether they’re labeled ‘Heist’, ‘Road Trip’, or ‘Redemption’, we all have cherished books and movies that push our personal Like button. Sometimes they’re guilty pleasures, sometimes they’re best sellers, but reading or watching our favorite stories touches a special place in our hearts. They make our world better, even if only for a little while. They inspire us.
Screenwriter/novelist Alexandra Sokoloff believes writers especially should make their own list of story types that resonate with them. Making up our own labels gives each of us a private mental shorthand that tells our brains what to expect from the tale. Also, it’s way more fun.
Here’s a sample of her personal list, cribbed from her extremely helpful book on plotting, Writing Love. (Check out the link below!)
Caper/Heist/Con: Ocean’s 11, Inception (caper structure in a sci fi film)
Mentor Story: Karate Kid, The King’s Speech
Soul Journey: The Razor’s Edge, Eat Pray Love
Mysterious Stranger: High Plains Drifter, Mary Poppins
Note that these types of story cross genres, but they all have recognizable elements, such as ‘assembling the team’ in caper stories or ‘setting out for the special destination’ in road trip stories. Often a book or movie will fall into more than one category. ‘Thelma and Louise’ is a road trip story, but it’s also an ‘On the Run from the Law’ story.
Here are some of my favorite story structures. Naturally, you will find several historical romances. 🙂 :
The Big Makeover: Princess Diaries, Pretty Woman, My Big Fat Greek Wedding I
Master/Mistress of the Game: The Grand Sophy, These Old Shades, Second Season
Rescue/Mission: The Magnificent Seven, The Blues Brothers
Road Trip: The Lady Risks All, It Happened One Night, Angel Rogue
Noble Rogue: The Traitor, All the Ways to Ruin a Rogue
So what kind of stories talk to you?
OR, A Plethora of Love Letters
In August 1774, a Massachusetts lawyer wrote to his wife of ten years, “I must intreat you, my dear Partner in the Joys and Sorrows, Prosperity and Adversity of my Life, to take a Part with me in the Struggle. I pray God for your Health – intreat you to rouse your whole Attention to the Family, the stock, the Farm, the Dairy. Let every Article of Expence which can possibly be spared be retrench’d.”
The lawyer was John Adams, newly-appointed representative to what is now known as the First Continental Congress. Attending this assembly risked his ability to support his family, not to mention his neck. He could have been tried for treason against the British crown, but he and his wife Abigail both agreed he should go.
(To their friend, Dr. Joseph Warren, he wrote, “I am at a loss, totally at a loss, what to do when we get there…” So much for images of a juggernaut of patriotic feeling.)
As a child, Abigail had not been permitted to attend school. Her mother feared too much learning would ruin her health and sully her mind. As an adult in 1774, she could not legally act in her own interest, for the law did not recognize her as a person separate from her husband. She had not permitted the repressive atmosphere of the era defeat her. Thanks to the books in her father’s and grandfather’s libraries, she was well read. When 14-year-old Abigail Smith first met 23-year-old John Adams, he described her to a friend as “quite lacking in tenderness”. Always forthright, teenage Abigail refused to curb her tongue for the benefit of a pudgy lawyer.
Within a couple of years, however, he was writing flirtatious letters to ‘Miss Adorable’ or ‘Diana’ and she replied in the same vein to her ‘Lysander’. (Presumably she referred to the Shakespearean lover.) After their marriage in 1766, their mutual salutation became ‘My Dearest Friend’, and deep-seated expressions of love replaced flirtation. As a lawyer, John had to ride a circuit of Massachusetts courts to make a living, which required him to leave Abigail and their growing family for days or weeks.
Letter-writing was the only way to communicate over long distances, and in the 18th century, people considered it an art. Abigail, conscious of her lack of formal education, often apologized for poor handwriting, spelling and punctuation, once going so far as to ask John to burn her correspondence. He wrote back “You bid me burn your letters. But I must forget you first.”
Over the decades of John’s public life, they would exchange over 1200 epistles, not counting those that didn’t make it through enemy lines during the Revolutionary War or otherwise go astray.
Their correspondence ranged from brief notes when government or diplomatic business took up most of John’s time, to long letters composed over several days. Both the Adams must have found writing therapeutic, for at different times, they referred to it as a way to soothe inner turmoil.
Separation meant their disagreements also had to travel back and forth between Braintree and Philadelphia and eventually, across the Atlantic. Many involved the education of their sons and surviving daughter. And when John made the mistake of writing to Abigail how much he admired the cultured ladies of the French court, she retorted with a sharp complaint about how American girls were routinely mocked when they showed off their educations.
In her jealousy, she might have forgotten her effusions on meeting George Washington in 1774. “You had prepared me to entertain a favorable opinion of him, but I thought the half was not told me. Dignity with ease and complacency, the gentleman and the soldier look agreeably blended in him. Modesty marks every line and feature of his face.” In the parlance of an 18th century New Englander, this was total fangirling. John couldn’t have enjoyed her description of the tall, charismatic, and charming General.
Even during disagreements, they were still ‘Dearest Friend’ to one another. In February of 1779, toward the end of his first diplomatic appointment to France, John lamented that he dared not write to her of political matters: “…I know you can keep a Secret as well as any Man whatever. But the World don’t know this. If…the letter should be caught, and hitched into a Newspaper, the World would say, I could not be trusted with a Secret.”
She had been his sounding board for years at this point; he trusted her more than any other advisor. John returned home later that year, where he was named to the Massachusetts Constitutional Convention in Cambridge, the body responsible for writing the state constitution. John wrote the first draft of the document, reading it to Abigail when he returned to Braintree at the end of each week. He also discussed the assembly’s debates with her, which gave her a grasp of issues of the day. His draft was accepted with minor changes, and is still in effect. It is the oldest state constitution in continual use.
In September of 1779, John was named minister plenipotentiary to France by Congress. The position gave him full power to negotiate a peace treaty Britain, along with fellow ministers Benjamin Franklin and John Jay. To Abigail, this meant another separation. John guessed the peace talks would take six months, and then he would come home to her. Instead, the couple would not set eyes on one another for five years.
After the War of Independence ended, Abigail could travel to Europe without fear of being captured or sunk by an enemy ship. She met John in France in 1784. When Congress selected him as the first American ambassador to Great Britain in 1785, they moved to London. The following years brought John to two terms as vice president under George Washington, then to the Presidency. While Abigail did not always move to Philadelphia or New York with John, she was the first First Lady to live in the White House. Together or apart, he sought her opinion on policy, though at times her devotion blinded her, such as when she supported him on the Alien and Sedition Acts that contributed to his political downfall.
The deaths of their daughter Nabby and their second son, Charles, marred their old age. John and Abigail took consolation in their grandchildren; Nabby and all three of their sons had married and started families. As a grandfather, John spoiled the youngsters with sugar plums while Abigail was the disciplinarian.
When she died in 1818, he was at her side. To their niece Lucy Cranch Greenleaf, John said, “I wish I could lay down beside her and die too.” He later eulogized his wife as “The dear Partner of my Life for fifty-four Years and for many Years more as a Lover.” Truly they deserve to be remembered not just on Presidents Day, but on Valentine’s Day as well.
John and Abigail Adams are fascinating both as a couple and as individuals. Do you have any favorite ‘Valentine couples?
John Adams, by David Mccullough
Abigail Adams: Witness to a Revolution by Natalie S. Bober
My Dearest Friend: Letters of Abigail and John Adams, Margaret C. Hogan and C. James Taylor, editors
As a writer of historical romances, I guess you could say I have a professional interest in birth control methods of the past. Basically, humans have been trying to prevent pregnancy, with varying levels of success, ever since we figured out what causes it. People think of the Comstock Laws and don’t realize that contraception has been part of American life since the beginning.
Colonial women grasped the implications of controlling their reproduction early. Before obstetrical medicine developed, 1 out of 10 pregnancies ended with the mother’s death, according to centuries of parish records in both Europe and America. Add to this the number of deaths from complications, infections from dirty hands exploring the birth canal, and general lack of basic hygiene, and maternal mortality approaches 25 out of every 100.
One less mouth to feed meant more resources were available for a family‘s existing children, and eased the husband’s economic burden. Women could not compel their husbands to use abstinence (and probably didn’t like it much themselves) or withdrawal. Breast-feeding provided some protection, but lacked dependability. Vaginal sponges and condoms don‘t seem to have been common. That left plants in cottage gardens that could be used to induce abortions. There are North American plants with similar qualities, and I would be very surprised if Native American women did not know how to use those.
During the nineteenth century, Americans continued to search for ways to manage the size of their families:
1839: Charles Knowlton publishes the first pamphlet in America describing various methods of contraception, aimed at married couples. He advocated douching after sex as the best method. A hundred years before the FDA, no one realized that douching has a 90% fail rate and can lead to painful pelvic inflammations. The same year, Charles Goodyear invents vulcanized rubber, enabling the manufacture of rubber condoms in the 1840s. Compared to the porous condoms made of animal skin or intestines since the 16th century, the 50% fail rate of these ‘capotes’ and ‘cundrums’ is hailed as a miracle by married couples.
February 1840: Queen Victoria, a figure of fascination for many Americans, marries Prince Albert and discovers sex, which she privately describes to her doctor as “fun in bed”.
November 1840: Queen Victoria gives birth to her first child. She does NOT consider this fun and discusses birth control with her doctor. He suggests she and Albert use the rhythm method. At the time, doctors believed that a woman’s ‘safe’ days were midway through the woman’s menstrual cycle. You know, the days when she is actually most fertile. To her dismay, the Queen went on to have eight more children. She never lost her passion for Albert, although she shared a dread and loathing of pregnancy with women on both sides of the Atlantic.
1842: German physician W. P. J. Mensinga invents the diaphragm. Copies are soon available in the U.S.
1860s: Newspapers from New York to Charleston to Cleveland carry adds for ‘capotes’, douching syringes, penis caps, ‘wife protectors’ (rubber cervical caps or diaphragms), sponges and ‘female solutions’. Quality was dubious, making them undependable and in some cases dangerous. They become connected with the sex trade and promiscuity in the minds of many who might otherwise have taken advantage of them.
1873: The Comstock Laws, a series of anti-commerce laws are passed, which define contraception as ‘obscene’ for the first time. The U.S. becomes the only country in the Western world to criminalize family planning. Dr. Edward B. Foote advocates the benefits of ‘fertility limitation’ for married couples, citing improved health for mothers and infants as well as relief of the husband’s economic burden. (Sound familiar?) In spite of the Comstock Laws, he distributes birth control devices and information about them.
1876: Dr. Foote is tried for breaking the Comstock Laws and sentenced to a fine of $3,000, equivalent to $67,000 to $73,000 today. When he asks for help paying it, 300 people come forward to offer support.
1879: Connecticut passes the stiffest anti-contraceptive law in the country: Even married couples cannot legally obtain from a doctor birth control to protect the wife’s health. For both health and economic reasons, It is regularly flouted for nearly 100 years.
1888: Dr. W. R. D. Blackwood writes “Is it proper, is it human, is it desirable that the lot of a married female should be a continual round of impregnation, delivery and lactation?…I do not hesitate for an instant to say NO! And I look with more than suspicion on those who, assuming superior virtue, condemn any and all attempts to control conception.”
1892-1920: Gynecologist Clelia Mosher asks her married patients to fill out questionnaires on their sexual practices and beliefs. Only 45 did so over the years, but their comments are interesting. 41 of the women used birth control, including douches, condoms, and ‘womb veils’, all illegal. One woman used a rubber ring around the cervix, which was apparently painful, but not as bad an another child. Many of the 41 considered reproduction a secondary reason for martial sex.
1913: On October 16, Margaret Sanger and her sister Ethel Byrne, both nurses, open America’s first birth control clinic in Brooklyn. They see 488 women in the ten days before they are shut down. At their trial, the judge rejects the idea that “a woman has the right to copulate with a feeling of security that there will be no resulting conception.”
1920s: Spermicidal gels and suppositories (some foaming — how festive!) are sold over the counter as ‘feminine hygiene products’ to get around laws forbidding the sale and use of contraceptives. Adding spermicides reduced the failure rate of diaphragms to 20%, the most reliable birth control until the Pill. Although more effective, this method as it is messy and pretty much kills spontaneity.
1936: In the face of the Depression, 70% of Americans favor birth control in a national survey. An upswing in abortion as a method of birth control also occurs during the decade. One doctor in Chicago reported after his arrest that the majority of his patients were married women aborting third pregnancies or higher. He didn’t say whether they had tried contraceptive measures that failed.
1945: Alabama becomes the first state to establish a tax-supported family planning program. Several southern states follow suit. Poor families shrink and illegitimate births drop across the region.
1950: Katherine McCormick, one of the wealthiest widows in America, finances the research that would lead the first Pill.
1955: The Margulies spiral, the first American made IUD, is invented. Its long tail intrudes into the vagina, causing “pain and trauma” to partners. Unsurprisingly, it never catches on.
1960: Enovid, the first pill, goes on sale. It causes headaches and weight gain, but users flock to their doctors demanding prescriptions anyway. It becomes the best-selling drug in U.S. history to that time, thanks to its dependability and ease of use.
1965: The first American-made IUDs prove popular long-term permanent birth control solutions. The modern IUD was invented in Germany in 1920, but could not be legally imported.
1965: The U.S. Supreme Court strikes down the 1879 Connecticut ban on all contraceptive use and confirms that a “right to marital privacy” exists in the spirit of the First, Fourth and Fifth Amendments. In 1972, the Supreme Court extends the right to privacy in deciding to use contraceptives to unmarried people.
1971: The Dalkon Shield hits the market. Eventually two million women will use this IUD. Undisclosed problems include severe pain and a tendency to cause uterine infections. 18 known deaths are eventually associated with it, along with hysterectomies, infections, birth defects and miscarriages (not always a problem with other IUDs.)
1988: High dose pills are taken off the market.
2002: Contraceptive patches are introduced. Changed once a week, they have fewer side effects than pills, but are more expensive.
For more reading:
A History of the Wife, Marilyn Yalom
Devices and Desires: A History of Contraceptives in America, Andrea Tone
A Distant Mirror, Barbara Tuchman
The Weaker Vessel, Antonia Fraser
The universal flouting of the Comstock Laws amazed and amused me! What do you think is the most surprising thing about the history of birth control in the U.S.?
Also, here is a fun slideshow on WebMD on some of the things people have used in the past to prevent pregancy. Think fish bladder condoms and crocodile poop.
World building is a familiar concept to writers and many readers of science fiction and fantasy. Writers from C.J. Cherryh to Marion Zimmer Bradley have written about the importance of pulling your readers into the world of a book, and the works of Tolkien are a primer for building an alternate world.
Historical romance is not in the business of building completely new worlds (that would be for the Fantasy, Futuristic and Paranormal members of the Romance Writers of America), but historical romance writers still have to draw our readers in, so that they can feel themselves inside the story, wearing crinolines or a hoop skirt or a toga, traveling the high seas in a pirate ship or taking the air in on horseback.
World building, whether for sci fi, fantasy or historical writing, works best when the writer has done his or her homework. When building a world from scratch, that includes notebooks covering geography, history, languages, customs, religious or spiritual beliefs, the presence or absence of magic, and on and on. Lots of work!
Historical romance writers have it easier in that we can research times past to find out about the world our characters are going to inhabit. We also have giant binders full of information, of course. We just have to research existing knowledge, using the best research material we can find.
Even simple things were harder 150 years ago. Travel was a much bigger deal when Victoria ascended the throne. In an era when it’s possible to cross hundreds of miles in a single day by car, it’s nearly impossible to grasp the speed of carriage travel. Drive your car down your street at 14 miles an hour and try to imagine that as the absolute top speed you can achieve in a vehicle. The sensory description will be entirely different in the 19th century world. Hoofbeats, not the sound of tires, characterized traffic, for example.
To our modern sensibilities, the past is an alien place, not just physically, but in mental attitudes. Victorian England was a place of overt class consciousness, where people who moved from level of society to another (up or down) were viewed with suspicion, if not outright scorn. There was a strong impetus to keep to one’s place, and not only in the upper classes. This attitude loosened up as the 19th century wore on, but even servants preferred to work for a suitably aristocratic family to one with ‘new money’. America also had its unofficial aristocracy, with Ward McAllister’s decree that truly fashionable New York society was made up of only 400 people. (He was trying to keep out those dreadful Westerners, Midwesterners and Vanderbilts at the time.)
If a writer chooses not to have her characters reflect the social mores of an era, her characters need solid motivation to explain why they think differently.
What are your favorite details about historical romance? The clothing? The food? The customs? Let us know!
…or the manor, castle or house. I live in suburbia, but I learned my love of old houses early thanks to aunts who lived in homes built in the early part of the 20th century. My aunts’ houses had features like huge screened in porches, high ceilings, socket doors and sleeping porches, all terribly exotic to my youthful mind. The kleenex-box sized bathroom on Aunt Bert’s first floor that had no insulation and was always freezing cold in winter and the old fittings in Aunt Helen’s kitchen struck me as insignificant. Mind you, Aunt Bert and Aunt Helen, and their families, probably felt differently since they actually had to live with these inconveniences. But I loved those houses. I can still recall the layout of each of them.
One of the most important parts of my process is figuring out where my characters live. I could never be an architect, as my math skills stop at basic geometry; nor do I have a great eye for interior decoration, but I study floor plans and hunt down drawings and descriptions of historic houses, furniture and textiles. Here is a Jacobean interior, similar to some you’ll find in To be Seduced.
When a house was built influences its exterior, but how it’s furnished and decorated inside is a matter of the owner’s taste. I had great fun in Her Scottish Groom comparing the tastes of Diantha’s family with their new money and Kieran’s much older house. I used photos from visits to England, Scotland, and France to get ideas for details of the Rossburn seat. To emphasize the ‘old money vs. new’, I also looked for ways to make the Scottish house sound older than the book’s 1875 setting. Their antiques, for example, would date from 1775 to 1825. And they did not, to the heroine’s dismay, have indoor plumbing. (I don’t have plans for a sequel to HSG, but if I ever do, I will find a way to mention that one of the first improvements made with Quinn money was the addition of bathrooms. Lack of modern bathrooms would be a huge drawback to time travel.)
For the Quinns, I studied mansions in Newport to see how ultra-rich Americans of an earlier era spent their money. Opulent, dripping with gold leaf or frivolous fake oriental details, they provided an idea of the mind-set of people who could buy whatever they wanted, including an aristocratic bloodline for their descendants.
For my current WIP, I’ve gone online to explore English Heritage houses, London townhouses and the homes of the working poor. As always, I am fascinated by the different designs and styles, each lovely in its own way. I am quite happy in my suburban house, since it contains my family, but the pleasure of creating dream houses for my characters never fades.
What about your dream home? Is it a modern loft or an 1800s Queen Anne mansion or a 16th century farmhouse? If you need inspiration, visit http://www.english-heritage.org.uk to find more house like Apethorpe Hall, pictured at the top of this post.
I earned my bachelor’s in Theatre Arts and I’m not sorry. As a writer, I still use what I learned in acting, criticism, and theater history. Playwrights and actors, like writers, are storytellers at heart, and books, screenplays and stage plays all share similarities. But the best thing about spending years during and after college immersed in theater is that I learned how to talk.
Yes, I could speak before I started college. But plays depend on the spoken word for every aspect of the story: character development; setting up Goal, Motivation and Conflict; description; and back story. Most actions on a stage are rooted in the dialogue between characters. (The italicized stage directions are, in most cases, notes taken by the stage manager of the play’s original production.)
Each character in a play has his or her own voice, made up of vocabulary, speech patterns, and slang; influences include but aren’t limited to education, economic status, occupation, gender and historical era. Blanche DuBois in A Streetcar Named Desire speaks differently not only from Stanley Kowalski, her brother-in-law, but from Stanley’s wife Stella, who is her sister. In Edward Albee’s Three Tall Women, three actors play the same character at different stages in her life. You will think, and thus speak, differently at 90 than you do at 52, or than you did at 26, as Albee’s dialogue for A, B, and C makes clear.
Whether it’s on the stage or the page, dialogue shows how a character thinks or how they respond to other characters. If a conversation or a line of dialogue — especially interior dialogue, a luxury playwrights don’t have — doesn’t convey something about the characters or advance the plot, cut it. Tight writing keeps the reader engaged in the story and turning the page.
And the spoken word has a rhythm all its own. Listen to the people around you next time you’re standing in line. We repeat each others’ words, emphasize points by slowing our speech down, and convey ideas with a brief phrase. We use slang from our workplaces or ethnic backgrounds. Even geography affects dialogue. A New Yorker is likelier to start a conversation by stating what he or she wants right away, as opposed to someone from the American South, where even business conversations begin with “How are you doing today?”
The best playwrights of every nationality and era capture the language they hear (or heard) around them. The vitality of Elizabethan English lives on in Shakespeare’s plays, as do the drawls and flutterings of the mid-20th century American South in the those of Tennessee Williams. English plays one of my most valuable resources for grasping the syntax and slang of both the nobility and commoners through the centuries.
If you’d rather rent a movie of a play, that’s great! Although film is much more visual than stage plays are, many are a good introduction to dramatic dialogue and characterization. Plays were meant to be seen and heard. I haven’t tried looking on Netflix to see if any of my favorites can be streamed, but there are a lot of DVDs of plays out there. Some library systems have good collections. Or best of all, support your local community theater! Go see a play!!
If you could pick any play,stage or movie version, to see today, what would it be? Shakespeare wrote my all favorite body of work, but my all time favorite play is Edmond Rostand’s Cyrano de Bergerac.
- ‘A DELICATE BALANCE’ at Aurora Theatre (timbauer.wordpress.com)
- Writing Question: For someone interested in screenwriting, is there value in reading plays? (gointothestory.com)
I can’t speak for other writers, but I’ve found that placing exposition into my stories is either a pleasure or a giant pain. ‘Exposition’ is related to ‘expose’, and thus refers to unveiling information the reader must know in order to make sense of the story. One must have exposition, just not too much of it at one time.
The most common example of this kind of information is back story, or past events which influence the characters or plot of a book, but which do not take place during the length of time the book covers. In Nicole Jordan’s To Desire a Wicked Duke, the heroine’s loss of her fiancé in battle occurred well before the book opens, but it affects her decisions and her relationship with the hero. Her fiancé’s death is part of the back story.
Most new writers, including yours truly, often open their first manuscript with pages and pages explaining the hero or heroine’s home, or family of twelve, or college days, or…it really doesn’t matter, because your reader wants to know about the main characters, not their 500-year-old family pedigree, no matter how distinguished it is. These reams of exposition are the dreaded ‘info-dump’, guaranteed to put off agents, editors and readers alike.
For film it’s said that for every foot of film used in the final cut, there are two feet on the cutting room floor. I’ve come to think of exposition the same way. Yes, it is necessary to come up with detailed character biographies that do include birth year, birth place, family history (and probably their dates as well), education, favorite colors, the character’s particular talents and his or her greatest flaws, etc., etc. — even though this information may never appear in the actual book.
Some of you are probably throwing up your hands and asking, “Then why go to so much trouble?” Considering the research and effort that goes into creating this kind of detail, that is an excellent question!
The answer is that when we writers set down that much information about a character, it nails him or her down in our heads. This kind of detail helps us understand how characters respond to each other as well as to challenges, failures or successes. The writer knows how their hero or heroine will go about reaching their goals. And on a purely practical level, if all of this is written down beforehand, the writer has a reference any time a question about a character’s past comes up. That saves a lot of time all by itself.
As a historical romance writer, I also use exposition to explain aspects of life in past eras that modern readers wouldn’t necessarily be familiar with. For example, in Her Scottish Groom I used it to include details about life in Scotland during the late Victorian era. Trains, cruise ships, and telegrams had been around for years by then. The heroine is accustomed to indoor plumbing.
My debut, To be Seduced, presented even more of a challenge because it takes place during the Restoration. Even something as straightforward as attending the theater needed a little explanation. The experience differed significantly from seeing plays during the nineteenth century, which is heavily represented in historical romances. The trick in both cases was to create vivid scenes for readers to enjoy, not give them a history lesson!
Clues to characters and period or universe (in the case of fantasy or paranormal romance) are imperative to an authentic, well-rounded story. But exposition, like everything else in a well-written book, should be layered in carefully, and nothing should appear on the page that does not advance or enhance the story.
What are some of the most interesting or unexpected bits of information revealed about a character in a book you’ve read?
Having had my week thrown off by Memorial Day on Monday, this post is shaping up as more of a ‘bits and bobs’ notice. I’ve started a temp job for the summer that’s taking up more time than I expected, and I have the pleasure of my youngest daughter’s company more hours of the day now that she’s out of school. So my apologies for a more disjointed post than usual.
My big news is all about the cover above! Shortly after TO BE SEDUCED was released in North America, it was purchased for publication in Brazil. My understanding is that the Portuguese version went on sale earlier this year. I guess this means I can now call myself ‘internationally published’. Although the book’s hero, Richard, has undergone a somewhat alarming transformation from blond to brunette, I quite like the translation of the title. According to Google, the meaning of ‘A Noiva Seduzida’ is ‘A Bride Seduced’.
I’d love to have my stepsister’s half-Brazilian husband compare the Portuguese version with the original English, but I suspect I’d have to duct tape him to a chair and pour a lot of alcohol down his throat before he’d agree to read a romance through even once.
Meanwhile, HER SCOTTISH GROOM moved into the top 100 Historical Romances purchased on Kindle in mid-April. After fluctuating around #30 most of the time, it’s still hanging in there around #50! I totally did not expect this — after all, there are a lot of other good books out there. Readers still leave mostly positive reviews & ratings at Amazon and Barnes & Noble both (where the Nook version continues to climb, hurrah). HUGE hugs and thank-yous to everyone who took the time to give it a rating or tell how much they enjoyed it!
I gave my first-ever workshop in April, at the Nebraska Writers Guild. ‘Dishing it out and Taking It’ deals both with how to approach the works of other writers for critique, and how to handle the critiques of one’s peers. Participants in April gave it high rating and good comments, so I’m glad to have been able to help others out.
Now that summer is upon us, I anticipate a new season of good books, time in the sun, and especially, new chapters to write! What are you looking forward to?
I’ve had computer issues lately. Not the kind where you push the ‘on’ button and nothing happens, which is one of the worst sensations a writer can experience. (That happened to me last summer. I about had a seizure.) This is the kind where, for some reason, I have to force myself to the screen and keyboard. I don’t want to check emails, update my Facebook status or tweet. Dust settles on my last post here.
Maybe it’s a reaction to spending a lot of time online in February and March guest blogging or sending in posts related to the release of Her Scottish Groom. Don’t think for a moment that I didn’t enjoy the attention and contact with romance readers! This is not something that I get to do that often, and I am thankful for every single opportunity to write a post and respond to comments. I appreciate the kindness of other blog owners and their readers, and it seems to have generated interest in my latest release. The Kindle edition of Her Scottish Groom is selling steadily enough to range from 99 up to 65 on Amazon’s Kindle Store Historical Romance Top 100 list for the last 10 days or so.
(I know, it changes hourly and it’s not selling thousands of copies or downloads. But it’s the first list I’ve ever made, darn it!)
Anyway, Life is Good and there’s no real excuse for disappearing from my online haunts. Still, I’ve resisted logging into anything but my Pandora stations for the last two weeks. I outlined two presentations for a couple of unexpected speaking engagements. I worked on my WIP, but in longhand on notebook paper. The page count is shaky, because I’ve also free-associated two potential series into very rough descriptions on paper. (If I carried smelling salts, I’d take a deep whiff at this point — do I really want to get involved with an entire series?? Never mind two!) It’s too early to tell if they’ll come to fruition, but the chance to let my mind wander felt sort of like a vacation.
Writing is a huge part of my life, but not its entirety. Time spent away from the computer means that my house is a lot cleaner. This is good because clutter seems to block me mentally. (In view of how much I dislike housework, this realization disconcerts me greatly.) My family got muffins for breakfast and I’ve had lunch with my dad, chatted with my mom more often and helped my youngest host her friends for their pre-prom hair/makeup/dressing ritual.
So if anyone missed me while I was gone, thank you for the thoughts. I’m back, balanced, and ready to take on the world again. And I have the clean underwear to prove it.