Archive for the ‘Keri Arthur’ Category

The long road to publication

Thursday, August 19th, 2010

First off, let’s raise a cheer for Dame Devon, who came up with the brilliant idea of each Dame talking about their path to publication. It’s been interesting reading, and I can’t wait to read what the remaining Dames have to say!

My path, I’m afraid, was a long and rather uneducated one. Like Dame Rachel, I didn’t hit this business from an academic bent, but rather from a sheer love of telling stories. I’ve been telling myself stories for as long as I can remember. As a horse mad pre-teen, I used to take my collection of horse statues out into the garden and make up adventures with them. I even told myself stories in bed at night to help me fall asleep. But the first actual time I can remember putting pen to paper was when a favorite author killed off a character I loved in one of her novels. I was so incensed that I rewrote that story, making that character the hero and letting him live.

And that, I’m afraid, was the start of it all. As a teenager, I was always writing—sometimes the stories featured my favorite pop star falling madly in love with me, and sometimes they were simply fantasy stories featuring females as the main lead (even as a teenager who loved fantasy stories, I was getting a little sick of women always being the ones who needed rescuing)

As I became an adult, the desire to write grew stronger, as did the desire to see my novels in print. But I had no idea where to start or what to do, and besides, why in the world would anyone want to published a story from an unknown Australian who had absolutely no training when it came to writing?

So, I went to work, bought lots of books, had lots of horses who ate too much and got too fat, met my hubby, and eventually got married. All through that, I kept writing and kept dreaming of being published, but I never did a whole lot to actually achieve the dream.

Then, in 1989, I got pregnant. And suddenly, it was now or never. I decided that when my daughter was born, I was going to quit work and concentrate on my writing with the aim of becoming published, because we all know new mums have so much free time once their child is born (okay, you can stop laughing. Babies were new world to me—I had no idea back then just how much work the adorable little blighters were). But despite the culture shock that was my daughter’s entrance into the world, I did manage to write. Not only that, I went to my first conference–the Romance Writers of Australia conference–and it was a revelation. For the first time in my life, I knew I wasn’t alone in this dream of becoming published, and I began to believe it was actually possible.

It was around that time that I wrote the first draft of Dancing with the Devil. It was a paranormal romance featuring a kick arse heroine, and I happily sent it off into the world, fully believing that any publisher in their right mind would snap it up.

Unfortunately for me, the publishers didn’t quite see it that way. Rejections followed. Lots of them. Ten years worth, in fact. I joined crit groups, learned more about my craft, and wrote lots of other books, but I just couldn’t let Dancing go. I really believed in that book and wouldn’t let it die. But as so many rejections reminded me, it was simply too cross genre for the market. I also think the fact that I was an unknown Aussie didn’t help matters—in fact, I know it was a reason several agents rejected me. The tyranny of distance, and all that crap.

In the late 1990′s, in a fit of frustration, I submitted to two e-presses. One was Hardshell, and the other ImaJinn, a small trade paperback and e-press that had just started up. I knew the risks, I knew I was never going to make a lot of money, and I sure as hell knew I wouldn’t ever see my books on the shelves in Australia. But I figured that if New York didn’t want me, maybe I could build up a following at an e-press and, along the way, gain some experience that might just help me step up. So I sent Dancing back out. Hardshell never really got back to me, but ImaJinn’s response was quick. But once again, it was the dreaded rejection. However, for the first time, it was actually a positive rejection, with the editor saying that if I rewrote the book and addressed her concerns, she’d look at it again. Naturally enough, that’s exactly what I did, and in 2001, Dancing with the Devil became my first published book.

Releases came thick and fast after that. While some of the stories published were novels I’d written in the years before Dancing’s publication, many of them were brand new, and between 2001 and 2007 I had 12 novels and one novella published with ImaJinn.

But for me, the big jump came in 2003, when I wrote my first werewolf book—Beneath a Rising Moon. In it, you’ll see the beginnings of the mythology that became the world of Riley Jenson. Riley herself sort of exploded into my life sometime in 2003/2004 (I can’t remember the exact date now), and I wrote the first two books in rather quick succession. I knew from the minute she hit the page that if any book could break me into New York, it would be hers, and I excitedly sent her out to the world. All she collected was rejections. I even had a great agent work on it with me, but in the end, she too rejected it. The story was so cross genre she wasn’t sure were to send it. To say it was disheartening is something of an understatement.

When I got the recommendation to our fabulous Dame Agent, I wasn’t exactly expecting a whole lot, so it was something of a surprise when she got back to me rather quickly to say she loved it and wanted to represent me. Six weeks later, after an auction with three publishers, I had a three book deal with Bantam. Full Moon Rising was published in hardcover in 2006. Between the hardcover and the paperback release of Full Moon, I signed another three book contract, meaning the Dec 2006 mass market release of Full Moon Rising was followed in quick succession by Kissing Sin (Jan 2007), Tempting Evil (Feb), Dangerous Games (March), and Embraced by Darkness (July). I also sold another 3 books, bringing the total to 9. In 2008, The Darkest Kiss came out (April), as did Destiny Kills (Oct), and I sold another 4 books to Bantam. In 2009, both Deadly Desire (March) and Bound to Shadows (Oct) came out. Moon Sworn, the last of the Riley series, came out in May this year.

So what’s next? Well, Mercy Burns, the follow-up to Destiny Kills finally comes out in April next year, then Darkness Unbound, the first of the Dark Angels series (The Riley offshoot series) comes out in July. Right now, I’m working on the second of the Dark Angels books, and then I’m out of contract and hoping like hell Bantam wants more of them.

So to echo the words of my fellow dames, whew! But as you can see, my somewhat long writing apprenticeship did eventually pay off, evolving into a rather rapid succession of sales and releases. It just shows that you should never, ever give up on your dream of being a writer. And that sometimes, sheer, bloody minded persistence does pay off!

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Character, Arc & Theme

Friday, July 23rd, 2010

Okay, here’s the second lot of notes from the Art of Romantic Comedy workshop with Michael Hauge and Steve Kaplan that I attended back in June. As I’ve said, I have no desire to write romantic comedy nor screenplays (which is what Steve Kaplan concentrated on), but I’m a big believer in the fact that a writer never ceases to learn. I also believe that even if you don’t write that genre, you can still learn a whole lot of from it.

Which was the case with the Hauge/Kaplan workshop. While they concentrated on romance, romantic comedy, and screenplays (and as such, but notes will too), there were still some writing gems that came out of it. This lot of notes is from Hauge’s second session, which was about Characters, Arcs, and Themes. Once again, these are all in bullet form, so hopefully they’ll make sense!

CHARACTER

Ask yourself the following questions about your hero (your hero being the character whose visible desire drives the story) :

1–what does my hero long for deep down? What deeply held desire has your hero got that he is simply playing lip service to? It’s a desire they say they want but are not really doing anything to pursue it.

Or, perhaps it’s not so much a longing, but a need. Have they disconnected from life, and settled for what they have? Perhaps they’ve isolated themselves. For example, in Shrek and About a Boy, both heros have disconnected from life. And in both, their need is for connection.

Note–they should have either a longing or a need. It shouldn’t be both.

2– What is your hero’s wound? A wound is an unhealed source of continued pain. It is usually a painful experience or something that happened in the past that, instead of trying to get past the pain and heal, they have suppressed it and yet think they have dealt with it. This wound colors their actions in the present.

3–What is your character’s belief? When we are wounded, we will use it to infer some belief about how the world works. (for example, In Sleepless in Seattle, the hero loses his wife. His belief is that it just doesn’t happen twice). Beliefs are not conscious or necessarily true, but they are beliefs that are acquired because of the wound.

4–What is your hero’s emotional fear? When we’re wounded, we are terrified of experiencing that pain again.

5–What is your hero’s identity? Identity = persona. It is the emotional armor we all acquire to protect us, but specifically, it’s the person we present to the world so we stay safe.

For our purpose, at the beginning of your story your hero’s identity should be stopping them from living life. Their identity is ‘safe’, and your hero must truly believe that this identity is who they truly are.

To sum up, our identity is the emotional armor we create to protect us from the fear that grows out of a belief that we acquired from a wound we received long ago.

6–what is our hero’s essence? If you stripped away your hero’s identity, what would you be left with? This is the essence–it’s the truth of the person. It’s the potential person they can become if they let go of the fear.

ARC

-The character arc is the journey from living fully in identity to living fully in essence. It is a gradual transformation that takes place over the course of the story, and there is a constant tug of war between identity and essence–living safe versus living life courageously.

-It’s about learning to combine the good qualities of identity with the good qualities of essence, and being true to self.

-The Ah-Hah moment in your story is the realization of how it should be.

THEME

–the character’s arc made universal. Theme is expressed as a statement of how we should live our lives.

–theme and arc have to unite. The character has to live the theme in their arc.

The three Hollywood themes that occur over and over again;

–you must stand up for who you truly are regardless of what other people thing. For example, your hero being defined by self instead of being defined by others.

–You must live with integrity. You’ve got to do what is right

–(the most common) you must give to other people. You must connect with other people to live fully yourself.

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From Draft to Dream (and a list of upcoming releases)

Monday, July 19th, 2010

by Dame Devon

The Dame readers have asked great questions over the last couple days. Please keep those questions coming! We might not get to it today, but we’ll try to pull questions and dedicate a full post to them, or answer questions in the comments. Feel free to ask us here on the site, or send us an email to the address, right over there on the right column. No question is too large/small/silly/serious, so ask away!

Today’s questions:
Amy R. asks: “When you’re writing your first draft, and it doesn’t seem like it’s matching up with that you have in your head, how do you keep from deleting it or throwing it out?”

Wonderful question, Amy! There are probably as many answers for this as there are writers. Here are eight tips:
1. Walk away. When a draft is so frustrating that all you want to do is throw it across the room, it’s time to step away from the keyboard.
2. Save the file. Even if you think it’s garbage. You never know when you’ll want to go back and ressurrect the story, or maybe dip in and steal a character or a descriptive line.
3.Come back to it in a couple days, a week, a month. You might see the good amidst the cringe-worthy and be able to roll up your sleeves and get the story going again.
4. Get an outside opinion. Sometimes the author is the least capable person on the planet to make an accurate judgement call on the quality of their prose.
5. Try again. If the story is so far off from what you want it to be, save it and start fresh. Focus on the core of the story–the spark of wonder that made you want to write it–and write until you feel you have your feet under you again.
6. Accept that your story probably never will live up to your vision. It is common for writers to feel they have yet to write something that matches the vision, emotion, scope and quality of what they had in mind for it. There will always be a slight dream-like disconnect between our imagining brain’s vision, and our writing brain’s power to express that vision with words. It is what makes us strive to improve no matter how long we have been writing.
7. Finish the story to discover the story. You can’t fully know what the story is until you write The End. At that point, you can look from beginning to end, and see what the story wanted to say, what it wanted to become. Maybe it’s exactly what you had in mind. Maybe it’s wildly different.
8. Keep trying. Keep writing. Keep going. Trying and failing and trying again isn’t bad. It’s the way we become intimate with story, our writing process, and the struts and trusses our dreams are built upon. Remember:It’s the writing that teaches you.” –Isaac Asimov

And the second question from Jess: When are your next releases? (All of you.)

Great question, Jess, thanks for asking!  Here’s a fairly comprehensive list of what the Dames have cooking:

Upcoming Releases (as of July 2010)

Keri Arthur
MERCY BURNS –    May 2011
Debut novel (Dark Angels series)   -   August 2011

Toni Andrews/Virginia Reede
Book 3 (Carnal Magic) by Virgina Reede   – 2010
Nocturne novel (Mercy Hollings 4)   –   2011
“Nativitas” THE MAMMOTH BOOK OF FUTURISTIC ROMANCE   –   2011

Jenna Black

SHADOWSPELL (Faeriewalker 2)   –   January 4, 2011
DARK DESCENDANT (new adult urban fantasy series, Pocket Books)   –   April 26, 2011
“Nine-tenths of the Law”(Morgan Kingsley, urban fantasy anthology, TOR Books)   –   May 2011

Jackie Kessler
HOTTER THAN HELL mass-market paperback   –   September 2010
HUNGER (The Horsemen of the Apocalypse/Riders’ Quartet)   –   October 18, 2010
“To Hell With Love” THE MAMMOTH BOOK OF PARANORMAL ROMANCE 2   –   winter 2010/2011
“Hell Bound” THOSE WHO FIGHT MONSTERS   –   March 2011
RAGE (The Horsemen of the Apocalypse/Riders’ Quartet)   –   spring 2011
“Hell’s Fury” THE MAMMOTH BOOK OF HOT ROMANCE   –   spring 2011
“Where We Are Is Hell” AFTER HOURS: TALES FROM THE UR-BAR   –   spring 2011

Karen Mahoney
“The Spirit Jar” (Moth 2)  KISS ME DEADLY   –   August 3, 2010
“Dear Diary…” essay -  WELCOME TO MYSTIC FALLS (anthology devoted to The Vampire Diaries) – October 2010
THE IRON WITCH –   February 1, 2011

Devon Monk
A CUP OF NORMAL (short story collection)   –   September 2010
MAGIC AT THE GATE (Allie Beckstrom 5)   –   November 2010
MAGIC ON THE HUNT (Allie Beckstrom 6)   –   April 2011
DEAD IRON (The Age of Steam 1)   –   July 2011

Lilith Saintcrow
JEALOUSY (Strange Angels 3)   –   July 29, 2010
HEAVEN’S SPITE (Jill Kismet 5)   –   November 2010

Rachel Vincent
“Fearless” KISS ME DEADLY   –   August 3, 2010
ALPHA (Shifters 6)   –   September 28, 2010
Untitled (Tod’s) online novella   –   December 1, 2010
MY SOUL TO STEAL (Soul Screamers 4)   –   January 1, 2011
IF I DIE (Soul Screamers 5)   –   June 1, 2011
Debut novel (untitled adult series)   –   September 1, 2011 (date tentative)
“Hunt ” (urban fantasy anthology, TOR Books)   –   May 2011

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Workshop notes part 1

Thursday, July 8th, 2010

A couple of weekends ago I attended the Art of Romantic Comedy workshop with Michael Hauge and Steve Kaplan. Now, I have no desire to write romantic comedy nor screenplays (which is what Steve Kaplan concentrated on), but I’m a big believer in the fact that a writer never ceases to learn. I also believe that even if you don’t write that genre, you can still learn a whole lot of from it.

Which was the case with the Hauge/Kaplan workshop. A lot of it was stuff that we, as writers, instinctively do, but for some reason, it just seems to make instinct far more understandable when someone actually talks about why we do what we do.

I took a whole heap of notes, and because I can never think of anything really interesting to blog about, I thought I’d share them with you over my next couple of blog sessions. So today, I present my notes from Hauge’s first session, which was about the foundations of story (these are all in bullet form—hopefully they’ll make sense!)

–all stories are based on a simple foundation that consists of 3 basic elements; character, desire and conflict

–all stories are about a character/s who desperately want to achieve some visible goal and who will face seemingly insurmountable odds to achieve it.

–95% of all Hollywood movies feature one of these 5 common objectives;
 to escape (panic room, the great escape)
 to stop (Jaws, Silence of the Lambs, Aliens)
 to retrieve (Indiana Jones, National Treasure)
 to deliver (Lord of the Rings)
 to win. This is the most common goal, and encompasses movies like Karate Kid, Rocky, Invictus, as well as all romances. The goal of any romance is for the hero to win the love of the heroine, and while love is not a visible goal, winning the love of another character is.

–You must create an emotional experience for your audience. We go to the movies/read books because we want to feel something.

–You hero must have a goal, because that’s what moves the story forward, but it is the insurmountable odds and growing conflict that provides the emotion. No conflict, no emotion.

–You must have a likeable hero, because that’s who your audience experiences the movie/book through.

–The outer goal should not be the only journey. There should also be an inner journey that leads to some kind of transformation. If outer journeys are about reaching a goal and having a visible goal, the inner journey is often about the journey from living in fear to living courageously.

–The consistent weakness of a lot of writers is the quality of their characters. Stories must be about real, believable characters facing unreal, insurmountable conflict/ obstacles (not the other way around)

–Think big! Think larger than life.

Next blog, I’ll post the notes about Character Arc and Theme :)

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The highs and lows

Thursday, June 10th, 2010

The world of publishing comes with as many highs as it does lows. One moment, you’re up in the air, as high as a kite, and the next, you feel like you’ve been kicked in the teeth.

Okay, so maybe I’m being a bit dramatic, but it has been one of THOSE weeks. The good news—Moon Sworn made it to number 13 on the New York Times list, which is damn amazing considering the caliber of the authors above me (Stieg Larsson, Linda Lael Miller, Nora Roberts, Lisa Kleypas, Julia Quinn, etc etc). It also reached a high of 40 on the USA Today list, and is currently sitting at 62, which again, considering that the USA counts all books released in the same list, not just by genre, is freaking amazing. The third bit of brilliant news was actually a piece of art work—the cover for Mercy Burns, to be exact. It is FANTASTIC!! One of the best covers I’ve had from Bantam Dell yet, and I’ve had some great ones. (And I will share it with you as soon as I’m able)

But then came the news that deflated the high. The release date for Mercy Burns has been pushed back yet again (until May 2011), and this has the knock on effect of pushing back the first of my Dark Angels books until August 2011. Now, release dates come and go—nothing is ever stable in the world of publishing, and when you’ve got two major lines like Ballantine and Bantam Dell merging, lots of things are going to change, release dates being the least of them. What did deflate me was the fact that I now won’t have a book out for an entire year. That is a frustrating situation to suddenly find myself in after the last few years of having at least two books out a year, and slowly building my name and career.

But I guess I should count my lucky stars that Bantam still want me and my books after reading what is going on in the UK. Publishers there are dropping contracted books, claiming they are “not good enough to be published.” In more fulsome economic times, the publishers would more than likely have worked with authors to get the books up to scratch, but with belts tightening, culling contracted books seems to be a just another way of cutting costs. (For those who don’t know, contracts usually have a clause written into them stating that if they find the book unacceptable, they can reject it. Sometimes the authors have to pay back advances, sometimes not). But how heartbreaking would that be? I mean, there you are, working on a contracted novel for six months or so, only to be told it’s not up to scratch, and goodbye? And in some cases (read the articles here and here) this same book has already been accepted by overseas publishers!

So, what’s to be done? Honestly, there’s nothing much we authors can do but keep on writing, making each and every book the very best book we possibly can. WHich is what we all do anyway, isn’t it? What we need to hang on to is the fact that what goes around always comes around, and though the good times now seem to have given away to tougher ones, the wheel will revolve and another moment of sunshine will happen. We just have to try and hang on until then.

And me? I’ll be following my advice, and getting on with the business of writing rather than whining :)

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