Connie's Notes From The RT Convention

Connie's Notes From The RT Convention - Page I

www.onceuponaromance.net

The authors and editors in the workshops offered a wealth of information that I'd like to share. There are many great tips here that can be implemented into your writing.

Tips from Ann Peach
Reasons to write:
Because you can’t NOT write
You love it
Because you have to

Writers write, even if they only have 5 minutes. It’s called “writer’s brain.”
Write stories that are full and expressive.
Write daily, even if only for 5 minutes a day, get the words on the page.
If you write a prologue, it must impact the outcome of the story as it unfolds.
Books you love to read, that’s what you should be writing.
Write in your own voice. Don’t try to impress with pretty words. Forget what everyone else has written. Write your story. Somewhere out there is the editor who will love your book, your voice.

Write what you know. Tap into your wealth and strength of knowledge:
Sights
Sounds – a noise or song that triggers a memory
Smells – a smell that triggers a memory
Feelings
Observe people, watch their gestures and expressions and write what you see

The odds of being published are great, “but don’t despair.” Increase your odds by researching the market – is it impossible to sell the subject? Anticipate the trends. Write what no other has written. Editors look for “white space” (dialogue) in a MS as today’s books are “snappier.”

Don’t over use adjectives.
Don’t over use “ly” words.
Run quickly – NO
Raced – YES
Sped – YES

Dump the words “very” and “just.”
Never describe verbs – “he said angrily.”
Paint the picture! - He shoved her to her knees and said, “Don’t move.”

Start your book at the “start” of your book (when they meet). Some editors say to start the story at Chapter 3.

Write with your reader in mind:
The 1st thought, work, paragraph, book.
Only conflict is interesting.
Show them (readers). DON’T tell them.

Don’t break your bond with the reader. Check your facts!

Characters:
Every character must be sufficient to its purpose.
KNOW your characters. Would be writer’s talk about characters, published authors talk about people (their characters) they know.

Great characters need to be socio-biologically correct –
They must balance, be worthy of each other.
The male, larger than life, noble, protective.
The female, lush, wants offspring.

What must the hero/heroine have or die – Mentally, Physically, Emotionally?
Make both of them opposite, so by the end of the book, they each change completely.

Make the characters multi-dimensional. Look at them beyond the scope as characters. Look at them as people.

The hero makes or breaks the story. SHOW us the hero, don’t tell about him.

Try starting your story with a “What if?” What if...Cinderella didn’t go to the ball? Inspiration can come from any moment in time. Every minute of every day can give you a What If... Develop your what if to another level. Writers have to “show” what it is they have on the page.

Tips from
Cindy Cruciger:
Let the what ifs roll, see where they take you.

Lee Emory:
Stories come to her in the form of a title, then she writes around the title.

Denise Agnew:
An idea prompts another, then another, etc.

Lori Pepio:
She sees her characters. They talk to her.

Create Characters
Rebecca York:
Strength is plotting. Characters have to work together. How do they react to each situation?

Kathy Greyle:
The heroine needs a central choice (does she, doesn’t she) throughout the book.
The hero represents one of the two choices of the heroine.
The villain should be a hero, but he shouldn’t be able to have the strength to make the right choice.
By age 25, the h/h should have had at least 10 tragic emotional events in life. Make a list of these events. The h/h is going to make decisions based on a significant event, but their decisions or conclusions (interpretations) are wrong concerning these significant events.

Lee Emory:
Where are the characters from? Are they aristocratic, ranch owners (land barons), plantation owners? They may act according to where they’re from – speech, mannerisms, and social expectations.

Susan Johnson:
Take a setting, then a hero. What about the hero does she like about him? What appeals to her about him? After the hero, she created the heroine. She starts with the opening scene, starts writing, and develops them form there. Secondary characters can give insight through dialogue about the h/h. Know the background of your characters.

Ann Peach: Two characters don’t address each other by name when speaking. Use names in moments of fear or emotion.

Virginia Henley:
She make the hero the most important character of the book. The worse he is at the beginning, after he falls for the heroine he has to be brought to his knees. Heroines have to be a match for the hero. She wants the reader to not like the hero at first. She gives the villain an ugly name and at the end he gets his just desserts. Secondary characters can determine if the book is good or not.

Write what you’re COMFORTABLE writing.

Judi McCoy:
Your reader must fall in love with the h/h before the h/h can fall in love with each other. Give him the qualities he needs for her and she needs for him as well as the qualities they need for themselves. When she’s (Judi) in love with them, then it’s time for them to fall in love with each other.

Pam Binder:
She has the h/h doing something nice/good, has them think, or know, no one’s watching them. It teaches you a lot about your characters. Make a list of 10 things any of your characters would never do, then put them in a place where h/h has to do at least 5 of them. What choices would they make?

Contract negotiation
Kathryn Falk:
You want the final OK on the cover art
Choose your month to be published
Your backlist needs to be kept alive
Take ads with RT
Get you pen name protected

Follow your instinct
Know the market
Be original – always have 2-3 ideas from other genres. Keep yourself fresh.

If an agent or publisher calls and offers $XXXX amount of money, say you have to think about it. Don’t accept the first offer, don’t accept a low %.

Virginia Henley:
The average length of time to get published is 4 years. When you do get published, pay for your own ad in RT. You’re your own best investment. INVEST! A book signing on your own is not the best idea at the start. Get in with other authors if you can. Keep your finger on anything having to do with your book or it will fall through the cracks.

*These notes are my interpretation of the speakers comments.
Any mistakes or misinterpretations are solely my error.