There is preparation involved in most jobs.

We get to the job site, we clock in, chat with our co-workers to find out what's new since the last time we saw them. Maybe we grab another cup of coffee while we read the latest "rules/guidelines/policies/procedures/protocol" from the higher-ups. Then, after we're warmed up, we tackle the job, whether we're ready or not.

There's a similar process for writing.

"Getting ready to write" involves cerebral preparation, a girding of the mental loins. It requires switching from the real world to the make-believe one. You have to get yourself ready to battle the inner critic, or to dig deep for the character's motivations, or even to figure out where the heck the story is supposed to go next.

While "getting ready to write" sounds like a whole bunch of fancy schmancy procrastination, it's actually a vital part of the writing process.

I mean, who can write when their desk is filled with clutter, even if it's been there since Miami Vice was a hit TV show? Everyone knows it's next to impossible to stay focused on a story when the dust bunnies are making so much noise racing across the carpet. I can't even hope to concentrate on word count when I know there's a sock that's gone AWOL from the laundry basket. I've got to find that poor lost soul, so I can witness the heartwarming moment when it is once more reunited with its mate.

Finally, when all the prep work is completed, and the conditions are exactly right for writing. . .the day has vanished, right along with our high hopes and good intentions.

So how do we keep from getting stuck in the "getting ready to write" phase?

I'm not claiming to be an expert, but these are some things that have worked for me:

1. Sit down and write something -- anything -- before you check email/Facebook/Twitter. All of these things are important, and need your attention, and will advance your writing career at some point. But do they really deserve to be higher in the hierarchy than your writing? If these social media tools can survive without you looking at them while you were asleep for a whole night, surely they can wait another 15-30 minutes while you rev up your writing brain.

2. Laugh loudly when you try to convince yourself some chore needs to be taken care of first. All of us are first-class avoiders. We instantly recognize an avoidance scheme when we hear one. So why do we continue to try to fool ourselves this way? Okay, we do it because it's usually successful. But it's time to reconsider this behavior. When we say, completely straight-faced, "I know I can write better if I alphabetize all my lip glosses first", we need to respond with, "Readers are waiting on this story, and they don't care if Pirate Plum is filed next to Walk-the-Plank Watermelon."

3. Set a time limit. This sounds easy, but it's not, because if there's anything a getting-ready-to writer is good at, it's bargaining. "I'll just play one more game of solitaire. . .okay, just until 10:30. . . I mean 12:30. Okay, definitely after lunch." Give yourself an iron-clad, non-negotiable amount of time to goof off get ready, and then when it's done, write. If it helps to motivate you, think about your characters weeping and wailing because of your constant abandonment. Imagine them staring at the bestseller lists, muttering, "We coulda been a contender", right before they turn their accusing eyes your direction.

We're writers. We write. That should always be the reason for any and all "getting ready to" activities.

After all, what's the point of preparing if we never get the words into a written form?

 

I love these lyrics from the song Too Much Time On My Hands, by Styx:

           "I've got nothing to do, and all day to do it."

It's been a while since I've been in that position, but it made me imagine how characters act--or react--when they are in this kind of scenario.

I recently did a blog post on how characters respond when they argue, or fight, or disagree. A lot of revealing info can be unearthed when you watch their response in that emotionally-charged situation. It lets you know what the characters value, as well as what they're willing to do when pushed to the limit.

I think the same is true when a character has too much time on their hands.

If your character is forced to wait somewhere—maybe it's a doctor's office, or they're stuck in a traffic jam, or a flight has been delayed--how would they react? Would they drum their fingers? Grind their teeth? Yell at the unfairness of it? Or would they pick up a magazine and start reading?

They're in the midst of a situation they can't control, but do they try to find a way to control it anyway? Would they try to figure out the cause of the waiting, to see if they can resolve the issue?

Obviously there is no right or wrong answer because each character will respond differently. That's what makes them intriguing to us as readers.

The most important question, however, is this:  what does their behavior tell you about their personality?

I'm not a fan of character worksheets, because it seems to concentrate on likes/dislikes that feel arbitrary to me, and not particularly illuminating. However, I do love Cosmo-type quizzes, and I like to think this is similar. Just thinking how a character would respond to different scenarios gives a lot of insight into them, and possibly gives you plot options for your story.

So it's your turn. Tell us how your characters respond when they've got too much time on their hands. Give us specifics. Let's find out more about these characters!

DRD: Ashley, welcome back to the Revenge! We're so excited to see you here again. Let's chat about your latest book, ROMANCING THE COUNTESS, which came out earlier this month. This is such an intriguing premise—a couple who come together after their spouses die together in a carriage accident—so I have to know more of how it came about. Did it just pop into your head one day while you were minding your own business? Or did the characters show up first?

Ashley: Thank you! I’m thrilled to be back here, and so excited to be sharing information about RtC with you! I have to admit that the idea of the characters—a widow and widower drawn together after their cheating spouses died—just popped into my head. Not that ideas always pop into my head so easily (and I still had to rework this one quite a bit), but it sure is nice when it happens. =)

DRD: One thing I love about your books is your elegant, lyrical style of writing. It reminds me of the romances I loved when I first started reading this genre (way back in the 20^th century!)  Did it take you a while to discover your style and your voice? Are you inspired by any particular books or authors?

Ashley: Thanks so much. =) But I’ll have you know that I started reading romance way back in the 20^th century, too. ;) It means a lot to hear my writing described in such a way. I’ve always loved words and books, but when I first tried writing romance I tried to mimic other author voices I really loved. As a result the writing wasn’t HORRIBLE, but it definitely didn’t feel like something I was supposed to write. I was never really satisfied with it; I always felt I could do better. SEDUCING THE DUCHESS, my debut that came out in October 2010, was the first book I wrote where I felt that I had finally found my voice. Authors who inspire me with their storytelling and voices in particular are: Sherry Thomas, Laura Lee Guhrke, Lisa Kleypas, and Anne Mallory.

DRD:  It's hard to believe that your first book came out just a year ago. (Here's a link to Ashley's first interview with the pirates for SEDUCING THE DUCHESS.) What would you say has been the most unexpected part of being a published author? What has been the most challenging? The most fun (besides hanging out with the pirates, naturally!)

Ashley: I know! It hasn’t even been a year yet. It’s a little crazy to think about, honestly. =) The most unexpected part… I know authors always warn pre-published authors about how much work is involved, but I truly had no idea. Fortunately I enjoy pretty much all of it, but this is definitely one of those jobs where you feel like you never catch up. Or maybe that’s just me. =)

The most challenging? Trying to find the time to write. Honestly it should be a simple thing, but I’ve had to learn that all the promotion in the world means nothing if you can’t make writing time a priority. I’m still struggling with this, but I hope to continue getting more and more projects off my plate before 2013 arrives so I can become more focused on producing stories I love to write.

As far as the most fun—well, that’s easy. =) Definitely hanging out with the pirates (of course!), but also all of the other fabulous romance readers/reviewers/bloggers/aspiring writers/authors/and other industry professionals that make this such a great community to be a part of. Honestly, I love you guys. *sniffle*

DRD: *squishy hug* We love you too! You have an intriguing new project coming up. What can you tell us about that? More importantly, how long do we have to wait?

Ashley: Erhm…to which intriguing new project do you refer? Lol. Let’s go with what I currently think is the most intriguing. Right now on my website at www.ashleymarch.com/novella I’m hosting a reader-interactive online novella where each week I post a new chapter for readers to read, then vote on where they want the story to go for the next week. When this novella is finished, I will self-publish it with 25% of the proceeds going to a charity (something likely helping children).

All of this is a test-run and preface to a new project I plan on starting in 2012 called Romance with Heart, where three different authors from a romance sub-genre pitch in to write their own reader-interactive online novella, then choose a charity where 25% of their proceeds will go after it is published. I’ve always wanted to give to charities in a big way but have never had the money. This is a way I’m hoping that everyone—you, me, etc.—can help others while also reading and writing great romances.

DRD:  You're definitely one of the hardest working women in the romance business--I need to know the name of the demon that gave you all those extra hours in a day so I can sign up for some too! Tell us what else—besides writing books—you've got going on, and how you get it all done.

Ashley: Demon, thy name is coffee. At least for the moment. ;) And thank you. =) However, this goes back to what I said above about feeling like I’m never caught up, and why I hope to get even more things off my plate by the beginning of 2012. I’m trying more and more to make writing the greatest priority, and I would advise every author and aspiring writer to do the same.

I was the founder of the Denver Lady Jane’s Salon, but I handed that over to the fabulous Jenn LeBlanc a couple of months ago.

Presently, this is a list of other things I’m working on besides my individual writing projects:

1)      Colorado Romance Writers’ published author liaison

2)      Colorado Romance Writers’ Tea Committee member

3)      Coordinator for Sevens Song Press, where local Colorado writers are coming together to publish anthologies (my 11/2011 SWEET TALK ME and 1/2012 A DUKE OF MY OWN are both part of this)

4)      Coordinator for a romance co-op group

5)      Coordinator for another author co-op group, although we’re not very active at the moment since most members’ books come out in 2012

6)      Coordinator for a Fast Draft group that was organized after RWA 2011. This is a touch-and-go thing as people need it.

7)      Coordinator for the Romance Biggest Winner competition—outside of Romance with Heart, this is probably the other big project I’m most excited about in terms of bringing the romance community together (romancebiggestwinner.blogspot.com)

8)      Coordinator for…oh, I can’t tell you that one yet. ;) Let’s just say it has to do with a group of self-publishing authors. Watch out for news about this mysterious group in June 2012.

9)      I mentioned this above, but the Romance with Heart reader-interactive online romance charity adventure =) (starts in 2012)

10)   Helping a few other romance authors coordinate their online book tours

11)   Mentor for a pre-published writer through a Colorado Romance Writers’ auction. Mentorship includes (as needed) one weekly half-hour phone call, emails responded to within 24 hours, and one chapter critiqued each week

12)   Critiquing of other fulls and partials of pre-published writers as donated through contests/auctions

13)   Critique partner to two fabulous writers (Anna Randol and Kat Brauer) and editor of my husband’s YA

14)   Regular contributing blogger to two blogs outside of my own

15)   Coordinator and hostess of the Annual March Madness Blog Party

Hmm. I think that’s it. As you can see, I’m obviously a slacker. ;)

DRD: I'm exhausted just reading about all of it! Ashley, thanks again for stopping by today. Hopefully you'll have time to answer questions from the pirates today. Just ignore the guy in the front row wearing a tricorne hat and black eyeliner. . .

Ashley: I’m exhausted too, lol. Thanks again for having me, and I’ll be dropping in and out all day. You guys are the best!... and that pirate over there isn’t too bad, either (she says with a lusty pirate growl). ;)

Okay, so honestly I’d love to know what you guys think of my idea for Romance with Heart. Obviously most people probably think that giving a percentage of proceeds to a charity is an awesome thing, but what do you think specifically about getting to read a new chapter every week and vote on where the story is going to go next? Is this something that excites you as a reader? Any suggestions for ideas/improvement? (Note: Once the novella is finished online, only the first chapter will remain on the website as free.) You can see what I’ve done so far for my own novella at www.ashleymarch.com/novella.

One random commenter will be chosen to win a copy of my newest book, ROMANCING THE COUNTESS (open internationally)! Also, find out how to win the ROMANCING THE COUNTESS Book Tour Grand Prize of 50+ romance novels by visiting www.ashleymarch.com! 

We all have them--those books we can't live without. The ones we reach for when we've had a rough day, and we don't have the energy to take a chance on something new.

These are the books that we would grab first if the ship was going down, with water reaching the bottom edge of our hammocks. We'd use these books to keep us afloat in the ocean while waiting for the Coast Guard hunks to rescue us.

What is it that provides such comfort? After all, these are books we've read so many times already we practically have them memorized. But just try to remove them from the keeper vault, and you'll have a wild-eyed woman threatening to pin you to the deck with an ice pick.

There's familiarity with these stories, but the kind that breeds content, not contempt. They also represent what we value the most in characters. They reflect our goals and aspirations, as well as our hopes and dreams. They may have even inspired us to write, or consoled us when we felt like writing was beyond our reach.

I've mentioned some of my comfort reads before, so there aren't any surprises here. I just thought it might be fun to see what everyone else has, as well as the reasons for including them on their own personal "Til Death Us Do Part" list.

1. Beauvallet by Georgette Heyer – He's a pirate, which of course endears him to me. But I've loved this character, and this story, for a zillion years. I've got several copies of it around, and I can re-read it at least once a year and still be surprised by something I'd forgotten. He's witty, and charming, and adores the heroine in ways that make me wish for such a devoted swain. This book makes me smile just thinking of how much enjoyment it's brought me throughout the years.


2. Heaven, Texas by Susan Elizabeth Phillips – It's hard to limit myself to just one SEP, and if I had to strike a bargain with the devil, before he swept all my keepers into hellfire, I would try to persuade him that I needed her entire oeuvre to sustain me. But I always come back to this one. I love Bobby Tom. I've loved him several times, and I know there's still plenty of loving him in the future.  


3. Gone Too Far by Suzanne Brockmann – Again, the devil and I would have to go through some arbitration on this one, but I'm confident I could get the whole Troubleshooters series included, since my boy Sam Starrett DOES appear in every book of the series. I guess I can't help myself when it comes to Texas boys (guess those two years I grew up there left more of an impact than I realized). He loves hard, he learns his lessons (eventually), he's freakin' hot when he rescues people, and his devotion to doing the right thing even though it breaks his heart—well, I can't get enough of him or his story. I should probably laminate the pages of the book before they have a chance to fall apart. Or maybe now I'll finally have a great excuse to get an e-reader. . .

So it's your turn. What are your comfort reads? What is it about them that comforts you, and brings you to back to read and re-read and re-read? Do you find any of these themes showing up in the stories you write?

 

Every story needs stakes, the higher the better.

It took me a while to understand this concept. A long time ago, when an agent called to talk with me about one of my manuscripts, she said my stakes were about a 4.7, and I needed to ratchet them up to an 11. I realized I was striving to give my characters a breezy, conflict-free life filled with rainbows and lollipops, which is understandable, except it makes for a less-than-compelling story.

When a story has high stakes, the characters have to make difficult choices. Each option has unbearable consequences, but with darn good reasons for being that way. Characters naturally want to go with the easy alternative, but they aren't allowed to, because there aren't any easy alternatives.  

This provides built-in tension, and the reader stays around because he/she wants to know which impossible choice the character will ultimately make. If it's a choice the reader knows the character doesn't WANT to make, but HAS to, there is also built-in sympathy for the character.

I have an example of this from a TV show I watch, called Flashpoint, which is about a SWAT team in Canada (known as the "Strategic Response Unit", or SRU). I love the characters, and the way they joke about being important enough to wear the "cool pants", as well as their heroism and bravery in a variety of emotionally tough situations.

In one episode, the SRU team is desperately trying to stop a madman who is intent on blowing up the city, potentially harming hundreds of people. As one of the team members approaches the building where the suspect is hiding, he steps on a landmine.

It's easy to understand the awfulness of this scenario, even without seeing the character's response when he hears the click under his boot. There are definitely some high stakes here. If he lifts his foot, he blows up. Even though he is in tiptop physical shape, there's a certain limit to how long he can stay motionless in that one position.

After watching this show for many weeks, I've gotten used to this team getting themselves, and others, out of impossible situations. They are used to it, too, and they respond as they always do, not even worried about the outcome. One of the other team members is best friends with this guy, and the episode opened with them just back from a vacation together, laughing as they showed pics of their antics to the rest of the team.

The best friend races around trying to find ways to fix this horrible situation, and I'm on the edge of my seat fervently hoping it can work out. I tell myself the SRU team has proven time and time again they can rescue people from dire situations. I don't even want to consider the possibility that it won't work out. It has to work out, because I want everything to be okay for these people I care about.

However, it soon becomes clear that the available solutions aren't working. It's not possible to fix this, and everyone but the best friend acknowledges it--including the man standing on the land mine. He doesn't want to admit it, but he knows. And he's aware he has a decision to make, choosing between two horrifying possibilities.

He can lift his foot and be killed instantly.

Or he can stay put and let his best friend continue the risky maneuver of moving something on top of the land mine, in the remote hope that it will work and not blow up both of them.

Those are some Level 11 high stakes. The kind that have you wishing there was a Door #3 to choose instead.

However, high stakes don't always have to literally involve "life or death". In my characters' lives, "life or death" is a little different, with "life" being the new direction they take, and "death" being the end of the old life they hold on to so tightly, before they encountered the person they love and everything changed so drastically.

Still, high stakes come with an emotional cost, no matter which choice is made. That is what keeps us glued to the book, maniacally turning the pages, worried about the land mines threatening to detonate the characters' hearts. We have a stake in the outcome now, too, because we've invested our own emotions in the story.

So what kind of stakes have you given your characters? What choices do they face, and what are the consequences of each option? How do you make the stakes even higher?

*Captain Jack Sparrow saunters onto the darkened set of Hero Hot Seat, glancing around* Where did everyone go?

DRD: Shhh, don't say anything! Maybe he'll go away.

Captain Jack: I heard that!

DRD: *stands up* We're not doing a show today, Captain, so you can take a long walk off a short pier. Shoo. Nothing to see here.

*Captain Jack saunters over and notices DRD's got company* Helloooo, lovelies!

DRD: Ignore him and he'll eventually go cause harm to a hero—Wait. We don't have a hero today. Maybe if I do the intros he can go cause destruction somewhere else. Captain, this is author Leigh Michaels.

Captain Jack: Enchanted. *lifts Leigh's hand toward his lips, smiling seductively*

DRD: I believe you were on shore leave the last time Leigh visited us. How's that rash doing, by the way, Captain?

*Leigh yanks her hand back from Captain Jack's grasp*

DRD: And this is Lady Stone, who plays a very important role in Leigh's newest book Just One Season in London, which was released July 1.

Captain Jack: A lady, you say? *wets a fingertip and smoothes it across his eyebrow*

Lady Stone: Are you spoken for, young man? *gives Captain Jack an appraising look* Because if not, I've got someone who would be perfect for you—

Captain Jack: *leans in, very interested* Does she have her own ship?

Lady Stone: *chortles* Oh no! You won't have time for a ship with this woman. You'll be staying in port all the time. In fact, we'll need to get you cleaned up--chop off those silly braids, and wipe off whatever you've got smeared around your eyes. We will have you presentable and respectable in no time--

*Captain Jack races offstage, screeching and setting a new land speed record*

DRD: Thanks, Lady Stone. That was brilliant. *raises hand to high five* *thinks better of it and motions to nearby chairs instead* This is even better than a Hero Hot Seat episode, since it gives us a chance for some fun girl chat. Leigh, maybe you could start by telling us a little bit about your latest book.

Leigh: Just One Season in London features the Ryecroft family -- Viscount Ryecroft, his beautiful sister Sophie, and their mother, the still-young Miranda. If Rye could find an heiress to wed, he could not only save the family estate, but also send Sophie to London for her first season. If Sophie could just land a proposal from a wealthy man, she could afford to help her brother out of his financial straits. Their mother would do anything to financially secure her children’s futures, even entertain an unconventional offer from an old friend. But to do that, they need Just One Season in London – which Lady Stone helps them to achieve. The three stories, and three romances, are interwoven in a comedy of errors as the Ryecrofts realize how devilishly difficult it can be to marry for money.

DRD: And Lady Stone, you figure quite prominently in this story. I know you are considered a secondary character—

Lady Stone: *sniffs* Secondary? That's hardly accurate. *glares at DRD and Leigh*

DRD:  *gulps* Well, when I said "secondary", I meant of course "second to none".  "The character that holds the entire story together". *holds up teapot* Would you care for a refill, Lady Stone?

Lady Stone: Why yes, thank you. *puts hand to forehead* Although I'm feeling a little dizzy all of a sudden.

DRD: *winks at Leigh* This "pirate tea" affects some people that way. It's like getting your sea legs, though. You'll be used to it in no time. *sneaks a little more rum into Lady Stone's teacup* Maybe you can tell us more about your part in this story. There were several storylines to keep you busy.

Lady Stone: I'd love to, but I might need to lie down for just a moment.

*Captain Jack pops up next to Lady Stone's chair* You are very welcome to share my quarters. It will give us a chance to talk about other potential females you have in mind for me. Ones with really large. . .ships.

DRD: *yanks Captain Jack's collar until they are nose to nose* No funny business, okay? They haven't signed a release yet.

Captain Jack: *frowns* It's as if you don't know me.

DRD: *watches Captain Jack lead Lady Stone offstage* *turns to Leigh* Maybe you could tell us a little more about Lady Stone's role, in both books.

Leigh: Lady Stone made her first appearance in my first historical, The Mistress’ House, where she was a gossipy friend of the family. She also appears in a Regency-period short story I wrote called Wedding Daze.  She likes to be at the center of the action, where she’s usually tugging at a string just to see what she can unravel. Or in this case, what she can pull together.  She offers to host the Ryecrofts for the season, introducing Rye to heiresses and making it possible for Sophie the beauty to meet eligible men – to the dismay of Lady Stone’s faithful companion, who’s actually the one who gets stuck with the work.

DRD: Did you plan this? Or did she take over, as some characters can do?

Leigh: A little of both! Lady Stone is fun to write because she’s old enough and wealthy enough to say exactly what she thinks and do exactly as she likes. She’s abrasive and cynical and funny, but I didn’t realize for a while that she’s also a romantic at heart. So she came to life on the page. She’ll also make an appearance in my next historical, The Wedding Affair, which comes out in September…

*Scuffling noises can be heard offstage* *Stage curtain billows several times*

DRD: Not again. *drops head in hands*

*Lady Stone stalks across stage, her fingers firmly gripped on Captain Jack's earlobe, dragging him towards the chairs*

*Captain Jack attempts his most winsome smile, hands clasped prayerfully*

DRD: Okay, while I try to figure out exactly what happened here. . . Pirates, what questions do you have for Lady Stone? I know Leigh is likely to have lots of writing treasures to share with us, just like last time, so feel free to ask all kinds of questions! And one lucky commenter will receive a free copy of Just One Season in London (U.S. only, no PO Boxes).

_________________________________________________________________________________________

Leigh Michaels (www.leighmichaels.com) is the award-winning author of 83 romance novels, including sweet traditional contemporaries and spicy historicals. With more than 35 million copies in print in 25 languages, she is a six-time RITA finalist and received two Reviewers Choice awards from Romantic Times magazine. She is the author of On Writing Romance, which has been called the definitive guide to writing romance novels, and teaches romance writing at Gotham Writers Workshop (www.writingclasses.com). Her latest book, a July release from Sourcebooks, is Just One Season in London, which RT Reviews gave four stars and called “a veritable feast.”

I used to think I hated Twitter. I couldn't see the point of sending sound bites to strangers about every little inane thing in my boring life. But once I gave it a try, I discovered not only was I wrong about hating it, I had completely misjudged what it was about.

Think of Twitter as being here on the ship, only it's BIGGER. And tweeting is like leaving blog comments, only smaller.  

Make sense?

Okay, here are a few tips that might help you navigate the Twitterverse:

1.  Have fun – Refer to this constantly. No, it's not a guideline. It's a rule, set in stone. Twitter is meant to be fun. If you look at it that way, everything else falls easily into place.

2. No eggs allowed – You need to put a picture of something, anything, as an avatar. If you have an egg, prepare to be ignored, or worse, blocked, by people who think you're spam.

3. Get thee a bio – Think of the bio as your tagline, or logline, or pickup line. It gives people an idea of who you are, and what to expect from your tweets. Be not afraid, because you can update it whenever you want (like when you get that multi-book deal).

4. Engage with people – It's a big ole party, with lots of different folks coming in while others leave. Some are newbies, but others have known each other a long time. Start out by standing around with your drink, and listening, to see what everyone's doing. Mosey on up to someone who has said something interesting, and reply to them. Do NOT, I repeat, do NOT just run into the room, shout out a sentence, and then leave. You'll earn a well-deserved "WTF?" for that behavior. 

5. Cleverness rocks – This is your chance to use all those snappy comebacks that occur to you a half hour after a conversation has ended. On Twitter it doesn't matter WHEN you answer somebody else's tweet. They won't know you thought of that clever zinger until much later. Use that to your advantage. 

6. Think 120, not 140 – If you shoot for 120 characters instead of 140, it leaves room for someone to add a comment when they reply to you, which leads to a conversation. Sometimes I want to respond to a tweet, but there isn't even room to add a "LOL", so I end up not saying anything, which is a missed opportunity for the original tweeter. 

7. @Mentions -- Check the tab labeled "@Mentions" to see the tweets addressed to you. This always gets overlooked by everyone starting out. I personally think it's good manners to reply to anyone who has sent you an @mention, but not everyone does this. (But they're wrong.) 

8. Direct Messages (DM) -- These are private messages of 140 characters that only you and the sender can see. You will see these at the top of the screen under "Messages".  The most important thing to remember is you can NOT send a DM to someone if they do not follow you.  

9. Hashtag (#) – This is primarily an organizational tool. If you click on a hashtag word, such as #amwriting, you'll see ALL the tweets that included that word. If it's something you want to see again, click on "Save this search" at the top of the screen.

Some fun ones are #mancandymonday, by some romance fans who post pics of hotties on Monday evenings, and #pubtip, which agents/editors use to give publishing tidbits. I've met a lot of fellow writers through #1k1hr, where writers jump in to write for an hour, hopefully doing 1k in wordcount, and then get back together to announce their results.

People also like to use hashtags for humor, kinda like a punchline to a joke. It's fun. #noreallyitis

10. Retweet – This is easy sleazy. You see a tweet you want to share with your tweeps, so you click on the "retweet" button and click "yes" when it asks you to confirm your choice. You don't add anything, but your name is listed as the retweeter, which is a good way to make friends. Don't retweet EVERYTHING, though, because that can be annoying to your followers.

There is a tab next to "Mentions" called "Retweets" where you can see who has retweeted you, and which tweet they considered retweetworthy. I like to check this often, because it's nice to thank people for retweeting you, and possibly gain a new follower/followee.

11. Who to Follow –When you click on a person's @name, it will show you their pic, bio, and their last 3 tweets.  I click on "view full profile", because it shows all of their tweets, giving me a better sense of their personality. I can see if they just send out retweets, or links to other websites, or if they're constantly promoting something. If they don't have any tweets, I don't follow them, because I already know what they're going to say (nothing).

The easiest way to discover if someone you follow also follows YOU is to click on their name, and look at their mini-profile. If you can see the "Message" button, that means they are following you – because you can't message someone unless they follow you.

12. Unfollowing – Every once in a while you might want to review the list of people you follow, to see if you're still feeling the love. I continue to follow some people that I find a bit annoying, because they have connections I find interesting, or it makes good business sense to hear what they have to say.

I'm starting to unfollow people who NEVER respond when I send them a tweet, which kinda defeats the purpose of a social connection site. So don't be that tweeter. Respond to people when they tweet you.

I have also unfollowed people who, out of the blue, began ranting about something I find unpleasant or offensive. It's okay to have opinions and beliefs, but don't force-tweet them down my throat.

Bottom line: You don't have to LOVE Twitter, but it's a good idea to keep in mind how it can benefit you. It's a free way to get to know potential readers and fans, and it's a free way to connect with fellow writers and publishing professionals. 

I couldn't cover everything, so feel free to blast me with questions!  Or we can go to Twitter for a field trip. What else would you like to know? What Twitter tips do you have? Feel free to share them!

DRD: Welcome to Hero Hot Seat!  Today's guest, Faelan, from Awaken The Highland Warrior, is a timeless hero, who will definitely hotten things up--

*Captain Jack Sparrow saunters onstage, blowing kisses to the audience*

DRD: Hey! Didn't you get the flyer about winning an all-expense paid trip to Tortuga? For life? I left a few thousand copies by the coffee maker.

Captain Jack: I did see a lovely blonde backstage, so maybe I'll go find her.

DRD: *grabs him by a braid and twists it*

Captain Jack: *raises hands defensively* So I'll have a matched pair, to go with the lovely blonde on stage.

DRD:  *points to eyes and then at Captain Jack as he tiptoes backwards offstage* Anyway, today's hero is rather yummy. For one thing, he's a Highland warrior, and for another thing, he's a Highland warrior living in the present time!

Captain Jack: *peeks around stage curtain* Psst! Do you know where the duct tape is?

DRD: Do I look like I know what to do with duct tape?!

*The curtain billows out several times, accompanied by sounds of a scuffle*

DRD:  *rolls eyes* Okay, folks, let's give a warm Hero Hot Seat welcome to Faelan!

*audience goes wild but nobody appears on stage*

DRD: That's odd. *presses ear mike* Not again! Looks like Faelan will be unable to make it today. Fortunately we have his author Anita Clenney here.  Let's hear it for Anita!

*audience cheers wildly*

DRD: Thank you so much for filling in, Anita. And sorry about Faelan's spiked coffee. I'm already plotting the culprit's punishment.

Captain Jack: *pops up between the two chairs*  Did someone say punishment? I'm actually rather fond of—

DRD: Stop! There isn't enough brain bleach to deal with that.

Anita: We have a prankster in our group of warriors. In fact, my character Brodie reminds me a bit of Captain Jack. I hope he didn’t follow us. God forbid that he and Captain Jack get together. And Faelan’s friend Ronan could be in on it too. He likes to keep Faelan on his toes. So much that sometimes Faelan wishes he could put Ronan in a time vault and send him off somewhere. So if you see two more good looking guys wearing kilts and mischievous grins, let me know. 

DRD:  MORE good looking guys in kilts? *checks pulse* It's still spiking, but I want to hear more about Faelan.

Anita: Faelan is a great guy. Not just a gorgeous face and lots of muscles. Born into a clan of secret warriors, he’s spent his life protecting humans. Back in the nineteenth century, he was the baddest warrior around, so when Michael the Archangel got word that one of the ancient demons was behind the strife and conflict pushing America toward a civil war, he sent his toughest warrior to get rid of the demon. But Faelan was betrayed and locked in the time vault he brought to capture the demon. These time vaults stop time inside so the demon can be held until Judgment Day. The vaults have a key, but they won’t open for 150 years, just in case someone accidentally opened one. After 150 years, the demon is powerless.

DRD: Oooh, I wouldn't mind stopping time with a hunky kilted man. So what happens next?

Anita: Just before Faelan was captured, he discovered the war was just a distraction from the demon’s real plot, a supernatural disease that would wipe out humanity. So Faelan wakes to a dilemma. While he’s been sleeping, the demon has been running free, since only Faelan’s talisman can destroy this particular demon. Faelan doesn’t know anything about this time period, he has no money, no  horse, no sword. He doesn’t even know if his talisman has lost its power in the time vault. He doesn’t know where the demon is, or who sent the woman to wake him. If she’s a demon, he’ll have to kill her. If she isn’t, then she’s unleashed the gates of hell in her backyard, because the demon will be furious when he finds out that Faelan is awake.

DRD: Sounds exciting, and kinda scary. *motions camera to zoom in on the book* But it's obvious Faelan is up to the task.

Captain Jack: *smolders at Anita* This chap and I obviously use the same personal trainer.  *bends his arm* Here, squeeze my bicep.

DRD: *scowls* Your trainer works at a kennel.  Anita, this is an intriguing blend of subgenres: Scottish historical, paranormal, suspense. How did it come about?

Anita: Well, it actually started with a dream—no, Captain Jack, not that kind of dream. This was a frightening dream. My young son and I were stranded and had to take refuge in a castle. The man who lived there was so gracious, but I soon saw that there was evil lurking behind that pleasant face. At the same time, I had been playing with an idea of a buried warrior who wasn’t dead, and since I live near some Civil War battlefields, I was intrigued with the notion that what if one person could have done something to stop the war, or believed he could have. This all came together in Awaken the Highland Warrior. So while the story has a contemporary setting, I bring in elements of the past from Faelan’s life. He was very close to his brothers, also warriors. In fact, they came to help him, but arrived too late.

DRD:  I know you're busy working on Books 2 and 3 right now. What is your favorite writing advice?

Anita : I think my favorite is Margie Lawson’s advice on empowering your writing. We need to empower our plots, our characters, our words. Take it from bland to wow. I’m paraphrasing.  Basically, writers should write something that would knock their socks off if they read it. I have to throw in another favorite tip. Don’t get so caught up in rules that you forget to tell a compelling story.

Captain Jack: The best advice I ever got was not to put anything in writing. *lifts Anita's hand to his lips* But for you, I will gladly make it a guideline instead of a rule.

Anita: Oh, Captain Jack. You devil, you. Tell me, did you spike Faelan’s coffee? Or did Brodie and Ronan follow us here? Not answering, hmmm. That grin could mean anything.

DRD: Let's just say Captain Jack is guilty of a lot of unsolved hero-related crimes around here. So tell us, what do you love best about your hero?

Captain Jack: *winks at Anita* You don't want to kiss and tell about us on national TV, do you, luv?

DRD: *presses ear mike* What? Oh, okay. Captain, they're towing your ship—

*Captain Jack races offstage*

DRD:  Finally! So about your hero. . .

Anita: Captain Jack actually reminds me of Faelan when he first wakes from the time vault. After he realizes where he is, he’s so anxious to explore, the heroine Bree decides he’s worse than a toddler. She has to extract him from some pretty interesting situations, like a lingerie shop.

DRD: Can't wait to read that scene! I think I'm half in love already.

Anita: I love so many things about Faelan. Everything he knew was taken from him in one blow. His parents, his two brothers, and his little sister. Even his horse Nandor. He loved that horse. And then he finds out that the war in America–that he believes he failed to stop– killed hundreds of thousands of people. But even though he’s hurting, he doesn’t let it stop him from doing his duty, what he was born to do. Protect humans. I love that about him. He’s just unstoppable. Another favorite thing about Faelan is how he tries so hard to protect Bree when she doesn’t want to be protected. Faelan just doesn’t understand how a woman could be so bold and go rushing out into danger.  And he’s horrified when she tries to rescue him. It makes for really good sparks.

DRD: I love when warriors meet modern women. *sighs*  Unfortunately, it looks like we've run out of time, but thanks again, Anita, for stepping in.

Anita: Thank you for having me. Ah, there you are, Captain Jack. Goodbye, it was nice to meet you–oh dear, what are you doing? Put me down. Captain Jack! Where are you taking me…oh, there’s Faelan. Is that duct tape on his hands? Faelan…help!

DRD: Where's a good time vault when you need one?

Anita Clenney grew up an avid reader, devouring Nancy Drew and Hardy Boys books before moving on to mysteries and romance. After working as a secretary, a Realtor, teacher’s assistant, booking agent for Aztec Fire Dancers, and a brief stint in a pickle factory (picture Lucy and Ethel--lasted half a day)…she realized she'd missed the fork in the road that led to her destiny. Now she spends her days writing mysteries and paranormal romantic suspense  about Secret Warriors, Ancient Evil and Destined Love. Anita lives in suburban Virginia, outside Washington DC, with her husband and two kids. You can learn more about her writing at www.anitaclenney.com.

I fretted that this post would get me keelhauled or tossed overboard.  I almost chickened out and took the safe route.  But this is a pep talk for me as much as anyone else, so if anyone's feathers start to get all ruffly, smooth 'em down now.  You should know by now I blog about stuff that applies to ME.

Yes, it's always about me.

And here's what I want to know: why are we so afraid all the time when it comes to writing?

I want to figure out why we're so fearful of failure, and success, and all the other things involved with our creative endeavors.  

I understand that writing is hardwired to a lot of emotional hot buttons. I know I'm not the only one who has experienced the crippling doubts, the angst of wondering if I've tapped myself out, the wailing at the injustice of having a desire to write and a skill that can waver depending on my confidence level.

Like others, I've felt the elation of a contest final or win, which had been preceded by fear of having my entry eviscerated by the judges. I've enjoyed the giddiness of getting a request for a partial or full manuscript, after the pain of getting yet another rejection on those same things from someone else. I've congratulated myself for getting closer to making my dream come true, while wondering if I shouldn't have picked an easier, more attainable one.

Fear often wins the battle, because it is sneaky, and insidious, going straight for the tender spots we've willingly exposed.  Yet we forget that our creative drive is powerful too.  We need to stop tamping it down, and grab onto it so we can unleash it on the world.

What would we do if we read a book where the heroine complains that it's too hard to go after her goal, or she's too afraid, or that she doesn't have time to pursue her dreams? We'd break our arm hurling that book across the room. And then we'd pick it up with the bones poking through the skin to throw it again.

It's time to be the heroine of OUR story.  This is our only shot at it.  We can't revise the past, or edit the outcome, but we can create the day-to-day aspects, deciding what it is we will do with our ration of 24 hours.  It won't be easy, but what else in your daily life is easy?  I'll guess it's usually the stuff that bores the crap out of you.

You know you have heroic qualities, but so few opportunities to actually use them. But now you can. You can inspire those around you with your ability to do something that you fear, that you find challenging, yet you press forward anyway, not knowing if you will succeed, but determined to attempt it because of that powerful inner drive. 

I think of all the things I did that weren't easy when I first tried them.  Was it easy to walk? Nope.  It would have been easier to sit on my ass and have everyone bring me stuff. Was it easy to learn a second language? Heck no. I should have been content with the first one I learned.  Was it easy to learn how to type? Yeesh. It was so hard, I was sure I would flunk out of my typing class, but now I type over 100 words/minute.

So why did I keep doing all these things? Because I wanted to do it more than I worried about being bad at it. I didn't want to miss out on things that interested me. I didn't want to go through life knowing my tombstone would be etched with the words, "She was too afraid to try".

Let's think of some of the things we've struggled with, and how we dusted ourselves off and got back up to try again. I'll start. You all know how much I hate to reveal personal details, so that should tell you how strongly I believe in this topic.

It took me two tries to get my learner's permit, and I came close to failing the driving portion of the test when I zoomed through a light 20 feet from the end of the test. The mean officer said if he'd looked up and it was red instead of yellow I would have failed.  The funny part is I fretted for weeks and practiced like a madwoman over the parallel parking, because I was positive THAT is what I would fail. I did it flawlessly for the test (and have struggled with it ever since).

I didn't pass the bar exam the first time I took it. I missed by 12 points, which is essentially one point per question. This was a grueling, two-day, eight-hours-each-day, all-essay exam—something you only want to have to do once--and it wasn't even my dream to be a lawyer. I was devastated when I didn't pass, because I thought my entire future hinged on that. It didn't. I passed it the second time, stayed in that career for 15 years and then decided it wasn't for me anymore.

I could list others, but if I do, you won't ply me with free drinks in the hopes I'll spill more secrets.

So today, let's pull up our big-girl pantaloons and get back to being the heroine we want to spend time with, the kind of woman who can do anything she sets her mind to.  We aren't those too-stupid-to-live creatures.  We have talents, skills, abilities, and most importantly, a lot of opportunities available to us. We have a strong drive to succeed, and we can battle back the fears that try to keep us oppressed.

Let's go forth and conquer! 

What can you do that you had to struggle with? What are you doing to be the heroine in your life? I've spilled my secrets. Now it's your turn!

Welcome to everyone celebrating March Madness at Ashley March's blog today!  We're re-posting an interview we did with Ashley when her first book, SEDUCING THE DUCHESS, was released.  So grab a tankard of rum, get settled in your choice of hammocks here, and enjoy this pleasure cruise through a romance writer's paradise.

DRD:  Welcome back to Hero Hot Seat!  Yes, it's been a while.  The last hero was a little too hot, so the fire marshal got involved, and there was that whole four-alarm blaze thing.  But I know you're going to love today's guest, Philip Burgess, Duke of Rutherford, the hero of SEDUCING THE DUCHESS— 

*Captain Jack Sparrow saunters onto the stage, blowing kisses to the audience*   

DRD:  Hey!  I'm in the middle of a show! 

Captain Jack:  Perfect!  *faces the camera and bows* 

DRD:  *yanks Captain Jack up by his collar*  Look, I know you're big on impromptu appearances after that recent school visit, but I already have a guest today. 

Captain Jack:  But I'm here! 

DRD:  *tries to look sad*  So sorry!  *puts hand to corner of mouth* Psst!  Security.  *tilts head in Captain Jack's direction* 

*two burly security guards lift him by the arms, his legs bicycling madly in the air as they head backstage* 

*loud crash offstage* 

DRD:  *presses finger to ear mike*  He did what?  *looks at the camera*  It looks like our guest is going to be delayed.  Fortunately, we have his creator, debut author Ashley March, standing by.  Because who could possibly know a hero better than his author! 

Audience:  THE HEROINE! 

DRD:  Well, yeah, but—give a big round of applause for Ashley March!  Ashley, can I get you something to drink?  We have a fully-stocked bar, along with a coffee maker, an espresso maker, a French press coffee maker. . . 

Ashley: *cranes neck to look in the direction of Captain Jack* Is he on the menu?  No? Are you sure? *gives audience salacious wink* Could he come back and serve my beverage? 

DRD:  Well, um, sure, but he can't even compare to Philip, your hero.  I recently spent the night with him—er, well, I read his story, SEDUCING THE DUCHESS, in one night.  *fans face and takes a sip of ice water*  Tell us more about him. 

Ashley:  Ah, Philip.  *eyes glaze over wistfully*  Well, he looks a bit like Clive Owen.  Tall, dark, handsome, of course.  Also rather like Captain Jack…without the dreadlocks.  The kind of man that makes you want to rip off his clothes and…I mean…*clears throat* He makes you want to rip off his exterior masks and reveal the man beneath.  You see, on the surface he’s not hero material.  He’s arrogant, manipulative, and can even be deceitful at times.  But he’s desperately in love with his wife, Charlotte, and that’s what redeems him.  For her, he’ll do anything.  Even change from the villain of the story into a hero, if need be. 

DRD:  *sighs*  This is a "reconciliation story", which sounds  tough to write, because there's a history between the characters, as well as emotional obstacles in place.  You did it wonderfully though because I was a nervous wreck the last third of the book!  What was it like writing this kind of story?  

Ashley: *still looking toward the back for Captain Jack*…Oh!  What was that?  Reconciliation story.  Right.  It warms my heart to hear you were a nervous wreck. *smiles* In some ways, it was easier to write such a story because there was a history between them.  The emotions and attraction were already there, and all I had to do was get them on the page.  At the same time, however, that’s also why writing the book was difficult.  I had to balance the vulnerability, anger, resentment, attraction, etc. in a way which would be believable for readers.  This meant I couldn’t make it easy for Philip to get Charlotte back, and Charlotte had to give as good as she got.  Although their love story isn’t very neat or pretty, it shows that failures can be overcome, hearts can be healed, and even the worst marriage can be redeemed by love and forgiveness.   

DRD:  Did the idea for the story come first, or was it the hero? 

Captain Jack:  *pops up between DRD and Ashley*  Did someone say hero? 

DRD:  *shrieks and puts a hand to her bosom*  Eyes up, Captain!  Or I'll pop them out with a fork. 

Captain Jack:  *winces*  I merely wanted to ask this lovely lady a question.  *lifts Ashley's hand to his lips*  Your heroine Charlotte was quite the saucy wench.  Perhaps even a bit of a pirate in another life.   You must have created her with me in mind, no? 

Ashley:  *grabs DRD’s ice water and holds it to her forehead*  Well…not exactly.  *mouths to DRD “He kissed my hand!”* Although I’m sure she likes rum, too, I, um, created Charlotte as the perfect heroine opposite of Philip.  She was inspired by Scarlett from Gone with the Wind, and-- 

Captain Jack:  Oh.  I thought--perhaps I might help inspire your next hero then.  *attempts a seductive pose* 

DRD:  *snorts*  I'm sure she's already created her next hero.  Ashley, can you give us a hint of who that might be, and how long we have to wait before we see him on the shelves? 

Ashley: *blushing as she looks back and forth between Jack and DRD* Sure.  Sebastian Madinger, the Earl of Wriothesly, is my next hero.  He’ll be appearing in Romancing the Countess, set to release in Fall 2011.  It’s a story about Sebastian and his best friend’s wife, who are drawn together after their spouses die in a carriage accident and it’s discovered they were having an affair.  It’s a sweet, sexy, emotional book…that’s currently lacking any pirates.  *smiles at Jack* But perhaps I can convince my editor to let me make one last change. 

Captain Jack:  *preens* Ashley, everyone loves to hear those Port of Call Stories.  So. . .when might I call upon you? 

DRD:  *shakes her head*  Could you tell us your Call Story, either with your agent, or editor, or both? 

Ashley: *leans over and whispers something in Captain Jack’s ear before turning back to DRD*  Ahem.  My Call Story.  Yes, of course.  How about with my agent? I had started SEDUCING THE DUCHESS before I got pregnant with my first daughter, and then the nausea hit…and then my hips ached…and then all I wanted to do was sleep.  After she was born, I still hadn’t finished the manuscript.   I had about 80 pages to go.  However, being quite sleep-deprived and assuming it would take forever before I got an answer, I decided to go ahead and query a couple of agents anyway.  One read the first ten pages I was allowed to submit with my query and a few days later asked for the FULL.  Shocked, I asked for advice from my writer friends and replied with an email saying I needed about three weeks to “polish” the story.  Two weeks and five days later, I submitted the full.  The following Wednesday she emailed me, said she loved the story, and asked if she could call me the next morning.  I said yes, of course, didn’t sleep at all that night, and was surprised that I even let her say two words the next day before I accepted her offer of representation.  It was a fantastic day.   

Captain Jack:  *lays head on Ashley's shoulder*  That was lovely, although we should probably talk about my pants now. 

DRD:  *glares at Captain Jack*  He's always a bit of a flirt when we have guests, but he's quite taken with you, Ashley.  I hope you don't mind.  And I dearly hope he’s asking if you're a plotter or a pantser. 

Ashley: No, no.  I don’t mind…at all.  *blushing again* Becoming a published author who submits proposals has forced me to become more of a plotter.  I’m still a pantser at heart, though.  I basically plot out all the major points of the story, then pants it the rest of the way.  I usually don’t know exactly what’s going to happen in the next chapter until I’m finished with the current one.  *bats eyelashes at Captain Jack* And may I say, Captain, your pants are quite lovely. 

Captain Jack:   *prances down the stage like it’s a catwalk and spins before falling off* 

DRD:  Ashley, thank you so much for stepping in when Philip, uh, well, became indisposed.  Now it's time for questions from the audience.  Hopefully Ashley can stay around for a bit, or stop by later, so fire away!   Uh, forget I said fire. . .And don't forget to stop by www.ashleymarch.com for more info about the March Madness Blog Party.  Lots of great prizes!

Since Captain Hellion mentioned she thinks we should do more writing prompts, I thought we could obey indulge her this week.  

I saw a quote on Twitter recently, attributed to Raymond Chandler, and I knew it was a perfect writing prompt for this bloodthirsty lot.  I confess I am too lazy to research to see if he's actually the one who said it.  It's possible somebody else said it, because, as I also saw on Twitter:

The problem with quotes from the internet is that you never know if they are genuine - Abraham Lincoln

For our purposes, however, the fact that it's attributed to Mr. Chandler is good enough.  So here goes:

When in doubt, have a man come through the door with a gun in his hand.

Lots of intriguing possibilities there.  What kind of man is he?  Is he used to carrying a gun or is this his first time?  What room is he entering?  Is he trying to save somebody?  Or maybe he's a Hottie being chased by a crowd of wanton women, and he stole their weapon, just to be on the safe side.  Could be he's carrying a gun because he dropped his ice pick.  What has happened before this point in time?  What is he hoping to accomplish?

This is the beauty of a writing prompt.  There are so many forks in the writing path, and you get to decide where to go.  At least until the character begins to speak up and tell you what they're going to do.  Until that point, though, you get to set the parameters.  You set up the scenario for the characters, and they bring their personality and quirks into play, and the story goes from there.

I think the primary benefit of a writing prompt is you aren't emotionally invested in a particular outcome.  The characters haven't had a chance to wrap you around their fingers, so you don't fall prey to their wants and needs, or your own heightened expectations (both of which can stall out your story).  You have the freedom of trying something without fear of failure, because it doesn't matter in the grand scheme of things.  You're just flexing your writing muscles.

So let's get to plotting, or pantsing, depending on your orientation.  Share your "man with a gun" stories. 

And in an effort to keep the motivation level jacked up, I will pick one random person to receive a copy of The First Five Pages by Noah Lukeman.  I was doing some book excavating this weekend, and realized I have more than one copy of this (ahem), so I'm happy to share the wealth with one lucky person.

I couldn't think of a post for today. My mind just didn't have anything to say.  I know.  I was shocked too.  I never run out of things to say.

But, in the immortal words of Pink, "Sometimes it be's like that".

So what was I to do?  I stared out the window, which is usually the best way to stimulate my mind.  Everyone around me at Starbucks thinks I'm staring at them, though, so I have to keep changing which window I'm looking at, just to keep the restraining orders down to a manageable level.

And sometimes staring out the window doesn't do anything but intrigue me with things that are never going to be writing-related.  This week we've had a spate of pre-spring weather, so for the first time in a decade—okay, I exaggerate—make that a century. . .

Anyway, for the first time in a long time I can see dirt outside instead of an endless vista of white-ish snow.  And now there are birds racing around and pecking in that dirt like they're in an aviary version of Supermarket Sweepstakes.  I haven't seen these particular birds before, so it's like they were flown in just for this particular job.

Can I use that for my writing? I'm not sure.  I've kind of twirled it around in my brain, thinking how I could analogize it to something, but nope. I got nuthin'.

So I've decided my brain has to do some doodling.  I'll try to stir things up by giving it a writing assignment.  Only it balks at the word assignment.  So maybe I should characterize it as a treasure hunt.  While my brain is off trying to find something good, I'll try to figure out a way to minimize its dismay when it learns there's no actual prize involved.

And for the word nerds (ahem, me), here's a little background on the word doodle.  According to the all-powerful, all-knowing Wikipedia, doodle first appeared in the 17^th Century, and it meant a fool or simpleton.  That's the meaning in the Yankee Doodle Dandy song, which was used by the British soldiers in the colonial era.  Wikipedia also speculates that the American word "dude" may be a derivation of doodle.

My favorite part, though, was the first use of doodle to mean "scribblings to help a person think".  Apparently that was invented by screenwriter Robert Riskin for the movie "Mr. Deeds Goes to Town".

Ya gotta love writers and their made-up words.

Anyway, my brain needs some scribbling and doodling, and in case yours does too, I'm going to give us a starting point:

What would make your heroine cry?

Let your pen scribble around on a piece of paper for a while.  Give your brain some space to wander around and see where it ends up.  Maybe it'll bring back a new story idea.  Maybe it'll conjure up the solution for something you've been fretting about.

There's no set ending, no goal, nothing but daydreaming and doodling.  Let your mind, and your pen, have some fun.

Okay, if you care to share your doodling, let's hear it: what would make your heroine cry?  Take it farther if you will.  Does she hate to cry?  Or does she cry at everything?  How does the hero react?  Let the doodling commence!

Sorry for not posting this sooner.  The Hotties were extra needy lately, and who I am to tell them no during such a delicate time?

Anyway, there are two lucky winners for a copy of Leigh Michaels' Regency historical The Mistress' House:

Bo'sun and Scapegoat

Congratulations!  Email me your mailing address at allaboutthewriting @ hotmail.com and I'll send it along so you get your book!

Donna: Pirates, set down your tankards and help me give a big bawdy welcome to today's guest, Leigh Michaels.  She's got some stories to tell us about the romance writing world, and I convinced her we wouldn't get too rowdy.  I know, I know.  That's always open to interpretation.  Welcome Leigh!

Leigh: Hi, Donna! Thanks for inviting me to stop by Romance Writers Revenge! Let me grab a cup of virtual tea (oh, heck, it’s virtual – make that a rum) and settle in for a chat.

Donna: How did you get started in romance writing?  And how is it different now than when you started?

Leigh:  I wrote my first romance novel when I was 14 – I knew SO much about love that it should have been a short story instead of a book. Mercifully, I maintained enough common sense to burn that book and the next five, before I submitted a manuscript to a publisher. I was very fortunate that the editor who picked up my first manuscript from the slush pile was the legendary Jacqui Bianchi of Mills & Boon, who loved my main character enough to write an insightful letter about where my book fell short. After two rounds of revisions, she bought that book, and I then wrote 80 sweet traditionals for Harlequin Mills & Boon.

Back then, editors still had time to help shape authors. And the books were different as well, with more room for setting and atmosphere. Now the books are shorter, and it’s more important to focus on the hero/heroine and get the action started right away.

Donna:  80 books?  *faints*  Tell us about your latest book, "The Mistress' House".  Is this your first historical?

Leigh:  The Mistress’ House is my first historical romance. I’ve enjoyed reading about and researching the Regency period since I was a teenager, and the time finally came to tell my own stories about aristocratic lords and ladies. This book actually started out to be a short story – only it kept getting longer, and then the characters introduced me to their friends, and suddenly I realized I was writing three intertwined stories, all of which happen in a love nest in London.

It’s a different sort of book – not an anthology, but a set of stories which all wind together – so I was fortunate to find both an editor (Deb Werksman of Sourcebooks Casablanca) and an agent (Christine Witthohn of Book Cents Literary Agency) who believed in the story and helped to bring it to readers.

Donna:  It sounds delightful, and I'm looking forward to reading it. You have a nonfiction book called On Writing Romance and you also teach classes for Gotham Writers. 

What would your students say is the best advice you give them?  What is the advice they have the hardest time following?

Leigh:  I’ve been teaching romance writing in person and on line (Gotham Writers’ Workshop, www.writingclasses.com) for years, and about 30 of my students have gone on to publish their own books (mostly romances) with commercial publishers, so I’m quite proud of that record. When one of my students gets The Call, I feel like a grandma – I get to brag about the cute baby without having to do any of the hard work.

On Writing Romance actually started out as a self-published manual that I handed out to my students, and then Writers Digest Books picked up the text.

I hope the best advice I give students is that persistence is just as necessary as talent to make it in this business. I see a lot of good storytellers who give up – but the ones who keep at it, honing their craft and learning with each project – and being willing to do it over and over again – are the next generation of published authors.

The hardest advice to follow? Turn off the internal editor and just put the butt in the chair and write. (And yes, I have trouble following that advice myself some days!)

Donna:  I love that you're a book grandma!  My first contact with you was during last year's "Chase the Dream" contest online.  How did the contest first come about?

Leigh:  Since author Rachelle Chase credits my class at Gotham and a win in Lori Foster’s writing contest for her success, she decided to give back to others by offering a free on-line writing contest. I was intrigued by the idea and asked if she’d like to have a co-sponsor. The big win is that all the finalist entries are read by a panel of editors and agents, and many of our finalists have been offered agent representation and/or publishing contracts as a result of the contest.

Donna:  It was a great experience, and I apologize if I crashed the website servers by constantly coming over to check the comments on my entry!  *blushes*  If you didn't care about selling a book and could write whatever you want, what would it be about?

Leigh:  Exactly what I am writing! I’ve always been intrigued by the Regency period, and I wrote The Mistress’ House first and foremost for myself. I’m really lucky to have found an editor and agent who agreed it should have more readers than just me.

Donna:  Who is your favorite character of the ones you've created?

Leigh:  In The Mistress’ House, my favorite character is Georgiana, who surprised me on almost every page. She was supposed to be a demure little damsel, but she turned out to be sassy and determined and original, and she made me laugh.

Donna:  I'm glad she made you laugh.  Sometimes my characters' surprises can be maddening.  So tell us.  What is your writing process like?

Leigh:  I start each day with email and classes, just to keep on top of what my students are up to. Then I read what I wrote on the previous day and polish up the last scene or two, which moves me back into the story. With the last few minutes of the writing day, I try to move ahead with a very rough outline of what comes next, so that on the following day I’m not starting with a blank page. It’s very tempting to stop at the end of a scene – it’s such a good feeling to have finished something! – but I find it’s deadly to getting started again the next day.

Leigh, thank you so much for all your great insights.  While you refill your tankard, I'll remind the pirates to go to www.leighmichaels.com for info on Leigh's backlist as well as the numerous classes she offers.

Leigh is also giving away TWO copies of The Mistress' House today.  So now is the time to ask some questions about writing in general, and writing romance in particular! 

When I was younger, I used to watch football on TV every Sunday.  We planned "the game" into our schedule like it was a holy ritual, with chips and soda our sacrament.  When the season was over, we didn't know what to do with that extra day in the week.  It was like being released from a religious vow.

Last month, I had the opportunity to watch the New England Patriots kick some football butt on TV.  It was the first time in a long while since I'd done that, and it filled me with nostalgia, making me realize how much I miss the whole Sunday ritual.

However, it didn't take long before I noticed some interesting parallels between a game of football and writing. 

1.  You get more than one try to reach your goal

The game starts with a kickoff.  The ball sails through the air, and everyone watches breathlessly to see how far it will go before it's caught.  It would be amazing if it went right through the goal posts, but where's the sport in that?  It's actually the start of the game, a long march to the goal line, and nobody expects that it'll be reached on the first attempt.  That's why each team gets four downs, four chances to make progress towards the goal. 

The same with writing, and getting published.  It's rare for a bestseller to be written the first time out.  It does happen, but it's the exception, because that's not how the game is designed.  It's slow, and steady, one foot in front of the other until the goal is reached.  It may not be your first book that gets published, so you just keep writing, and writing, and writing, until you make it to the goal.

2.  Just when you think someone is down for the count, they're not

I couldn't believe how many times during that game a player was stopped, by someone bigger and heftier, and everyone just kind of let their breath out, saying, "Well, that was still pretty good."  And then all of a sudden, the runner took one or two steps and they were free, flying towards the goal again.  Everyone had misjudged that situation.  Everyone.  The other team, the announcers, the fans.  Everyone except the player.  He was determined, and wasn't ready to get knocked down.  He actually ended up with the longest punt return in the team's history when everyone else was positive he would get knocked on his ass the second he caught the ball.

A writer is going to hit situations like that all the time.  But a determined writer keeps going when it looks like there is no hope.  No one would blame the writer for saying, "Well, that was still pretty good".  A bad rejection, a cruel contest judge, or even the slimy tentacles of self-doubt can derail a writer, or they can strengthen the writer's will to succeed. 

3.  If you can't go through, go around

In the above example, the player could have just gotten knocked down, and said, "Hey, there's still more downs".  And that would have been perfectly acceptable.  But sometimes the answer is to try something different.  If what you're doing isn't working the way it always has before, it's time to fall back a couple paces and look to see what's open somewhere else.  Obstacles can stop you, or they can give you a chance to see things in a different way, maybe even show you possibilities you didn't know existed.

4.  It's not over when you reach the goal

I love all the celebrating and high-fiving and ass-slapping that goes on in a football game.  Each small achievement is part of the bigger one, and they're definitely worth acknowledging.  However, as soon as the touchdown is on the scoreboard, and the dancing is done, everybody goes back to work.  It's time to go for another goal, and another one, until the game is won.

We should celebrate each achievement too, from hitting our word count goals to writing "The End".  You got a request for a full?  High five.  You finaled in a contest?  Shake that booty.  Everything we accomplish is worthy of our happiness and joy and strutting around with pride.  But then it's time to write another book.  And another one after that. 

5.  There are people around to help you out

When the player is running his heart out, trying to get to the goal, he's not doing it alone.  He has teammates blocking those who are trying to keep him from moving forward.  He has coaches helping him learn new skills to develop his natural talent.  He has devoted fans who believe he can do anything.

Writers are in a similar situation.  Their team can consist of an agent, editor, beta readers, crit partners, or devoted friends and family.  Some of them are there to cheer and some of them are there to increase the skills and abilities.  But they all have the same role: helping us become our best so we can attain our goals.

Rah rah sis boom bah!  I know there must be other football analogies to add.  Let's hear them!  Or use another sport if you'd like.  Let's get inspired! 

Some readers are such sticklers for accuracy they will stop reading, or even throw a book against the wall, if information isn't presented properly. 

And when I say, "throw a book against the wall", I am of course talking about print books.  I'm not sure how one expresses disgust with an e-book.  I would guess the book would be deleted, but how is the vehemence expressed?  Holding the delete key longer than necessary? Scowling while doing so?  Making a pretend throwing movement and THEN hitting the delete key?

Reading is obviously a subjective activity, which is why I frequently love a book that everyone else ignores, and why I'm puzzled when everyone loves something I find less interesting than the owners' manual of my curling iron.

So I'm intrigued by what will make a reader respond a certain way when it comes to inaccuracies.

For instance, I read a book that said the heroine used finely-ground coffee in her French press coffee maker.  This is wrong.  Majorly wrong.  I know because I make French press coffee almost daily, and have done so for years.  If you use finely-ground coffee, it's going to be tough—nearly impossible--to press the plunger down.   And how do I know this?  Because once I was forced to use the only coffee I had on hand—finely-ground coffee—in the only coffee maker I had on hand—a French press.  It beefed up my biceps, but I nearly wept when it seemed I might not get to drink coffee that particular day.

However, this faux pas did not make me foam at the mouth and declare I would never read this author again.  It could have, because the heroine was a foodie, and her career was in the food business, so this little piece was presented as a "fact" of how French press coffee is made.

To me it was an annoyance, and it pulled me out of the story for just a moment--but not any more than if my phone rang and I glanced at the caller ID hoping to see "Christine" listed, or if somebody at Starbucks interrupted my writing to ask if I was a writer and then started yakking about the book they were going to write someday.

For someone else, though, that little factual boo-boo with the coffee might have been the inciting incident for a permanent mental meltdown, or a scathing letter to the author, or even a blast on a public forum.

I watch the TV show, Psych, which is supposedly set in Santa Barbara. While I have never been there, I have been to several other cities and regions of California.  I might be convinced Santa Barbara is actually being depicted in this show. . .except there are a majority of scenes where it is raining AND the characters' breath is visibly frosty AND there is not a palm tree in sight.  I actually know they are filming in Vancouver, BC (where there is an abundance of rain, it is definitely cooler, and they have a ton of evergreen trees).  

Still, it doesn't take away from my enjoyment of the show, nor do I feel like they're pulling a fast one on me, even though they are, because I know it has more to do with production budgets and tax incentives rather than carelessness or sloppy research.

The same with the TV show Leverage.  It's supposedly set in Boston, and they mention the city constantly, and show overheard shots of Beantown, but it's Portland, Oregon.  I've been to both places many times, and Portland looks nothing like Boston. 

Yet if this were being done in a book – saying it's set in Boston, while the author describes Portland – there would be a lot less indulgence by the reader.  Is it because we know there is smoke and mirrors involved with TV and film, and we're willing to buy into that?  If so, why the higher standard for books, which involves creating out of thin air just like TV and film? 

So I'm curious what you think.  Tell me what kinds of things you can forgive when it comes to reading, and what is impossible to forgive.  What makes something an annoyance and something else a wallbanger?  How anxious are you about this happening to your books?

I have a tendency to stick with the same types of books, yet I know that's not unusual.  Most of us are like that.  If a certain genre or subgenre satisfied us once, we like to stay there, in that particular reading comfort zone, even knowing that when we branch out we are often rewarded with something equally wonderful.

I also have a tendency to avoid, and not in the HOA way, but in a race-across-the-street, run-to-the-next-city AVOID the books that everyone raves about.  Sometimes I cannot cope with a book that is getting that much attention.  I will walk past it on the front table of the bookstore, my eyes cast to the side, pretending I did not see anything.  In my mind, I'm negating some of the hoopla of an inexplicably best-selling book, doing my part to restore sanity to the bookish universe.

However, I did this initially with a couple books that I ended up loving, to my complete chagrin.  My chagrin was not that I loved a popular book, but that I had been such a hard-core stubborn resister.  If I had come around earlier, I could have experienced a great read long before I finally succumbed. 

That's a risk I'm willing to take, though, since sometimes after I've read  one of the popular books, they still don't strike my fancy.  It does, however, provide me with a chance to analyze why everyone is foaming at the mouth about a certain story.  I try to learn what made everyone so enthusiastic, whether it was the topic, or the characters, or whatever.  Often I gain valuable information.  Other times it would be easier to consult a Magic 8 ball for the answer.

On the flip side of this, it makes me a little insane when nobody else is in love with the books *I* adore.  Part of the joy of reading is sharing the experience with someone else who squees about the same devilishly sexy characters and the OMG-I-did-not-see-that-coming plot twists that made me turn pages like crazy.  I am still aghast that none of the pirates here share my love for the awesome Suzanne Brockmann.  (But, I am incredibly thrilled that I got to use the word aghast.  That doesn't happen nearly enough.)

Anyway, I have decided I am going to try to expand my genre horizons this coming year.  Now, don't start jumping up and down with glee, tipping the ship over with your unbridled joy.  It may seem like I'm making a resolution, but I'm not.  I don't do resolutions.  Which means I don't expect you to make them either.  But I would be ecstatic if you decided to stretch your reading boundaries too.

Who knows?  We might discover a new way to incorporate something into our WIPs, based on reading something we don't encounter when we cling to our normal choices.  Or maybe we'll end up tossing crates of books overboard because we can't abide these newfangled genres with their crazy-ass conventions.

I've got a clipboard and a box of pens, ready to write down your suggestions of books to consider for my "year of reading dangerously". 

Are these books you have read already?  Or are they ones you are interested in reading too?  Anybody else up for expanding their genre horizons in 2011?  And who is going to make me weep with joy by reading a Suzanne Brockmann book?  (I'm standing by with a crate of tissues.)

1. Slavishly, ruthlessly, and decisively remove ALL adverbs


2. Write lean


3. Follow every single writing rule on every single writing blog by every single writing expert

It's easy to forget that the current rules for writing are the ones that are in vogue NOW, at this particular moment in time.  These haven't always been the rules, and it's a pretty good bet they won't always BE the rules.

Even the title I used is a slave to the current "rule" for blog titles:  Always use a number.  Catchy titles don't work.  I suspect this rule will change as soon as everyone adopts it, because if everyone does it, it won't be unique or eye-catching anymore.  The new rule will be "Never use a number in your title", and then it will change back when some subversive type decides to break that particular writing regulation.

I understand the allure of writing rules, because it creates the illusion that if you just follow them, without question, you can stay on the straight-and-narrow path to publication without suffering any of the pitfalls or heartbreak everyone else is enduring.

But if there were only one way to tell a story, we wouldn't need storytellers.  Anyone could plug the elements that interest them into the Instamatic Easy Bake Story Machine, and their book would pop out in minutes, perfectly conforming to the one-size-fits-all storytelling recipe.

That's how we wrote essays in school, right?  You needed an opening paragraph to say what you're gonna say, and a closing paragraph saying what you just said, and then a couple paragraphs in the middle to say what you have to say.  You just picked a topic and followed these rules and you were done in no time at all.

The obvious complaint about rules is how it makes everything feel regimented, with little room for experimentation, or even creativity.   The bigger problem is it tends to blandify or homogenize the writing, obliterating anything that smacks of an original voice.  It's as if the writer is always self-consciously asking, "Am I doing this right?", which doesn't leave a lot of room for fresh storytelling.

At that point, it doesn't matter whose name is on the cover because there is nothing to distinguish one author from another.  It would be easier to title it "A Story by A Writer".

Not surprisingly, the "rules" often conflict with each other.  

For example, the "Write Lean" rule appeals to a reader too busy to enjoy elegant or evocative prose, so a story has to be fast-paced, action-packed, and grab-em-by-the-throat compelling.  Yet the "Adverbs Not Welcome Here" rule is designed to immerse the reader in a story, giving them a richer, multi-sensory experience that the previous generation's "telling" style cannot.

So speed things up with one rule, and slow them down with another.   It's no wonder that writers go completely bonkers.

Just to be clear, I do understand the need for law and order when it comes to writing.  My ranting against the multitude of rules is because they too often inhibit my creative impulses, or make me second-guess the words that do emerge.

However, I also believe in amendments, and repeals, and other things that clarify the reason for the rules of writing.  They are there to serve the story, not be an impediment to it.  They should make things better, not create a new form of pandemonium. 

If not, it would make more sense to spend our time making up rules rather than stories.

So what makes your writing YOURS?  How is it different from the other stories out there?  What made you decide you had to write THIS story?  Which writing rule is your favorite one to break?

What a fun time of year!  All of our adorable Hotties, getting dressed in their favorite costumes for Halloween.  I can't wait to see what kind of treats they've got for us.  So come on!  Let's tiptoe in and take a peek.

Oooh, good choice, Gerard.  Dracula is always a classic.  Never goes out of style.

  

What's that, Alex?  Another vampire?  I don't care what anybody says, vamps are hot, every day of the year.

 

Of course a rock star costume, well, it rocks.  But only if you have the right accessories.  And Lenny is ALWAYS the right accessory.

 

The Tudor look is also a great go-to costume.  I mean, just look at Henry's. . .boots!  They go perfectly with that sword.  (I'm talking about the one with the handle.)

 

I'm not even sure what this next costume is, but after spending a lot of time trying to figure it out, I'm positive of one thing:  I need a drink.  Body shots are on Jason.