Valentine’s Day Special – 3 tips for writing romance fiction

historical lovers

“But Sir Geoffrey, I am not free to love you.”

 Many years ago, I prided myself on my disdain for romance writing.  I felt it was sensationalist escapism (not recognizing that all genre writing, if not all fiction, is escapism to some degree).  Romance was overly emotional, I reasoned, and therefore not good literature.  I was above that kind of writing, I told myself.  And the worst conclusion I came to?  It was very easy to write romance fiction.

THEN I attended a Romance Writers’ Weekend Workshop in Saskatoon sponsored by Harlequin Romance.  It was a much respected event, with participants like MaryBalogh (bestselling author and queen of Regency romances).  Reading some of the examples that were distributed at the workshop and discovering that there was a real skill in writing love stories, I quickly became disabused of my silly notions about romance writing!

At that workshop, and over the years, I picked up some ideas on what good romance writing requires.  Although I don’t write romance fiction, nearly every story and novel I write, excluding most of my flash fiction, contains romance.  And these tips have helped me write good romance in my stories.

1. Understand the conflict in romance writing.  The key to any piece of good fiction is the conflict, the suspense.  In a good portion of fiction, the suspense is linked to the uncertainty of the outcome.  However, in romance writing, the outcome is a given.  Boy meets girl – yada yada yada– boy gets girl.  Romance writing requires that the two lovebirds live happily ever after.  So the suspense must come from the conflict between the two.  It can come from misunderstanding, wrong thinking, physical impossibilities (they live a zillion miles apart and no money or means to get together; one is royalty and the other is a commoner—they will not be allowed to get together; and so on).  Create an interesting but seemingly insurmountable conflict between the two and the suspense will lie in the reader wondering how the two could possibly get together, certain that pigs will fly before such a thing could happen to this couple.

2. When your characters talk, make the dialogue scrupulously gender-specific.  While this is important in all fiction writing, it is exceptionally necessary in romance writing.  Capture the way a man approaches events and ideas, asks questions.  For instance, men favor the direct approach.  They broach questions that elicit brief answers, with facts, on a yes-or-no basis.  Women, on the other hand, are more detail oriented and often more sympathetic in their questions and responses.  They will also give examples from their own lives to try and explain what they are trying to say.  For practice, listen in on others’ conversations and take notes on how differently men and women speak.

3. Be aware of the different sub-genres of romance writing and decide, before you start, which type of story you are going to tell.  You probably think you don’t know the various kinds of romance stories, but you probably do:  Historical, Contemporary, Regency, Category, Futuristic/Fantasy/Paranormal, Time Travel, Gothic, Romantic Suspense .  Once you decide, make sure that you are very knowledgeable about whatever the driving force is behind the story:


Photo credit: jdurham from morguefile.com

Anne M.Marble has a very comprehensive list, describing each of the subgenres at Writing-World.com.  I suggest you read this list, get familiar with the subgenres, and then decide which one you want to work with.  And one last thing about romance novels…some are with sex and some are without (Regency novels often do not even have a passionate kiss in them).  It depends on what type of romance it is and the audience the writer is writing to.  But with or without,  all romance novels are about love.  If you remember that, you will not stray far from the true path of romance writing.

Have a fun time trying out your romance writing skills.  Who knows?  You might even fall in love with romance!

 ♥♥♥♥  Oh yeah, and HAPPY VALENTINE’S DAY!  ♥♥♥♥

Considering Self-Publishing Your Book?

Because of the changing attitude towards self-publishing (from red-headed stepchild to respectable offspring), this publishing alternative is being considered more often by writers around the world.  Especially with POD book outlets (Print on Demand) such as lulu.com, cafepress.com and amazon.com (to name a few of the better known POD book companies, the cost of producing such a book can be minimal.  I have self-published a few books, with great success.  None of them were POD, but the quality of the printing was outstanding, and all four books are a paper monument to the improved printing techniques of this rising industry.  If you have ever thought about publishing your own book, read some of the following tips offered by longtime publisher Sheryn Hara.

Considering Self-Publishing Your Book?
Longtime Publisher Offers Tips for Making Choices

Published books

Published books

Self-published books have transformed both the reading and writing landscape, with hundreds of thousands of authors now eschewing traditional publishing routes. Once reserved for distribution to a writer’s close family and friends, these books are now respected as an affordable option with every bit as much potential for becoming best-sellers as those produced by the New York houses.

“Countless books published this way have gone on to become best-sellers, from ‘Fifty Shades of Grey’ to ‘Still Alice’ to ‘Rich Dad Poor Dad,’ ’’ says independent publisher Sheryn Hara, founder of the 30-year-old Book Publishers Network (www.bookpublishersnetwork.com) and author of the new how-to, “Self-Publish Successfully.”

“But it’s important to note that these don’t look like they were just spit out of the inkjet printer in your bedroom. You have to have a good product if you want even a shot at success. That means good content that’s well edited; a good cover; good layout; and a good print job. Additionally, you can expect to spend a lot of time and/or money marketing, promoting and getting publicity for your book.”

So, where to begin? First, of course, is getting the book written. But once you’re ready to publish, you can easily be overwhelmed with options: Do a Google search for “independent publishers” and you’ll get nearly 8 million results!

To help sort through the options, Hara offers these tips:

• Decide how you want your book printed. Consider your budget, time frame and individual preferences when evaluating options. They include Print-on-Demand (POD), which involves lower up-front costs and is beneficial if you need only a minimum number of books. However, there are quality issues with POD, and you must pay close attention to your contract, which may assign the copyright to the publisher. Most POD publishers do not provide editing services. Digital printing is another option for small print runs, and comes without many of the pitfalls of POD. Finally, there’s standard printing, which utilizes web-fed or sheet-fed presses. 

• How to choose a printer. Get quotes from at least three printers, and ask for samples of books and papers. Use only a printer whose main job is printing; most of these are located in Minnesota, Wisconsin and Michigan. The most economical size books to print are 5.5 by 8.5 inches; 6 by 9 inches; or 8.5 by 11 inches.

• Covers. People do  judge books by their covers, so make sure yours is fantastic. It’s worth the investment to have it designed professionally. Now you must decide whether you want soft cover, hard cover or both. You may have a choice of gloss lamination or matte. If you go with matte, check to see whether the printer has a scuff-free version; otherwise, books returned from bookstores may look beat up.

• Paper.  For most books, you’re probably safe going with the “house paper” recommended by the printer. If your book has a lot of pictures, you may want to use gloss paper.

• Bindings.  “Perfect bound” is the norm for soft cover books; a layer of adhesive holds the pages and cover together. Most bookstores don’t like “saddle stitch” – staples used in the center of the book, or comb or wire binding, because you can’t print information on the spines. “Layflat binding” is used for computer, music and cookbooks, which often need to lie flat for functionality when in use.

If you plan to work with an independent publisher – a company you’ll pay to shepherd you through all the details, Hara suggests talking to former customers about their experience. Did the company follow through on everything promised in the contract? Did it meet deadlines? Were representatives accessible, especially if there was a problem? Was the customer satisfied with the final product?

“Decide on your budget, and then look at the quality of books produced by publishers you’re considering. Frankly, the better the quality, the more the book will cost,” Hara says.

“Your pocketbook and your goals should help make the decision easier.”

Sheryn Hara - Complies with Hara Publishing terms of use

Sheryn Hara – Complies with Hara Publishing terms of use

About Sheryn Hara

Sheryn Hara is founder and CEO of Book Publishers Network in Seattle, a 30-year-old company whose clients have produced award-winning books. Hara’s new book, “Self-Publish Successfully,” co-written with Paul S. Carr III, covers all aspects of self-publishing, from writing and editing to marketing, including internet and social media marketing.

One Step After Another…

Usually, I don’t like to read stories in the present tense.  And more usually, I don’t like to write them.  I have only written one or two present tense fiction stories in my entire career.  To my surprise, this story demanded it, and only flowed if I wrote in the present.  If you don’t like present tense like I didn’t, try sticking with it.  I found after a while I forgot about what tense it was and just got involved in the story.  Maybe you can tell why it demanded being told in present tense :)

Head down, one step after another.  The snow is deep and the biting wind is icy.  She shrugs into her black coat, out of style for decades, but still in good shape, no patches or tears that I can see.

Every day except Sunday, she walks down the road, head down, one step after the other.  Always at the same time…3pm.  I wonder where she goes and why.  She walks in the rain or in the blazing sun.  Snow and wind can push against her, but she walks.

"Better times" - Morguefile.com/free

“Better times” – Morguefile.com/free

I know she lives in the little wood house across the road and down a block or so.  It is neat, but a little on the shabby side.  The paint is still good, but I would say it is at least five years, maybe more, since it was painted that pale blue that’s almost white, until you see the white trim and then you realize it’s blue.  The matching white picket fence is missing a picket near the corner.  It has been like that ever since I moved in here.  I guess I’m finding it hard to figure out my life, so I concentrate on hers.

I could probably go to her house with a casserole or something, as a neighborly gesture, but I hold back.  I’m not that much of a cook, although Ben used to eat everything I made.  We also ate out a lot.

Here she comes back again, head down, one step after the other.  I can see her face when she comes back from wherever she goes, even with her head down.  She is a frail little thing, maybe 5 ft. tall, and maybe 95 pounds or so.  Her face is pink, but that could be just from the cold weather.  She has a fringe of very curly white hair sticking out from beneath her black hat.  The hat is almost like a Salvation Army bonnet, but it doesn’t tie under the chin and it doesn’t come down over the ears.  It is as out of date as her coat.  It is also in good shape, although a little faded.

It’s like this every day…did I mention except Sunday?  In the winter, spring, and fall, she wears her black coat.  In the summer, she wears a fuzzy white sweater that is newer looking, always spotlessly white.  And she wears white orthopedic shoes, instead of the black galoshes she wears in winter.  In summer she almost looks like a nurse.  Almost.

 One day, I was watching for her as I usually do.  Don’t ask me why?  I’m curious.  It’s not a sin to be curious.  And it’s not like I have a whole lot to do or a whole lot of people to talk to.  I guess Ben has turned me off people.  Being alone is a better choice. 

Anyhow, I’m watching and watching.  By the time it gets to be 3:30pm, I’m getting worried.  By 4pm, I’m really worried.  I phone my dentist’s assistant with whom I have become somewhat friendly. “Tammy, there’s an old lady who lives near me?  She’s pretty late coming back from her walk,” I say.

 “So?” Tammy says. 

“She’s as punctual as clockwork,” I say. 

“Maybe she had a visitor, or a phone call, or she’s not feeling well.  I think you must worry too much, Karen.  I gotta go.  Spongepants needs me.”

She calls her boss “Spongepants.”  I sat and looked at the phone for a moment. 

Then I look at Spitspot.  “She’s late today, Spit.  What should we do?”

The dog cocks his head, looking adorable as usual.  However, I know he isn’t thinking about the old lady.  He is wondering if he can wheedle a treat out of me.

“Not bloody likely, Spit, old boy.  You’re supposed to be on a diet.”

I return to the window.  Did I miss seeing her and she was just a little late today?  I know deep down that I did not miss her.

I can’t stand it anymore.  I run into the kitchen, grab a box of cookies I was saving for the weekend, pull on my jacket and head for the door.

“I won’t be long, Spit,” I tell him.  “Be a good boy.”

He wags his tail at the “good boy” bit and sits down, cocking his head again.  He knows I think he’s adorable when he does that.  It’s his last-ditch effort to charm me into giving him a treat before I go.  He’s my best friend, but I’m on to his little cons.  I smile and carefully lock the door behind me.

I hurry along the street, mentally rehearsing what I will say to her when I knock on the door and she opens it.  My heart is beating a mile a minute and I’m starting to get a headache.  Maybe I should just go home.  I have a feeling that knocking on that door is going to change my comfortable hidey-hole way of living.

I ring the doorbell instead of knocking.  Hey, it sounds politer than knocking.  There is no sound from the house.  I ring again and wait.  Nothing.  Now I’m getting really worried.  Finally, I knock on the door.  It may not be politer but it’s loud and I know it sounds on the other side.  For a few moments, I hear nothing.  I’m just about to give up and turn to go down the three steps to the path.  I hear a faint sound.

Uneasily, I try the door…it’s not locked.  I open it tentatively and poke my head into a small living room.  “Hello?  It’s Karen Dealing, your neighbor from down the street on the other side.”

I hear a faint quavering… “Come in.  I shall be there directly.”

Spitspot - Morguefile.com/free

Spitspot – Morguefile.com/free

I can barely hear what she is saying, but I get the gist of it.  I come in and perch on a straight-backed chair in the living room.  The room is almost a cliché of ancient grand living…old overstuffed furniture in faded gold, worked with some kind of green material, with spotlessly white antimacassars on the back and arms.  Matching cushions, spindly end tables with really valuable Tiffany lamps, sheer glass curtains on the window beneath plush draperies topped with a matching gold valence.  A few plants are scattered in places, but I figure she’s not much of a gardener.  On one of the end tables is a picture of her in younger days with a mischievous grin on her face.  I like the photo.

She enters the room, leaning heavily on a cane.  I’ve never seen her with a cane before.  Her eyes seem somewhat red.

“Hello,” she says.

I stand up and tower over her.  My hefty 5’7” frame seems twice as big as hers.  “Sorry, Mrs….uh…Mrs…”  I trail off.

“Wentworth,” she says, not cracking a smile.

“Thank you, Mrs.Wentworth.  As I said, I’m your neighbor, Karen Dealing, from just down the road, in the blue house.”

She nods and waits politely, not sitting, but smoothing her navy blue self-belted house dress, presumably to make sure there were no creases.

“I noticed you didn’t take your walk today and wondered if something was wrong.”  I shove the box of cookies at her.  “Here, I brought you these.”

She doesn’t take the cookies and I take them back, awkwardly shoving them in my purse.  I don’t know what to do or say.  She just stands there staring at me.  I am afraid I had mortally offended her. I turn to go, stammering an apology.

She says, “Wait!” and I turn back.  A tear creeps down her peach fuzzy cheek.

“Oh, I’m sorry,” I blurt out.  “I didn’t mean to offend you.  It’s just that I live alone too, and I know how awkward life can be when there’s no one there when you need them and…”  I stop because she is shaking her head.

“You didn’t offend me,” she says.  “Au contraire.”  Good thing I  remembered my high school French and knew that meant “on the contrary.”  I waited for more.

She doesn’t say more though.  She walks with difficulty to the entryway closet and takes out her old black coat.  Up close, I can see how shabby it really is.  I can’t believe she has Tiffany lamps worth a fortune and only one really old coat.

“Come with me, Miss Dealing,” she says.

I stand up, with the cookies crumbling in my purse, and follow her out the door.  Once we get on the road, I offer her my arm.  She takes it as if it was the most natural thing in the world.  I have to walk very slowly to keep pace with her.

“By the way,” I say, by way of conversation, “it’s Mrs. Dealing, but please call me Karen.” 

“Oh, my apologies, Karen.  I never see your husband about.”

So she knows where I live.  I try not to sound bitter and I fail.  “We are divorced,” I say.

“I see,” she says and just keeps walking.  We cross the road to the medical clinic and walk down the next long block.  It’s kind of a hike, but I’m not out of breath yet, thank goodness.  I could never respect myself again if a little old woman could outwalk me.

“This is quite a hike,” I tell her.  “Is this where you go every day?”

“Yes,” she says.  “Excellent exercise.”

We turn the corner, and my curiosity climbs as I see we are headed towards the Norwood Care Home.  This town has four or five care homes because of the high senior population…retired farmers and their spouses.  Yet, I know that Mrs. Wentworth is a home dweller, not a care home inmate.  Well, I think I know.

We walk slowly up the sloping path to the entrance and walk in.  Mrs. Wentworth knows exactly where she is going and takes the lead.  I’m looking around at the facility, which I’ve never viewed before.  It’s clean and cheerful, with plants hanging in the windows and groupings of comfortable armchairs in the main lounge.

"Bright and cheerful" - Morguefile.com/free

“Clean and cheerful” – Morguefile.com/free

Mrs. Wentworth leads me down a hall with open doorways revealing rooms occupied by elderly folk.  The rooms are clean and cheerful as well, with bright bedspreads and colorful curtains.  Some of the rooms are empty and some are occupied.  Mrs. Wentworth stops at an empty room.

“This is Emma’s room,” she says softly.

“Ah, Emma,” I say, somewhat bewildered.

“She was the best of my senior friends.  Then she became my only friend.  When George died…”  Mrs. Wentworth stops talking and limps into the room.  I stand respectfully behind her, wondering why I have a sinking feeling.

Mrs. Wentworth sighs.  “When George died, Emma invited me to move from down east to live with her.  She wasn’t sick then.”  Mrs. Wentworth moves all the way into the room and sits on a small armchair in the corner.  Her eyes have a faraway look in them…a sad, faraway look.  Surprisingly, I recognize the look…almost.

“I was so lonely without George.  I am…was a nurse.  I took care of him while he was ill.  He was my life.”  Mrs. Wentworth folds her hands in her lap and looks down at them.  “Emma was one of my nursing teachers with whom I kept in touch.  I respected and liked her, so when she offered her home to me, I accepted.”

Mrs. Wentworth gets up and moves around the room, touching this figurine and that book, lightly, with the tips of her fingers, almost as if she is blessing the items in the room.  Where is Emma? I wonder, although I’m pretty sure I know.

Stopping and looking me straight in the eye, Mrs. Wentworth says, “Emma died at 4am this morning.  I stayed with her until she was fully in the arms of the Lord.”

I nodded somberly.  I could feel the pain like scissors stabbing me in the heart.

“And now I’m alone again,” Mrs. Wentworth whispers.

I’m nodding now, like a nanny goat.

“We’re both alone now,” Mrs. Wentworth says.  How does she know?  I guess the discarded and abandoned recognize their own.

She puts her hand on my shoulder, frail like a little bird perching, fluttering and slightly afraid.  “Mrs. Dealing…Karen…I would like to invite you to come and live with me.  We wouldn’t be alone anymore.”

I stare at her, tears filling my eyes.  I’m not sure why, but it feels good, like a cleansing, like standing out in a gentle rain, after a hot, sticky day..

It doesn’t take me long.  “Yes, Mrs.Wentworth, I think I would like that,” I say.  “Do you like dogs?”

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Raw Emotion – Good or Bad for Your Story?

By Hans D. (originally posted to Flickr as Hooded sorrow) [CC-BY-2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons" )

By Hans D. (originally posted to Flickr as Hooded sorrow) [CC-BY-2.0(http://creativecommons.org/
licenses/by/2.0)], via Wikimedia Commons”)

I won the challenge of NaNoWriMo again this year and ended up with around 52,000 words of unfinished novel.   The thing is, I fell in love with it.  It is a departure from my usual fantasy writing (either urban fantasy or epic fantasy).  It’s one of those hybrids that they’re calling cross-overs between fantasy and science fiction.  I call it science fantasy.

Because of the Mayan prophecy, it sparked my imagination to wonder what would happen to my husband and me and our three little Shih Tzu dogs if there really were going to be some kind of apocalyptic phenomenon.  I took a look at my husband’s characteristics (practical, efficient, no-nonsense, American, get the job done) and mine (emotional, caring, passionate, impulsive, Canadian) and imagined a trek made necessary by the apocalyptic event.  This event is very much secondary to the story, except that it is the motivator for the fear and the drive to go north, where people initially imagine they will be safer.

I found myself delving deeper into character and relationships because the main characters were based on my husband, myself, and some other people I know.  Most of the rest of the characters are fictitious, made up, like in nearly all my stories.  So there is a big departure here.

It also seemed that I was diving deeper into some of the emotions that I would feel in certain of the events that happen in the story.  At least one of them made me cry enough that I had real trouble getting through that part of the story.  This led to my thinking about using raw emotion in a story.  Is it a good idea?  Can it be too raw, too much of a revelation of the author’s personality to the point of author intrusion?  Or can it be an enrichment of the story, allowing the reader to gain insights into the narrative that they wouldn’t otherwise?  Or can it even offer insights into the reader him/herself?

Cristian Mihai, self-published author and brilliant blogger, wrote a post entitled Write What You Know.  In it, he touches on writing about what you are passionate about, what engages your attention and draws you into its circle of charm.  He also states that many writers draw back from writing their raw emotions down, for fear of being judged.

JohnTate, a member of Linkedin’s TWO BITS group (writing advice to writers from writers), entitled his thoughts on the subject “Highly emotive story topics – Do you steer clear?”:

Many hacks parade poorly written stories of horrific events in front of the readers to capture their attention. Sure, we all glance at the accident as we pass by, but good writing has little to do with subject matter. If fact, the better writers can take experiencing a snowflake to stellar levels.

We often forget we use words to paint our “art”. If the words are not well executed, the art is crap, despite an important or horrific subject matter.

Of course, one can and should write whatever he chooses and let the market determine whether it’s worthwhile.

My favorite author as a child was AlbertPaysonTerhune, who wrote books on animals, domesticated or in the wild, mostly dogs.  The travails of these creatures brought me to tears and I succumbed to real sorrow at their unfortunate plights.  Yet Terhune wrote in a narrative way, not so much involving his own emotions as describing emotions of the animals, or even simply telling the story of what happened.  It was tremendously effective nevertheless.

In the meantime, here is an excerpt of the passage from my NaNoWriMo novel of 2012, entitled The Rocky Road to the End of the World.  This passage is the one that made me cry.  Let me set the scene.  Mark and Alex (the characters based on my husband and me) are fleeing northward to what they hope will be safety, along with a couple of people they have picked up along the way for various reasons.  They are also accompanied by their three little beloved Shih Tzu dogs (Oreo, Ling Ling and Tilly Tot).  It is important to note that one of Mark’s biggest concerns is looters.  Alex is not as aware of this danger.  Read the excerpt…decide if the emotion is too raw for you.

What woke me up was Oreo whimpering in his sleep.  I should have left him in his carrier then, but the sound was so pitiful that I just couldn’t.  In retrospect, it was a hard way to learn a lesson I’ll never forget.

I reached past Justin, who apparently slept like the dead, as we had already seen the previous day.  By twisting quietly and kneeling I could reach back and slip open the door of the carrier stacked sideways behind Justin’s seat; Oreo cautiously pushed it open with his nose.

Usually he bounded and/or wiggled his way to me, his tail waving with delight.  This time he crept…past the gap between Justin’s seat and the rear door.  I picked him up, just about breaking my puckering string in the process.  Oreo was a husky little bundle.  Tilly greeted him quietly and, trembling, Oreo pressed against me.  How terribly hard this was on him.  He hated the car, and twenty hours in one was almost too much for him.  I felt I should have let him out when we stopped for a little exercise and a potty break.  I have to admit I didn’t want to face Mark with such a request.

Tilly, Oreo, Ling Ling - picture (c) Sandra Bell Kirchman

Tilly, Oreo, Ling Ling – picture (c) Sandra Bell Kirchman

Oreo shivered and whimpered again, and I knew what the main problem was.  He had to go out, and not just pee this time.  I didn’t know what to do.  I looked over at Mark, who was sleeping as if he too were dead.  He must have been exhausted with the stress of it all.  He wasn’t a youngster anymore and dealing with people stressed him out.  I began to realize what I had done to him by inviting Justin and Patty to ride with us.

The little dog whimpered again, more urgently, and I made up my mind.  I quietly opened the door and let Oreo down on the ground.  Tilly thought that was a great idea and jumped down as well.  Her silvery coat glowed in the moonlight.  I look up and thought, Damn, it’s almost as bright as day.  This is not a good idea.  Oreo had run ahead to find the “perfect” spot for a poo.  I picked up Tilly and trotted after him.  I could see well enough to spot him in the underbrush and I let Tilly down to do her own little duty.  Just as I was picking her up, the sound of someone crunching through the brush made me spin around.

“All right, lady,” a man said, emerging into the full moonlight, “you’re gonna help me get that vehicle.”  He waved his gun at me.  “I will use this if I have to.  I want that Jeep.”

I gasped.  “You’re the man from our last rest stop.  How-how did you catch up to us on foot?  It’s not possible!”

He gave a low chuckle.  “You never saw me in my beat-up old Chevy.  I came to just as your tail lights winked around the bend and followed you.  I’m not stupid enough to attack a vehicle full of possibly armed individuals, so I was just waiting for my chance.  And you’re it.”

The man grabbed me roughly by the arm and thrust me ahead of him.  “You’re going to go back to the car and wake up the driver and tell him he has to come out.  Tell him anything…like, you twisted your ankle and can’t get back in the car by yourself with the dog.  That’s it.  Give him the dog.  That’ll distract him.

“Get moving, and limp like you mean it.”

I had almost blurted out about Oreo still in the brush, then thought better of it.  It would serve no useful purpose letting him know about the dog, and maybe Oreo might startle him at a good time.

He gave me a push to get me started.  I stumbled and started limping.  At the same time, a whirlwind of vicious growling flew at us…at the man, actually.  I had never seen Oreo in a killing rage, but he had only one thing in mind: to get this horrible human away from his beloved Mommy.

The man pivoted with a started exclamation just as Oreo grabbed his shin above his ankle.  From the sound of it, he had taken a chunk out of the shin.  The man was yelling, I was screaming…then there was a shot.

I stood still for a moment, staring at Oreo crumpled on the ground, a dark stain on his side oozing heavily and smearing his delicate, fawn-coloured fur.  I dropped to my knees, still holding Tilly, and set her carefully against me.  She was trembling and didn’t want to go anywhere.  She nuzzled Oreo.

I felt the pulse at his carotid artery, but there was nothing.  I held my hand to his little nose but felt not even a whisper of air.  The pain of his passing crushed my heart, and filled my eyes with tears that would not fall.  I thought I was having a heart attack, but I didn’t care.  My little baby was dead, and it was my fault.

The man jabbed cold steel against my neck.

“Get up, lady.  You are just lucky I don’t put bullets in you and the other little mutt here.”

I got to my feet and trembled, feeling sick to my stomach, and stood there.

“Now turn very—“

Another shot rang out and the man’s body slumped against me.  I convulsively pushed him away, and Tilly yipped as his hand swiped her on the way down.  He lay still at my feet, right beside Oreo.  I felt as though I was living in a nightmare, as though my life was running right out of me, as though I had to scream my sorrow until I had no voice.  I knelt on the ground and started to sob.

A hand gently closed on my shoulder.  “Are you hurt?” Mark asked.

I just shook my head, unable to speak, the sobs building up into something I didn’t think I could control.  Mark walked over to the man and pushed him over onto his back with his boot.  He knelt and felt for a pulse.  He stood up and shoved him again with his boot, showing disgust in his motions.

“Oreo?” Mark asked, kneeling to touch the still dog.

That’s when the dam burst.  I cried as I hadn’t since my mother died twenty years earlier.  My heart felt like it was burning up and was about three sizes too large for my chest; I had trouble catching my breath.  All I could think of was my beautiful little Oreo, such a gentle, sweet soul, and he was gone…and it was my fault.

Mark touched me on the shoulder again.  I looked up and saw the sorrow on his face.  I made a huge effort to get myself under control.  Oreo had been Mark’s little buddy.  He was always telling Oreo, “It’s hard looking after da wimmins all day.  Us men’s gotta stick together, right, Buddy?”  A shudder went through me, but I clamped down on it.

“Babe, we better get going.  We don’t know if that guy had any friends around, or if all this noise is bringing someone to investigate…or loot.”

I nodded my head vaguely.  “Sure, Mark, soon as we bury Oreo.”

Mark was silent, and I looked up at him again.  His stunned expression faded quickly to a look of hopelessness.

That look shocked me into a state of realization.  I was putting him into another corner.  Here I had not only gotten Oreo killed, but I was jeopardizing Mark, the other two people in the Jeep and the other two dogs with my sentimental notion that a burial was necessary.  I just couldn’t stand the thought of wild animals tearing apart Oreo’s little body.

Mark jumped up.  “Wait here, I have an idea.”  He ran back to the Jeep while I felt Oreo again to make sure he was dead.  From the placement of the entry wound, it looked like the man had got Oreo right in the heart.  He was definitely dead.  I tried to steel myself to the idea that nothing that happened to his body now was going to hurt him.

Mark returned, carrying Oreo’s carrier, still with the pee pad and the quilt and blanket.

“You’re worried about animals eating Oreo, right?  We don’t have time to bury him, but we can put him in here, bundle him up, and put the carrier, tightly closed and locked, up in a tree.  That will keep him safe.”

Tears streamed down my face.  “Thank you, Mark,” I said softly.

It didn’t take us long to wrap him lovingly in his blanket and for Mark to put the carrier up in the limbs of a burr oak that overlooked the little clearing.  It was silly, I know, but I liked the idea of the pretty place we’d found for him.  He had loved barking at strange noises and he loved sitting in the sunshine in our beautiful backyard.  He would feel somewhat at home here.  Oh, damn!  I shook my head and hurried back to the Jeep.

So, how about it?  How would you have written this?  Maybe you wouldn’t have written it at all.  Share your thoughts on the writing of raw emotion.

NaNoWriMo Without Power

Since I will be participating in NaNoWriMo this years, first time in a few years, I thought this article would be relevant to my fellow WriMos.  Warm wishes and thoughts go out to all the Eastern US and Canada people who have been affected by Sandy.  (The following article is reblogged from the NaNoWriMo.org blog post written by Lindsey on Oct. 29, 2012.)        ~ Sandra Bell Kirchman

NaNoWriMo Without Power

Given a certain weather system named Sandy encroaching upon a goodly number of our East Coast Wrimos, there’s a very real possibility that November will start for some of you without access to a computer, or nanowrimo.org, or access to modern light sources!

We asked the community of Wrimos over on Facebook what they suggest for participants writing without power, and we’ve compiled their replies here. (All in all, it sounds like this approach is far more romantic and way more fun than the way we’ve been doing it all these years…..)

Who needs a computer…

when you could write with a typewriter, AlphaSmart (amazingly long battery life), pens and notebooks (“ink and trees,” as one Wrimo put it), pencils and a manual sharpener, an iPad charged off the car (!!!), or use a hand-held voice recorder. One participant even claimed he had hand-sharpened, turkey-feather quills at the ready. If you are writing on paper, one Wrimo suggested storing your reams in a watertight bag in case of flooding.

Who needs lightbulbs…

when you could write by the light of a headlamp (Look, Ma! No hands!), strategically propped flashlight, candles, or a camping lantern. If you run low on batteries, use a hand-crank flashlight!

Who needs a plot…

when you could drop exciting elements like a hurricane, power outages, and candle-lit novel-writing into your novel. Talk about ready-made inspiration! If you do have a plot at the ready, your fellow writers suggest printing off your outline in advance or mapping your novel on note cards pinned to a corkboard for reference.

The upshot: Wrimos are an incredibly resourceful bunch, and always ready for anything! We’re all sending good, safe thoughts your way and rooting for your extra-exciting noveling experience.

— Lindsey

Photo by Flickr user jasleen_kaur

What Writers Can Learn from the Rebranding of Batman

Michael Keaton as Batman (1989 movie)

We writers have been told that creating our brand is important, that to be successful we must have the proper brand that will help sell us and our writing, that people need to recognize our distinctive brand.  So far, we’ve accepted that premise.  But what if we don’t like what we’ve started.  What if the general consensus is that we need to change our brand.  Here’s how it worked in the rebranding of Batman.

What Businesses Can Learn from the Rebranding of Batman
Exec Producer Shares How His Vision Helped
the Dark Knight Take Wing

It’s been more than two decades since Batman was resurrected – rebranded – to the mainstream world, and it’s largely due to a boy and his dream.

“I wasn’t just rejected from every studio in Hollywood; I was emphatically rejected because Batman was known only as a punch line to a joke,” says Michael Uslan, who became one of the highest-grossing movie executive producers of all time with the Batman film franchise. He writes about his personal journey in rebranding his hero to the world in his memoir, The Boy Who Loved Batman (www.theboywholovedbatman.com).

“When I watched the sitcom in 1966, I was both thrilled and horrified – the former because my idol was on TV with a cool car, and the latter because people were laughing at Batman and that just killed me. I knew then that my purpose in life was to show everyone who the Dark Knight really was.”

Uslan reviews some of the reasons the Batman franchise became one of the most successful in film history:

• A talented team: Thanks to genius filmmakers like Christopher Nolan and Tim Burton, super producers, daring execs, amazing casts, and incredible crews, the rebranding of the character became so strong that the word “Batman” wasn’t even included in the titles of the last two films, “The Dark Knight” and “The Dark Knight Rises.”

• Branding – a built-in narrative: A cool symbol, check; tall, dark and handsome, check; a relatable origin story (no superpowers) check; great technology for the character to use against villains, check … You know a brand has hit the mark when a logo conveys all of the key points. But rebranding can be tricky. Uslan knew about the innate potential, but Hollywood couldn’t see Batman as the Dark Knight after the 1960s sitcom, which is why it took a decade after acquiring the rights to Batman to actually start production. Rebranding is often the art of uncovering a product’s past, he says. 

• Branding – a safer investment: Other successful movies this year — Marvel’s “The Avengers” and “The Amazing Spider-Man,” “The Hunger Games” – all carry strong brands. Most successful products, in and out of Hollywood, have successful brands behind them, Uslan notes. When a brand has been established, it becomes a safer risk for investors and opens multiple revenue streams across many platforms. 

• Unwavering conviction: How does a middle-class kid in his 20s, the son of a stonemason and a bookkeeper, buy the film rights to Batman? How does that same guy create the comic-to-film craze that society has witnessed in the past two decades when no one believed in his vision? Every time his resolve was questioned, it came down to the same answer, “I had 100 percent confidence it would work,” Uslan says. 

“Branding is absolutely the most important aspect to marketing any product these days,” Uslan says. “We succeeded. I believed 100 percent in a vision that involved my favorite super-hero of all time, a character the world recognized and responded to across borders and even cultures. Batman needed to be presented in a way he’d only been seen in the comic books – as the Dark Knight.”

Michael Uslan

About Michael Uslan

Michael Uslan, (www.theuslancompany.com), is the Originator and Executive Producer, along with his partner Benjamin Melniker, of the Batman franchise of motion pictures. In his 36 years in the film and television industry, he has been involved with such projects as “National Treasure,” “Constantine,” and countless animated projects. His projects have won Oscars, Golden Globes and Emmy Awards. He is the author of “The Boy Who Loved Batman,” his autobiography, now in bookstores and at amazon.com.

(Note:  The above press release was received from Ginny Grimsley, National Print Campaign Manager, News and Experts, and was used with permission.)

Are Books Doomed to Extinction?

These days, the question isn’t so much whether to publish or not, as whether to publish electronically.  With the amazing statistics rolling out of Amazon regarding their popular Kindle ebooks (Kindle e-book sales have overtaken Amazon print sales, says book seller), more and more authors are turning to electronic publishing as a solution to so many author problems (cost of self-publishing print books, for one).  This press release caught my attention as it came across my desk this morning, revealing a response to the question many in the publishing industry are asking themselves.

Are Books Doomed to Extinction?
Publishers Must Innovate to Save the Book as We Know It,
Says Best-Selling Author

Photo credit: By indie.ca under Creative Commons Licence – link to page: http://www.flickr.com/photos/indi/ 4259120807/

Michael Levin says he can see the writing on the iPad.

“Unless something changes, books as we know them are doomed, and not simply because people prefer to read on their iPads or Kindles.” says Levin, (www.BusinessGhost.com), a New York Times best-selling author, as well as editor, publisher, co-writer and ghostwriter.

“You’ll see the major publishing houses starting to go away in three to five years,” Levin says. “Their business model is in free fall. Already, we’re seeing books becoming shorter, cheaper, and diminishing in quality. You’ll soon see fewer really good authors bothering to write books, because books are no longer a meaningful source of revenue.”

Levin points to several developments he says foreshadow a sad ending for books:

  • Attention spans are diminishing. Three-fourths of teachers said their students’ attention spans are shorter than ever, according to a poll released in June. By 11 years old, nearly half of the kids had stopped reading for pleasure. The poll, by publisher Pearson UK, is just the most recent survey/study documenting shrinking attention spans and a corresponding drift from books. “Part of the problem is children don’t see their parents reading,” Levin says. “Obviously, the kids’ aren’t the only ones with diminishing attention spans.”
  • Major publishers are producing lower-quality books. The big publishing houses today are more interested in a quality marketing plan than in the quality of the book, so we’re being deluged by low-quality books. One reason is that many large publishers have stopped taking on the expense of marketing books, but they know it’s necessary for sales. So they take on authors with a marketing plan and budget. They’re also less interested in “star” authors, who demand higher royalties. They also lost authors when they eliminated advances in response to the 2008 recession.
  • Books are moving to devices, where content is free and time is thin-sliced. Online, you don’t expect to pay for content. People will expect books available online to be either free or very inexpensive, and if those books turn out to be one chapter of ideas and eleven chapters of Hamburger Helper, they will be less willing to pay for them. Also, people don’t spend much time going into depth online; books are supremely inappropriate for the surface-skimming nature of the Internet. Once people have bought a bunch of ebooks they’ve never started, they’ll stop buying them altogether.
  • Authors have a more difficult time earning a livable wage.Fewer authors can earn enough to make writing a full-time job. The audience is shrinking and fewer people are willing to pay $15 for a paper book when cheap alternatives are available. “We’ve already seen more books written to promote a product, service or company, or to brand the writer so he or she can pursue a more lucrative field,” Levin says. “Most books of the future will be marketing tools, since that’s the only way they’ll be profitable.”

    Photo credit: By Gadjo Cardenas Savilla under Creative Commons Licence – Page link: http://www.flickr.com/photos/gadjo/4121943097/

Levin does find reason for hope, but it will require publishers to change how they do business.

“They need to stop trying to go after the mass market, which doesn’t exist anymore, settle on a niche and develop a brand. Publishers that stand for something in the reader’s mind – like Harlequin stands for romance – are built for the long haul,” he says.

Instead of publishing 500 low-quality books every year, major publishers should bring out only 50 top-quality winners and actually market them, he says. And publish how-to and other guidance and instructional books in concentrated form: short, powerful and to the point,

The rest of us have a job to do, too, Levin adds.

“People need to read, and they need to read to their kids or buy them books. If people stop demanding good books, there eventually will be none available,” he says. “The winners, going forward, will be that minority who still read and think for themselves. It’s a lot easier for government, the military, and the corporate world to control the way people think if they aren’t reading for themselves.  That ought to be reason enough to save the book.”

About Michael Levin

Michael Levin, founder and CEO of BusinessGhost, Inc., has written more than 100 books, including eight national best-sellers; five that have been optioned for film or TV by Steven Soderbergh/Paramount, HBO, Disney, ABC, and others; and one that became “Model Behavior,” an ABC Sunday night Disney movie of the week. He has co-written with Baseball Hall of Famer Dave Winfield, football broadcasting legend Pat Summerall, NBA star Doug Christie and Hollywood publicist Howard Bragman, among others. As a publishing consultant, Michael’s best-selling clients include ZigZiglar, Michael Gerber and Jay Abraham. He was the editor for Ziglar’s most recent book, “Born To Win.”