Finding home, finding love – writing romance, making clothes, growing food, and growing up

Adventures in living an authentic creative life


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Another thing for the list- Essie Summers

I thought of something else for my list.

Something I wanted to do for a while, but told myself it’s too silly and frivolous and besides we don’t have the space.

I want to collect all Essie Summers’ Mills & Boon stories, and all LM Montgomery’s books too. I had a lot of both their books when I lived in Australia, but sold all my books when I moved to the UK.

Well, blow the lack of space and blow that I can read all LM Montgomery’s books for free on Project Gutenberg. It’s not the same as a real book. I’ll get rid of other things if I need to, and make space. Sure, they are a very different type of romance to what’s being published today, but these books gave me so much joy.

I found this lovely interview with Essie Summers that I hadn’t heard before. She was so prolific.  Had her first Mills and Boon accepted aged 45, and her fifty-first (and last) when she was 85. 

85! I keep checking to make sure I didn’t get that wrong. There’s hope for all of us yet!

Essie Summers is one of my heroines in a way. I think reading her books in my teens and twenties were what made me hungry to write for M&B too, though unfortunately not hungry enough to keep writing when it got tough.

 I wish I’d heard this interview back then. That she too found writing hard going would have been immensely reassuring for that younger me, stuck in a stupid idea that if it didn’t work right first time I should give up, because it showed I had no talent.

Anyway, I’m starting collecting now.

And I’m keeping on writing.


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What’s on your bucket list?

I heard today that a beautiful, talented woman, far younger than me, suddenly and tragically died. I never knew her, just knew of her, in a friend-of-a-friend kind of way. But her death still touches me. 

I feel for her family, for their grief. More selfishly, I also feel for myself.

Stunned, hollow, empty.

A loss like this can be a wake-up call, a reminder of what’s most important in life. A reminder to hug our spouse and children if we have them, to tell our friends how much they mean to us, to think about what’s most important in our lives.

It’s an opportunity to reconsider what we’re doing with our own lives, and how aligned that is with our deepest goals and dreams.

One of my friends spent this last weekend doing something important to her, something she’d dreamed of for a long time. When her mother-in-law questioned her about why was doing it, she replied it was part of her bucket list. The response she got- that it was ridiculous, especially at her age.

My thought- at our age (she’s younger than me, mind you!), surely there’s even MORE reason to do these things than there is for people in their teens and twenties? To follow our dreams, to think about what we truly want, to do whatever we can to make it so.

I’ve never really sat down and written a full bucket list- all the things I most want to do before I kick the bucket. Back in my thirties, I had a list of three- have a baby, build my own house, and be a published romance novelist.

One I can’t do now, the other two… who knows! They are both still on my list.

I found a site- Bucketlist, which I think is a cool idea. Over 10,000 people have posted their lists. Not just publically stating it, but setting out steps to do it, getting inspired, and staying accountable.

I don’t know I’ll post it there, but I do want to make a list. Maybe every year I need to make sure I cross at least one thing off that list as achieved.

So, here’s what I have for starters. It’s not strictly speaking a bucket list, because some are ongoing goals not one-time-only-tick-the-box-it’s-done type goals-

  • be a published romance novelist
  • build my own tiny house (maybe this could be a writing studio in the garden when we move to Australia?)
  • move back to Australia
  • travel to Nepal and see the sun rise or set on the Himalayas
  • keep hens and have a veggie garden again
  • get my engagement and wedding rings remade into a single ring that’s just the way I want it (this is a twofer, as the money to do it MUST be made from writing!)
  • design and make my own clothes
  • retire young from the Day Job and write full time (I don’t actually have a pension fund or any other source of income,and  I’m the household breadwinner, so this ties into getting published and ups the stakes- not just getting published but getting PAID!)
  • travel in Australia with my husband in a teardrop trailer
  • write a vegan recipe book and perfect a low-sugar high-protein vegan brownie recipe
  • get a professionally done makeover and photoshoot- not a soft-focus “glamour” one, but one that makes me look as good as I possibly can while still looking like the real me
  • plant more fruit trees
  • be supportive and positive with everyone I can, especially friends and family
  • become more patient and tolerant
  • appreciate the people and things in my life already more
  • read more books

Well, that’s enough to keep me busy a while, I reckon!

How about you? What’s on your bucket list?


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Trusting our own writing process- with added ladyballs

Another crosspost with the group blog, Seven Sassy Sisters! Yes, I am lazy, and we’re always being told to recycle, right?

Writing can be a tough business.

When we’re unpublished, it’s dealing with one rejection after another of stories we’ve poured our hearts and a massive chunk of our lives into. Dealing with seeing other writers get their call while we’re still waiting, waiting, waiting, and sure, we’re happy for them, but we can’t help thinking “What about me?”  and then feeling guilty about it. Dealing with those sneaky, nasty little voices that tell us we’re not good enough and “Why keep trying, hoping, dreaming?” Maybe even dealing with other people who tell us we’re wasting our time and to stop. And we listen, much as we don’t want to, because though we desperately want to believe in ourselves and believe in our writing and believe in our dreams, it’s a seductive idea. Some days, it feels like it really would be easier to give up.

We don’t of course, we can’t, the addiction to creating is in our blood like a drug and we need our fix of the next story, the next characters, the next chance to dig deep into emotion and relationships, the next opportunity to believe in the power of love to change us and change our lives, all over again. That’s the joy of being a writer, whether we are ever published or not.

Despite that, it can feel at times like the writing game is one long lesson in dealing with discouragement, in dealing with dreams that will never come true.

It doesn’t get any easier for published writers of course, or so I hear. Please God, let me learn this one from personal experience, and soon!  Published writers have all of the above, plus deadlines, revisions, bad reviews, and the pressure to produce, to keep coming up with stories that are new and different but not TOO different, because they’re building a brand…

But when we’re sitting on the unpublished side of the fence, it sure looks greener over there, because the published writer does have one thing the unpublished writer doesn’t -  the knowledge they did it at least once. They produced a story that an editor wanted enough to buy.

At time, the bad times, all we have is the corrosive sense of failure as rejections stack up that eats into our souls and eats into our dreams.

But we’re not giving up on our dreams of publication, of being full time writers, of making our livings from writing, are we?

Because we want it. Because  somehow, we are tougher than the doubts and the discouragement. Because somewhere inside us there’s a tiny place where we do believe in ourselves and our writing and we know that it we just hang in there, keep writing, keep going, we WILL make it.

So how can we keep doing what we need to do, keep writing, keep working towards our goals, hold on to our dreams?

One of the things I do every day is write five positive things I’m grateful for each morning, and set some goals for the day. In the evening, I tick off the goals I’ve achieved, and write five positive things from the day. The morning one is easy, and I almost always do that.  The evening one… well that’s tougher. Some days I struggle to find positives, especially if I haven’t achieved my goals for the day.

Then one day last week a  positive popped out one evening I hadn’t expected- “I trust my own process.”

Serendipitously, my husband sent me a link to a blog post he read and liked at the same time, touching on the same idea. The writer is talking about his spiritual journey, not writing, but it’s so relevant-

Winston Churchill once made an interesting statement. “Success” he said, “is the ability to go from failure to failure without any loss of enthusiasm.” Success may not lie in being perfect, but in determinedly endeavoring to move closer towards perfection. Thomas Edison was reputed to have never become discouraged in his attempts to invent the light bulb. Rather, he deemed every one of his failed attempts as a success – “Now I have discovered one more way that doesn’t work”.

It’s rare that we wake up one day and suddenly reach the perfection we always desired. More realistically, it will take a lifetime of struggle and incremental improvement. That journey, however, is joyful all the way when we learn to celebrate progress not perfection. Even in positions of leadership, we have to keep in mind peoples best efforts to improve and view their performance in that context. Where there is progress, perfection is only a matter of time.

In our spiritual endeavors there is also no shortage of failure. After analyzing our hearts and spiritual character many of us can safely conclude that we are definitely ‘works in progress.’ We hear accounts of spiritual practitioners who were completely selfless and pure in heart. Every one of their actions seems so perfect yet so natural at the same time. How do we relate to such perfect examples? Maybe a good measure is to compare with ourselves rather than comparing with others. Where was I one year ago and where am I now? Drawing inspiration and encouragement from the good example of others is essential, but we also have to understand that we are on our own spiritual journeys, experiencing our own individual difficulties and dealing with our own special obstacles. I am trying to focus on how to progress on that journey, more than lamenting about how short I fall from perfection.

I like that idea- focusing on our own journey, not comparing ourselves to anyone else, but looking at how far we’ve come. Even better, welcoming failure as a step on the way to success. I’m not quite sure I’m that spiritually evolved yet, to have that attitide of zen-like calm.

Maybe Jane Porter’s gutsy approach is a better fit? Jane is a fabulous success, yet it didn’t come easy.

If we want to make it, we have to dig in, hang on, and hang tight.

Some writers sell easily. Some writers write easily. And there are those of us who have to claw our way to the top and I don’t mean by clawing over each other, but by clawing up, like a rock climber, hand over fist, inching our way up the impossible vertical slope, grappling with the cliff as though our life depended on it. And in a way, our lives do depend on it, our writing lives.

We as writers have to be willing to take risks. We have to be willing to strike out on our own. We have to write what we hear in our heads (yes, those little voices are real and valuable). We have to write what we believe in our hearts. And we have to write all this and make it true, make it beautiful, and make it fit the publishing parameters.

That’s right. We are artists AND businesswomen and in our line of work we can’t separate the two, because frankly, we’re not writing for vanity press. We’re writing to sell. Most of us want to make money writing. We want careers as writers and we want to find our right niche.

I don’t know one serious writer who doesn’t get bummed out or burned out. But the serious writer doesn’t walk away from the craft or the challenge. The serious writer reaches deep inside, finds the courage, renews the vision, and taps into the heart. We write romance because we believe in the spirit of man and the miracle of love. We write romance because we understand what it is to struggle and we relish victory after a hard-fought battle. We write romance because we crave happy endings.

If our heroes and heroines can win, so can we. If our heroes and heroines deserve happiness, so do we. If our heroes and heroines persevere, so shall we.

Success can be defined in many ways, but we’re all successful if we refuse to quit, refuse to fail, refuse to accept second best. Attitude in this business is everything. Those who look forward, those who challenge themselves, those who don’t make excuses, those who believe, will succeed.

It took me nearly twelve years and ten rejected books with thirty something rejection letters before I finally got my first sale. A month later, I had a second sale, and two months after that, a third. They were all new books, the second two written between February and May when I tapped my reservoir of courage and pounded out those new books by writing, writing, writing.

Where did I get all that confidence from? Twelve years writing, ten rejected books, and thirty something rejection letters. I’ve learned to turn the rejections into challenges, view returned manuscript as a tool to growth, consider my decade plus of writing as a “graduate romance writing school” and pat myself on the back for keeping at it. The more it seemed I wouldn’t sell, the more confident I became that I would. Why? Because I’ve become tough, and I’ve learned to hang tough.

Remember attitude in this business is everything. Hard work pays off. Positive thinking is essential, as is sheer grit. Don’t ever give up. Don’t quit. Don’t stop believing in yourself. Real writers hang tough.

 Now I really like that. The zen bit, but with added ladyballs. Because we aren’t saints yet. We’re living breathing hurting feeling women.

And we’re tough. And we’re going to make it.

Hopefully without drinking the entire Hunter Valley wine output first!

 


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Unpredictability- what is it and how do I get it?

This post is a shameless rip-off from my comment on a post at our group site by my buddy Abbi, a fab writer who’s sharing some of what she learned at the RWA conference this year.

I haven’t been to any of the big writing conferences (maybe next year!) but I’m making the most of the resources online. There’s a brief handout on the RWA site for the workshop Abbi went to, by two Mills and Boon editors on Variety and Unpredictability.

The key word often seen in rejection letters recently seems to be “unpredictability”. Everyone wants it, but no-one can define it!

I wonder if that’s more because it’s one of those “They’ll recognise it when they see it” things. Maybe it’s easier to define what unpredictability isn’t than what it is?

We know it isn’t cliches, the same type of characters doing the same things we’ve read hundreds of times. But the catch is, it has to be enough the same to fit within the series.

That’s where the real challenge comes in, writing something the same, yet different,

The big take-home message I got from that one-pager is that unpredictability comes from character driven stories, and from the write’s unique voice.

Nothing new there then!

I’m not sure we can set out to write an unpredictable story. I know I can’t anyway. I think all my stories are predictable, to a certain extent. They are different, because all my characters are different and their situations and reactions are different, but I’m not sure they are different enough. I think the odds are good that there won’t be many surprises for the reader as the story plods along.

One reason is, it’s a normal human reaction to solve problems using something we’ve seen work before. Our brains are naturally wired to expend the least effort possible to come up with a solution. So when we write, most of us will automatically reach for the tried and tested answers to situations.  Maybe I just need to have my cliche detectors set on high so I pick up when I’ve relied on what I unconsciously knew worked  because I’d seen it or read it before for the next step, instead of digging deeper.

I’m wondering how much I took the easy way in my current story rather than reaching higher. As I edit the partial again, I need to look out for the places I made the obvious choice rather than the surprising choice that could delight my reader.

One thing I remember from a Shirley Jump workshop might help- she uses something called the “Rule of Six”.

Now, she does whole workshops on using it, but the basic idea is to make a list of six ways the character could behave in any situation, six things that could happen next, six ways the character could respond to that, six motivations for what they are doing. Whatever it is, make a list of six.

The first few, for most of us, will almost certainly be cliches. By five and definitely by six, we should be getting to something interesting. Problem is, I haven’t used it at all so far!

What techniques do you use to keep your writing unpredictable?


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An exercise in darling killing

Okay, my question for today is this- How important is it to end chapter three of a partial on a great big juicily baited hook?

On a scale of 1 to 10, where 1 is “Not such a big deal if the writing is good and you finish with a decent enough chapter end hook,” and 10 is “You eejit, it’s essential, end chapter three with the biggest hook you’ve got, a hook big enough to catch Jaws”?

My problem is, I thought I knew where I wanted chapter three to end, not with the biggest hook, that’s  around the end of chapter six, but with the second best hook. Now it’s looking like shorter chapters will work better and I’m not quite sure I’ll make it to even the second best hook in three chapters.

(Totally off topic- Every time I think “second best” anything, it always comes out in a Mrs Doyle voice because I remember that fab scene where she tells Father Ted he’s the second best priest she knows and he gets massively upset.)

So I’m wondering what to do. If I divide the scenes up between the chapters differently and make the chapters shorter, I’m not quite sure what chapter three will end with. Hopefully nothing too boring, because all  the scenes should end with some sort of hook, but maybe not as good as it could be.

Does that matter?

Or maybe I should still aim to get to where I wanted, to finish chapter three with the hook I wanted to. That will make me chop out the dreck, the writing that doesn’t early double it’s keep. Could be my editing needs more than nice ladylike little tweaks.

Painfully, I realise now what I need to chop is going to really truly involve some darling killing. My whole thousand words from the Memorial Day Challenge, the thousand words that got me started on this story, have to go.

I’ve written a whole new chapter one with scenes in the heroine’s point of view that go either side of it. First the idea was to pull his scene out from the middle of the sandwich and start chapter two with it. Chapter one works better without it. That’s good.

But now I see, chapter two works better without it too. The story just doesn’t need it anymore.

That whole scene, the hero’s coming home scene?

 Pffffttt. Gone in a puff of smoke. Not a magician’s trick, just the delete key.

Ouch.

Darling killing hurts.

But I need to let go of being attached to those words, those pages, that scene. The same information can be added better, the same introduction to the hero can be added better.

Not just that scene. Any scene. If there’a a way to write it better, stronger, clearer, deeper, the old words have to go, no matter how much I like them.

I think I answered my own question about the hook thing.


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Those backstory infodump blues strike again

So it’s two months later and I STILL haven’t finished the partial for my SuperRomance Memorial Day story.

I’m up to chapter seven, but I keep going back to work on the partial, which now must be the longest partial in the history of Romance!

I felt it needed an extra scene showing Kate finding out that everyone knows about the engagement story, so I added that. To make things more complicated and slow the pacing down, it’s a flashback because I had timing problems!

Then a critiquer mentioned that it would be good to actually show the moment Kate first tells the lie, makes up the story that she’s engaged to Jack. So I added that, a new scene of nearly three thousand words to start the stroy, slotting in before the one I entered for the Challenge.

Now I had a bloated nightmare of a first chapter that was eight thousand words long! Infodump central told in dialogue.

Time for some serious editing. I chopped over a thousand words from that opening sequence alone. Almost everything that was backstory, cut. From beinga  slow plodding read that answered too many questions too soon, I have what hopefully reads a lot faster, and raises the reader’s interest instead of killing it.

Now I need to go back over the whole partial, and cut as much as I can.

I have a new scene to add, too, a dramatic event that gives more motivation for why the hero agrees to the fake engagement. I need to make room for that, by cutting out some of the dreck, the obvious backstory, the infodumps, the repetitions. I think I can skim another three or four thousand words off, and the story will be better for it – stronger, faster, punchier.

I just read these exercises in Noah Lukeman’s The First Five Pages, about what he calls “informative dialogue”

Take a section of dialogue and rewrite it, this time assuming the reader already knows everything he needs to know about the story. What would the characters say to each other?

Take the same section of problematic dialogue, and this time assume the characters already know everything they need to know about each other and everything they need to know about what’s happened, what’s happening, and what will happen. What would their new dialogue be like?

Now, I don’t think I can go as far as the last one, as the characters haven’t seen each other for over three months, and a lot has happened in that time, but it would be interesting to see how the partial would read if I tried it! They have whole scenes that are nothing but dialogue that seems to go on and on.

Taking out the thousand words of backstory dumped in dialogue didn’t make the opening scene much less understandable for the reader I tested it out on. She had a couple of queries that can be fixed by one or two added sentences.

I’m hoping I can do the same thing with the other scenes. Wish me luck as I venture into the infodump jungle, machete in hand!

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