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When giving up on a goal can be a good thing- and GMC

Photo by h.koppdelaney

An interesting day. I woke up all fired up to finish my synopsis and first chapter for Morgan and Tash’s story to sub to the Harlequin Romance Fast Track (deadline Monday!). I felt okay about the story and how it was coming together. I thought the characters had clear goals and motivations and conflicts and emotional arcs. Then something happened that got me wondering, Then more than wondering, absolutely knowing, that I can’t sub this story without giving it more thought and reworking things. So the Fast Track deadline will pass me by.

I feel bad about missing another deadline (the Spring Fling story back in February was the last one), but I really believe I’m better working on the story some more and subbing it as a partial. No point subbing to the Fast Track and getting a speedy form rejection because I screwed up the basics yet again!

One of my writing buddies shared the most wonderful revise and resubmit email she’d had from Ruth, one of the Entangled Publishing editors, and wanted advice on applying that to her story. There was a lot in there about GMC. Or more, the lack of it. Now of course, it is all there in her story. It’s just not made explicit in the partial. She’s such a fabulous writer I didn’t notice that when I read it (and I’ve read the partial several times, and the full once). Her awesome humour, sizzling sexual tension and snappy dialogue kinda distracted me!

I hope she doesn’t mind me sharing some of the email (edited to remove identifying features!), because the advice in it is sensationally good. Ruth clearly knows her stuff and then some!

Category requires really compressed story-telling, and I’m just not seeing the story coming through clearly in your first three chapters. Your characters also lack focus.

Try to get a strong sense of your characters’ goals, motivations, and conflict into these first three chapters. I know a tiny bit about the hero and heroine’s past wounds, but I don’t know what either character *wants*, nor do I know yet what’s going to keep them apart as the book goes along. The first three chapters of a romance
novel should set up the dominoes for the whole book — they’re like the book in miniature, and all the subsequent chapters just play out the conflict that’s constructed in these chapters. So I’d encourage
you to get more of who the heroine is (via her goals, the reason behind her goals) and who the hero is (via his goals and the motivation behind them) on the page, and make it crystal clear how their goals are going to be
in opposition in this story.

 
That advice just blew me away. Every time I read it I get more out of it. I’d never ever seen it like that before, that it all has to be there in the partial. From there, it all unfolds and plays out as the book continues, but the key elements must be in place.

It got me thinking not just about my friend’s story but about Goal Motivation and Conflict  in general, and then my story. Seeing I don’t have her awesome humour, sizzling sexual tension and snappy dialogue, it’s even more crucial I get this stuff right! Because leaving out the GMC is something I do wrong ALL the time.

So I’m sharing my thoughts just in case they are useful for someone else. And because I blog what I most need to learn!

So GMC is Goal Motivation Conflict. What the editor wants is for the hero and heroine to have very clearly stated goals. They have to both want something that puts them into some sort of opposition. Ideally, this should be stated upfront in chapter one, either in dialogue or thoughts.

I read this post on GMC, then used what she provided to make my own GMC chart, specific for category romance. I hope you find it helpful!

The key thing for romance (and what makes it far more complicated in it’s own way to write than say a thriller, or a mystery) is that the two characters goals need to bring them into opposition, so that they each become the external conflict for the other, or at the very least a complicating factor. And on the inner level, each needs to be the only one who will challenge them to make that internal change they need to make. So they are complementary.

On the surface level, they stop the other getting what they want, but on the inner level they are the only key to the other getting what they really need.

Thinking about this has made it very clear to me I need to get a grip on this for my own current story. It’s something I’m really just starting to get a handle on. I read a few articles on GMC, and of course, I have Deborah Dixon’s book , which I need to reread. It’s too long since I read it and very obviously I didn’t “get it”!

So I decided not to try to get anything in for the Fast Track. I need to work out the GMC far far better! It’s almost there with what I have already but not quite.

Also, I still have far too much lead in to my story. What I have is good, but not good enough. I need to get straight into the action. Even if she sees him from across the showground but they don’t meet for a few pages. As always, I’ve started just that bit too early!

I will do some notes on GMC, finish the synopsis, then put it aside to stew for a while so I can work on the Wrong Brother story (not a Wrong Bed any more) which turned into a Medical, for the Harlequin Medical Fast Track. Closing date for this is 7th June, so I might have a chance!

I also want to edit out the 10 or 12k version that is hidden in the 22K novella of the WiP (once I take away all the padding and the external issue that doesn’t really belong there) to submit to Entangled’s Flirt line, but that will have to wait a while.

Next week, I go back to Australia for two weeks, this time with my husband. It’s supposed to be a holiday, but I suspect my parent’s health issues will take precedence! I’ll take the baby laptop with me, and make sure I make time to write as well while I’m there. Then hopefully by the end of June or early July I can drop back to half-time work (and half pay of course!). More time to write, yippee!


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Disappearing days- and new decisions


Photo by Amulon Photography

 

Disappearing. That’s what’s happened to the last few weeks, they have, quite literally disappeared, with not much to show for them.

 

After the see saw ride of a week while Mum was in hospital, and all the will I- won’t I about whether I should go, a phone call from my sister three Saturday’s ago decided me. I had to go, and I was on a flight to Australia that evening.

 

I stayed over two weeks, came back to the UK, and straight back to work, still jetlagged, so no time to blog.

 

No internet connection while I was there, either, only crazily expensive access via my mobile to send an email or two a day to my husband, who I missed a lot.

 

I’m very glad I went, I know me being there helped everyone. A big, unexpected expense, but worth it. Going was far less stressful than staying here and trying to keep working, and supporting my sister over the phone and email, and worrying about Mum and Dad would have been.

 

Being there wasn’t stressful. Emotional, yes, especially seeing how much memory my father has lost and how it affecting him. Challenging at times, especially the first few days. After that, it felt like a strange sort of holiday, an interlude out of time. I cooked and shopped for them. I did some patient education around managing their health conditions. I tried to get Dad to see his doctor and talk honestly about his problem. I went for little walks with them, as far as they could manage. I went with Mum to her cardiologist. I supported them in getting some home help set up. I helped my brother understand what was going on.

 

I also did my morning pages. I wrote some more on my Wrong Brother story, which is morphing into something very different to what I first thought it was. I read a lot. I enjoyed being back home in Sydney, my real home, not just the place I live. I heard a lot of stories about when my parents first met and their early married life before I was born.

 

Taking that time to be with them was a gift to me as well as them.

 

Then I came back to England. Went back to work. Caught up with my internet writing buddies again. A week after I got back, that time out feels almost like a dream, lost time, time that didn’t really exist, that just disappeared.

 

Yet it changed things.

 

It deepened my relationship with my parents. A true adult relationship, untainted by past hurts. My husband seems to appreciate me more. He missed me, the first time we’ve been apart for over 24 hours since we married. The Day Job seems to have missed me too. I planned to give notice in mid May, give them time to get my replacement in place before I left in Mid September. Instead, my boss is offering me part-time work, a job share. The thing I asked for first, before I decided to resign, and they told me couldn’t be done!

 

I felt so strongly about needing to leave. Giving myself time to explore writing full-time, really focus on that. Though the finances worried me. The fact that unless I sold straight away, and maybe even then, I knew I couldn’t afford more than six months of full-time writing before I’d need to find at least part-time work. Also, being back home and seeing how things were with my parents had got me knowing that I need have enough money to go back twice a year, if possible. And I would love to buy a little doer-upper house in a country town, to have a foot on the ground in Australia.

 

I’d asked for that in my Morning Pages the last full day I was there. Then I had this offer. It felt like an answer.

 

So, I’ve made a decision. I’ll take the part-time position, and delay giving myself what I’ve dreamed of, writing full-time. It’s a dream, and a good one, but I’m not ready for it yet. I need to develop my writing further first. I need to be more ready. I need to be in a better position financially.

 

I’m not giving up, by any means, just modifying my goals. Doing it more gradually, a staged withdrawal from the Day Job. I’ll only need to go two days a week. Yes, they’ll be two very long days, and I’ll still have the commute, but it’s only two days a week. That means I have five days not at the Day Job. The balance has totally shifted. If I can’t write more with five days off a week, I won’t in seven days, either. I can’t use the Day Job as an excuse once I drop my hours. And I will still be earning enough to support the household, just. No money for many luxuries, but just enough to get by on.

 

Maybe even enough for the one luxury I really want- that little house in a small New South Wales country town I like a lot, about four hours drive from my parents. It will need to be cheap. It will need to be rented out to help pay the mortgage. But there are a couple of possibles I want to look at when Arthur and I go back again next month on our planned holiday (tickets paid from by last year’s Qantas cancellation debacle!).

 

In the meantime, I have a new writing goal. There’s a new story idea that keeps nagging me, but I promised I’d finish at leat one of my older stories before I start anything new. Time to stop adding to the long string of unfinished stories I’m trailing behind me. The truth is, I’ve never truly “finished” a story. I’ve only finished first drafts, and I’ve started far more of those than I’ve seen through to The End. I’ve never edited and polished an entire story, only partials. That needs to change.  

 

So, I decided.

 

I’m rewriting a previously rejected story entirely, taking on board the advice I’ve had about what needs doing with it. It was quite rightly rejected. In effect, I subbed first draft. It’s quite nice first draft, I edited as I went for language. But it’s still hardly better than cleaned up first draft. What I left out fixing was story structure. And good old Goal Motivation and Conflict. I had relationship blocks, but not convincing ones. My heroine had no reason for doing any of what she was doing. No reason to keep rejecting the hero. The start was too slow moving, the pacing too leisurely, the emotions just not deep enough.

 

I do believe in the story and the characters though. I know they deserve better. So, I have a goal. To rewrite and polish polish polish the first chapter, do a synopsis, and send it off for the Harlequin Romance Fast Track, by April 23.

 

I need to get moving on that!


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Yet another Harlequin writing opportunity!

This time for Special Edition, here.

It sounds good-

Have you always dreamed of writing for Harlequin Special Edition? Do you feel you have a sophisticated, substantial and emotional holiday story to tell, with characters that leap off the page? Then we have the perfect competition for you!

The Harlequin Special Edition Happy Holidays contest for first chapters and synopsis is your chance to get your work in front of the editors of Special Edition.

Details:

*This competition runs July 13-September 15th.

*The competition entry must consist of the first chapter (15-20 pages) and a one-page synopsis specifically geared to Special Edition and must have a holiday theme. For Special Edition guidelines, check here: http://www.eharlequin.com/articlepage.html?articleId=556&chapter=0

*Enter online using the following address: specialedition@harlequin.ca (Please note this mailbox is ONLY for contest submissions) with the entry in the body of the email. No attachments will be opened.
*Entries will be read by Gail Chasan, Senior Editor; Susan Litman, Editor and Sarah McDaniel, Editorial Assistant.

*Winner will be announced during Special Edition’s online event November 1-16th, “The Twelve Books of Christmas.” The winning entry will be posted and will include a few sentences from each of the editors as to what made the winning entry stand out and why they liked it.

*Entries must be received by September 15th and sent in the body of an email to the above address or they will be disqualified.

This one I might be interested in. The Intrigue one- nope! I like reading them, but I know I’d be rubbish at writing them.

I’ve never really worked out what the difference is (besides length) between Supers and Special Editions and American Romances.

What exactly do they mean by “sophisticated” in reference to the stories, anyway?

Here in the UK, they don’t sell under those series names. There’s a line here called “Special Moments” which publishes one Super and one Special Edition in a double book, I think just 4 a month.

I know I used to love reading them. Back when they had the lilac tops to the covers and the lilac spines. Yet every time I read their guidelines now, I’m kind of thrown, and I can’t imagine what it is the editors there are really looking for.

*sigh* Probably better not let myself get distracted.

All these contests could be too much of a good thing.

Right now, I have nearly 21,000 words to try to condense down into a partial that has richness, emotional depth, and leaves the editor wanting to read the rest of the story.

Plus I want to enter the New Voices contest in September. And So You Think You Can Write in November. And to finish a load of other half done stories from the past couple of years.

Do I really need another contest? I don’t think so. But maybe this one is just right for you?


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Memorial Day SuperRomance Challenge

Okay, so I got an entry in for the SuperRomance Memorial Day Challenge, to write a thousand word start to a SuperRomance, that includes a soldier, and Memorial Day.

They had twenty-eight entries. A few outstanding and from writer’s who’ve gotta be thaaaat close to cracking it. A few who seemed to have missed the point a bit, or who don’t seem clear on what SuperRomances need. A mass in the middle that were competent, good, interesting enough but just didn’t take fire like the ones that shone.

Guess which group mine falls into?

Right!

No need for me to rush to finish my story now.

I will of course.  I love these characters and the situation. It will be a decent story. But I can see my writing simply doesn’t have the polish and zing of the best entries. It’s a bit ploddy. There’s too much internalization. Not enough happens in that first thousand. There’s not enough of a hook, not enough conflict, not enough anything!

Good learning experience though. I’m going to study those zinger entries to figure out how they did it. What the spark is that lifts their writing above the merely good. And see how I can make my writing snap crackle and pop next time.


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Aiming high, or shooting myself in the foot?

Not much writing today. I’m still trying to get my new laptop set up after a virus completely trashed my much loved previous one. Instead of doing what I should be doing, thinking about where my characters need to be by the end of chapter three, I’ve been catching up with all the discussion groups and forums I missed with no internet access for a week!

I got sidetracked by an interesting question posed on the Harlequin Subcare forum . Christine Bell opened up a whole discussion about where to target- epubs or Harlequin. Something I’d been wondering about too.

I set myself the goal of getting published (or at least having a story accepted for publication) by the end of this year. I estimate my chances of this happening at Harlequin as being roughly equivalent to a rat’s chance of surviving at a pest controller’s conference.

For any aspiring romance writer, Harlequin is really where we want to get published. The number one selling publisher of women’s fiction is the place to be. But it’s highly competitive. More than 99% of submissions are rejected. And  it can be sloooooow. 

I’ll be sending a partial off to the slush pile at the end of the month. Then I can wait for six months or so to hear if that’s rejected or if they want to see the full. Then possibly another year to hear if that’s rejected or if I’m lucky enough to get a revise and resubmit.  Then more waiting on that. Of course, eventually the Call makes the waiting all worth while! And the whole sub/reject/sub something else cycle is a great learning experience. 

But I do wonder if I might learn faster subbing to epubs, maybe getting the opportunity to work with an editor there. I know in my secret heart it’s very, very unlikely I’ll crack it at Harlequin with this one. I still have more to learn about writing romance well enough. Insisting I’ll only sub to Harlequin because that’s my dream goal could be shooting myself in the foot and reducing my chances of being happily published. The health scare made me realise there’s a lot to be said for instant gratification and not putting things off. And as I’ll be writing anyway, if Harlequin reject it, why not try elsewhere?

I’ve been trying to decide with my current story whether to sub to the Harlequin line I really want to write for, when chances are so high I’ll get another R, or try straight for an epublisher, with more chance of getting a revision request, or at least some feedback I can use. But wonderful though many epubs are, that’s giving up on any chance of getting the story published by Harlequin, and the things I’ll learn will be good, but not what I need to get me nearer to writing SuperRomance.

Maybe the right answer is compartmentalizing my writing, having some things specifically aimed at a Harlequin line, sent off with a kiss and a prayer; and stories aimed at epubs that can be written during the wait.

My current story is targeted at Supers, and first of a series set in the same community. I really would rather not sub that elsewhere, even though I am almost certain I’ll get another R rather than a revise and resub on it. The next story I want to write once this one is sent off (the rejected SYTYCW chapter) crosses series lines and would best be aimed straight to epub, while I’m waiting to hear back on the other partial. Though part of me keeps whispering it could also work well as a Super.

I’m feeling that splitting the two series off might just be the way to play it. The other story is also potentially a start of a series, another one set in a small community, but with different storylines and possibly heat levels to what I would want to sub to Supers, and in a different country too!

The idea of working on both targets at the same time seems good. And nothing changes the central issues, that I still need to learn to write as well as I possibly can, and that thinking about writing is not the same as writing!

It seems silly to worry about this now, before either story is anywhere near finished.  Actually, it’s relevant,especailly now when I’m close to a turning point in the story and need to decide what happens next. I’d possibly make different choices in story direction if I knew I was subbing to Wild Rose Press rather than SuperRomance.

I need to get on with the writing. Instant decision- Lock and Cady will go to SuperRomance first, then to epub if they are rejected. Steph and Mason will go straight to an epublisher.

Now I just need more hours in the day to do it all in, and I’ll be fine!

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