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

Adventures in living an authentic creative life


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One simple way to be happier and more productive

Paraglider over the ocean at Mona Vale in Sydney's Northern beaches

In Sydney a couple of weeks ago, we went up to the headland to watch the paragliders.  Awesome. The thing that amazes me is how they take off. They let the wind fill their parachute, then literally step off the headland into the air. Terrifying yet exhilarating.

That’s just watching them. I can’t imagine how it feels to actually do it, to step off into nothing and have that trust and confidence that the air will hold you up.

Trust has been an issue for me this week. I’m quitting the Day Job in just nine weeks. In one way the idea is exhilarating. finally time for myself, time to write, time to sew, time to develop some ideas I’ve had for a while about home based ways of creating income. Terrifying, because we won’t have any household income unless I can get books published and sold, get those ideas up and running.

That fear made me start trying to push myself. Despite being jetlagged, and the added exhaustion from long busy days at the Day Job, I lectured myself about the need to do more. I have all these goals, and I needed do more more more if I was to achieve them. I was lazy, I needed to work harder or I’d fail, I told myself.

Problem is, that sort of fear based badgering never works. Not for me, and I doubt it does for anybody.

All it did was add to my stress and anxiety, made me less able to do anything productive, and took the joy out of anticipating Freedom Day, the day I set myself free to work at what I want to work at, not what my bosses throw at me.

When that day comes of course, I’ll end up working far harder than I ever did at the regular job. I was self-employed once before, for two lovely years after the seventh miscarriage, when I just couldn’t face looking after other people any more and sold books on the internet instead. I worked far longer hours, probably sixty hours most weeks, making less than the minimum wage, but I didn’t care. I did it more joyfully, because I was choosing what I did, and I loved the work. Laziness isn’t my problem.

On Wednesday I realised I needed a different approach, and something wonderful happened.

Instead of constantly telling myself I needed to do more, instead of making lists of what I should be doing, I took time in my Morning Pages to list what I did towards my goals the day before. Despite the crappy stress of the hamster wheel Day Job, despite the long commute, despite the exhaustion and the head cold, what baby steps had I made that day? I didn’t have to do anything, but what I did do would be recognised and acknowledged and celebrated.

Amazingly, not only did I find I’d done more than I thought, that simple act of appreciation of my tiny achievements somehow freed me to do even more over the past few days. The fear of failing lifted, and in its place came a sense of lightness,  fun and a burst of creative thinking. I felt better, and I was doing better.

I wrote snippets of story on the commute, far better than what I’d written before. I had breakthroughs with plot and character niggles, things I knew weren’t right in the first draft. I had completely new ideas for the clothing business I plan to start, and began thinking bigger too. The fear I wasn’t doing enough shrank my world, felt heavy and oppressive, but my little bullet point lists of what I achieved the day before moved me into expansiveness and a huge sense of possibility.

Appreciation of myself, not nagging myself.

I think I now understand more of how the idea of goallessness works. It’s not that there’s really no goals at all, it’s that the goals are approached in a different way. There’s a kind of zen in it. Things get done effortlessly, without pushing.

I hope I can keep going like this. It’s very freeing and light. My muse likes it. She does NOT respond well to being nagged and badgered and told what she “should” be doing. She does respond to freedom, to bein g told she doesn’t need to do anything, but being recognised and rewarded when she does.

The easy simple act of writing down what I’ve done the day before, rather than setting goals and to-do lists for the day ahead like I usually do, seems to have created a huge shift.

It’s working for me. It might work for you too I’d be very interested to hear what happens if you try it!


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Searching for zen clam, or calm even

zen clam
Photo by Tom Swift

After yesterday’s post I decided what I needed was a bit of zen calm. Except with my typing snarly-uppy-wordiness, it always comes out clam.

So, I found zen clam instead. That clam looks very zen.

What else I found was a plan for my writing. I need deadlines, I need a story that I really truly want to write, and I need motivation. Looks like all three may have collided and hopefully a beautiful mess will result.

No new story, I need to finish what I have. I’ve gone back to one of my favourite old stories, Lock and Cady’s story from the Haven Bay series.  I mind mapped the series today, and I have some new ideas that excite me. I hope I’ve finally found my way with the story in what will be its fourth incarnation.

First, a messy first draft written for a Book in a Week course. , with waaaay too much external conflict. Second, a revised partial that’s probably one of the best things I’ve written at sentence and word choice level, but oh so wrong at the goal and motivation level, quite rightly collecting a very kind rejection from a Harlequin SuperRomance editor. Third incarnation finally had a strong goal and motivation, high stakes for both hero and heroine, but that partial needed a lot more work before it would be ready to sub. Where that version came unstuck was winning a five page critique from a SuperRomance author. It didn’t seem sensible to keep working on the story while waiting on the critique (what if I still had it all wrong?) so I started working on a new story. The critique somehow got lost on its way back to me, then I found I wouldn’t be able to enter the story for New Voices and needed to work on another story for that, and the result is it’s taken me over a year and a lot of other stories to come back to this one.

I love the setting, Haven Bay, and I love these characters. With each incarnation, I get to know them better and go deeper and deeper into their emotions. It all feels so real to me now!

I hope I can get that out when I try to write their story again. Writing a new first draft, then editing, and possibly even rewriting. Whatever it takes to make their story the best I can get it. I’ve given myself deadlines for planning, first drafting, then editing.

I’m looking forward to this!


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Don’t turn your characters into contortionists


Photo by Ron Sombilon Media, Art and Photography

Don’t turn your characters into contortionists! That’s my big writing lesson this week.

I had what I thought was a good idea. I had two interesting and complex characters, with deep emotional conflict. I had a setting I like, London at Christmas.

What I didn’t have was a story that worked.

My mission is to write a 10 to 15 K romantic novella, based on the song Santa Baby, ready to submit by July 10. It took doing this week’s course homework for the writing course I’m enrolled in to figure out what wasn’t working. A key part of the homework is to write a sentence summarising the story in 30 words or less.

I couldn’t do it! The characters sounded hopelessly unsympathetic for a light Christmas novella, even to me who created them. I needed to explain too much. There was too much in the plot that was dark and heavy (death of a key secondary character). Sheesh, I don’t know that the secondary characters should even have names in a 10K novella, let alone a crucial role to play in the character arc for the hero or heroine!

 The other thing that gave me a big clue was that I really couldn’t fill in the main pre-writing tools I use for these characters as I had them. If I can’t do that, I know there’s something wrong!

I’d spent all week doing story development. Started writing the story, but I knew I just didn’t have it right after one chapter. The characters didn’t fit the story, or the story didn’t fit the characters. I’d had to make the characters do things that were too out of character. I’d turned them into contortionists.  No way was this a story that met the brief. I still think I have the seeds of a good story in there, but not for this Call for Submissions.

In the past, this is where I would have given up on having anything to sub for this Call for Submissions, and grabbed at the next new bright shiny story idea.

This time, I kept playing with it. I’ve promised myself to see through a story once I start it, as I’m a serial non-finisher. Ideas for how to change things kept coming. But I had way too much going on for a short novella. The characters had to change too much to get from where they began to a resolution in fifteen thousand words. The plot was so convoluted I needed contortionists as hero and heroine.

I wrote in the last entry how I realised I had the heroine all wrong. I’d made her relate to the words of the song way too literally. Once I had that, and slept on it, the rest fell into place like dominoes. The hero. The conflict. The resolution.  

It felt almost miraculous how I woke up yesterday knowing just what the story needed. A classic opposites attract romance. Pared right down to the bare minimum, the essence of who the characters are. Yesterday, I did the Save the Cat beatsheet, and the Identity to Essence chart. It worked!

Today, I did an outline, and just finished a very rough draft of chapter one on the Alphasmart so I wouldn’t stop to edit as I went. I feel happy with what I have. It seems to me this is the best story I’ve done, in terms of having the conflict and structure in place, but I’ve thought that before! I’m too close to it to see what I’ve missed or what I have put in that really doesn’t work.

The chapter is too long, at 1800 words, but that’s good because I’ll have lots to play with when the time comes to edit. I’m going to resist the temptation to start tidying it up now. It can stay as it is, gross typos and all, until I have a complete first draft. It should come in at around 18,000, then I’ll need to edit it down to under 15. It I have something that looks a total mess that I HAVE to cut, I won’t be so in love with my own words I miss what need to come out.

That’s the theory anyway!

How much pre-writing planning do you do? Is it different for each story? Any tools you use and recommend?


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Letting go of being a Victim

Let go of your story, so the universe can write a new one for you.
Photo by Alice Popkorn

It’s time I let go of being a victim.

Yesterday’s post made me realise just how much I still am acting as a victim of my parents and my unsupportive upbringing. It’s one thing to be aware of it so I can let go of limiting beliefs, it’s another thing to keep blaming that for what I am not doing, using it as an excuse for not achieving my goals and my dreams.

When I was in my teens, blaming my parents was possibly valid. in my twenties and thirties and forties, less so. In my fifties, definitely not!

For all those years, my parents haven’t been the one’s holding me back. Right now, when that little voice whispers to me that I shouldn’t try or I should give up because I’m not really any good at this, it’s not them saying that. That little voice, sometimes nasty and belittling or sometimes sweetly pseudo-protective, may sound like them, but it’s not.

It’s myself, my internalisation of all the things they told me about what it means to be talented and how if you don’t have talent, it’s safer not to try. If I’m a victim of anything, if anything is holding me back now, it’s my own thoughts and beliefs.

I’ve been the one limiting myself. I’ve been the one holding myself back. I’ve been the one telling myself I shouldn’t do this or that because I’m no good at it and I’m not talented enough and if I’m not gifted in that area why bother. I’ve been the one who’s let my fears stop me writing, painting, creating. I’ve been the one stopping myself from putting what I do create out there by not submitting stories or subbing part finished work too soon.

I’m the only one who can change this. I can change the way I think. I can be aware of my self-limiting beliefs. I can listen out for my self-talk, the place where I stop myself living creatively and authentically, and gently but firmly counteract that.

All change starts here, in me, in my heart and in my mind.

But oh boy, this has such an emotional charge for me. It’s all very well for me to logically and rationally think this stuff, but inside me is an angry hurting little girl who is sick of being suppressed and told she’s no good at what she wants to do and doesn’t want to be stopped doing what she wants one minute longer.

I just exploded with rage at my husband and ended up sobbing. He’s interrupted me several times during my morning pages and I’d responded to him rather than asking him not to interrupt, because I’m aware I can block him out sometimes and not give him the attention he needs. Then it got to the stage where I really knew I needed to focus or I wasn’t going to get anything real done. I asked him not to interrupt me for a while because I needed some quiet time to write.

Fine for ten minutes, then he interrupted me to ask me to tell him when I was done with my writing so he could ask me something then!

He genuinely didn’t see that was an interruption. Which is okay, that’s a key difference in how the Asperger’s mind works. What I really reacted to was the justification. He kept going, justifying how it wasn’t an interruption

 My feelings kicked in. Anger, hurt. A sense of disrespect for my writing, for what’s important to me. Fear that this is how it’s always going to be, impossible to get any time for myself, ever. I lost it, and before we knew it we were in a full blown scene, me being over-emotional to the verge of hysterics and him being hyper-rational to the verge of being Mr Spock.

Didn’t help anything. He still doesn’t understand that what he did was an interruption. I can’t understand how he can’t see that. He can’t understand why I reacted so emotionally, I can’t explain it in any rational way.

The benefit is that I now can’t avoid knowing just how much emotional charge there is attached to this for me. It’s clear that dropping my Victim mentality isn’t something that can be done intellectually. There’s a thinking component to this, yes, but that visceral reaction showed there’s an equally strong emotional component too.

My emotional self (right brain, where the Inner Child and the Muse hang out) gets benefits from being in Victim mode. I get to do Poor Me and throw regular pity parties. I get to have excuses, and avoid putting in the work and maybe needing to confront that actually, I really am not any good at some of the things I want to do. I get to throw tantrums, like I did today. But that comes at a cost.

The price  is - I need to keep being a Victim. I can’t be happy. I can’t achieve anything. I stay stuck. I can’t change anything because I keep blaming external circumstances for my life being the way it is. My parents, my husband, his mother, our finances, my job, society, the government, anything else beyond my control.

Because the things that really impact on my life aren’t beyond my control.

It’s time to grow up. Time to take responsibility. Time to stop hiding  behind excuses. Time to find some other way to nurture my Emotional Self besides letting her keep on being a sorry-for-herself Victim. Time to truly acknowledge and get at the deepest level that I chose this. There’s not one thing in my life now that I haven’t chosen, in some way.

There’s a quote from Marianne Williamson. “Let go of your story, so the universe can write a new one for you.”

It’s time to let go and take the risk of living a genuinely authentic and creative life.


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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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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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