Category Archives: Unsolicited Writing Advice!

How did you get along without it?

Pensmiths and Poseurs

vintage-college-girlsAs an instructor of the fine art of writing, I’ve often heard the question bantered about: Is writing truly something you can teach? Is it a talent intrinsic, borne of noble effort and semi-genius genes, or can Shakespeare actually spring forth from a million pant-hooting monkeys pecking a million IBM Selectrics? Although the Law of Averages favors our simian relations, I believe the difference lies in the impetus, which ultimately leads to how the writer is defined, and defines oneself.

In order to attain a college degree, most schools mandate two semesters of composition. Students read various works of fiction, non-fiction, drama and poetry, evaluate and analyze the works, so they could ultimately produce critical papers. Prerequisites include reading comprehension, sentence structure, and an understanding of the rules of grammar. At the end of two sections of Composition, students are expected to be able to express themselves clearly and succinctly, so they can carry that writing ability into their other courses and eventually, their field of work. So after years of writing papers and reports, and theses and dissertations if they’re working toward advance degrees, should these students now be sufficiently proficient enough to be considered writers?

Again, it all depends on the impetus.

I have known students who would rather be hog-tied and tossed into the runoff of a hard night of partying than face another semester of English 101 or 102, as opposed to those who live to jot their day-to-day in Moleskines or Marble Compositions, holed up at corner desks or coffee shops, far into the night or cracking the dawn. These are my kindred spirits, who never fail to fascinate me, who remind me I’m not the only one in the world who feels the same way. But what gives a person such a drive to record, reiterate, correspond, expound, create, blog? Whence comes this need for self-expression, this craving to get it out and put it down, whether anyone will every read it or not? I have no idea. All I know is I’ve felt this way for a goodly portion of my life, and there’s nothing that’ll alleviate it except the act of doing it over and over and over again.

So maybe that’s the difference between those who can write and those who call themselves writers. I believe it’s something you’re born with, like blue eyes or wanting to hit tiny balls with iron sticks on Saturday mornings (one thing I will never understand). Perhaps it’s true that one can learn where to put the nouns and the action words, or to spot alliteration or to cite from the Internet, but to describe the way you feel as your lover’s eyes reflect the moonlight? You can’t teach these things. Maybe writers are born with an ability both intra- and extra-terrestrial to crawl so deeply inside themselves, that we are able to become so immersed in the worlds they create for us.

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Arrgh! Please don’t make me write a synopsis!

screamIt’s a sad, sad fact of the writing life that every book needs a synopsis if you want to sell it. I’m sorry, but synopses to me are like carbuncles on top of boils, about as compatible to my literary mojo as coconuts are to refrigerators. When I know I have to write one, it’s like I have creative mono I’m so not able to start. Fact is I hate hate hate the little bastards, as after all these years, my brain still fights writing one. If you’re not sure what I’m talking about, then welcome to Writer Hell, sweetheart. Your angsty little life is about to get so much worse.

A synopsis is your book boiled down almost to its skivvies. At the most it’s about five pages, but lately the going length seems to be around two. With such a tight page count, you might think it makes the writing easier, but you couldn’t be more wrong. Actually, it makes it so much harder. How hard? Let me search for a difficult enough analogy. Have you ever tried to gather a bunch of peeled grapes with one hand? That’s kind of what it’s like. (Actually, the literal version of that would be easier, but don’t let me disillusion you). You need to encapsulate all those slippery plot points from start to finish, naming your major characters, their conflicts and motivations, holding nothing back.  Don’t want to divulge everything? Then just include something like, Intrigued? Then request the full manuscript to find out what happens next! and you’ll win the race to the ‘delete’ button. (Please, just–no.) Do include a hook at the beginning and a satisfying ending, and no being cagey or overly creative, either. It’s just the facts, ma’am, and do remember to keep it in the present tense, and state your word count and genre under the title at the top. Also, it should go without saying to make sure it’s proofread, spell-checked, grammar-checked and formatted until it’s pink and screaming.

A synopsis, above all, is a selling tool. You need one to get an agent as after you do, she’ll need it to sell your fabulousness to an editor. A synopsis not only spells out your book, it tells an editor you’re capable of finishing one, as very rarely will she have your whole manuscript in front of her at the first pass. Because of their brevity, synopses, at least when they’re written well, can be succinct little works of art. With a well-written synopsis, you’re straddling the fence between novelist and journalist, as it’s a sign of polish and skill to write eye-catching florid-free prose when you’re concentrating strictly on the main points. When it’s done effectively and efficiently, it can make all the difference between rejection and acceptance.

Now go get ’em, tiger. I hate suffering alone.

 

 

Frustration, you ol’ sycophant

22bdcd424ceaf4cf9d7b2f114d7e462dIf you’re going to call yourself a writer, then please acquaint yourself with the meaning of frustration. There’s so many applications and levels of it, the longer you contemplate the word, the more varied the strains. There’s the frustration you feel when you start, with your characters, the opening line, the title, the voice. Then there’s the continuity, the plotting, the criticism you get when you get cocky enough to let someone take a peek, or when you have to toss out a whole chapter because your research was flawed. Then you get to the inevitable saggy middle where you get frustrated trying to dig yourself out of a black hole, and when you finally do, you find that half of what your wrote has to be rewritten. Then as you’re sliding down that slippery slope to the mandatory Dark Moment, you find it’s more café au lait than espresso, and you’re going to have to turn that Everyman into a bastard if you’re ever going to make your plot believable. But nothing’s worse than tying it all up at the end, when in order to avoid that oh-so-easy Dickensian conclusion, you have actually have everything make sense, which, let me tell you, is about as easy as straining tar. Still, somehow you eventually make it all work, and before long, you’re exhaling a big sigh of relief and typing the end. But isn’t all the cruelest cut of all, because then is when the real frustration begins.

Rewrites, edits, proofreads, rewrites, edit, edit, edit. Format. Submit. Reject. Submit. Reject. Submit. Reject, reject, reject. Beat yourself up. Tell yourself you suck as a writer, spend the next three days binge-watching Family Guy and eating tater tots and canned frosting, until you can’t stand it any longer. So you pick up that paperback that spent more time being hurled against the wall than in your hands, but which ultimately restores your writing mojo through its horribleness when you cry, “I can fucking do it SO much better!” ignoring, of course, it spent three months topping the New York Times List. (Sigh…there’s JUST no justice in the world, is there?) So what’s a writer to do?

Listen, sweeties, if you came here looking for answers, I honestly don’t know what to tell you. Except maybe if you’re going to call yourself a writer, you just might as well get used to frustration. As patronizing as it sounds, you’re also going to have work around it if you’re ever going to get anywhere, so you might as well just keep writing. Though you should remember that just because frustration is a writer’s constant companion, it doesn’t mean you have to make it your BFF.

Hang tough, stop bitching, ass in chair. Writer’s write, after all.

Turn that Sagging Middle into a nice comfy Hammock!

A Lover Finds His Lady Fair Swinging In A Hammock ThereYou know how easy it is to start a book? There’s that terrific premise you’re dying to get down on the page, plus those fabulous characters you’ve fashioned, to whom you’ll feed just the perfect opening lines. My books usually open right with the action. I hit the group running and it’s off to a rip-roaring start. But sometimes it happens I get to page 150, and my characters are metaphorically gasping for breath, not from where they came from, but in anticipation of where they’ll end up. It’s like their train is barreling toward the station, but I don’t know which track to send them on to get them there. So what should I do? For advice I like to turn to a book that’s helped me numerous times in the past, The Art and Craft of Storytelling by Nancy Lamb ( Writer’s Digest Books, ISBN 978-1-58297-559-7, $14.99). She says to travel the length of your story grab hold of the throughline–the driving force of your book you can set up as soon as the opening line.

According to Nancy Lamb’s Tricks of the Trade: Before the end of the first chapter, make an effort to set up the primary throughline of your book. By creating a natural trajectory for your story’s development, the plot will unfold in a more organic way, and you’ll feel more comfortable in moving forward. This is also insurance against getting sidetracked. You can set up your throughline in an outline, or you can wing it. Either way, make the effort to establish this critical introductory plot point from the beginning.

Did I do that? Well, I know where my characters were in the beginning, and I know how I want them to end up.  Okay, let me adopt this theory to a well-known story: The Wizard of Oz. The only thing Dorothy really wants is to get home. So everything that occurs to her after she lands in Munchkinlad propels her towards Oz which, in theory, will get her home. So what’s my guiding force? And how does that guiding force contribute to the forward motion of the story? If it doesn’t, it should. Because if it doesn’t, then it’s quicksand. And it’ll keep me stranded in the sagging middle.

If you’re stuck, perhaps you’ve lost sight of that. Or perhaps you’ve just been too bogged down by the prose, trying to tweak wordage and phrases, when you should be concentrating on the story. Therein lies the danger of constantly editing: details can always be fixed later, but a main plot thrust should always command your attention. Not that a little re-reading isn’t in order, especially if you’ve lost the main plot point of my story. So in times like these, when we can’t see the forest for the trees, the only thing to do is go back to square one. Maybe it’s time to pay a quick visit to that magical beginning, and remember to drop bits of it like breadcrumbs on the way back and all the way through to the end.

Back to work!

Spring Illin’

popup-3_0Last week I was as sick as a dog. (Tell me: where did that analogy spring from anyway? Because if sick = dog, then my neighborhood should be a pandemic site.) My affliction ran the full gamut of misery: fever, chills, aches, head congestion and general all-over-shittiness, and from so much coughing and sneezing, this week I threw out my back. So it’s another week of not being up to a hundred percent, and now it’s thirty-eight degrees out and raining. Add to this one hell of a winter hangover which seemed to put all progress in reverse, and I’m finding it hard to get out of bed in the morning, let alone work on the book which I recently started. Put it all together and I’m decidedly in a funk, and wondering how to get my motor started when so much of the world is working against me.

(My goodness, I’m depressing. Now write yourself out of that hole, Gwen. Go ahead. I’m waiting.)

It’s very easy not to write when you’re feeling bad, actually too easy. Your brain gets preoccupied with everything that’s messing up your day, and it become almost mandatory to dis your routine for social media or TV, twin junk foods for the distracted mind. Kind of like when you have a bad day at work and you head right for the Doritos, a balm for the belly that actually works against you, especially after you realize you just inhaled 3000 calories, and you don’t even like Doritos. So how do you counter these counter-intuitive measures? How do you write when writer is the last thing you feel like? One thing I’ve found out about myself is I feel worse when I don’t write, that the act of writing itself gives me a feeling of self-worth unlike any other practice I partake in. The only thing that comes close is teaching, perhaps because both involve the dissemination of information uniquely my own. Maybe because as writers, we are innately messengers, and this need to communicate is what puts us in touch with our reality, giving us validation. Really? Is that what we need? Must be true, because why would I feel so bad when I’m not doing it? I mean, seriously, who feels bad when they’re not hitting their thumb with a hammer?

Man, writers are strange. But that’s why you love us so much, right?

Writing the Dread Query

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If you fancy yourself a novelist ( as I, on occasion, have been wont to do), and you’d like to see yourself represented, sooner or later you’re going to have to attempt that necessary evil, the Dread Agent Query Letter. Truly, I know people who’d rather stick pencils in their eyes than apply that pencil to the task, but sweeties, it doesn’t have to be that painful if you know the assembly method. So here, in four easy paragraphs, I’ll try to show you how to compose the Perfect Agent Query. Now pay attention…

First, some preliminaries… First and foremost, a query is a business letter. Since most (if not all) agents accept queries only through email, and since that email entails one finger firmly adhered to the delete button, you want your query to be as concise and professional as possible, contained in the body of the email and NOT by attachment. Since attachments can carry viruses, agents are loath to open them unless they know you, so send attachments by invitation only. Most definitely use honorifics (Mr., Ms. etc.) in your Salutation as you should never assume familiarity. If you had previously met with the agent at a conference, workshop, cocktail party, etc, and were invited to query, most definitely write REQUESTED in the subject line as well as the first line of the email. These will get opened first. As a best practice, check the agent’s website or blog for query/submission guidelines. If you don’t have a particular agent in mind, try Jeff Herman’s guide, the library for The Literary Marketplace, or www.agentquery.com, just to name a few resources. Another one is troll the library or bookstore stack of the books of your genre, and see who the author thanks in her acknowledgements. Now, on to the actual construction…

Para One – Howdy! With Benefits – This is your query knock-on-the-door, your literary calling card designed to get the agent’s attention. Introduce yourself, remind her if you’ve previously met and where (we chatted during lunch at the XXXX Writers’ Conference), if you’ve been invited to query/submit, the name of your novel, the genre and word count. You might what to toss in a quick teaser like, A cross between Stephen King and Carl Hiaasen, My Bloody Margarita is a 80,000 word…, to illustrate what your writing is like. But on the whole, keep this para to a five-six line minimum, with just the facts, ma’am, inviting her to the next para to learn more.

Para Two – In which we employ The Hard Sell – this is where you get ONE paragraph to car-crush your entire 80,000 word novel into one easily digestible capsule.  Twelve to fifteen lines in all, introduce your main characters, basic plot line, conflict, lessons learned, the conclusion. Remember, although you want the agent to be intrigued, you don’t want to raise her ire. So if you say …but if you want to know how the story turns out, you’ll just have to request the rest of it… you’re just asking for a delete.  Be creative, not cagey.

Para Three – It’s all about YOU! – This is where you get your close-up, Mr. DeMille; it’s all about you, you, you. Cite your published works, awards, training, blogs, websites, education (if pertinent), professional associations, jobs or skills that give you credibility for/authority on what you’re writing about. Again, because this is a business letter, remain professional. Don’t take this personally, but no one really cares if you like to raise bunnies and take long walks lakeside, unless, of course, you’re writing about The Killer Hare of Lake Superior. Again, no more than twelve to fifteen lines. A link to your blog or website is also advisable, as most industry people now assume you have a web or social media prescience, and if you don’t, you have to ask yourself why.

Para Four – Wrap it up – This is your shortest paragraph of all. I’ll even toss in examples free of charge: I can send a proposal or the complete novel at your request. Thank you for your consideration, and I look forward to hearing from you soon. OR  According to your submission guidelines, what follows is the first ten pages (or synopsis or first three chapters, or any combination thereof stated in their guidelines) of <Name Work> Thank you for your consideration, and I look forward to hearing from you soon. THAT SHOULD BE IT. No more, no less, just a salute as you head out the door.

All finished? PROOFREAD AND SPELL-CHECK, then add your email address and your phone number. All in all, a succinct query should never contain more than 400-450 words, and NEVER more than one page. And never query unless you have a completed, fully-polished, proofread and spell-checked novel ready to go. I know of agents who get 200 queries a week, and some substantially more. That’s a heck of a queue, and if you’re not ready to submit at a moment’s notice, rest assured there are hundreds of others who are.

One more thing — good luck!

 

Yadda, Yadda, Yadda…

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There’s a writer I know who always pens the perfect dialogue. His characters can banter with all the snap and speed of a table tennis tourney, their chatters’ cadence a direct reflection of the intensity of the situation, or in its languor, its lack thereof. Dialogue can paint a vivid portrait of a character’s personality, revealing the level of intimacy between the protagonists, or recreate a historical era with its manner of speech and choice of words. Dialogue, in and of itself, can be your book’s barometer, setting the mood through the characters’ zingers, laments, opines and asides. Prose would be decided dry and lumbering without it, relegating readers to trudge through page upon page of telling not showing, its characters never really coming alive. Knowing this, I think we could all agree attention to dialogue is essential to good writing. But so is too much attention, which is what new writers often can’t see.

There comes a time in every professional writer’s life when the work ceases being written and thus becomes read. From the time it leaves the desk and goes before a beta-reader or an editor, it begins to exist on its own, without the aid of its creator’s vision. What the reader sees is exactly what the writer has put forth, but if what they’re seeing becomes skewed in the transmission, then it’s not the reader’s fault if they don’t “get it.” Dialogue, as stated above, is a wonderfully descriptive vehicle to transport your story along. But if you’re only saying so much outloud then finishing the balance of the information in your head, you’re not getting your character’s message–or your vision–across to your readers.

New writers often have fabulous stories in their heads, but fail when getting them to the page. Often, this mistake shows itself in dialogue, as the characters will say things colored by insider information obvious to the writer, but not so much to the reader. This happens when the writer is so close to the story they unconsciously fill in the missing information. When this happens, try closing your eyes to take a look at the scene, then write what you’re seeing beyond what the characters are saying. When your hero says, “Feeling a bit depressed today?” Don’t wait for the heroine to simply say “Yes,” before the hero rambles on. Imagine the scene from his point of view. Let us see her with her head in her hands. Let us feel her tremble under his touch as she breaks into tears. Do we hear the ocean rumbling below as they stand on the cliff, taste the salt in their mouths? Dialogue’s essential, but if you’re not giving us the complete picture, you’re only getting half your story on the page.

Years ago, ABC’s “Monday Night Football,” after some complaints about all the yak going on during the games, dropped their color commentators from the night’s telecast, simply showing the game with the score on the screen. The experiment was a rousing failure, as the game lost its sense of immediacy, its excitement, its human quality. Dialogue in our writing works the same way, but only when we’re adding the complete picture, by coloring inside the lines. If we don’t, we’re left with just a line drawing, a one-dimensional outline with no substance or depth, a yadda yadda yadda of sound and fury, signifying a lot more work to do!

 

Diagnosis: Writer – Five Sure-Shot Symptoms

vintagetypewriter_93579-758x485No, you’re not crazy, even though your friends and family think you are. Even so, you have to admit that at time, you do seem a bit “off.” Still, how do you measure crazy against what accurately borders on obsession? I was thinking of this last weekend while lunching with some fellow writers, wondering whether they’re afflicted with similarly bizarre affectations, or if I was I suffering in silence. Odd or not, it’s made me realize that dammit, I must be a real writer, because although I’m not cutting off an ear or anything for my art, I sure am suffering some peculiarities. Such as:

1. Post-it Note Addiction – It’s true. I carry them everywhere. I have pads of them on my desk, in my purse, in the pocket of my course binder. I whip them out to jot down lines of dialogue, character descriptions, plot lines–even the premise for this post. They’re all over the place in my office, and when I’m on  the road and inspiration clocks me, I jot down my genius and stick them to the inside of my wallet so I don’t forget. By the way, they’re also good for shopping lists, as you can stick them right in front of you on the inside of the shopping cart.

2. Drinking Hot Liquids Cold – During the winter months I usually have a cuppa something at my elbow while I’m writing, but I have to tell you, I can’t remember the last time I actually sipped it while it was still hot. Usually the cream’s left a sheen on the coffee, or the tea’s soaked down the string to the tag, an “accident” puddling on my desk, whatever’s in the cup long, gone cold. The opposite effect is true in the summer, when I never seem to sip anything cold: the ice just a memory, the glass dripping condensation. I should probably just yank a bottle out of the cabinet and forget about it. Either way, it all ends up the same place: room temperature.

3. Vitamin D Deficiency – My last routine blood screen had everything come back normal except my Vitamin D level. Apparently deficiencies of this vitamin, which is created by sunshine, can cause depression, chronic fatigue, weight loss (I wish), diabetes, heart disease, stroke and osteoporosis. In addition to a disease I thought went out with the nineteenth century–rickets! “It’s not unusual to see decreased Vitamin D levels in the winter,” my doctor had said. “But yours? Don’t you even step out on the porch?” All right, I guessing the LED glow from my laptop isn’t enough, so I suppose it’s supplements until the snow melts and I’m hitting the sidewalk again.

4. Plot-related Memory Loss – Has this happened to you? You’re driving along, trying to work out what exactly Protagonist A is going to leave on Protagonist B’s doorstep, and the next thing you know you’re sitting in the parking lot at work, with no idea how you got there. Or you’re in the shower and you’ve just thought of the perfect setting for your heroine’s vacation. But there’s this bottle of conditioner in your hand, and you can’t remember if you washed your hair first. Whether you’re staring at blank walls or losing threads of conversations, it’s not early dementia–it’s Plot On the Brain. And trying not to think about it only makes it worse. Better to lock yourself in the closet and get it down and over with.

5. You Do It Anyway – This I have found the most telling. You’ve written a bunch of novels, a dozen short stories, more than a few essays, innumerable blog posts, even kept a journal for more years than you’d care to own up to. And although you’ve had some limited success, though nowhere near where you’d like to see yourself, you keep doing it. You finish one piece then start another, because you know if you don’t your axis will tilt and forget the Vitamin D–you’ll feel a deficiency worse than if all the chocolate in the world suddenly disappeared. You can’t help yourself, even on the days when that rejection shows up in your inbox, you still want to do it. You’ll cry and curse and hate the world for stopping you from doing what you can’t seem to give up. But then all of a sudden that perfect line plants itself in your head, and you’re back to doing it anyway. You’re so pathetic. Maybe. Maybe not. But oh man, sometimes it’s such a bitch being us.

Okay, enough whining. Back to work.

 

When a Kiss is not just a Kiss

Vintage-Valentine-Day-AdsThis Valentine’s weekend I’m going to put on my romance writer’s hat and dwell a bit on one of the three most important occurrences in a romance Novel – a) the first meeting between the two lovers, b) their first kiss and c) the first time they make love. Now, being of a perspicacious sort, I’m venturing a guess you’re hoping I’m going to jump all over c but sweetie, you’re wrong, mainly because that’s just too darn easy. Instead I’m going to focus on what is infinitely more monumental – the first kiss.

Yes, monumental. Are you kidding? you say. What can be more earth-shaking to a relationship than the lovers’ consummation? Think about it this way: if consummation is the inaugural flight, then the first kiss is the trial balloon. If it doesn’t fly, if it isn’t convincing enough, then chances are this trip’s going nowhere.  Consider this from one of my earlier (yet unpublished) masterpieces:

“You make me crazy, Jane,” he said softly, brushing his hand against my cheek, “but you’re in my head, and you won’t go away.”

I could feel the tenseness of his body against mine, and that dizziness returned, my legs wavering. He must have felt it, too, as he held me tighter, my hands finding their way to the small of his back. Then I looked into his eyes, the lightning drawing the gold from them, and then to his lips, slightly parted and ready to fall onto mine.

I had never wanted anyone more.

“Jane,” he said, and the sky exploded.

I fell into the all of him, his mouth warm and delicious on mine, my mind as fuzzy as drugged. He wrapped his arms tighter and lifted me from the ground, his lips tracing tiny charges across my collarbone. I reached down and gathered his head against me, kissing the windy sweetness of his hair. Then he whirled around, setting me to the picnic table.

“Well, hallelujah,” he said, smiling at me.

It would have been easy to simply write that he kissed her, she welcomed it, then they moved on to whatever ultimately transpired in the scene. But that would’ve been larcenous to the readers. They’re expecting more. In a romance, just as in a real life relationship, a first kiss is so much more intimate than even the sex. In actuality, it’s the first act of trust between the couple, and either’s reaction will determine the course their relationship will take. Was it mutual? Was it welcomed? Was it reciprocated? Does it lead to more? Does it change the relationship for better or for worse? Consider this from an even earlier tour de force:

She moved closer to him, so close she could see the slight tremble on his face, feel his breath on her cheek, hear nothing but the sound of her flaring pulse. She raised her eyes to his as he took her hand and pulled her into his arms.

“And it scares the hell out of me,” he said as his mouth fell to hers.

Brett’s world went black for a moment, though its spin remarkably advanced. He tasted warm, soft and vaguely of whiskey, and wonderfully, wonderfully like more.

She lost her head for the duration, found it acting of its own accord. She saw its mouth opening wider and wider still, saw it drawing its breath from its share with his. Saw its eyes flutter in an almost-swoon, thinking that a distinct possibility if she hadn’t been so securely in his arms.

Here was the man she once thought a killer, who would have killed to save her son’s life, who could have lost his own for doing it. At once who he was didn’t seem so essential anymore, as long as he was who he was now.

“Brett, Brett…” he whispered, burying his face in her neck. She arched it back as his kisses trailed electric charges against her skin, her eyes opening and closing with the force of her breath coming hard. She raked her fingers into his hair and dragged his mouth back to hers, his kisses desperate and greedy, her heart pounding against his own wildly-beating chest.

He laid his cheek against hers, gathering her so closely she could feel herself melting into the folds of his body. Then upon his cheek she felt a startling moistness as he suddenly drew apart from her.

He held her out, her breath catching at the sight of him staring. No longer did she question the evening light when his sudden pallor was so apparent.

“Forgive me,” he said.

Oh yes, things have definitely changed, but is that good? Is either lover coming away from this encounter exhilarated with the romantic discovery of each other, or has their bussing made things more muddled than ever? (Maybe if I ever get this epic published, I’ll be able to tell you!)

The thing is, a kiss, at least in the world of romance, is never a simple thing. It’s probably more complex than a Newtonian theorem. To do it right, at least in this writer’s opinion, it must be electric, life-altering, physically shattering and ultimately axis-tilting. It should be one of the most descriptive pieces of writing in the book, and neither participant should come out the same as before they entered into it. It may crash them together or force them apart, but it should always leave them longing for more. But most of all, it should open them to a world neither of them ever experienced or expected, and one they couldn’t ever imagine living in without each other again.

All Excerpts © Gwen Jones 2015 – All Rights Reserved.

Why Strong Women Need Alpha Males

Alpha you bet!

One of the basic tenets of romance concerns the hero and heroine overcoming seemingly insurmountable obstacles to fall in love. It doesn’t matter if he is a detective, a duke or a ditchdigger—or if she’s a countess or a country bumpkin or a feminist attorney. Their problems can be of class differences or underlying neuroses or even as simple as she hates men who wear Panama hats. Whatever the bone of contention, it has to forceful enough to cause night sweats and rashes, yet still won’t stop them from crossing mighty rivers or hacking through buffalo grass to get to each other. And nine times out of ten, it’ll be the hero doing the hacking because as sexist as that sounds, most romance readers still like their men physically stronger than they are.

All right…don’t get your knickers in a twist. There are reasons for that, and if you’ll just calm down a second I’ll tell you what they are. First off, romance heroines are strong women. That’s right–tough, inside and out. They’re also smart enough to spot a sniveler a hundred yards off. So of course – and here’s the logic – a strong and smart woman is not going to be looking for a man weaker than her. It just wouldn’t make sense, because if he was, she’d barely give him the time of day. She’d be looking for her equal at least, but more often than not, she’d be looking for someone to knock her off her feet. He can’t be anything less than an Alpha Male, someone powerful, smoldering, unrepentant. And looks alone aren’t enough, because our savvy heroine can get anyone she wants with a crook of her little finger. Her man, in any form he takes, has to be everything she’s looking for plus. Plus equaling that inimitable quality only she can define, and recognizable the moment she meets him.  Because when she collides with someone who can actually best her, it’s such mind-blower she’s instantly intrigued, whether for good or for bad, for love or for hate. And from there, the chase begins.

I can hear you saying, but that’s not realistic. Most men have foibles, shortcomings, are far from perfect. But this isn’t the real world, my dears–this is fantasy. Yet in so many ways, it isn’t. Fact or fiction, real life or not, don’t we all realize something in our object of affection that no one else can? Aren’t we privy to insider info maintained for our eyes only? Of course we are. Because only when we’re in love do we open up our hearts, to share the things no one else can see, to an enraptured audience of one. Who would want it any other way?