Posts Tagged "Writing Process"

  • I am absolutely wrecked. I wrote ~5500 words today, which translates into almost twenty-five pages. I love some of it, I’m struggling with other parts of it — and now that I’ve hit page one hundred (!), I need to start figuring out where this story is going and how Ferguson and Madeleine are going to get there and fall in love at the same time.

    One of the issues I’m currently concerned about is Ferguson himself. I adore him, the people who’ve read AN INCONVENIENT MARRIAGE seemed to adore him — in short, he was the logical hero for my second book. But, I sometimes wonder if the very things that made him adorable do not make him good, stereotypical “hero” material. In essence, he is an alpha male masquerading very successfully as one of the Regency’s prototypical metrosexuals — he feigns a lot of concern for his wardrobe, to the point that even other Regency dandies would find him a bit ridiculous. For example, at one point in today’s marathon writing session, Ferguson showed up at a ball with a fan — a completely over-the-top affectation that amuses Madeleine even as her more serious guardian is appalled by Ferguson’s behavior.

    I personally find this all very entertaining. But perhaps that’s to be expected — my best friend from high school and I still occasionally send postcards to each other from a sexually-ambiguous globetrotting spy who enjoys both dangerous situations and really great sex. Strange insight into my teenage years, given that we came up with this character to alleviate the excruciating boredom of our typing class, but I digress.

    What do you think? Do you want your heroes to be the strong, silent (or grunting, Viking) type? Or are you willing to accept someone who spends too much time tying his cravats and who wears better clothes than the heroine?


    | Character Development | Ferguson and Madeleine | Writing Process |
    1 Comment

    Posted 8 February 2009, 10:19 pm

  • I wasn’t as productive with the book tonight as I would have liked. I spent far too much time playing around on Wikipedia, abandoning my recent tactic of putting [CHECK] after any dubious or uncertain historical fact while writing the first draft. This tactic is a good one, since it encourages me to stay out of the interweb and away from doing a ‘quick’ lookup that leads into a three-hour journey down a variety of rabbit-holes. But I was debating whether to give Ferguson a fan, since the most over-the-top dandies seem to have some sort of ridiculous affectation, and that led to a lot of reading up on fashion websites.

    The problem is that there is real history, in terms of contemporary accounts, well-researched nonfiction, etc. And then there is ‘romance history’ — the world that Regency romance has built up over several decades, with ‘rules’ and ‘facts’ that are now accepted as the gold standard by most readers, but that just aren’t very historically accurate. For instance, the waltz — it wasn’t danced at all in the early Regency, was still seen as very risque during the mid-Regency, and only came into wider acceptance in 1815 or 1816 (or later, depending on your source). But every Regency romance has the hero and heroine waltzing with each other, because the other dances of the time were more group-style (think country line-dancing, only without the boots, plaid, and awful music), and group dances where the hero and heroine are only together for bits and pieces aren’t conducive to flirty conversations.

    So now I have a dilemma on my hands. Do I write a romance that is as grounded in fact as possible, even if that means doing away with conventions that are accepted (and even expected) by most readers? Or do I ignore some of this and accept that these romances aren’t historically accurate anyway, and just write stories that are fun and engaging? What do you prefer to read?


    | Research | Sloth | Writing Process |
    2 Comments

    Posted 4 February 2009, 10:50 pm

  • I’ve survived the torturous process of writing a four hundred page book, rewriting the first four chapters multiple times, doing secondary research to make sure all the titles and details were correct, and editing the hell out of it to check for long sentences (like this one), passive verbs, spelling mistakes, and other grammatical woes. And now I’m kicking off the even more torturous process of sending query letters and hoping that my baby will attract the interest of an agent with a heart of gold who will help me to sell it for the best possible price (which will undoubtedly fail to recover the expenses I incurred by taking six months off, travelling around Europe, and taking the opportunity to buy every British history book I could get my hands on).
    So why, after surviving the pain of writing the book and anticipating the pain of trying to sell it, am I even considering getting back on the horse? I know that the horse’s saddle is studded with nails and that the horse has a mean temper and a viscious bite. But I can’t help myself — and if nothing else, I’m curious to know what happens with Ferguson and Madeleine as they fall in love. Unfortunately, that book will never come out unless I write it.
    Which is how I found myself on my couch yesterday, trying to ignore the nicest weather we’ve had in San Francisco in a couple of months, setting up my Word program to properly format an as-yet-unwritten manuscript. It was a little bit exciting to go through the process of setting the right margins and ensuring that Word stopped putting ’smart quotes’ and ’smart dashes’ and other ’smart’ formatting that could be bad for manuscript submission down the road. Then I typed the title (currently “Book 2 - Madeleine and Ferguson”, although I expect to come up wtih something snappier), and off I went. I ended up writing the whole first chapter, which was around 3000 words, in less than five hours.
    While I still have a lot of questions to answer and problems to resolve when it comes to the plot, I have a fairly decent feel for the characters since they were secondary characters in AN INCONVENIENT MARRIAGE, so I don’t think I’ll go through quite as much trial and error as I did with the last one. Or at least, I hope that’s the case — if I could write for two hours a day (recognizing that that’s somewhat impossible but planning to make up for missed workday hours on the weekends), it would take me two months to get to the end of the first draft. That’s much better than three years. So even if I fall off the wagon a little bit, I can’t imagine this book will take as long as the last one.
    And that’s where Fate perks up, hears my naive self-confidence, and decides to throw a wrench in things. But I will try to dodge all wrenches and write as scheduled. And if you catch me posting too many procrastinatory links and blogs here, please tell me to stop surfing and start writing.

    | Prognostications | Writing Process |
    2 Comments

    Posted 18 January 2009, 3:01 pm

  • Tonight I made progress on rewriting the opening chapter of An Inconvenient Marriage. I’ve struggled with previous attempts, but tonight it just felt right. I can’t quite explain the feeling — the closest I can come is to say that it’s like an old song that you know by heart, but you just need a small nudge in the right direction to get started. Once you’ve started, you can easily get the rest; it’s just the first line that’s hard to find. That’s exactly how this felt; once I found the right moment in which to open the chapter, the rest flowed fairly well.

    For your reading pleasure, I’ve included Amelia’s first chapter below. It’s still rough, so bear with me, but I hope you enjoy it (and that it gets you ready to buy my book, if it ever comes out!)

    Staunton House, London - 14 June 1811

    She wanted to scream.

    She wanted to pry the pastoral paintings off the walls, slash through the innocent gaiety of shepherds and milkmaids, and burn the canvasses in the nearest fireplace.

    She wanted to run away, move into her dream cottage in Sussex, and never talk to anyone in Society again.

    But Amelia Staunton was the daughter of an earl, and none of these actions were options for her. Instead, she paced up and down the tight confines of her sitting room, fists balled at her sides, as she tried to regain control of her emotions.

    If all she felt was anger, she would have known how to temper her reactions. But dread nearly outweighed her rage — and while she had spent years controlling her emotions under the harsh scrutiny of the ton, dread was not an emotion she was used to feeling.

    She heard a tentative knock on the door and forced herself to take a breath. When she had left the breakfast room an hour earlier, her mother was shaken but resolute; Lady Augusta would not seek to reopen the conversation this quickly. There was only one other person in Staunton House who would disturb her when she was closed up in her sitting room.

    She opened the door and ushered Madeleine into the room. “Did you know what Mother was planning?” Amelia demanded.

    Madeleine looked confused; she had been the Stauntons’ ward since childhood, and the countess treated her like a daughter rather than a confidante. “What are you talking about? I came to check on you because I just saw Lady Augusta and she looked distraught.”

    Amelia sank into a stiff side chair, the uncompromising lines of the seat mirroring her mood. “We always thought she was marriage mad, but today she proved it.”

    “Did she bring up Lord Broughton again? I thought you were quite explicit in your rejection of his last proposal.”

    Amelia shook her head. “She said that after six years, she could no longer trust that I would give any man the opportunity to win my hand, and so she decided to arrange a solution for me.”

    Madeleine frowned. “She’s not planning another house party, is she? With the number of eligible bachelors she invited to the last one, you would think she arranged a hunting retreat!”

    Amelia said nothing. Instead, she picked up an open copy of the Gazette from a side table and thrust it into Madeleine’s lap.

    Madeleine scanned the page, eyes narrowed in confusion — until she found the paragraph that Amelia intended for her to see. “You’re engaged?!”

    Amelia snatched back the paper. “’Lord Rossendale announces the engagement of his sister, Lady Amelia Staunton, to Malcolm MacCabe, Earl of Carnach.’ Of all the things she could do! I doubt that Alex even knows that she arranged this. He’s been in the Caribbean for months, and he could not possibly have sent the announcement.”

    Madeleine waved that point aside. “Did she even suggest this engagement to you before she made it official?”

    “No. She has apparently had this in mind for awhile, though. She said that she tried to hint to me that I should find a husband this year, because she did not finalize the arrangement until it became clear that I would not make a match this Season.”

    “Please tell me that she told you before you read the paper!” Madeleine said.

    Amelia grimaced. “Yes — but barely. I was already at the breakfast table, paper in hand, when she came in, and the look of horror on her face when she saw me should have been a warning.”

    “Is there nothing you can do to change her mind?” Madeleine asked, concern for her friend bringing out a hint of the French accent that she had all but lost after decades in England.

    “You know as well as I do that publication of my engagement in the Gazette is a coup de grace. And Mother knows how averse I am to causing a scandal. Can you imagine the sensation that would occur if I jilted an earl? Particularly after my well-known rejection of half the eligible bachelors in the ton.”

    “The gossips would enjoy it,” Madeleine allowed. “It’s so unfair, though; most of those men only offered for you because they wanted to be the one to win ‘the Unconquered.’ It is not like you were shameless flirt!”

    “If I could wring [NAME]’s neck for writing that silly poem, I happily would,” Amelia muttered. [NAME] had self-published a slim volume of poetry, a practice that was all the rage in London — but his poem “On the Unconquer’d’s Cornflower Orbs” had cemented her nickname and given Madeleine and her brothers fodder for months of teasing.

    “At least your secret remains safe. According to Sebastian, none of the wagers at White’s regarding your marital status had anything to do with your writing — and Sebastian would certainly find if anyone in London suspected the truth.”

    Amelia rolled up the Gazette and tapped it impatiently against the chair. “It hardly matters now. This Malcolm MacCabe could order me to stop publishing, and I would have no legal recourse to continue.”

    Madeleine frowned. “Do you really think that Lady Augusta would arrange a marriage with someone who is so against your work? She may not have wanted you to publicly acknowledge it, but she was always supportive of your efforts.”

    “I doubt that he even knows about it — Lady Sophia is one of Mother’s oldest friends, and even she does not know that I am an authoress. But I simply cannot risk that he will try to stop my work. The Unconquered Bride sold so well, and I want to finish Gaston and Veronique’s story by October so that it can be published by Christmas.”

    “It was clever of you to use your own notoriety to sell books, even if no one knew you wrote it,” Madeleine said. “But surely you can finish your next book before your wedding — Lady Augusta cannot expect that you’ll marry the man before next year at the earliest.”

    Amelia slumped back into her chair as the dread overcame the last vestiges of her rage. “The wedding is in August,” she whispered.

    “August?!” Madeleine shrieked.

    “Yes. The trip she was planning to visit Lady Sophia this summer is actually for the wedding.”

    “But why so soon? You will not even have the chance to meet him before the wedding.”

    “Something about his father’s will — Mother did not explain the details to me, but she said that he has to marry by August or forfeit his inheritance.”

    Madeleine laughed grimly. “It sounds like something out of one of your books. Lady Augusta said that the MacCabes live in a real castle — but your marriage is too Gothic for words.”

    Amelia paused, the feeling of dread skittering to a stop. Madeleine’s words triggered a fleeting thought in her mind, and she seized on it. If one of her characters found herself in an arranged marriage to a dastardly nobleman in a foreign castle, what would she do?

    “Mother arranged a marriage for me — but she never said that I had to stay married,” she said, a speculative grin spreading across her face.

    Madeleine gasped. “She will kill you if you get a divorce! Not to mention the shocking expense and the terrible scandal.”

    “No, I know I cannot divorce him. But surely I can convince the man to send me home if I convince him that we will not suit.”

    Madeleine pondered this for a moment. “What if you do not succeed?”

    “I will,” Amelia said, her confidence returning as she envisioned the scenes that she could cause in a remote castle in the Highlands. “He never comes to London, so there is no fear that word of my behavior will spread. All I have to do is convince him thoroughly that I will not be a good wife, and he will send me packing. And Mother will be so annoyed that she may actually relent to my desire to set up a cottage with you in Sussex. If I am married I can act as your chaperone, and we can stop spending endless hours with all the tiresome people in the ton.”

    “I hope that you are successful! Once you’re married off, Lady Augusta will turn her sights to me, and I have more difficulty telling her no than you do.”

    “You may want to say yes sooner than I did,” Amelia laughed. “If I had known she would do this, I would have taken Lord Broughton’s proposal.”

    Madeleine snickered. “That poor man — you would have broken him within a fortnight.”

    “And been bored silly for the rest of my life,” Amelia agreed. “But at least he would have been too dense to notice my writing, even if I set up a printing press in the drawing room!”

    She stood up, eager to put her foul mood behind her and consider her plan in more detail. Madeleine rose too and quickly hugged her. “You had better succeed,” Madeleine said, half laughing and half anxious. “I cannot imagine London without you.”

    Amelia felt a twinge of sadness, and she smiled brightly to hide her thoughts. She had grown up with Madeleine and shared a sister-like bond with her — a bond that she intended to protect from her unwelcome marriage. “I will succeed,” she promised. “He may be an earl, but I have turned down earls before. And he must be rather weak-willed, or else he would not have allowed his mother to arrange a marriage for him. I will be home within a fortnight, and we will never have to think of Malcolm MacCabe again.”


    | Early Drafts | Writing Process |
    0 Comments

    Posted 16 October 2008, 9:35 pm

  • I just spent the last couple of hours (plus some of my commute today) brainstorming the storyline for my next romance novel. I had always intended for it to be about Madeleine, who is the best friend of the heroine in my current book and also, conveniently enough, a French girl orphaned during the Revolution who has lived with the Stauntons since she was five. Drama, right?
    I originally intended for her to be secretly in love with the eldest Staunton son, who is now her legal guardian (but since she’s 25 and he’s 33, this isn’t creepy in the way that you might think). In addition to being a hot English earl, he’s also a collector, and I thought that perhaps something in her back-story played into an artifact that he just acquired. However, upon further reflection, she might end up with Ferguson instead — Ferguson is the best friend of the hero in my current book, and feigns being an insane, selfish dilettante to infuriate his father, who despises the fact that Ferguson will inherit the dukedom. The father has ordered Ferguson to find a bride — and I’m thinking that Madeleine would be a good initial start. Both of them have reasons to feign an engagement — Augusta Staunton, who basically raised Madeleine, is pressuring her to find a husband, and Ferguson realizes that a Catholic-born French girl with a small dowry and no family connections is the best way to drive his father mad. What neither expects is that their charade will turn all too real.
    Add in a betrothal from the past that comes back to haunt Madeleine, Ferguson’s need to balance his desire to ignore his father with the responsibility he feels toward rebuilding his Scottish estates (inherited from his mother after his father has already devastated the woman’s ancestral clan), and some other ridiculous twists, and this is definitely showing some promising seeds.
    Writing is an interesting process. I can have an idea someplace — in this case, in a flash as I was driving down the 101 at seven a.m. — and see the general outline almost immediately. But, it then takes several grueling months to understand the twists and turns in these characters’ paths, to find the scenes and the conversations  that move them inexorably from point A to point B, and the personalities that make people care about finding out what happens to them. Or, rather, I *hope* it takes several grueling months — I think I could finish a good first draft in three months if I diligently worked that much writing into my schedule, and I certainly can’t afford to take three years like I have with my first book. But now that I know that it’s possible to find a polished gem within the piles of gravel, I think the second book will be much easier.

    | Brainstorming | Ferguson and Madeleine | Writing Process |
    2 Comments

    Posted 6 October 2008, 9:51 pm