Monthly Archives: February 2012

5 Great Lines from Mary Janice Davidson, Undead and Unwed


5 Great Lines from Mary Janice Davidson, Undead and Unwed

1

“Wow, girlfriend, you’re incompatible with life!”
“And here I thought I was just incompatible with pink.”

2

“Hell couldn’t be worse than a WalMart after midnight, right?”

3

I trudged around on the muddy river bottom for half an hour, patiently waiting to drown, before giving up and slogging my way back to shore.

4

“We have souls. Sure we do. Otherwise we’d do bad things all the time. You know, like
politicians.”

5

“Can you burn me up with holy water? Poke me to death with your crucifix? Pelt me with communion wafers?”


Ava Delany
The Fetish Club Series, The Homecoming Series, and The Beginnings Series.
Look for my newest release- A Surprising Day – on Kindle, Allromanceebooks, and many other places where ebooks are sold.

The Twisting Tale


by Kay Springsteen

I once had a dog named Hero. His tail was broken in three places before he even left his puppyhood behind because he had been born with tail bones that were on the brittle side. His tail had a natural curl over his back, then it twisted severely to the right, then to the left, and then back toward his rump. He never seemed to feel the breaks when they happened. He kind of just accepted them. One break happened when he was born. The second when he was about 8 weeks old and got it caught in the wires of the puppy pen. The third break we were never sure what happened. We went out for the evening and when we came home, he had another broken place.The twists and turns of his tail became woven into his personality. In the same way, the various twists and turns our stories take become part of the personna of the tale we are telling.

Most people read or write fiction in order to escape into a story that takes us out of our daily lives, and puts us smack in the middle of someone else’s life. Maybe we crave more excitement, maybe we want to forget the fact that our electric bill tripled this month. Either way, without a little creative storytelling, a few unexpected twists to the plot, or breaks in the tail, there is no story to tell. Enter the writer’s friend: The Plot Twist.

Who cares if we can relate because the heroine’s fiance broke up with her? That’s old news, possibly even happened to us once. So honey, suck it up and get on with life. But when the heroine who lost her fiance gets on a plane to track him down in a foreign country, meets a cute but somewhat shady French native. loses her passport, can’t get it replaced, and finds her cute new friend used her luggage to smuggle something through French Customs…THAT’S more exciting. In case you don’t recognize the scenerio, that’s French Kiss with Meg Ryan and Kevin Kline. In the same vein, how many Cinderella stories can you tolerate? Who really cares about the hooker on the street corner? But put one on a corner being picked up by an uber-rich hunk of a guy with a brooding nature, who wants to pay for the pleasure of her company for the rest of the week and then falls in love with her…that’s fodder for Hollywood, baby. That’s Pretty Woman. Writers take the mundane, everyday things of life, such as a group of men and women with a passion for fast cars, and spin it into an adventure of street racing, rivalry, murder, and high-stakes highway robbery (The Fast and the Furious).

So what can we, as writers, learn from Hollywood fiction? Everything. Movies are generally 1-1/2 to 2 hours of story with tight dialogue, visual stimulation and interesting plot twists. Watching how the story unfolds via the movie will give you an idea how to tighten your writing, how to develop plot twists.to make them hook the reader/watcher.

What drives your story, the characters or the plot? How do you decide where your story will take the reader and how? Do you plan the overall plot, the subplots, and the various twists ahead of time? How do you make sure the story flows without becoming too cumbersome?

Find more Kay Springsteen on Facebook

5 Great Lines from Susan Elizabeth Phillips – Kiss an Angel


5 Great Lines from Susan Elizabeth Phillips – Kiss an Angel

1

“The next time I hear a women going on about how neurotic men are, I’m going to remember this. You tell me you like my body, and what do I say? I say, thank you. Then I tell you I like yours and what do I hear? A long lists of grievances.”

2

“What are you gonna do, angel face? Stab me with your eyebrow pencil?”

3

“In case you still haven’t figured it out, he loves you. Your tiger will be back in the morning, and you can thank me anytime. Now, do I have to paint another picture for you, or do you think you can take it from here by yourself without screwing up?”

4

“I take thee… to be my awful wedded husband”

5

“I don’t love you anymore”, she whispered. “I don’t love you at all.” His throat closed. “It’s all right, sweetheart. I love you enough for both of us.”


Ava Delany
The Fetish Club Series, The Homecoming Series, and The Beginnings Series.
Look for my newest release- A Surprising Day – on Kindle, Allromanceebooks, and many other places where ebooks are sold.

Guest – Karen Frisch


Please welcome back our monthly guest, Karen Frisch.


The biggest challenge for a writer isn’t always the hero or heroine. Sometimes it’s the villain, who can be difficult to disguise. We have to hide him in plain sight, making him part of the action and absorbing him into the story like any other character.

The big problem: getting him to blend in without sticking out like a sore thumb so the reader can point to him and say, “There’s the killer!” Like a hot potato, he is often the character the writer doesn’t want to touch. We’re just as afraid of him as his potential victim is. Even if the main character discovers at the end that he is the character she should have avoided, writers don’t have that option.

Portraying the villain sometimes becomes more of a struggle than the actual writing when the author doesn’t fully understand the character. If an author reacts to the challenge by avoiding the bad guy, leaving him until last, he becomes that much harder to conceal. Since knowing his story allows the writer to get control, it makes sense to develop the story backward and plot the end first. His motivation creates the actions the main character must react to because his is the story that drives the novel.

Years back, when I was working on the story that would become my first published mystery, Gail Eastwood, one of my critique partners at the time, said after finishing the novel, “I never would have guessed the killer—and that’s both good and bad.” Being too subtle is as much a flaw as being too obvious, and it’s up to the author to maintain a delicate balance in selecting how and where to leave clues without being either. We have to wrestle the monster into submission in order to get inside the villain’s head.

In his book How to Write a Damn Good Mystery, James N. Frey describes the murderer as the author of “the plot behind the plot.” In order to know the murderer intimately, Frey recommends keeping a journal in the character’s voice. To make him three-dimensional, the villain must have a selfish interest about which he is passionate. He lives his life with intentions, good or otherwise, just like all characters. In other words, the better we know the devil, the more we can control him.

Psychologists recommend that people learn to face their fears in order to overcome them. A writer’s presentation of the character who is most elusive is among the biggest. Knowing him as well as we know ourselves makes him life-sized once again, bringing him back under our control—right where he belongs.

Karen Frisch’s historical romance What’s in a Name is currently available from Avalon Books. Also available are the Victorian mystery Murder Most Civil and the Regency romance Lady Delphinia’s Deception. She’s also written two genealogy books: Unlocking the Secrets in Old Photographs and Creating Junior Genealogists, both available from Turner Publishing or on Amazon.

Bring on the edits!


Edits! Edits! And more edits!

Yep, it’s that time again where I’ve been working my tush off getting books back to my editors for final polishing. Being a writer is hard work!

I have two books coming out in the very near future, one in March from Silver Publishing and another from Sizzler Editions, which my Sensei is editing as we speak. So I will be pretty busy next few weeks.

Valentine’s day was just yesterday! I got a wonderful dinner from my Valentine and a whole lotta lovin’, ; D. Yep not ashamed to admit that even at my rip old age of forty-two, I still get my groove on!

Got some new material because of it too! (wink, wink)

Anyway hope y’all had a wonderful Valentine’s Day and may all your days be filled with love, health and good times!

Here is a belated Valentine’s day “treat” for your viewing pleasure! I know it’s not chocolate, but I think it will do! ; )

“Tag! You’re It!”


by Kay Springsteen

If you were a director, or producer, would you make a movie that was nothing but a blank screen and a bunch of people talking? Maybe every once in a while a light would come on and show who was speaking so people wouldn’t lose track. Would that help?

How about a book? Would you write a book that was nothing but dialogue with an occasional “said John” or “Jane said,” tossed in?

Your characters have a lot to say. And it’s up to you to sort through it all and help them say it. Now, as the story teller, the writer has a fair idea of how things are unfolding. The writer hears it as the character is saying it, sees it happening as the character does it. The writer knows what the characters feel, what they think, what plans they may be making. The reader has only the knowledge the writer imparts. So a writer may have a firm grasp of the scene, but the reader starts out with absolutely no clue.And that’s where the writer’s job come in. The writer advances the story through action, thinking, dialogue, and narrative, all wound up into a presentable package that the readers shouldn’t want to put down until they get to the last page.

To set up mood in a scene, there is nothing better than action. Clenching fists, punching a wall, stalking away — great demonstrations of anger. Biting fingernails, lip chewing, fidgeting in the seat, shuffling from one foot to the other — great depictions of nervousness. The author can use dialogue here as well. “Where do you think you’re going?” or “I’m not sure I want to.”

In the past, extensive use of dialogue tags and adjectives conveyed the tone to the reader. “Where do you think you’re going?” he demanded angrily. The most recent trend has been to eliminate all but the most common dialogue tags and to limit the use of adjectives, especially those ending in -ly. In the light of this trend, how can the writer make certain the emotions are communicated? With the tag and the adjective eliminated, we have the simple statement: “Where do you think you’re going?” The words themselves show a possible degree of firmness. If two people are in an argument and this statement is used, there is little doubt the words are said with at least a somewhat angry tone. But to emphasize it, the writer has the option of inserting an action. Actions, when used in passages with dialogue are the punctuation that explains the emotion. “Where do you think you’re going?” He grabbed her arm and jerked her back against him. “Where do you think you’re going?” He slapped his palm on the door and slammed it shut before she got it all the way open.

But what if the tone is not meant to be angry? “Where do you think your’e going?” he asked playfully. Take off the tag and the adjective and add an action and the picture becomes crystal clear. “Where do you think you’re going?” With a chuckle, he hooked an arm around her waist and pulled her back into his embrace, tickling her until she burst into helpless laughter.

The actions in your story give the readers a visual to go with the audio they are reading. Combining action in dialogue passages not only keeps the reader immersed in the story but also keeps the story from becoming stagnant and motionless.

Hanging out with Sue Brown


1. Welcome to the blog. We all want to know what’s going on right now with your writing career. What’s simmering in the pot, and what have you recently finished.

*deep breath* The Layered Mask, my first Regency, and Light of Day, the sequel to The Night Porter, got published last week. Stolen Dreams and Complete Faith, the sequel to Morning Report get published in the next three months. Empty Sands, my summer fluff, is half way complete. Various other stories partly completed. Is that enough?

2. If you could date one of the heroes in your books, which would it be? What features make you like him the most?

I would date Rich from Nothing Ever Happens. He’s not the main character, but he is the hero. I’ll say no more about him but if you read the book you’ll understand why.

3. Can you give us an excerpt from one of your books?

Blurb: James Trenchard is a dick. Everyone in Bingwell, Brock, and Bacon says so, and after Ethan’s first encounter with the man, he agrees. Ethan resolves to avoid James but ends up working closely with him and discovers the lawyer’s hiding a secret from the world. Ethan also realizes he’s falling too hard too fast. Ethan has to decide if he should help James and risk getting entangled in the mess James has gotten himself into, or move on. But walking away from love is never a simple decision to make.

Excerpt: 
“Trenchard is a dick. Unless you’re a chick. Then he’s the only one with a dick. The rest of us might as well not exist.”

There was a rumble of agreement around the coffee room at Vince’s vehement rhyming declaration.
Ethan looked around at the other assistants, as they nodded in agreement. As the newest employee of Bingwell, Brock, and Bacon, the largest advertising agency in the city, he had no idea who Trenchard was, or what he had done to offend the senior administrator. He noticed the small, secretive smile that curved the lips of several women in the room, as they stared down into their coffee cups. Ethan had the impression she knew a lot more than she was giving away.

Vince curled his fingers around his cup so tightly Ethan feared that it was going to crack. “Do you remember last year with Antonia from the third floor?”

“Heck, yes.” Paul chimed in. “He was all over her the second we walked in the building.”

“And she went out to dinner with him.” Vince’s tone was bitter. “When I asked her to go out for a drink, she laughed at me. Then Trenchard raised his eyebrow, and she was dropping her panties before you could say slut.”

Paul shrugged. “Yeah, but he’s James Trenchard, Vince. If he asked you out, you’d be dropping your panties even faster.”

Ethan waited for Vince to explode. He was, as far as Ethan was aware, a full-on heterosexual male, albeit an arrogant douche who had the women running for the hills.

Instead, Vince bit at his fingernail, before saying, “Nah, probably not.”

“Who is this dude?” Ethan asked, totally confused.

Vince gave him a look. “He’s James Trenchard.”

As if that was supposed to explain everything. By the way they all nodded again, maybe it did.
From the way they said James Trenchard, Ethan wasn’t sure what he expected. The Messiah, perhaps? In all the years his mom forced him to go to church, no one told him that he’d meet the Messiah at Bingwell, Brock, and Bacon.

* * * * *

In the lobby, as James Trenchard greeted Leanne Cauldwell, the administration director and Ethan’s boss, Ethan stared at him, trying to see the attraction. Sure, the guy was good-looking, almost beautiful even, for a guy in his mid-thirties, with sleek, light brown hair that curled over his collar, and ice-blue eyes framed by long lashes. Those lips wouldn’t look out of place on a woman, except, on Trenchard, they didn’t look effeminate. He was wearing a charcoal gray, pinstripe suit, with a plum-colored shirt and tie. Ethan noticed how well the suit pants showed off Trenchard’s ass. The lawyer seemed friendly enough. Ethan wondered what he’d done to warrant the enmity of Vince Lines.

Up until the moment Trenchard let the door bang behind him, right into Ethan’s face.

“Told you so.” Vince’s nasty whisper floated behind Ethan.

The guy was a dick, no doubt about it. Not a word of apology for almost rearranging Ethan’s nose, then Trenchard ignored them all as they used the elevator to the tenth floor. Ethan stared at the lawyer’s back with dislike, his top lip curling as James Trenchard openly flirted with Ethan’s boss.
Ethan felt sickened, the way Trenchard’s hand rested on her lower back as he guided her toward the conference room. What was worse, Leanne “Lay-one-finger-on-me-and-I’ll-bust-your-balls” Cauldwell was positively blooming under Trenchard’s sleazy charm. She had just giggled—giggled—at something he said.

But as the lawyer showed Ms. Cauldwell into the large, airy room, he looked over his shoulder to the men following them, Ethan included.

“Your boys get prettier every year, Lulu,” Trenchard said conversationally. “Especially that large one. He’s so young.”

The large one, of course, had to be Ethan; he cleared most of the men by at least half a foot. And he wasn’t fucking pretty. Especially not with a door imprint on his face. Unimpressed at being reduced to the level of a thirteen-year-old girl, Ethan rolled his eyes at Vince and Paul.

He noticed Ms. Cauldwell hadn’t even bothered to look at her team. “You batting for the other side this year, James?”

“I bat for everyone,” Trenchard said, then showed his perfect, white teeth.

Ethan imagined Trenchard sinking them into Ethan’s shoulder, even as he sank his cock into Ethan’s body.

Ms. Cauldwell snorted. “I bet you do. Well, my boys are pretty and clever, so don’t you forget it. Don’t make the mistake of thinking they’re just for show.”

Trenchard swept a glance appreciatively over the small group of men; his gaze lingered on Ethan’s face. “Oh, I won’t underestimate them, Lulu; I definitely won’t.”

And didn’t Ethan just know Trenchard was talking to him. He wanted to punch him in the face.

“I don’t think your boy likes me very much.” James confided to Ms. Cauldwell as they sat down.

“Mr. Williams has good instincts,” Ms. Cauldwell said.

Ethan resisted the urge to preen a little.

“I’m sure he does.” Trenchard drawled.

The rest of them spread around the table. Ethan didn’t know how it happened but somehow he ended up on the opposite side of the table from the lawyer. His temper rising, he avoided looking at the man’s smug face; instead, his gaze fell on Trenchard’s hand wrapped around a fountain pen. Long fingers tipped with well-manicured hands—strong hands. Ethan wondered what they’d look like around his dick. Flushing guiltily, Ethan looked up, to catch Trenchard smirking. Hastily averting his eyes, Ethan caught Ms. Cauldwell staring at them with a resigned expression.

“For heaven’s sake, put him down, James.” Ms. Cauldwell sounded more resigned than angry as she tapped her fingers on the table impatiently.

Trenchard leaned back in his chair. “I haven’t touched him, Lulu.”

Ethan wondered if he was the only one who could hear the yet.
“He’s off-limits. Mr. Williams, if you could actually concentrate on our meeting?” Her tone made it clear that it wasn’t a question.

His cheeks grew even hotter. Ethan muttered his apologies. He could feel the amused stares of all his colleagues except for Vince, who glared at him from farther down the table. Ethan looked up to see Trenchard still gazing at him, as if he were a succulent piece of prime rib.

Ethan was grateful when the meeting actually started, which diverted attention away from him. As the meeting progressed, he was unwillingly impressed. Trenchard knew his business. Nothing got past him as he went through each file. Ethan managed to acquit himself adequately when it came to his turn, answering all of the lawyer’s questions competently. Some of his colleagues didn’t fare so well. Ethan winced as Trenchard shredded Vince for a mistake that cost the agency thousands of dollars.
By the end of the meeting, he was feeling more relaxed and able to handle himself. That complacent feeling lasted until he felt a warm foot travel up his calf. From the angle of the foot, it could only be Trenchard. Ethan was pinned like a butterfly on a board as the silk-clad foot tiptoed its way higher, until it rested neatly in his groin.

Trenchard’s mouth moved as skillfully in his detailed discussion on why the agency would get screwed by Disney if they used a phrase in a technical manual as his foot did in its detailed exploration of Ethan’s groin.

Unable to move, unable to say anything, Ethan bit his lip as his traitorous cock sat up and begged for attention. He couldn’t even shove Trenchard off without drawing attention to himself. There was absolutely nothing he could do, as slowly, inexorably, he drew closer to climax. Just as his balls drew up tight, screaming for their release, the foot disappeared.

In shock at his denied orgasm, Ethan watched in horror as the lawyer pushed back his chair and stood.

“I think we’re done for the day, Lulu. Good work, everyone.” Trenchard’s gaze swept around the room. He gave a brief smile. “I believe there is lunch in the boardroom. I’m sure the sandwiches aren’t too stale.”

Everyone stood, except Ethan; he clutched his pen so tightly it was in danger of snapping. So close to coming, a puff of wind could’ve set him off.

“Mr. Williams, are you coming?” Ms. Cauldwell raised an eyebrow at her associate’s lack of motion.

Most likely, he thought desperately, as he gave her a wild-eyed, “Yes, ma’am.”
“I’ll leave you to collect the files, then you can join us in the boardroom.” She pushed back her chair, not giving a hint that she knew of his predicament.

“Yes, ma’am.” He repeated himself, not moving a muscle. Trenchard, the bastard, left without even a backward glance at Ethan.

Paul gave him a puzzled look but obediently handed over his file, the others following suit.

Angry as fuck, Ethan grumbled, alone in the conference room with a pile of files in front of him, his erection hardly subsided since that bastard left him hanging. He wanted to get his cock out and jack off. Get it over and done with. Only he couldn’t do that, so he had to wait until his boner had gone down enough for him to walk without a limp. He’d be lucky if there was any food left by the time he got there. Ethan ground his teeth in frustration.

When he finally could show himself in public and walk into the boardroom, his prediction proved accurate. The food platters were empty, the only things left a few pieces of limp watercress. Ethan groaned inwardly. It would be late evening before he had a chance to eat again.

“Here.”

Someone thrust a plate into his hand. Not expecting it, Ethan dropped the pile of files in his arms. The sandwiches miraculously stayed on the plate. The room went silent for a moment, then everyone burst into laughter.

“Dear me, Lulu, you really picked a good one this time.”

Ethan could hear Trenchard’s mocking tone over the laughter. He sank to his knees to pick up the files, but not before putting a sandwich in his mouth, just in case they got taken away. Paul immediately joined him, reaching out for a file that had slipped farther away.

“I’m so sorry, Ethan.”

“Huh?”

“I saved you some food. I should have waited until you’d put the files down.”

“So you should, Mr. Vicini. It seems Mr. Williams can’t manage two things at once. Multitasking is obviously not one of his skills.”

Ethan looked up to see Trenchard standing over him, that stupid, mocking smile still on his handsome face. Glaring at the lawyer, he got to his feet, files in hand.

Throwing caution to the wind, Ethan leaned forward and lowered his voice. “I am perfectly capable of managing two things at once, Mr. Trenchard, just as you seem to be. It’s really a shame you’ll never have a chance to discover that for yourself.”

He took satisfaction in the fleeting look of disappointment that crossed the lawyer’s face.

His boss watched them from the sidelines, wearing a peculiarly satisfied expression.

“I think I’ll take the files back to the office, Ms. Cauldwell.” He didn’t really care if this was against protocol.

She nodded, that odd look still on her face. “Good idea, Mr. Williams.”

He took another sandwich from the plate Paul still held; he was hungry, after all, then left the room, thankfully without tripping, a shred of his dignity still intact.

As he left, he heard his boss say quietly, “One for my team this year, I think.”

James gave a short laugh. “Not on your life, Lulu. This is just the opening salvo. Williams is just a kid. He could never stand to play with the big boys.”

And didn’t Ethan just hear the emphasis.

Ethan was a short hop from dropping the files and walking back in to plant his fist in James’ face.
“Honestly, Lulu, you’re going have to up your game if you think you’re going to beat me.”

“James, one day you might just get what’s coming to you.”

“Never gonna happen.”

Humiliated and furious, Ethan stabbed at the elevator button. The guy was a lawsuit waiting to happen. Who the fuck did he think he was? If Ethan didn’t need his job so much, he might have called the bastard’s bluff. Except he wouldn’t have, because God, that foot had felt good on his cock.

Yes, Mr. Trenchard, you are a total dick.

~~~~~
4. This is an age old question that every author has to answer about 20,000 times. What got you into writing, and how old were you? Thirty-nine and eleven months, waking up to see Captain Jack Harkness kissing the real Captain Jack in Torchwood. Watch the clip on Youtube. You’ll soon see why I was writing three days later.

5. If you couldn’t be a writer, what would you do with your life? No idea. I found my niche.

6. Do you have a day job that interferes with your ‘real life’ as an author? I’m still finishing my theology degree so not at the moment. Between my family, my degree, looking after a sick family member and life… everything interferes.

7. Tell us something unique about yourself that we don’t know. Um… um… I started to play the trombone as a kid… bloody useless at it.

8. Bacon or ham? Bacon sandwich with Levi Roots’ Reggae Reggae sauce.

9. Chocolate or Jelly Beans? Chocolate: hands down my favourite food.

10. Now that we’ve gotten to know you, we need to know where to find you so we can stalk, I mean visit you.

Shamelessly objectifying men here: http://suesdailymale.blogspot.com/

Talking about my writing and promoting books here: http://suebrownsstories.blogspot.com/

Rambling about everything else here: https://www.facebook.com/suebrownstories

 

5 Great Lines from Suzanne Brockmann, Out of Control


5 Great Lines from Suzanne Brockmann, Out of Control

1

“I’ve been talking my ass off for more than an hour now, telling you shit no one’s ever heard anything about, hoping that I’ll say something, Jesus God, anything that will convince you to have sex with me.”

2

“If you want, I can carry you—”
“I’m fine,” she said shortly. “Let’s go.”
He’d said that wrong. He should have said, “I want to carry you.”

3

“You love me,” he said. “That’s all I need to know.”
“You always say the right thing,” Savannah told him, her eyes so filled with love that he almost wept. “Sometimes it takes you awhile to get to it, but you always get there, and what you say is always worth waiting for.”

4

““I’m going to carry you now,” he told her, “so we can move even faster. I’m not asking you, I’m telling you. Any response from you is unnecessary and unwelcome.”

5

“This wasn’t Weirdville, this was fricking Wonderland. Alice here was all grow up, but she was still chowing down on too much of that psychedelic mushroom.”


Ava Delany
The Fetish Club Series, The Homecoming Series, and The Beginnings Series.
Look for my newest release- A Surprising Day – on Kindle, Allromanceebooks, and many other places where ebooks are sold.

The F-Bomb and Other Manuscript Intrusions


I write mainly sweet romance and I enjoy doing so. I do, however, read a mixture of books at a variety of graphic levels. I ask of the books I read only that they make sense and that the elements included be present to show characterization or to move the story forward. When something is placed in a story simply because it’s a trend the writer appears to be cashing in on, it becomes obvious to me, and it detracts from the story. This is true in terms of sexual explicitness, graphic language, and even paranormal elements.

Characterizing a hero or heroine as a sailor-style cursing fiend doesn’t mean that you have to demonstrate every graphic curse in thought or dialogue. In fact, a few peppered words will leave a greater impact on the reader than if every page is filled with cursing. The F-bomb I’m referring to in this case isn’t the one you might be thinking of. It’s F-requency. If you use a word or type of word too frequently, the reader will begin to gloss over it and when you need it to increase the meaning or signal increased tension/danger/heat, you won’t have anything left. This holds true whether your character uses graphic cursing or fluffy words.

I’ve often seen questions from other writers – How much is too much ___ (insert topic)? They are looking for the easy formula. How far can they go in sexually explicit scenes? How much foul language can they include? All publishers have guidelines. These range from very strict to fairly lax. So the easy answer to these questions is know the publisher you’re aiming at.

On a personal level, however, in my capacity as a writer, crit partner, and editor (at two very different publishing houses), as well as in my role as a reader, the best advice I can give a writer is to develop your writing skills so as not to rely too heavily on any one element in your craft. Learn how to show the rough side of your hero without having every other word out of his mouth be the F-bomb (the original meaning). Learn how to show the sensual side of your heroine without having her lose her clothing at every turn. Unless the story is completely about sex, sprinkling some sexual tension throughout the book is great but pages and pages of sexual encounter between two mutually attracted cops while the bad guys are out robbing banks does nothing for your story. When you do have a hot scene to include, the one that counts (that is, the one that shows the change in relationship between the hero and heroine) will have much greater impact if you haven’t written five of them previously in the same story.

And lest folks think I’m picking on the more graphic genres, anything can be overused. It doesn’t have to be those elements which lead a story to be classified as high heat or graphic language. Comedy can miss the mark when used too frequently. Convenient coincidence can be too convenient. Too much mystery can leave a reader with too much confusion.

Remember, the F-requency Bomb is not your friend. Overuse of any story element only creates boredom in the minds of your readers. Be creative in the way you show things, and always be on the lookout for the next trend YOU can set.

Happy writing, happy reading!

Yes a new title coming soon…


Coming soon from Silver Publishing, my new contemporary erotic romance, titled Personal Tutor…

Daniella is a middle-aged newly divorced and extremely depressed ex-sociallite who accepts a bargain for two weeks of sex with a sexy rich younger man.

Little does she know that the bargain includes not one but two gorgeous brothers bent on making her see that she is still very desirable.

Here is an excerpt to wet your appetites,

“Daniella?”

The deep voice sent shivers down her back. Daniella turned around. Her heart leapt to her throat. Standing before her was a young man, no doubt in his mid twenties, with tussled blond hair that was a bit too long to be considered proper, but not long enough to look delinquent.

His face, gorgeous, tanned with ice blue eyes, full lips and a flawless complexion.  Her eyes traveled down the long lean body, snuggly covered with a black button down shirt, left un-tucked. A well-developed body was evident through the fabric. He wore gray jeans and black biker boots to complete the outfit.  Daniella shook her head slightly to snap out of the sudden trance.

“Yes…can I help you?”

His eyes met hers. He smiled and she almost fell to the floor. He took a few steps towards her.  She noticed he was at least six inches taller, which put him at about the six-foot mark.  Reaching around her he pulled out the chair for her and stepped aside.  Daniella sat, still staring at him curiously.

After he took his seat, they sat there staring at each other for an awkward moment.  He finally broke the silence.

“I guess I should introduce myself. Name is Trace Bentley and I’m the guy who put the ad in Swingers and Flingers.”

Daniella shook her head in disbelief, “You’re the twenty-five year old virgin?”

He chuckled, “Well yes and no. I put the add in after breaking up with my girlfriend of three years.”

Daniella sat back, suddenly feeling a bit insecure, “Why?”

Trace looked down, his expression a bit contrite; “I was really upset over it. She broke up with me for an older man.  She told me, it was because older guys know how to make love not just fuck.” His cheeks brightened with color.

Although Daniella wasn’t actually happy about been caught off guard like this. She felt a bit of compassion for Trace. Still, he was being extremely presumptuous.

“So you figured, putting a ad in an adult magazine would nail you an older nympho, that could teach you how to ahh…‘make love’…”

She really hadn’t intended to sound so sarcastic, but this whole charade felt like some college student’s attempt at tagging a “cougar”. And she was not a cougar.

Trace looked embarrassed, “I would be lying if I said no. Honestly, I hadn’t thought anyone would even answer the ad. In fact I thought it had been canceled.”

“So why didn’t you just tell me that when I called.” Daniella stood to leave.

“No, Daniella wait. I would like to offer you another deal.”

Honestly, she would have just left him sitting there with egg on his face; however, he looked like a lost little puppy. Plus she was very attracted to him. Even though he was a jerk. Something tugged inside  nudging her to sit back down. She gave in.

“Okay Trace, what’s this deal?”

His face lit up like a kid getting a favorite toy. “I want to still pay you for your companionship.”

Daniella rolled her eyes, “Isn’t that the same deal you offered in the ad?”

Trace reached across the table and took her hand in his, “Yes exactly the same. But I want to know what it’s like to be with some one with more…uhm experience.”

She pulled her hand away and got up, swinging her purse over her shoulder, “No thanks Trace, I’m not gonna be your experiment in “cougar ville”. She walked away.

Almost out the door, Daniella felt a hand on her shoulder. She turned ready to blast the asshole. When she saw it was Trace, she sighed loudly, “I’m not interested.”

He didn’t seem to get it. “I wasn’t either until I saw you.”

Did she hear him right? “Excuse me?”

Look for this new release on March 3, 2012. Until then, happy reading and I’ll be back next week with a little less “shameful self-promo” ; )

Emma