Why I Love a Good Argument Between Characters.

There are some very good reasons to write at least a couple of rip roaring good fight scenes into your romance story. The most obvious reason, of course, is the make up sex, but let’s discuss the love scene later towards the end of this blog, where it belongs.

Arguments are a fantastic way to create tension while you are creating––more tension. Tension keeps the reader fully engaged in your story. Even when you have two characters drinking coffee, there needs to be what is called micro-tension in their conversation. In his book WRITING THE BREAKTHROUGH NOVEL, Donald Maass invites examination of a few best selling novels. The secret, he says, to these page turners is that these authors know how to write tension into every scene.

Arguments allow a writer to reveal aspects of a character’s hidden personality when it goes a little (or a lot) out of control. The stoic, strong character suddenly becomes agitated and edgy during conflict or confrontation. Or perhaps a character who is written as a person of questionable morals and a near-do-well, triumphs in conflict and even shows unexpected courage.

I kook forward to writing a falling-out between old friends, a cat fight between two jealous females, a bickering husband and wife, or two old hounds squabbling over a bone. And I approach every conflict with some kind of weird writer’s glee. Every argument is an opportunity to advance either the plot or relationship.

And if the quarrel is between hero and heroine, there is always the promise of a love scene. A sweet and tender counterpoint to a terrible row or a torrid, passionate mating between two highly aroused lovers.

Whether it be huge blowouts that end in a whimper, or a small schism that simply adds spice to dialogue, I have to say arguments are some of my favorite scenes to write. I love it when characters lose control and let loose their tempers. Maybe they even shout a few choice curse words. And I’m there, right in the middle of the conflict, ready to help them get it off their chest and onto the printed page.

Life is a quest and love a quarrel. ––Edna St. Vincent Millay

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

The Fiction World According to My Crit Partner and Donald Maass.

When I worry about not fitting into the romance box or why some contest judges don’t get my dark, brooding occult detective hero, Phaeton Black, I turn to two people. One is my crit partner, a.c. Mason, who sees my brilliance and always encourages me to stay true to myself and write the stories that are inside me, and not to a strict category format.

Then there is Donald Maass. What can I say? Some discouraged or frustrated writers open a bottle of Jack Daniel’s, others turn to the Bible. Me? I open up my dog-eared copy of How to Write the Breakthrough Novel and take solace in his words.

I once had an editor suggest after reading my synopsis, that perhaps the novel didn’t need two subplots in addition to the romance story.

Donald Maass has never found himself reading a novel and stopped to think: This novel is just too layered and complex.

Recently, several agents have written to tell me how much they enjoyed my story/characters and loved my voice/writing, but the manuscript was a tough sell in this market. I have come to understand this coded phrase means: Red Alert! Warning! Danger! Cross-genre novel.

On one of his recent blogs, Donald Maass noted: Everyone writes cross-genre these days.

My crit partner, Mason, lives in Canada and recently attended a Toronto RWA chapter meeting where Donald Maass was the guest speaker. She and I consulted for hours about what questions she might ask him during Q&A. She managed to get the first and only question answered.

Any advice on how to pitch/query if you write cross-genre?

Mr. Maass had a couple of interesting remarks and some advice on the subject. First of all, in mainstream fiction, the lines between genres have blurred considerably, while romance subgenres have not. He also noted that as more and more fiction is sold over the internet (books are e-catalogued for searches in multiple genres facilitating more opportunity for sales.) these genre distinctions are apt to blur even more. Think about what has happened to the business of selling music and you can easily figure out the trend.

From a practical standpoint, he advised cross-genre writers to mention (in their query) some successful cross-genre writers/novels close to your own work. In my case I write historical paranormal with romantic elements and/or historical suspense with romantic elements. So, I might mention Amanda Quick, or Gabaldon or any number of other writers who use time travel or historical settings in which to set a mystery or suspense thriller.

Why is it that in everything I do or try to accomplish in life, I find myself ahead of the curve? And is that a blessing or a curse? Actually, if you could see my face right now, you would be able to make out a twinkle in my eye and a bit of a grin.

For me, the road will be longer and fraught with obstacles, but I wouldn’t have it any other way. I have made up my mind I am a women’s fiction writer and not a romance writer, and I am happy for the first time in a long time. I feel like I have found my place I the world.

Thanks in large part to Mason and Maass. Muah!

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

Paint it Dark.

Dark heroes. Dark heroines. Dark Paranormal. Dark Fantasy. Dark. Darker. Darkest. Darkness. And exactly how dark is dark?

Over the next few weeks, I am going to spend some time discussing the dark side of romance fiction. I have read several novels recently that are touted as a dark thrillers or dark fantasy romance, but they do not seem all that dark to me.

So, my question for the blog today is, how dark is dark? And how dark can a hero or heroine be before he or she crossess over into unsympathetic or hard-to-identify-with territory?

I am currently finishing up the last few chapters of a historical occult detective manuscript with romantic/erotic elements titled THE SEDUCTION OF PHAETON BLACK. Here is an excerpt from the synopsis so you can get a feel for some of Phaeton’s darker personality traits:

The year is 1889, and Queen Victoria, exemplum of decency and sobriety, is in her fifty-second year of reign. Occult detective Phaeton Black, on the other hand, couldn’t be less interested in clean-living. He has recently taken up residence in the basement flat of London’s most notorious brothel. A dedicated libertine with an aptitude for absinthe drinking, he wrestles with a variety of demons both real and self-inflicted. Gifted with abilities to communicate with demons and other creatures of the underworld, he has fairly or unfairly, been linked to Scotland Yard’s failure to solve the Whitechapel murders. Now, he is offered a second chance to redeem himself. A mysterious fiend, some kind of beast or vampire is stalking the Strand. After a glass or two of absinthe and a consult with the green fairy, he agrees to take on the case.

I have only just begun to enter Phaeton in RWA chapter contests and have had the good fortune to final recently. The mansucript went to an editor at NAL. Here are some of her comments:

“Phaeton and America are an intriguing pair, and their initial sex scene is steamy. I do think that more time could be dedicated to Phaeton’s thought processes in the opening pages–his actions reflect his womanizing habits, but the reader also needs to see his charm so that he really comes across as a strong hero. We want to think, “yes, he’s a womanizer, but who wouldn’t want to have him?”

Now, I know that her comments (above) are meant to help me. I know this because she spent a great deal of time and effort writing some detailed feed back. But is Phaeton really that unlikeable? And how many hints must I reveal in the opening chapters? Phaeton is a complex dark hero and part of his charm comes from the shadow side, his bad boy personna.

So I proceed cautiously. On two separate occasions I have worked on rewrites for chapter one and added a sentence or two here and there that hint at the better angels of his nature.  But I’m not sure. Am I caving too early on this? At times like this, when I add new sentences or paragraphs that I am not sure about, I color the words red, like this. And the revisions will remain that way, until I am convinced I have made an improvement in the manuscript. Not until then, do they get changed back to black.

The last time I checked chapter one, they were still red.

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

On Finaling in the Golden Heart: The Call.

I collected my jacket, my purse, my iPhone, and was just about to leave for my dental appointment. In fact, I had joked extensively with the Contest Divas the day before about the fact that I didn’t want to think about the RWA Golden Heart. And I wasn’t going to get any call.

My Eeyore-ish kind of mood came from a weekend of contest disappointments. The worst one of which was the lowest score I have ever received in a contest from a judge who hated my dark hero as well as my writing. She said I overwrote every sentence. Boing!

Besides, I wasn’t going to final in this impossibly huge national contest, anyway.

In the days proceeding call day, I wrote several posts about sitting in the dentist’s chair and having crown work done. I remember references to novacaine and laughing gas and being too busy to think about the GH.

Then, at approximately 8:45 in morning, I got the call.

Your brain goes kind of fuzzy during the call. But not so muddled that you miss the awesomeness of the moment. And the second you stop screaming the RWA PR machine kicks in. Vaguely, you hear dates about getting a photo taken and sent in for press releases. Then there is this large packet of materials you will be required to read fill out and send back. A special e-chat loop is set up for finalists to ask questions and get to know one another before the conference. And, as a Golden Heart finalist I will get priority for appointments with agents and editors. And, and, and…

When the call ended, it took me about an hour to write a simple text because my hands were–you guessed it, shaking. The best thing about the call for me was that I wasn’t ready for it. It truly came as a huge, wonderful gift and it took most of the day to sink in.

And remember, I still had to go to the dentist. It’s an odd feeling sitting in the waiting room thinking about the $960.00 I was about to spend on a crown. Money I could use to go to the RWA Nationals in Nashville; where I would be able to network with industry professionals, published authors and lots of other writers. Then an idea struck. To hell with the crown. I’ll keep the temporary in for a few more months and get the permanent crown done in August, after I get back from the nationals. Brilliant! Immediately I had half the expenses for the trip already saved.

Two weeks ago, I began a series of blogs on the pros and cons of the romance contest circuit. Was it worth the time and angst? Even if you did final, what were the odds of signing with an agent or getting offered a contract from a major publisher?  And I still don’t have the answers to those questions, but the for the next few months anyway, I think my chances have gotten a whole lot better. I will keep you posted. This is going to be an amazing ride, and I’m ready!

Jillian

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

The I Heart Contest. Yet another journey into the dark heart of contesting.

A few months back, on a bet, my crit partner and I entered the I Heart Harlequin writing contest. Then, after several weeks of putting it off, I wrote a chapter and synopsis one week before the deadline. I even managed to dredge up a plot that worked without giving me too much heartburn/acid reflux.

I do not write contemporary, nor do I generally dream up the kind of stories that are the staple of the Harlequin Presents or Modern Heat lines. And this kind of writing is more difficult than you can imagine, because it requires a great deal of emotional character angst shoveled into a well worn story line. What I like about Harlequin editors is they come right out and tell the contest participants not to write anything too fresh or creative. (Whew! What a relief.) They want you to use the time tested plots “we have all come to know and love––just change up the characters a bit.” Well, I have to say, at least they’re honest.

Here is a kind of sample scenario:
Handsome Rex Ruthless billionaire, coerces young attractive waitress, Dixie Doosey into sleeping with him. Either that or he will foreclose on her Grandpa Gabby’s ranch. Then somehow (don’t ask how, it’s just too unbelievable) the rich hunky dunkster realizes he has fallen in love (sigh). Now he must do everything in his bank account to win her back, like pay off the huge tax lien on grandpa’s property. Then the enchanting waitress will have sex with him again, oh no, I got that wrong––I mean so that the she will marry him. HEA.

By the way, the story above was not what I wrote. If I had written the love tale above, I might have had a chance at winning.

There is an alternate plot that revolves around a love child custody battle and heroine abduction but you don’t really want to read that blurb, do you?

So, that’s it. Needless to say, I didn’t win. My crit partner is sad about the fact that I lost, because she wanted me to win badly. I suspect it would have given her great pleasure to see me struggle to complete a 55,000 word Modern Heat manuscript with the help of a Harlequin editor (for a whole year).

Boing. (The sound of my brain imploding.)

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

The Year of the Electronic Entry: A writer’s journey into the dark heart of contesting.

This could be the year of the penguin (NAL) or the kangaroo (Pocket Books) for me. Or so I keep telling myself. As my one-year-of-contesting mark approaches, I thought I would take time to review my experiences on the RWA chapter contest circuit for any blog readers out there who might be contemplating entering contests.

SET REALISTIC GOALS.

No one, not even the savviest, most experienced contest diva finals every time. Some of these writers are impressive though, racking up more than a dozen finals in a year.

My original motivation/goal for entering contests was to make the finals, which meant my entry would bypass the slush pile and get onto an agent or editor’s desk. I frankly did not care about final placement or prizes. What I cared about was getting into the finals. And how is that working for me so far?

Here’s how it stacks up:

Out of eleven entries since May of 2009, I finaled four times. The Contest Divas tell me that I am doing very well for being a novice and entering the wrong category for over half those contests. Ah, which reminds me of the first big lesson I learned.

ENTER THE RIGHT CATEGORY.

I cannot emphasize how important this is. Since my novel is set in late Victorian London, I assumed my category was primarily historical. (Even though I knew very well I had written a suspense story with romantic elements.) Why was historical such a bad choice? By entering historical, I was up against all those high concept Regency manuscripts loaded with GMC in the first chapter. No wonder I was getting such a hard time from the judges! In fact, it is almost strange I managed to final twice and place first once! When I examined the judging criteria in historical compared to suspense, I immediately understood what I had been doing wrong. The Romantic Suspense category gives the writer more pages/chapters to let the hero and heroine meet as the suspense story unfolds. And your entry can be set in any time frame. (Contest rules don’t always state any time period.)

Sigh. No one helps you with these things, which is one of the reasons I am writing this blog. Hopefully, I will save another writer out there time, money and angst.

DO NOT ENTER CONTESTS WITHOUT AN OPENING THAT HOOKS THE READER.

If you don’t have a strong opening and first chapter, don’t bother entering. In this sense, contests do teach unpublished writers how to compete in the marketplace. Editors and agents have a three page attention span. Remember that when you query or send sample pages.

YES, you get read by editors AND agents AND QUERIES GET ATTENTION.

A side benefit of finaling in contests is that listing your contest credits seems to get the attention of editors and agents. It most likely tells them you are a better than average writer. The combination of listing contest finals and a strong query will probably get you a request for some pages.

So far, I have been read by an editor from NAL, Dorchester and Harlequin. And I currently have editors from NAL (NAL again, different editor) and Pocket Books reading entries. Who knows? Contest Divas who final often sometimes wait years for a contract. So, does it really pay off? I am still optimistic.

In the next couple of weeks I am expecting results on two recent finals listed below. I will continue to keep blog readers posted on my progress throughout the year.

Still waiting to hear on placement and/or requests:

The Seduction of Phaeton Black, Specialized, 2010 Great Expectations; The Yard Man, Finalist, Romantic Suspense, 2010 Linda Howard Award of Excellence.

The contests below are essentially over. (Even though I received a request from Dorchester, for the first place win, I never heard back after sending a partial. Six months have gone by. I think I have been blown off.)

The Yard Man, Second Place, Romantic Suspense, 2009 Where The Magic Begins; The Yard Man, Third Place, Historical, 2009 Indiana Golden Opportunity; The Yard Man, First Place, Historical, 2009 Golden Acorn Excellence in Writing.

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

Sage advice: “If it sounds like writing, rewrite it.”

“These are the rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story.” –Elmore Leonard

Using adverbs is a mortal sin. Just ask Elmore Leonard. I like to refresh my memory every once in awhile and reread his rules. Today, I mean to share a few of his wicked and simple insights, but only with those writers who are serious about cleaning up their work.  Another piece of E.L. advice: “Try to leave out the part that readers tend to skip.”

1. Never open a book with weather. If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.

This first rule is for those writers who can’t resist putting their author’s voice into the story, like using narrative with descriptive metaphors. Note what he says about it being ‘the character’s reaction to the weather.’ He is trying to remind the writer to keep the narrative deep in the character’s POV. So if you are fond of metaphors, make sure your character is a writer or english professor and perhaps the narrative won’t feel like a writer intrusion––if you’re clever.

2. Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks.”

Plain and simple. Prologue is backstory. Sprinkle it through the novel in small doses.

3. Never use a verb other than “said” to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But “said” is far less intrusive than “grumbled”, “gasped”, “cautioned”, “lied”. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated” and had to stop reading and go to the dictionary.

Enough said.

4. Never use an adverb to modify the verb “said” . . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs”.

I laugh everytime I read this one. I have made a concerted effort to eliminate –ings and -lys, which helps eliminate the dreaded past tense of “to be” so I write more actively. Oops.

You can google Leonard’s six remaining writing rules. They are posted in articles and blogs all over the internet. But I recommend buying the book and keeping it close by your writing desk. The guide is not only an inspiration, eventually his words sink in.

Jillian

Elmore Leonard’s 10 Rules of Writing, illustrated by Joe Ciardello is published by William Morrow and available at Amazon. It makes a wonderful gift for any of writer pal who understands the importance of red penciling as many adverbs as possible.

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

Howling About the Latest Lycanthrope-Over-London.

Don’t get me wrong, I really like Benicio del Toro. But not in this latest incarnation of THE WOLFMAN. I am disappointed, to say the least. I went to see the movie yesterday afternoon and unfortunately, there is little to recommend. In fact, I would like to whine and complain about the writing and production quality for a few paragraphs.

First of all, don’t remake a movie unless you can make improvements on the original. Even the effects are rehashed from a hundred other recent horror/action CGI loaded movies. In fact, the transformation scenes were done better in films nearly thirty years old, now. And in a strange non sequitur, this new version dredges up Gollum, or a creature that looks remarkably like him, for a cameo appearance.

I understand the rationalization for remaking the old classics. There is a movie going younger generation who hasn’t seen the original. And don’t forget there are huge numbers of effects designers/studios out there. I can only surmise the movie industry must feel obliged to feed the CGI beast. I would like to be a fly on the wall when producers cost out the price of actors versus effects budgets. Then again, maybe not.

And what does this fresh ticket-purchasing public know about the original story anyway? Most have become familiar with shapeshifter tales by watching clans of vampires and lycans fight each other (Underworld or Twilight universe, take your pick) rather than the character originally created for film by Lon Chaney, Jr.

Who is Lon Chaney, Jr.? Sigh. Perhaps only a college film major or a Goth horror wonk  might know the answer to that question.

Lastly, and this is just a pet peeve of mine, why do they always portray Scotland Yard Detectives as nasty, somewhat bumbling, and totally ineffective? I had hoped the casting of Hugo Weaving would add a certain intelligence and élan to the role of inspector, but no such luck. He played him more like Agent Smith in Matrix and less like Elrond in Lord of the Rings. (Not that I wished for an elf, mind you but, I think you get my meaning.) As many of you already know, I am writing a series of late Victorian era suspense novels, whose hero/protagonists are Scotland Yard Agents. I guess it is just up to me to forge new territory and change the type casting.

You would think that a cast which included Sir Anthony Hopkins (or is he a lord now?), Benecio del Toro and Emily Blunt could wow us with a truly blood-thirsty gothic tale of horror straight out of the penny dreadfuls. Perhaps, the producers might have had the taste level and insight to hold back on effects, let the story and the cast of accomplished actors carry more of the tale. That, of course, might have been possible had they encouraged a story that could be told around a fireplace on a winter’s night…with a full moon.

Hear my inner wolf howling?

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

Style Notes Part Deux: Fantastical Steampunk

In my first Style Notes blog on Victorian Steampunk, I wrote a kind of cursory overview which I called Steampunk light. At that time, I did not venture into the more fantastical. Today, we dig deep and bore into the center of the earth or take a dive to the bottom of the sea, and head for Mysterious Island. Jules Verne described the Nautilus as, “a masterpiece containing masterpieces.” So, shall we begin there?

Steampunk machines do not have to be powered by steam, necessarily. And what was the strange power that propelled the Nautilus? There wasn’t a name for it exactly, but according to Verne’s description electricity was provided by sodium mercury batteries, the sodium being extracted from seawater. Gee, not only was Verne the inventor of such a fantastical vessel, but he also thought up a convenient, inexhaustible source of fuel!

If you prefer more whimsical adventure, the stick-a-hat-pin-in-the-atlas kind of travel, perhaps we might climb aboard a Zeppelin from The Amber Spyglass and travel to Cittàgazze (The City of Magpies). Some of the most glorious gizmos have been formulated in the mind of Philip Pullman, a writer who knows how to imagine some masterful Steampunkian gadgetry! Throughout HIS DARK MATERIALS series amazing and thrilling machines play key roles in the storylines, including the wonderful Alethiometer device which measures the truth. Or the Intention craft, a flying machine that has no engine or wings. And the subtle knife, a double edged blade that can cut through the fabric of the universe.

I also like to mix “real” science with metaphysical powers in my historical paranormal stories. IN THE SEDUCTION OF PHAETON BLACK, Doctor Exeter has designed and built an airship that is lifted into the air by steam, but is otherwise powered by something he refers to as electrified vortex propulsion, an electrical charge tempered and manipulated by deliberate meditation.

Other examples of magnificent machines and futuristic locations would be steam powered robots, underwater bases, moon rockets, time machines, etc. The smaller gizmos range from Steampunk haute couture brass goggles to crystal powered illuminators (flashlights). The number and oddity of these kinds of gadgets is limitless.

A nice mix of these wild, improbable apparatuses and the men and women who steer them can be nothing short of mesmerizing, even immersifying! Is that a word? If it is not, it should be. However, if you are a historical romance writer, my advice to you, as ever,  is not to get caught up in the equipage, at the expense of the story, and everything will be full steam ahead.

“Aye, aye, Rear Admiral Wilhelmina Fairbeard,” you say? One of my Steampunk names acquired by visiting the website: http://brassgoggles.co.uk

For those of you toying with the idea of writing a Steampunk romance, I say no time like the past. Like the song says: Time keeps on slippin, slippin, slippin…into the future.

G. Jillian Stone

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com

Confessions of a Cross-Subgenre Writer

Four months ago, I completed a historical, romantic suspense manuscript with erotic elements. I am currently about two months away from finishing a historical, paranormal with erotic elements.

Technically, each book crosses over at least three subgenres: 1) Historical  2A) Romantic Suspense  2B) Paranormal 3) Erotic

I have been told by an agent, who still has my full manuscript, that I straddle several subgenres. She wrote this conditional remark, even as she asked for the full manuscript so I cannot complain! Still, it got me to thinking, will I ever fit into the preselected romance slots that publishers have gone to great pains to organize? (I assume they categorize this way for marketing objectives, although there may well be other reasons.)

My local Barnes & Noble doesn’t have subgenres. All the books go into one main category heading: Romance.

I am concerned over this business of crossover because I am not sure that I can write a story that sticks to one category and doesn’t bend any rules. By romance novel standards I should be writing to some fairly strict guidelines. So if I write a love story with erotic elements which includes a suspense plot set in a historical period, does that make my novels difficult to market? Or does it just give the publisher more categories to market my novel in? Is this a half empty/half full kind of puzzler?

This brings me to my poll question. I asked my critique group:

How often do historical romance readers crossover to contemporary or paranormal, or put another way, do paranormal readers ever read a historical romance?

Across the board, every writer in my critique group said they read a mix of subgenres, let me quote a few excerpts:

Stacy/paranormal writer: “I read just about everything. I go through phases. Like right now I’m in a paranormal vamp phase where I can’t seem to get enough of Lara Adrian’s breed series, but a few months ago I was reading historicals by Susan Wiggs or the Bride quartet by Nora Roberts. Next month, who knows..?”

Jodie/historical writer: “While I enjoy writing historical tales, I consider myself more of a reader of romance and not of a category. Outlander is great, but so was the Twilight series. Charlaine Harris’ Sookie Stackhouse novels pulled me right in. From Nora Roberts, and Sandra Brown to Kimberly Killion, its the story that draws me in, not the setting.”

Kaycee/Contemporary Romantic Suspense writer: “I read anything and everything as long as the story is good.”

Ambrielle/Paranormal writer: I try to read across all genres. My 2010 goal is to read different genres not just romance. Like someone said, if your book is good (actually I should say great) I’ll read it. As we speak I am reading a thriller.

Now this little research poll of mine was qualitative, not quantitative. (Instead of man on the street, I’d like to refer to it as chick in the chat room) but I must tell you I’m feeling a little better already.

As far as I can tell, the online e-publisher bookstores use the subgenre categories to best advantage, and that will likely expand and evolve as electronic publishing grows. However, even in electronic bookshelves, you will often see the same book listed under several different subgenres. Wait, that makes me feel even better!

So, I guess it’s not all that horrible to write a Victorian thriller with hot love scenes!!!!

Does your writing crossover too? Join the club. Love to hear your thoughts and comments on this matter of straddling (sounds erotic) subgenres.

Jillian
—
There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com
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G. Jillian Stone

Style Notes: Victorian Steampunk

I love the late Victorian period, 1880 until 1901. And the age that came next, during the Belle Époque, the Edwardian era, which featured the most dazzling women’s fashions. Those giant, sweeping hats and the slim long lines of dresses that were truly spectacular compared to the “shelf bustles” of the late nineteenth century. Though, to be fair, I have had a good deal of fun writing about those bustles in The Yard Man Series.

And I love the emerging industrialization and futuristic gadgetry of the period. Although some romance readers/writers prefer more delicate times, before steam engines and gravity cell batteries, typewriters and sewing machines, I enjoy having my characters interact with machines and gizmos. It adds another layer of atmosphere to the story.

I do not write over the top fantastical Steampunk like, mysteriously powered submarines. But I do love working in a horseless carriage or a majestic airship equipped with a large balloon and sails to catch the wind. My characters also deal with battery run torches and vibrating machines that alleviate female hysteria. Lol!

What amazing energy there was in this period! Suffragettes organizing for the vote and women riding bicycles in pantaloons––of all things!

Science and industry were both advancing at break neck speed. It was no wonder the people of the period obsessively scrubbed their homes when microscopic germs were discovered and linked to sickness. Technology became so overwhelming many citizens sought refuge in the occult/spiritual world. A great number of spiritual charlatans were about and Houdini was ready to expose them!

And how on earth could romance blossom in an atmosphere that was so literally unhealthy? London air was filled with black soot, which in turn, caused those mysterious thick fogs. I guess I believe that love will always find a way.

To concoct my late Victorian romance adventure novels, I added a few thoroughly modern ladies and matched them with dashing and brilliant Scotland Yard detectives. Presto chango! Or is it izzy wizzy let’s get busy? Anyway, I jumped right in and here I am, in the process of completing my second novel in the series!

Will they sell? One can only hope. I should warn other writers about the era. I have been told that Steampunk is hot, but I have also had an editor tell me she thought the period wasn’t romantic. There are mixed signals coming from the publishing world (romance fiction) on Victorian Steampunk. Do take care and stay tuned.

Stay tuned? Oh wait, didn’t that originate in the radio era? When was the golden age of radio? 1920’s? Hm-m.

Jillian
There are fields in time that burn with desire. Meet me there.
Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com
—
G. Jillian Stone

Why do Johnny Depp’s characters keep creeping into all my male characters?

Okay, I admit I am a fan. But not one of those wacky crazy fans like…well, just google: Why is Johnny Depp so hot? And you know what you’ll find? Thousands and thousands of blog posts and YouTube videos.

Nearly all the posts read something like this:

Q: On a scale of 1–10 how hot do YOU think Johnny Depp is?

A: OMG! 10 billion if I am allowed to go that high! He is People’s Sexiest man Alive for 2009 and he deserves it!! HOTTEST MAN ALIVE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! My favorite movies by him are Benny and Joon, Sweeney Todd (I love it when he’s mad), Edward Scissorhands, and all of the Pirates of the Caribbean movies. These are in no order. I LOVE HIM!

Actually, I think of myself as rather sophisticated when it comes to my taste in men and particularly discriminating where my heroes are concerned. So, why is it when I am working out a profile for a new protagonist, I often use the Depp character analogy?

My current writing project, THE SEDUCTION OF PHAETON BLACK, features a slightly deranged, dark protagonist who rarely takes himself seriously. He lives in the basement of a brothel, and communicates with demons and monsters for a living.

So Jill, exactly how Deppish is Phaeton Black?

Let’s see if you can follow this Depp filmography: He gets his soulful dark eyes and intense quirky temperament from Benny and Joon, borrows a bit of glib eccentricity from Jack Sparrow. Surely he derives his taste for absinthe and his sleuthing skills from Inspector Fredrick in FROM HELL. The debauched, inebriate part of Phaeton is Rochester in the Libertine and the whimsical tortured soul who communicates with phantasmagorical creatures has got to be Icabod Crane of Sleepy Hollow.

Does that about do it? No!

When I created THE YARD MAN, Zeno Kennedy, I had in mind the stoic Mr. Darcy of PRIDE AND PREJUDICE. I moved the period up seventy years, placed his residence in London and had Scotland Yard employ him. Little did I realize J.M. Barrie would surface from FINDING NEVERLAND. And who knew he could serenade Cassandra like Sweeny Todd? Or waltz like him? Huh.

I have in mind another hero named Raphael Byron Lewis, who definitely has shades of DON JUAN DEMARCO in him. Ah well, I guess I just can’t help myself.

I could probably do this Depp filmography exercise with nearly every male character I have ever written and come up with another equally unique set of films and characters that Johnny Depp has made memorable. I suppose this says more about the versatility of Mr. Depp than it says about my characters, but still, I do tend to think of him often when developing male heroes.

I have finally settled on the idea, that I am attracted to odd, eccentric characters. Heroes whose hearts beat to their own rare, exotic rhythms. Oh yes, they must be hot, ingenious lovers, for sure, but they don’t shave their chest hair or have bulging muscles. And they do have to be really, really smart. And clever. And funny.

What is wrong with me?

Perhaps I am searching for an enduring hero, not just a character who can keep me entertained for the length of a novel. I will even think about him afterward and say, “Wow, (insert name here) was an amazing, hot hero.” And maybe I will remember him for years afterward.

So, how does Mr. Depp fit into all this? In a way, Johnny Depp must be a kind of male muse for me. He plays Eros to my Erato. And I’m keeping him that way.

Jillian

There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: www.gjillianstone.com
—
G. Jillian Stone

A Blog on the Dark Side.

I prefer dark heroes. Intelligent, intense men with a tortured past, and a hidden life, or multiple alternate personae. There is something about the brooding introspective hero, who walks a fine line between devil and angel, that murmurs “yum” to me.

When we think of antiheroes in romance fiction, we usually think of male protagonists, and very often these men are either bad boys (contemporary), rakes (historical), or vampires (paranormal). But what about the dark heroine? The antiheroine is certainly capable of being just as enigmatic as her male counterpart. But she is hard to find in women’s fiction unless you read paranormal, or urban fantasy. For the most part these female heroines are fierce warrior chicks and are often social outcasts or on the run.

Christine Feehan writes dark, damaged heroines in the Ghostwalker series. I am thinking about the character of Iris Johnson, aka Flame, in NIGHT GAME. She’s a victim of horrific experiments, a one woman weapon of mass destruction. But way down deep, in a place she rarely lets herself think about, lies a tortured child and an injured spirit. Of course it takes an amazing hero as strong and patient as Gator Fontenot to awaken her inner girly-girl. (Meanwhile all that Cajun charm of his can entertain the reader even if it doesn’t get to Flame until page 152.)

I have been told Shiloh Walker’s Hunter series has an interesting dark heroine determined to face the world alone. (By the way, anyone who reads the Hunter series, please share more with us.)

Yeah, these women are tough all right, but can the antiheroine be as sexually adventurous as her male counterpart? How far can a dark heroine indulge in pleasure before she is considered a ho? To answer this question and a few others, I have just the writer to go to: a.c. Mason.

a.c. Mason writes on the dark side of Urban Fantasy and Paranormal, incorporating both erotic elements and dark heroines. Her novel, AEQUITAS I BETRAYAL, is available online at Lyrical Press or for more Masonisms visit her website.

So Mason, who are some of your favorite dark heroines?

Hands down Charly Baltimore played by Gina Davis in A Long Kiss Good Night. A bad ass CIA operative who lost her memory and became school teacher. A head trauma wakes up the dormant agent and bam, watch out, this Mama is smoking. One of the reasons is Charly didn’t de-feminize herself. She is a kick ass operative, strong and feminine.

In your novel AEQUITAS I BETRAYAL, (Lyrical Press) the heroine is a beautiful general in the Aequitas army of part angel/demon warriors. You have described her as having a cold heart and a secret past. Tell us something about how you constructed her character.

Constructing Auria helped me build the entire race of the Aequitas. I started with an image in my mind. Her hair, stance, clothing, eyes, scars, tattoos, grace, speed, and then moved to personality traits, like her taunting attitude. Dark characters have survived horrors then build armor to protect themselves, they are unwilling to feel any deep emotional or physical pain. As I recall, Auria roared into my mind and stepped right into the pages of AEQUITAS I BETRAYAL. I work backward, striping the character until I find all the events that shaped them. I study people through my own observations. Sometimes the wall is visible but with others their defenses are well hidden. Auria was a slave girl in a harem, who wouldn’t be kept powerless and rose to head mistress, wielding force over others. Also, she rises from servant to general without emotional growth. Often dark heroines like Auria have blinders on when looking at the sum of their actions. Sex for her is just another tool to get her way until Etienne shows up and sees through her game.
I know you have a finished ms, NIGHT REINS, featuring a retired vampire slayer heroine, who’s torn between an alpha and a beta male.

Can a dark heroine be sexually adventurous and still be sympathetic?

The short answer is no but there is a but. By social condition, women are to be the givers and caretakers, the ones who sacrifice. A dark heroine is often in survival mode, looking out for number one. She is already hard to relate to for the average person. Here is where the but comes in: If you can prove to the reader that ultimately she is the compromised character, “the one doing the sacrificing,” you have a case for redeeming her. It won’t be easy but such is life.

Any tips or advice for writers thinking about writing a dark heroine?

Why? Don’t put yourself through the hardship. If you must, be cautious with her sexuality. If you are going to push the envelope, don’t preach. And be sure to make the story riveting. The way you break through barriers is by writing something so good the industry can’t ignore it. Oh, feel free to torture your dark heroine, have her fall from grace, killing her more than once doesn’t hurt, if possible.
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Thanks for sharing your insights, Mason.

For me, dark protagonists are wonderfully entertaining to write, but they are harder to pull off. I have also discovered an unexpected side benefit. Writing a dark hero has forced me to construct (written and unwritten) backstory in great detail, and I find my latest antihero has developed into a wonderfully multidimensional character.

Plus, don’t forget, these dark ones are cool characters. And why is that, exactly? First of all, they have many layers of complexity. Psychic scars, as well as physical damage, and in the case of paranormals––real demons.

Number two. These characters are memorable. Are they more iconic than the stand up guys? Is Superman more memorable than Batman? It most likely comes down to personal taste. For me? I’ll take the Bat Cave over the phone booth, any day.

Third, they are moody. Dark heroes/heroines can be outrageous, surly, irritable, combative, rude and get away with it. As long as the reader is also provided hints of their inner, redeemable selves, the writer is free to go for it.

Whether a story features an antihero or antiheroine, I believe I have hit on the main reason to enjoy a protagonist on the darker side. They are more fun.
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There are fields in time that burn with desire. Meet me there.
Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website: http://www.gjillianstone.com
—
G. Jillian Stone

A History has a new and improved look!

Come by and check out our wonderful new site look, designed by our very own Shiela Stewart.
Thank you Shiela for your time and effort in making our site beautiful.
Please comment and tell us what you think of the look of our site.

The Innocent Hero

“He made love with a sort of unflagging joy that made me think that male virginity might be a highly underrated commodity.” ––Claire Randall, Outlander heroine.

Ever since reading OUTLANDER by Diana Gabaldon, I have been fascinated by the concept of the virgin hero. First of all, as a writer, creating a male protagonist who is both alpha and sexually inexperienced is a huge challenge. Let’s face it, most women prefer a bold love maker to a hero who has a learning curve in the bedroom. But a part of me keeps wondering if we aren’t missing an interesting complication, of sorts.

Lessons in love are just as stimulating and romantic, if the roles are reversed. In OUTLANDER, Jamie Fraser is not only an enthusiastic student, he’s a fast learner who is eager to pleasure Claire. Gabaldon writes some wonderfully entertaining scenes, including a first experience with fellatio and a lesson in “rough play.”

Eloisa James is the only other writer I can think of who has recently tackled the subject in WHEN THE DUKE RETURNS. Here’s a three sentence synopsis: Simeon Jermyn, English adventurer has recently returned to England. Having spent years studying various Eastern religions he has learned to control his emotions as well as his libido. Married to the duke by proxy years ago, the heroine has to figure out a way to seduce her virgin hero or the marriage will be annulled.
Both Jamie and Simeon are very different characters with the same complication, their virginity. In OUTLANDER, Jamie’s loss of innocence plays a solidifying role in his physical bonding to Claire and profoundly affects their emotional ties to one another. In the case of WHEN THE DUKE RETURNS, the hero’s sexual abstinence is the principal conflict in the high concept romance.

So, what are some of the shared character traits of the typical virgin hero? At random and not necessarily in order of importance, I will list a few:
1. With every breath they take, they are effortlessly masculine.
2. They exude a quiet, stoic kind of strength. They have nothing to prove to anyone.
3. They don’t posture (too much) and never abuse their power.
4. They are protective but also nurturing.
5. They are men in control of themselves. And in particular, their little man.
Up until now, I have not mentioned looks. Assuming our virgin hero is a fit, attractive man, and considered very desirable to women, control becomes a defining character trait for the virgin hero.

Trait number five demonstrates something very special about him. A man who has had many opportunities, but has chosen to remain inexperienced sexually. His reasons why can vary, but one inherent promise is his future fidelity. And oh yes, a man who shows that kind of control over his manhood has the makings of a very adept lover.

Ultimately, the male virgin protagonist is the quintessential innocent hero and that purity of spirit infuses all of his thoughts and actions. Oh, he is bound to fall from grace occasionally, torturing himself over his human failings, but that makes him all the more lovable, doesn’t it?

Hm-m, so how to go about creating a virgin hero? There are myriad ways a writer could chose to build him. I get weird tingles down my spine when I dream up interesting and odd complications and back story for my characters. Not only do these complexities add layers to the plot, but they allow characters to react to story events in interesting, unexpected ways.

And what about all the juicy possibilities there are in a dark, virgin hero. At the moment, the only one that comes to mind is Edward Scissorhands (Movie tagline: His scars run deep). And that leads to Johnny Depp. But then I always think of Johnny Depp when I create male characters. I’ll save that discussion for another blog on another Monday.
I think the main reason I have not written a virgin hero is because I haven’t found the right man for the job, as yet. One day, I’ll be taking a shower as I mull over a new hero idea in my head. I’ll squeeze out a dollop of hair conditioner and work it in. Make him a virgin, my muse will whisper, and that will be exactly right for both his character and the story. I look forward to that shower.

Has anyone out there read another virgin hero you’ve enjoyed? Please do share him.
Jillian

G. Jillian Stone
There are fields in time that burn with desire. Meet me there.

Jillian is currently finishing the second book in The Yard Men Series. Set in late Victorian London, Scotland Yard detectives have never been as wickedly sexy or as brilliantly clever. To read more about her latest work in progress, THE SEDUCTION OF PHAETON BLACK, please drop by her website
—
G. Jillian Stone