Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Categorized: Writing Tips

It’s Day 3 of the The Coup! This post was supposed to go up yesterday, but between unexpected doctor appointments for myself (I’m fine, but my shoulder is gonna take about 5-8 weeks to heal), my 9th wedding anniversary (we forgot until Facebook reminded us LOL), and an unexpected Denny Basenji vet visit (he’s fine, just pissed off that he is being subjected to medicated wipes), things got a bit…wild.

Denny Basenji is not amused.

However, we of the revolution are nothing if not stalwart, and to make up for missing yesterday, I promise a SATURDAY post! Maybe even a Sunday post. BOOYAH! Yeah, I know. I’m kind of tearing up from my own generosity, too. Frankly, I’m having so much fun, I may not give the blog back to Kristen after this week. Okay. I might let her post occasionally. We’ll see.

So, today’s topic should be fun, if perhaps a bit edgy. At the very least, I hope to skirt the bounds of propriety and induce mild squirming. I mean, any time you write about sex and writing sex scenes, squirming should be involved.

The Wide World of Sex

There are all kinds of sex scenes with all different levels of heat, from the kiss-fade-to-black and mild groping, all the way to full frontal erotica that tests the limits of our taboos. Aside from providing purposeful or inadvertent wanking material, sex scenes actually can serve a real purpose in the story.

A sex scene can complicate or resolve a relationship. Sex can be used as one of the bad, impulsive, very human decisions that a character makes. Done right, a sex scene is a brutally accurate barometer about the psychological, physical, and emotional state of a character. One character can use sex as misdirection and distraction for another character. Sex scenes can deepen our immersion in the world, identification with the characters, and indulgence in the fantasy and suspension of reality. Finally, sex can be used to explore some of the most profound ideas about human relationships, gender roles, and power.

This is assuming, of course, that it is a well-written sex scene.

A badly written sex scene reads like the bastard offspring of a technical manual and IKEA assembly directions. It’s mechanical, predictable, and worst of all, barely titillating. That is a cardinal crime.

A sex scene must always have some element of arousal to it, and the only exceptions would be describing rape or incest. Even if we are trying to write a scene that is meant to be troubling, part of what makes it disturbing is that something resonates with us. Something about it arouses us physically despite the rational part that knows it’s wrong or dangerous.

The trick is knowing how to define and create what is arousing to us, the characters, and the reader. Yet, doing so is an exercise in uncomfortable vulnerability. I mean, how embarrassing is it to admit we get hot and bothered writing a sex scene? *raises hand* Yes, that has happened to me. Do I like being open about it to you all? No. But, if I don’t have the courage to write sex scenes that turn me on and to share the power of doing so with writers I am coaching, then, I should stick with illustrating IKEA assembly directions.

Friends and Family, Asking ALL the Awkward Questions Since…Forever

So, how do we start?

First, we have to be honest with ourselves about what we find sexy, seductive, dangerous, desirable, and taboo. Also, we have to be honest about what doesn’t appeal to us. This is not to say that our characters have to mirror our tastes perfectly. But, in order to write convincingly for our characters, we have to accept our own likes and dislikes before we bequeath any or all of them on our creations.

The more explicit and daring the sex you write about, the more likely you are to get the question of, “Uh…is your sex life really like that?” Depending on the person and the mood, I have often answered, “No. It’s worse.” In general, however, a good way to shut people up with that invasive question is to pose this question in return: “I wrote about a serial killer. Does that mean I have to be a murderer?”

The only reason we should ever feel embarrassed about writing a sex scene is if it poorly crafted or doesn’t fit in the story. If we put our best work into it, and if it is an organic part of the plot, then we can be fiercely proud of what we have written. Sex is also less ‘noticeable’ as something shocking when it is done well and fits naturally within the story.

Speaking of shocking, whom exactly are we worried about shocking? Parents? Friends? Co-workers? Interestingly, this is one of the biggest hurdles I encounter with many young female writers. There is a crushing trepidation about shocking everyone they know with their writing, whether it’s on the side of dark/twisted/gory or sensual/sexual/explicit. As a result, darkness becomes taupe, and sensuality and sex end up as racy as the raunchiest episode of “Little House on the Prairie” – in other words, not.

I know this fear is a real thing. I was just like that all through my twenties. Then, something changed. Maybe it’s because I turned thirty. Maybe it’s because my ambition and desire to get better at writing reached a point where it was stronger than my shyness. Maybe I realized that despite the fact my father was a psychologist and my mother was a social worker, they wouldn’t judge me for venturing into more adult territory with my ideas. As it turned out, they were incredibly supportive. However, even if they hadn’t been, the most important realization I reached was that my audience was bigger than them. My audience was bigger than my co-workers, former classmates, gym buddies, and Facebook friends.

If it all worked out, then people I had never heard of and would never know would end up reading my book. They wouldn’t know anything about me other than my name and the short bio at the back of the book. I wouldn’t be Cait. I would be abstract. I would be perhaps the least important thing about the book. Whether it was a chaste kiss or a menage a trois BDSM scene, my readers would experience it through my characters. Not me.

And then, I was free.

Free not just to use the “naughty” words, but to tell the full, profound truth about the beauty and menace of sex in human relationships. I was ready to be an author, not just a writer.

Fantasy vs. Reality

I’m just going to put this right out there because I promised I was going to push buttons and stir the pot.

For the love of God, why are men in romance and erotica novels so damn chatty when they are having sex?

Now, hold on. I understand that dirty talk, sweet talk, and other dialogue can be an integral part of both the scene and the fantasy, but seriously, far too many of these guys end up sounding like women who subscribe to Gwyneth Paltrow’s newsletter and want to help the heroine self-actualize through a healthy, accepting sex life.

I’m not saying that there is anything wrong with the ideas, per se. However, if our goal is to write a strong, dominating alpha male, then we have to make him sound different from the women in the story. If the primary character we want the reader to identify with is the heroine, then yes, we want to explore her thoughts and feelings thoroughly. But, the hero needs to remain a bit of a mystery.

There is nothing as frustrating, maddening, and addictive as the dialogue or hint that leaves us (and the heroine) wanting just a bit more to confirm exactly how the hero feels or what he thinks. To echo Kristen Lamb, why make it easy for the characters? To have a hero who confesses his love – in excruciating, and dare I say it, pedantic detail – leaves nothing to be desired. It sets up no problems to solve and leaves no room for growth. This goes for both romantic scenes and sex scenes.

That’s not to say we don’t want total silence on the part of our hero. A certain amount of dialogue is usually necessary to move the scene forward. Also, part of the fun of writing romance and sex scenes are indulging a little bit in having our characters hear things that would be like pulling eye teeth to hear in real life.

But the key here is ‘a little bit.’ Sex and power always go together, and by having our dominant character lay all his (or her) cards out on the table, we bleed out any power, mystery, and allure. Even worse, our characters begin to sound the same.

I would imagine the same principles of power dynamics and differentiation in expression would apply in LGBTQ stories. However, my experience in working with editing LGBTQ sex scenes is limited, and I may not be aware of emotional touchstones and physical details that are crucial to any basic scene.

Just remember, sex talk and dirty talk are great, but no one wants an overly emotional Chatty Cathy standing over them with a whip.

I’m a Tease

There is so much more I want to talk about in terms of writing sex scenes and sensuality in general. However, this blog is already getting long and overdue. Therefore, like a fan dancer, I will simply flutter my feathers at you all and tell you that I am offering a class on W.A.N.A. for writing sex scenes.

In this class, I am going to get, shall we say…granular…in terms of words to use and avoid, details for turning two-dimensional sex into three-dimensional, experiential love-making, pacing (because it matters in both writing and sex), and even how to tackle (literally) complicated scenes with two or more people/equipment/etc.

More information on the class below!

How to Dominate Your Sex Scenes (No Safe Words Here)

Class Title: How to Dominate Your Sex Scenes (No Safe Words Here)
Instructor: Cait Reynolds
Price: $40 USD Standard
Where: W.A.N.A. Digital Classroom
When: FRIDAY July 14th, 7:00 PM E.S.T. to 9:00 P.M. EST

Boy meets Girl. Boy and Girl have sex several times, though the scenes all kind of blur together at some point. Girl (or Boy) ends up in trouble at the hands of criminals/jealous ex/drug lord and needs Boy’s (or Girl’s) rescue.

Boy and Girl have celebratory sex and live happily ever after.

Sound all too familiar?

Maybe like the tens of thousands of schlocky “Schlongs of Shanghai” titles all competing for KENP (Kindle pages read) and the top 1,000 ranking on Amazon?

But, there’s no denying that erotica is one of the hottest genres around and has a very real place in literature. Yet, to write a work of erotica that provides both the escapist fantasy that readers want while creating a fast-paced story with memorable characters and riveting, unique sex scenes is probably harder than trying to find that billionaire cowboy with six-pack abs who’s into ménage-a-trois.

This class will not be for the faint of heart or those who blush easily!

We are going to tackle the nitty gritty of the erotica genre as a whole and sex scenes in particular…and use ALL the words in our discussions!

Topics covered include:

  • When to introduce sex into the story and the sex v. plot ratio –
  • Creating chemistry in one easy step
  • Decisions, decisions: Purple prose v. crass cusswords –
  • How to avoid the cookie-cutter Alpha male (and corresponding Mary Sue female) –
  • Keeping the sex fresh, interesting, and unique in every single scene – how realistic to make sex in any given scene v. how much detail is TMI, even for your readers?
  • What really makes a scene sexy?
  • What makes a story sexy?
  • BONUS: How to talk about erotica as literature and fun facts about the history of erotica!

****Just FYI, in an effort to combat spammers your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me! And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

And to prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors June 29th $50 ($150 for GOLD)

Branding for Authors  July 7th $35

OTHER Classes with Cait Reynolds

Shift Your Shifter Romance into High Gear June 30th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook June 24th $40

 

 

It’s Cait Reynolds again, and you know what that means…muahahahahahaha

Image courtesy of memegenerator.co

Historical romance is full of strong-jawed heroes in possession of a good fortune and in want of a wife…whether they know it or not.

In fact, if you add up all the fine, vast estates throughout England, you’d probably end up with a country the size of the North American continent. Actually, better add in Central America just to make sure we have enough acreage. (Thanks to my friend Britt for pointing this out to me all those years ago.)

For every Lord So-and-So, and Duke of Blah-Blah, there is a lovely, feisty young lady who much overcome a sad lack of fortune, sudden misfortune, or the tragedy of unfortunate connections in order to save the day, the estate, and the hero…who naturally obliges by falling in love with her.

Oh, wait. Sorry. Gone off the rails there.

We’re not talking puerile plotting today (and besides, that’s Lamb’s specialty). I’m here to talk about how to write about an ingratiatingly indignant and independence-loving heroine together with her seriously sensitive and sinfully seductive hero so that they are not walking, talking anachronisms that make readers want to tear their eyes out with the pickle fork.

Before we jump in, can I just ask…does it always have to be Regency England? Really? Historical writing is hard enough without thousands of experts ready to jump in and point out any inaccuracy or anachronism. I mean, I have seen virtual fisticuffs break out among the delicately natured about the precise method of shining Hessian boots as mentioned in a particular book.

Anyway.

We have to do the research. There is no silver bullet, no short-cut. We might not be doing the world-building of fantasy, but we are re-building a world that impacts every single thing our characters will do, say, think…and eat. Yes, certain emotions and reactions are consistent across time and fundamental to human nature. However, the way our characters understand the actions and circumstances that create those emotions and the way their reactions are expressed are absolutely rooted and shaded by their contemporary context.

Let’s take a look at a sample of the areas that we need to consider when tackling historical world re-building.

Dentistry, Dandruff & Deodorant

Perfume was invented for a reason. Back in ye olde, personal hygiene was far more…shall we say…individualistic? Perhaps optional would be a better word. I’m not saying people didn’t try to wash—somewhat. But, ‘somewhat’ had very different connotations and practices in the 12th century and the 19th century.

Even nobility had issues with the stink. I mean, think about it. You try walking around on a sunny, 70-degree day in several layers of silk and linen while having your internal organs constricted by whalebone. Oh, and don’t forget the wig (and attendant weevils and other creepy crawlies that would take up residence therein).

Bathing involved servants, buckets, lots of wood or coal, and a short soak in rapidly-cooling water. We should be considerate of Sally the under housemaid when deciding that your character is going to have a bath every day. She already has a lot of work to do around the house (including emptying your chamber pot), and helping to prepare a bath for you under the watchful eye of your abigail isn’t making her job any easier.

We don’t have to write that everyone stinks or about the housekeeper’s armpit hair. But, we need to think twice and do some research before glibly tossing out that Our Heroine shampooed her hair.

Watch Your Mouth

Seriously. If I read another manuscript where the author has used words like sure/okay/all right, I am going to reach for that pickle fork. But, it’s not just use of modern slang that can jar the reader out of the story, upsetting hoop skirts everywhere.

Even the way sentences in dialogue are constructed can indicate whether a character is speaking Tudorish, Regencyish, or Victorianish.

Image courtesy of Mental Floss

Even commoners would speak more formally than we do today—and the riff-raff, beggars, and laborers would also know just enough to speak with respect to their betters.

We should not make the mistake of thinking formal means ponderous or dull, though. It’s fun to play with that stereotype here and there, especially when writing the dialogue of a pompous, hidebound old windbag. But, formality and a more extensive vocabulary doesn’t mean we can’t have witty, chatty characters that are silly, sexy, and scintillating.

Help Wanted

Elizabeth Bennet did not repine the fact she could not go to university, or become a doctor or a soldier. She operated well-within the confines of acceptable social norms and expectations, and she did so because she naturally accepted that circumscribing and did not question it.

Why would she? It simply was how things were. Yes, she challenged the status quo about marrying for love, but she never challenged marriage or denied that there were only a handful of respectable options outside of marriage for a young lady.

This brings me to something that I see over and over again in stories: the feisty heroine who dreams of becoming X (insert impossibly modern career choice here). That’s not to say that we can’t write a good, convincing story about a heroine who dreams of becoming X, but we have to take a good, long, hard look at her starting place before we do.

Image courtesy of memegenerator.net

Seraphina is bored with embroidering all day and wants to join her brother and become a knight. She’s all about how girls can fight just as well as boys, and girls should get a chance, etc. She tosses her golden hair as she fights openly with her father about wanting to learn how to use a sword.

Cue pickle fork.

Seraphina was always closest to her brother Rolf. They supported and protected each other while growing up in a difficult family situation. When Rolf is called to go serve the king in a crusade, Seraphina panics.

She doesn’t want to be left alone to deal with the difficult family situation at home. She doesn’t think she could handle waiting months or even years for Rolf to come home—if he even makes it home.

She is backed into a corner, but because of her native courage, she makes a daring choice. She convinces Rolf to let her come along in disguise as part of his retinue. Along the way, she has to practice and sharpen up her fighting skills in order to pass for his squire. It’s a different world out there, when wooden swords are replaced with cold, hard steel.

Basically, people need to stop shoving heroines with 21st century values and beliefs into ye olde days. The only way to avoid making this mistake is to read and learn about the cultural values of the period and to immerse our brains into thinking in this way so our characters will behave naturally in harmony with the times.

Not Bread and Cheese Again!

Would people please stop having their characters eat nothing but bread and cheese? There is so much bread and cheese in poorly-researched historical novels that I feel nutritionally-imbalanced just reading about it.

There is no excuse for bread and cheese. If anything, historical food is one of the easiest areas to research! Just type ’18th century English food’ into Google, and BAM! You’ve got blogs, Google Books, PDFs of actual recipe books, and even photos of meals cooked from authentic recipes.

Image courtesy of Me.Me

Also, pay attention to what your characters are drinking. Well water (hello, giardia)? Beer or ale? Possibly. You could have combination of sherry, wine, and port or brandy with dinner. Be careful of tea, coffee, and hot chocolate before the 18th century. Yes, they were around, but not universally, depending on the decade and country. And, don’t let me catch you talking about hot chocolate like it’s some Swiss Miss crap. Hot chocolate was just that. Hot. Chocolate.

So, next time you want to write food into your scene, don’t settle for Wonder Bread and Kraft Singles. Let loose with Sack posset, quail in puff pastry, Chelsea buns, turnip soup, and Portugal Cakes…with a couple bottles of good Madeira to go along with it all!

Dressing the Part

Our dear Charity has managed to get away from her odious great aunt and is at the house of her friend Isabelle, getting ready for the ball. We the readers are treated to an extensive description of fabric, décolletage, sleeves, overskirts, hems, and lace. Let’s not forget the incredible jewelry, hairstyling, and make-up.

There’s a whole other sermon I could write about the sins of describing outfits. Today, I’ll confine myself to discussing historical accuracy. We need to dress our characters according to their social position, and we know what that means (hint: it involves research). A barmaid will not have a closet full of everyday dresses. If some malmsey-nosed sot spills beer on her, she can’t go home and change. Most likely, she would go rinse out the beer from her skirt because this would be her only summer skirt, and her other outfit would be for winter. Maybe, if she was lucky, she would have one good dress for weddings and funerals, and that dress would probably have been cut down from one of her mother’s in a style of twenty years earlier.

Yes. That is me. I own a steel-boned corset, and it is damn comfortable!

Yes, almost all women who could afford them wore corsets. But, before you have our dear Charity go complain about having to wear a corset, stop. Just. Stop. That would be like complaining about wearing a bra. Yes, we all do it sometimes, and we know it’s possible to go without one. Yet, it’s not really a big deal. It’s just part of what we wear every day.

This also goes for cravats for the gents, because someone, somewhere thought it would be a marvelous little joke to make men strangle themselves every day in the name of fashion.

Clothing wasn’t so much put on as assembled onto a person, with people who couldn’t afford maids helping each other. Both sexes wore stockings (at least up until the early 19th century) with garters to hold them up. There were petticoats and felt strips, chemisettes and buckles.

Just be careful of underwear. Drawers, pantaloons, panties, and small clothes weren’t really all that commonplace until the 19th century. This means if you want to go deep POV, you could mention the occasional strategic draft…

Pickle Forks and POV

The point of all this work is to show, but not show off. Out of everything you learn, only 10% should make it into your book. Wait. Stop. There will be no flipping of tables while reading this blog! Hear me out.

It’s all about understanding POV. What is normal for the character versus what is noteworthy. Think about contemporary fiction: ‘Taylor sat down at the table and helped himself to the potatoes.’ We can easily picture this in our minds. There’s a table, chairs, a dish, a bowl with potatoes and some kind of serving utensil. This sentence could work just as well in historical fiction just as it is (assuming we are working with a time period where potatoes were part of the European diet…and knowing that Taylor as a first name really wasn’t used back then but whatevs): ‘Sir Taylor sat down at the table and helped himself to the potato and gruyere galette.’

We do not need to elaborate just to show off that you verified the status of potatoes or know how dishes were served in the 19th century. There is no real reason we should ever write: ‘Sir Taylor entered the formal dining room where even on ordinary, daily occasions, the family gathered to eat. He settled himself in an ornately carved chair and reached for the porcelain platter with the Potato and Gruyere Galette.’

Image (and RECIPE) from paperandsalt.org

Some people would snort and point out that there is nothing wrong with that sentence, that it is lovely and descriptive. Yes, it is descriptive, but would Sir Taylor really think about how interesting it was that the family used the formal dining room every day, or how ornately carved his chair was? Do we notice with mild surprise where our dining table is every time you sit down to eat? No? Then, why would Sir Taylor?

Stay focused on the character, the plot, and the action. All I had to do to evoke a fancy, historical feel to the food was to change it from potatoes to an actual recipe (one which George Sand was rather fond of). If I’ve done my job right earlier in the book/chapter/scene, I’ve already given you a feel for the manor house, its size, décor, etc., but all done in the context of dialogue and POV.

So, now that I’ve beat sloppy historical fiction about the head and ears, I’m going to tell you about an opportunity to learn how to do sufficient and efficient research to be credible, interesting, and subtle. I’m offering an online class on Saturday, July 8, from 2:00-4:00 p.m. EST on W.A.N.A.! Information and sign up links are below.

The Class

So, you want to write historical romance. Awesome. Now, you just need to learn everything about that time period. Yay! Yay? Oh…crap.

While we don’t need a PhD in history to write historical fiction, we do need to do your research so that we can avoid the pitfalls of anachronistic language, modern Mary Sues, and the unforgivable sin of having our characters pay morning calls before one o’clock in the afternoon.

But, how do we start researching? And, when do we end? How do we know we know enough to start plotting–let alone writing? How do we keep track of everything we need to remember?

This class answers all those questions and more.

  • Get a template that guides you through all the steps of research
  • Discover the tricks of effectively and efficiently using Google and Pinterest
  • Learn how to use historical context in character development (i.e. no more Mary Sues)
  • Find out when and how to take research shortcuts…and when you have to buckle down and just slog through it all
  • Learn how to build a research reference library of your own
  • Discover how to find non-fiction books that are NOT boring
  • Develop an understanding of what kind of historical details to put into your story, and more importantly, what to leave out

Research for Historical Romance Writing – Or, How NOT to Lose Six Hours on Pinterest July 8th $35 for Basic/ $75 for GOLD / $125 for PLATINUM

Historical GOLD
You get the class (recording included in price) with Cait plus one hour of personalized one-on-one consulting regarding YOUR story.

Historical PLATINUM
You get the class (recording included in price) with Cait plus two hours of personalized one-on-one consulting regarding YOUR story and bonus worksheets. These worksheets will efficiently guide you through in-depth world-building and research, providing you with consistency for your writing and an excellent reference/style sheet for your editor and proofreader.

****Just FYI, in an effort to combat spammers your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me! And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

And to prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors June 29th $50 ($150 for GOLD)

Branding for Authors  July 7th $35

OTHER Classes with Cait Reynolds

Shift Your Shifter Romance into High Gear June 30th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook June 24th $40

 

 

Kristen Lamb made the mistake of giving me admin privileges on her website.

So trusting.

So innocent.

So screwed.

La Revolucion

There’s a little more about me at caitreynolds.com – but, be aware that my website is under reconstruction because I got hacked by Bollywood porn spammers. Yeah. That’s the same face I made. However, I’ve posted my manifesto, and that should be a start!

 

****Just FYI, in an effort to combat spammers your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me! And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

And to prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors June 29th $50 ($150 for GOLD)

Branding for Authors  July 7th $35

OTHER Classes with Cait Reynolds

Research for Historical Romance Writing – Or, How NOT to Lose Six Hours on Pinterest July 8th $35 for Basic/ $75 for GOLD / $125 for PLATINUM

Shift Your Shifter Romance into High Gear June 30th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook June 24th $40

 

 

Image via Flickr Creative Commons courtesy of adohnes

Years ago when I got the idea to write a novel, I did what a lot of new writers do and created the uber perfect protagonist. In fact, when I came up with the original plot idea for The Devil’s Dance, I cast a Sarah Conner badass…and she was dull as dirt and utterly unlikable.

Yay me.

Bizarrely, when those critiquing didn’t like my protagonist, I made her more perfect thinking that would fix it. Um, no. Made it worse. They went from disliking her to kinda wanting to stab her in the face.

Why did I do this? Why did I default to super perfect?

Fear.

Fear of being authentic. I had no concept of what it was like to be perfect. My family resembled Season Two of the Jerry Springer Show. After my parents divorced, my dad disappeared for years only to resurface and take a job as a cashier at Stop-N-Go so he could get out of paying the originally allotted child support. I was never #1 at anything (unless one counts truancy). Terrible at sports, last to be picked and the first to get nailed in the face in a game of dodge ball. I dropped out of high school…TWICE.

When it came time to write a story, I wrote the version of me that never was and likely never would be. She was…perfect.

And again, dull as dirt.

For a long time I was tremendously embarrassed about all the best material for a great story (stuff I knew, had experienced in MY life). In short, I was afraid to be authentic. So, after countless versions of my perfect character, I relegated her to the recycle bin and started again with a new character…Romi.

I discovered that I was far better at writing messed up people with imperfect lives, lots of baggage who were working through pain in imperfect ways.

Thus, today, I have a guest who is one of my closest friends and has been critique partner of mine for years, Lanette Kauten. She loves literary fiction almost as much as I love tormenting her for loving literary fiction. But Lanette is excellent at creating very flawed and interesting characters with lots of layers, so who better to ask to guest post about writing authentically?

Take it away, Lanette!

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Image via Flickr Creative Commons courtesy of Gerald Gabernig

Writing is a great adventure because we get to explore worlds and characters, diving into the psychology of humanity. And we long to share these wonderful stories we’ve created with the world!

In doing so, it’s natural to put a piece of ourselves, our worldview, into the stories. We want to share things—a belief or a bit of wisdom—but the question is how to do it without sounding didactic. Religious writers have a reputation of moralizing their stories and not coming across as authentic.

Is that a fair criticism? Maybe for some, but it’s not a brush that can be applied liberally.

Look at Dean Koontz. He’s a Catholic, and his books are amazing! Sometimes his readers can detect his overall worldview in his stories, but not always. He simply churns out good stories. Though he did write the most kick-ass salvation scene in his “Prodigal Son” series. Let’s also not forget about the works of two other great writers who happen to be Christians—Tolkien and Flannery O’Connor.

But what about books with other religious elements?

Image via Flickr Creative Commons courtesy of Sukanto Debnath

I’m glad you asked because now we’re getting to the crux of this post. Life of Pi is not a Hindu novel. The Kite Runner is not a Muslim novel.

Both of those books portray beautiful stories, and are simply novels told from the worldviews of their respective authors. Yes, the main characters have religious beliefs. It’s part of who they are, and to deny it on the one hand or to make the stories all about that on the other wouldn’t have been authentic. And readers would’ve tossed the books aside without ever thinking about them again rather than gush about how great those two books are.

Image via Flickr Creative Commons courtesy of Navaneeth Kishor

My novels are written from my worldview, but anyone would be crazy to call them “Christian fiction.” My characters are a part of the world they live in and act accordingly.

I don’t attempt to hide from real life or shove my characters into a derivative little box. In one of my books, the main character is a confused atheist who escaped from her upbringing in a weird, Charismatic church. Even though she wants nothing to do with her parents’ religion, one of her closest friends is a Jesus freak guru who owns a club in an art district, and one of his employees is a pothead who believes just as strongly in aliens as he believes in Jesus.

Image via Flickr Creative Commons, courtesy of erokism

The book isn’t about her struggle with religion, but it’s a part of who she is. To cut all that out wouldn’t be true to her or to the story. However, to make the story about religion wouldn’t be honest either. Here I am as a Christian with a book about an atheist in a lesbian relationship, struggling to figure out where she belongs in this world. I don’t shy away from realistic people and situations.

For me, authenticity is key.

Readers are smart and can detect a false note as easily as hearing a wrong note played in their favorite song. It doesn’t matter what worldview you bring to your story (we all bring our beliefs and experiences into our stories); whether we’re Christian, Muslim, Buddhist, Pagan, Atheist, or whatever, we are wise to be authentic. We must strive to be honest in order to show the world as it really is.

Great. That sounds wonderful. How do we do it?

Be Vulnerable

Share your pain, your loss, your doubts. To be human is to feel. Dump your emotions on that page. Open up your vein and bleed. (Not literally. Please don’t bleed on your computer. It’s sticky.) Don’t shy away from the difficult questions because many of your readers will pick up on that and will feel cheated, and don’t edit your emotions as you write. Editing comes later.

Personalize It

This is similar to vulnerability, but here is where you get to shine. Share your worldview as something personal to you. Beliefs have broad implications, but they also have personal elements. Open up the beauty of that world to us in a way that feels real by focusing on the minute details. So often the smallest things have the biggest impact.

Know Your Characters

Your characters are key to showing their own authenticity. Let’s say you’re writing a Christian book, and your character is in a difficult position. Maybe she learned that a friend stole some money and that friend knows a secret about her. If she reports her friend, she knows her secret will be out.

What would your character do? Don’t think about the moral lesson you want to impart, but think about her personality, beliefs, what drives her, and how big the secret is (the bigger, the better) and have her act as she naturally would.

I write literary and some women’s fiction, so my novels are grounded in real life, yet when I say you have to show the world as it really is, I don’t just mean contemporary or literary fiction. You can write fantasies or sci-fi with amazing new worlds, but what is that secret ingredient that elevates the forgettable story to the unforgettable one? Writing our characters and stories with honesty.

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Thank you, Lanette! I hope y’all will check out her books and befriend her on Facebook. Also Lanette will be at Jamie Lynn Boothe’s launch party on Facebook tonight so I hope y’all will come by.

What are your thoughts? What resonates with you? What do you try to impart onto your characters to make them “real”? Are you like I was and terrified to be imperfect? It’s cool. We all do it. And, frankly, perfect characters also serve a role in other types of fiction (I.e. James Bond), so I don’t want to pick on them too much. Do you enjoy authenticity or prefer the escape of perfection? No wrong answers, btw.

I LOVE hearing from you and comments for guests count double in my contest.

****Just FYI, in an effort to combat spammers your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me! And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

And to prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors June 29th $50 ($150 for GOLD)

Branding for Authors  July 7th $35

OTHER Classes with Cait Reynolds

Research for Historical Romance Writing – Or, How NOT to Lose Six Hours on Pinterest July 8th $35 for Basic/ $75 for GOLD / $125 for PLATINUM

Shift Your Shifter Romance into High Gear June 30th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook June 24th $40

 

 

Image via Flickr Creative Commons, courtesy of jayneandd

My goal for this blog has always, always, always been to be honest with you guys, to offer tough love and guidance and support. Because the world has three kinds of people, but two are the most common. Two are not exactly helpful and can be downright toxic. We will start with these folks, then move on to how to win that race!

The Discourager (Enemy)

This is the person who’s going to tell you what you’re unable to do. That it’s too hard, that you’re stupid for even trying.

You want to be a successful author? Seriously? Everyone can be published. It means nothing. Do you have any idea the competition that’s out there? You need a mega-marketing budget and even then you’ll probably fail.

Okay I need to stop there because I’m depressing myself.

These people are poison and I’ve dedicated many a blog to showing you why they need to go and giving tips for getting these people OUT of your life. They need to go if you hope to do ANYTHING remarkable.

The Sugar Coater (False Ally)

Original image via Lucy Downey from Flickr Creative Commons

Then there is the sugar-coater. This person might tell you it’s easy to make a million dollars writing a book…if you just BUY and DO this plan. A lot of folks out there willing to sell a dream. So caveat emptor there. This type of sugar-coater has lots to gain, namely money.

Yet, when we are chasing gimmicks, we’re not doing the two most important activities every writer must do—writing more books, building that platform/brand.

The sugar-coater might also be people around us in, say a critique group, who tell us everything we write is better than unicorn hair. Friends who think everything we write is genius.

While these folks are great encouragers, they might not be what we need. Too much sugar bad for us 😉 .

We might really need a tough and honest editor/critique partner to show us that maybe we don’t know as much as we believed we did. That we still have a LONG way to go and in love, offer constructive criticism.

The True Ally

Original image courtesy of Flickr Creatinve Commons, courtesy of Ali Samieivafa.

I want to give you guys a balance of love and encouragement because, to be blunt, most of us have an entire family filled with discouragers. Conversely, I also want to be honest. This is a tough job. Writing a work that spans 60K-120K words (and having that sucker actually make frigging sense) is NOT EASY.

I want you to be gentle with yourselves. There IS a learning curve. But, also step it up. We’re often capable of far more than we realize.

Parkinson’s Law states that work expands so as to fill the time available for its completion. Often we think that if we could only write full-time we’d be machines, turning out book after book. Not always the case and this is why deadlines are crucial.

I find that if I have all day to do something, I get sidetracked and I’m inefficient. I wander off, start on unrelated tasks. Yet, shorten the time I have to do something? And I am ON FIRE!

This is one of the reasons that I’ve run writing sprints on WANATribe every day for almost 18 months…even when I’m the only one there. I set the timer for 40 minutes for the push. How much can I get accomplished in 40 minutes?

Often? A hell of a lot more than I would have believed.

The ally will call us on our own BS. If we’re overextending ourselves? They’ll tell us to knock it off, eat something green and for the love of all that is chocolate…take a NAP.

If we’re going day after day and week after week not producing pages? And we whine we haven’t had time. The true ally will remind us we had time for Facebook and that Firefly marathon and to get our ass to work.

As Your TRUE ALLY, Here is Some Advice

I can carry you, Little Buddy.

Okay so y’all know I finally released a novel The Devil’s Dance after years of writing only non-fiction. Totally new gig for me. It was also pretty terrifying for a number of reasons beyond the usual.

First, I teach craft and have been haunted by that terrible saying: Those who can DO and those who can’t TEACH. Deep down I know it isn’t true, but stuff doesn’t need to be true to still freak us the hell out and keep us up at night.

My fiction would be out there. Did I happen to learn any of what I taught?

Second, I also teach that platform is critical for any kind of success. I’ve released books with a platform and without and can—from experience—tell you which is preferable. My first NF took months to be a blip on the radar versus the second NF launching to the top five of major categories on Amazon like Business and Marketing in less than 24 hours. #GoMe

But I’ve also claimed that if you build a platform the way I teach that we can switch genres, that the brand is US. So, when I was releasing a mystery-thriller when I was known as a NF branding expert? I got to be my own test case.

Did I instantly become a USA Today runaway best-seller hitting #1 in ALL categories AND have a movie deal by the weekend because Reese Witherspoon read my book and loved it and just HAD to produce it?

YES! I DID! #OMGOMGOMG

And then I woke up from my nap. *sobs*

I didn’t. But I did really well for a first novel, breaking the top 200 in multiple categories. Got a bunch of great reviews, reviews that made me sob with joy that 15 years of hell had been worth it. Additionally, my theory on platforms held solid. I already had a base of people eager to buy and read and spread the word.

But let’s face it, fiction is a whole new leg of the race for me and I need to earn my stripes. I have more of my theories to test, namely that it takes more than one book to gain the real traction. I saw this with NF and now? Get to test it with fiction, too. We shall see how it goes.

The RACE

Image via Flickr Creative Commons courtesy of Pedro Travassos

We are all in a race and we are racing with the goal of winning. Thing is though, we all have our OWN race. What is success for me is not necessarily success for you. But the key to winning your race is to keep your eyes on your finish line.

Ever run track? Most of us have even if it was forced upon us in P.E. class. When you’re running toward that goal line, the fastest way to trip, to even fall, to lose momentum and any kind of lead? Look at where other racers are.

You know, you turn your head to check and see how far your lead is and then *ass over elbows*.

Same with writing. Truth is, writers are not in actual competition with one another. Books are not so cost-prohibitive readers cannot buy more than one. Readers can have multiple favorite authors.

You guys know I am a huge fan of writers helping writers, connecting, learning, supporting. In fact, the genius dream team Angela Ackerman and Becca Puglisi…creators of the, well this is easier… (do yourself a favor and just get them all ) I recommend the paper versions.

I knew these ladies before they’d ever even completed The Emotion Thesaurus (their first resource) and was even a very happy guinea pig. Since that ground-breaking resource (as you can see from above) they have come out with many more and even launched an on-line resource One Stop for Writers.

Yet, despite their AMAZING success, they took time to support ME. They wrote a post We’re in This Together: How to Help Other Authors Succeed and not only are there some fantastic tips in here I didn’t even know (but will now do), they are raffling off copies of my book. I never asked them to do this, which explained the tears. SO much love there.

Ergo why I hammer platform, platform, platform. That community we build is going to be SO critical.

Yet, it would be easy for me to look at The Emotion Thesaurus and go, *sniff* Angela and Becca have 1,252 reviews. My book only has 168. Or Such-and-Such is at this rank and I am only here. Or they hit number one and I can’t even break out of the top 100,000.

THIS is when we are looking at other writers, but not in the correct way. This is the way that makes us stumble and fall because we are taking our eyes off OUR race.

Where Comparison Begins, Contentment ENDS

We need to embrace the whole of the writing experience. The challenges, the failures, the setbacks, the wins…ALL OF IT. If we are looking to another writer it needs to be to 1) love and support them or 2) learn from them.

If I compare my first draft of Sin Eater (the second Romi book) to American Gods by Neil Gaiman, the book I am currently reading? I am going to give up…right after I lay waste to every carb in the house.

First, not even the same genre. Then Neil’s been at this a smidge longer than I have and also? I am reading a FINAL product.

We have to stop comparing our behind-the-scenes footage to the highlight reel of others. Comparison is a nasty, nasty habit and puts us on a path that leads nowhere we want to go.

And we all do it. Even me. Jealousy and comparison is natural and human, and research shows humans write better books than robots. But feel it (blip) then press on. This is me…

BE CONTENT BUT BE HUNGRY

Okay my first novel was so bad it’s now being kept in my garage because it bites. But so what?

Millions of people say they want to write a book if they could only find the time. Well I made the time and I finished. I was (eventually) content I had passed that threshold, but I had to remain hungry. Learn, improve, press on, make allies and on and on.

In the end, choose who you will run alongside of…a pride of lions or a pack of hyenas. It matters. Then run your race, keep your eyes there on YOUR finish line (then the next and the next). I cannot promise you this is easy, but I can promise it will be worth it.

What are your thoughts?

Do you struggle with comparison? I do. I’ve just learned to see it, turn away FAST and get my mind on MY race. It takes practice. Trust me. Are you getting too down on yourself? Failing to see what you HAVE accomplished and too focused and what you’re not? Where you lack? Where you could have been better, faster or whatever? Or have you gotten too content and forgotten to be hungry?

It’s okay. We have all been there.

LOVE hearing from you guys!

****The site is relatively new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me!

And to prove it and show my love, for the month of MAY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS May 25th $45

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors June 29th $50 ($150 for GOLD)

Branding for Authors  July 7th $35

OTHER Classes with Cait Reynolds

Research for Historical Romance Writing – Or, How NOT to Lose Six Hours on Pinterest July 8th $35 for Basic/ $75 for GOLD / $125 for PLATINUM

Shift Your Shifter Romance into High Gear June 30th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook June 24th $40