Showing posts with label craft. Show all posts
Showing posts with label craft. Show all posts

Saturday, October 3, 2020

Adding Humor to Lighten the Tone of Your Paranormal Story by Sarah Raplee

What is the difference between light and dark paranormal stories?

In my opinion, it’s mainly the tone. Lighter stories tend to include much less graphic violence, and more humor than darker stories.

I’m going to share a few tips on ways to add lighter touches to a story.

Surprise your readers

In Diana McCollum’s book, The Witch with the Trident Tattoo, her sea witch protagonist has a Familiar who is an octopus with a shoe fetish. Taking a well-known character type (witch’s familiar, usually a black cat or a raven) and turning it on its head (octopus with a shoe fetish) is funny because it’s unexpected and ironic (he has no feet.) The fetish also predictably gets him in trouble, which the reader looks forward to, expecting a funny scene or two—which the author delivers.

Relatable characters with a Paranormal twist

In Diana’s current work-in-progress, The Twilight Witch, she uses a familiar character in a less-familiar setting, namely the Overbearing Mother. Opal is a witch and a wildlife biologist working in the wilds of Cape Breton, Nova Scotia. Her mother has dropped in unannounced.

Opal filled the tea kettle and set it on the wood stove to heat. “I apologize for snapping at you. Okay? Now it’s your turn Mother, out with it, why come now?”

“I told you dear, I spoke with Abe and he …”

“How did Abe see you when you witch-walked? He has no magick in him, does he?” Now she was beginning to doubt what she did or didn’t know. She placed two cups on the table. “Tell me Mother, how?”

“Oh, Opal, why do you ignore your magick? As far as your friend Abe goes, I might have had a hand in him moving to these woods, and him befriending you. After all, this was your first job out of college. I wanted to be sure someone was watching over my only daughter. Goddess only knows why you chose to isolate yourself in these woods.” She stood, pushed the curtain aside and looked out the window.

“I’ve told you about my research on the coywolves, or have you forgotten?”

Opal picked up the whistling tea kettle and poured hot water into their cups, plopping a tea bag in each one.

Hespera nonchalantly picked up a spoon, adding a spoonful of sugar to her cup, and with a flick of her hand, set the spoon to stirring on its own.

Opal grabbed the spoon. “Really, Mother, you know I don’t like magick for everyday things. It only takes a few seconds to stir your own tea.”

“I was sure you would tire of that, it is so mundane, so…human.” Hespera brushed a few wolf hairs off her black cape. “Where is Bowie? I thought he was with you?”

Readers will roll their eyes along with Opal. They know this woman. She can be used for comic relief.

Kids say and do the funniest things

In my story, “Enchanted Protector”, from the anthology, Love and Magick, not-quite-eight-year-old Star has Second Sight. Prince Rolf, who has been changed into a wolf by an evil gnome, learns she can read his thoughts. She’s the only human who recognizes his true nature. Her older sister and guardian, Ruby, doesn’t know what to make of him after he saves her from an attacker and nearly dies. In this scene, the sisters are nursing him back to health.

Against all odds, Ruby cared about him. She believed him a hero. He held the knowledge of Ruby’s affection for him safe in his heart as he lapped up the bitter brew.

When he had finished, Star set the bowl aside. “I thought you would like to be Ruby’s hero,” she said. “You’re sweet on my sister, are you not?”

His tail thumped the floor like a drumstick. He could not seem to control the unruly appendage.

“Well then,” Star said in a stern tone, “you must finish your quest and return to your human form. Otherwise, how will you marry?” She began to stroke his side with her gentle little hand.

It touched him that Star trusted his intentions toward Ruby to be honorable. However, when he closed his eyes, he found himself speculating about the possibility of a wolf-human mating. He forced his heavy lids to open. He could not risk the innocent child reading those thoughts.

To distract himself, he concentrated on the Riddle of the Hoard.

A pet that is more than a pet

In my Paranormal Psychic Agents book, BLINDSIGHT, blind wedding singer Meli’s canine Guide, Freddy, is an exceptionally good communicator and problem solver. By laying the groundwork early in the story, I was able to make his character believably special throughout.

“Sayingthat’s only a dog’ is like sayingBen Franklin was just an old bald guy’,” she said. “We’re partners. Together, we can do virtually anything. Freddy’s a dog genius.”

Later, a little boy who is an Animal Telepath relays some of Freddy’s thoughts to the other characters, another opportunity for humor.

Watch your word choice

My final piece of advice is to choose specific verbs and descriptors to finesse the tone of your story.

I hope I’ve given you food for thought. Do you have any more tips to share? ~Sarah

Wednesday, August 28, 2019

Travel Adventures in Writing

by M. L. Buchman

Well, last month I messed up and used this month's theme of "Adventures in Travel" for last month's blog post about writing the book of my bicycle journey around the world:
https://romancingthegenres.blogspot.com/2019/07/every-book-has-its-time.html

I figured that this month I should look at my "travels" in writing.

Recently I was part of a small group discussion about the drop-out rate of authors from the industry, many of them with reasonably established careers. We talked a bit about why it happens. I eventually proposed a "model" but I've given it a lot of thought since and wanted to explore this a bit more.

I'm not talking about the "fad" writers. "Oh, everything with Girl in the title is hot, I'll write one of those." "Oh $0.99 books with massive ad campaigns are the answer to everything." Most of these folks are gone as quickly as they arrived. I'm talking about people who want to have a good, consistent writing career.

There are a number of hurdles to clear, things that can really stop authors in such a way they may never recover:

  • Actually finishing and letting go of (publishing) that first book.
  • The terror of the blank page of the second book especially after all that pretty polishing of the first.
  • Five books later, discovering that this career requires hard, consistent work, and that success rarely just dangles from the trees. Yes, there are the breakout writers, but I'm not talking about those, I'm talking about steady, workaday writers like myself.
But once they clear the five-book hurdle, most authors seem able to continue up to that 20-book threshold. Then a massive winnowing happens at this point and this is what aroused my (and the group's) curiosity.

Why at 20 books?

By then, especially if the author focused intelligently on a genre or series, income is often moving nicely. Maybe not stellar yet, but probably a decent income. They know how much work it is.

And then they just walk away. 

My theory on this is actually tied up in my own recent experience. I have fifty-two romance novels across multiple series. But 12 of those are in contemporary romance, which is quite different from writing military romantic suspense. And the military rom was split up across multiple series and the last 9 years (so I wrote many other things in between, perhaps bypassing that 20-book trip point that way).

But why at 20 books?

My theory is that most of the truly long career writers I've spoken to have had to reinvent themselves. Either the industry or the traditional publishers' perception of the industry created tectonic-scale shifts and suddenly Gothic romance, westerns, horror, Cold War thrillers, science fiction in general, and so on simply were no longer a viable option. A writer who wrote 20 novels without being "forced" to reinvent themselves would consider that they'd had a good run.

Then along came indie publishing. Now we are able to reach an on-going audience despite any trends or perceived trends. We are free to write 40 military romantic suspense novels as part of a career with no clear pressure to reinvent ourselves.

I think that this is the real 20-book trap. Twenty novels is typically between 1 and 2 million words. Isn't it time for a break? For a change up? For a refreshing of motivation? You don't have to do as I have and jump whole genres, but shifting from mystery to thriller, from noir to cozy, from space opera to apocalyptica, even small-town romance to urban romance. These kind of changes keep us fresh as writers. At least that's my theory.

Yes, many careers were ended by the "tectonic" shifts of the past, but how many more were created anew by an author reinventing and refreshing themselves? I'd wager the later number is far bigger.

I recently noticed that my own instinctive writer was looking for a change. My last several military romantic suspense novels have been reviewed with "thrilling, fast-paced, adventure" far more than heart-felt romance as they used to be.

So? I've decided to listen to that for a while. I'm not abandoning romance. But for now, I'm working very hard to reinvent myself as a thriller writer. We'll see how that goes...

Coming November 19th and December 17th the Miranda Chase NTSB thrillers:
More Info / Pre-order
A supersonic drone flies Black Ops missions from the most secure hangar in the nation.

A C-130 Hercules transport plane lies shattered in the heart of America’s Top Secret military airbase — Groom Lake in the Nevada Test and Training Range.

China’s newest stealth J-31 jet fighter goes missing.

The CIA, the military, and the National Reconnaissance Office are all locked in a power struggle.

One woman is trapped in the middle. Miranda Chase, lead crash investigator for the NTSB (National Transportation Safety Board), becomes a pawn in a very dangerous game.

Burdened with a new team, she must connect the pieces to stay alive. And she must do it before the wreckage of her past crashes down upon her.

Think I'm right or wrong? I'd love to hear your thoughts on the challenges facing career-writers.
---
M.L. “Matt” Buchman started the first of over 60 novels, 100 short stories, and a fast-growing pile of audiobooks while flying from South Korea to ride his bicycle across the Australian Outback. Part of a solo around the world trip that ultimately launched his writing career in: thrillers, SF/F, and romance.
His titles have been named Barnes & Noble and NPR “Top 5 of the year” and 3-time Booklist “Top 10 of the Year” as well as being a “Top 20 Modern Masterpiece” in romantic suspense. As a 30-year project manager with a geophysics degree who has: designed and built houses, flown and jumped out of planes, and solo-sailed a 50’ ketch, he is awed by what's possible. More at: www.mlbuchman.com.

Wednesday, May 22, 2019

8 years 8 genres?!

by M. L. Buchman

Romancing the Genres began eight years ago in May 2011. Curiously enough, my career as a writer began taking off about the same time, so I find myself looking back and going...Huh!

Some of that is a really good Huh! Seven years ago my writing career took off. Why? I think it's because I created something new. The first women of the Night Stalkers helicopter regiment--the women who were so good that the rules couldn't keep them out of the US Military Special Operations. I also work on my craft like a demon, but I've always believed in doing the best I can at something, even when I don't know what I'm doing. Perhaps especially then.

And I'll actually get to the real reason I think it happened down below.

On February 2012, with the launch of The Night Stalkers #1, The Night is Mine, I officially became a romance writer. A romantic suspense writer. A military romantic suspense writer.

To say that's not how I saw myself up to that point would be a vast understatement. I was a science fiction writer, by God. Except my first novel in 1997 was a fantasy. And while the second one was a miserable attempt at military SF (trust me, skip that one), my third novel was hard SF. I'd finally come home. I'd written THE epic masterpiece...which them accumulated some 70-80 rejections and has never taken off.

Now I do have an excuse for what happened next. At one of my first signings (back in the late 1990s), I met a major Western writer, John J. Nance. Okay, perhaps you know him as a major bestseller of Airport thrillers (which he was and is). But he absolutely is a Western writer the way I'm an SF writer. Except he couldn't sell the westerns despite being one of the biggest names in publishing at the time. Why? Because his agent and publisher didn't want to risk dinging his name. In fact, they wouldn't even take it on under a pen name in case word got out.

He said to me, "Try out everything you want to write before you break out. Once you do, you'll be trapped forever in that genre."

Perhaps not the cheeriest outlook, but he was worth millions per book and I'd made about $600 with my writing by that point. 

So, I listened. 

Perhaps the pinnacle of my odd quest to answer his call was the year of 2011. I had sold the original four books in The Night Stalkers series in 2010 and delivered all of them by late 2011. But even with a full-time job, I wrote faster than two-per-year. This was back before the Kindle Christmas, back when having a book published indie was almost unheard of (we sure hadn't come up with the "indie" label yet).

In 2011, I released (some were written earlier):
  • My Second Dark Ages fantasy, Monk's Maze
  • My science fiction apocalyptic masterpiece, The Nara Reaction 
  • Book #1 of a lighthearted Dead Chef thriller series, Swap Out! 
  • Book #1 of my most successful Where Dreams contemporary romance series, Where Dreams Are Born
  • And then in February 2012, The Night Is Mine became my first military romantic suspense
Five genres in one year. The power of indie had arrived (too bad the first couple didn't sell better, but they were early books). My thrillers do nicely and the Where Dreams series (5 novels and 3 short stories) has been a perennial seller that I really love.

Did I stop there? Of course not! Since then I've sprouted: Paranormal(ish) romance, sweet romance, non-fiction, 2 historical romances (that, thanks to some wise advice, never have and never will see the light of day, not even under a penname [trust me, it was good advice]).

Oh, did I mention that this fall I'm launching a brand-new techno-thriller series?

So where am I going with all this?

I have a successful romantic suspense career (74 novels and short stories). I have most of a second career in contemporary romance (25 titles). Yes, I also have 5 thrillers, 3 fantasies, and over 18 SF (all but those two early novels are short stories--so far). 

I've counted it a couple different ways, but I've roughly written in 8 genres in 8 years. Is this sane or rational or a well-planned, well-organized strategy in any manner, shape, or form? Absolutely not!

But what it has been is massively fun!

Yes, I have some fans who will never read my (pick a genre). But if I limited myself that way, then I'd never have the fans who will only read that genre.

You see, I finished the first draft of that techno-thriller just today, mere hours before this blog went live. (In fact, it's a good thing I finished it when I did or this blog might never have existed.) And what did I achieve by writing a new book in a new genre that may never take off?

Well first, maybe it will take off.
But second, it forced me to reconsider how I tell story. How writing so many romances has shaped and honed my voice in ways that I wasn't aware of. 

I was talking with my now-pal Damon Suede the other day. (If you're going to be at the RWA National Conference in New York this July, look for our talk with SC Mitchell, Men Writing Men in Romance.) And we talked about breaking "the box."

That's what The Night Is Mine did and I firmly believe that (on top of craft) that's what finally started my career. I broke "the box" and was perhaps the first author to put the women in combat positions and placed my love stories in the theater of Special Operations. 

Breaking the box is what I also tried to do with my Henderson's Ranch series in which the second story and the last novel, Big Sky Dog Whisperer, were about a veteran who lost a piece of himself and became more of a man in the end than when he'd been a SEAL. Am I the first to write about wounded vets? Of course not. But it sure broke any box I'd been comfortable writing romances in. When I first created Stan in Reaching Out at Henderson's Ranch, he got the love of a dog and I figured that was all he'd ever get from me. Instead he concluded one of my most successful series, one-armed dog trainer, scarred face, and all.

It's what I did when I wrote this crazy thriller.

I forced myself to keep growing.

Yes, I've written in 8 genres in 8 years and I count myself stretched in way more than 8 ways.

I can't wait to see what the next 8 years brings.

Love to hear how you challenge yourself to keep it all fresh.
(Hint: I can honestly recommend not doing it by writing in 8 genres. 😉 )


M.L. "Matt" Buchman has over 60 novels, 90 short stories, and a fast-growing pile of audiobooks out in the world. M.L. writes romance, thrillers, and SF&F…so far. Recently named as The 20 Best Romantic Suspense Novels: Modern Masterpieces by ALA’s Booklist, he has also been selected three times as "Top-10 Romance Novel of the Year." NPR and B&N listed other works as "Best 5 Romance of the Year." As a 30-year project manager with a geophysics degree who has: designed and built houses, flown and jumped out of planes, and bicycled solo around the world, he is awed by what's possible. More at: www.mlbuchman.com


Wednesday, April 24, 2019

Time Passages

by M. L. Buchman

This blog has monthly themes and, curiously, this month has two. "A funny thing happened..." and it's the 8th anniversary of Romancing the Genres. I was invited to join some 7-1/2 years ago, but I'll pretend that's it's my 8th anniversary here as well.

And it is curious, but a funny thing did happen over the last eight years...I became a writer.

It's actually a very curious progression that allows me to say that and for it to have meaning.

Just over twenty-five years ago I was a burned-out corporate project manager who had lost his career, his job, the house he'd spent 7 years remodeling, everything (courtesy of an unscrupulous business partner). Twenty-five years ago I was bicycling around the world and, for reasons unknown to me, I'd begun writing my first novel (which was also my first fiction...ever). That novel would eventually turn into my first novel sale some four years later to a tiny house that folded soon after.

Eight years ago, in 2011, I was once again a corporate project manager, I was again burning out, but I was also writing. I'd written five or six novels over the fifteen-plus years, garnered my requisite large folder of rejections (somewhere north of 440 of them), and miracle of miracles, sold my first series. My "little hobby" was still a year from launching its first novel on anything more significant than this curious device called a Kindle (the so-called Kindle Christmas marking mainstream acceptance wasn't until December 2011).

In early 2013 (once again spit out by corporate), my wife and I made the leap. We bet on my writing. I wrote my ass off and it worked; I've now been a full-time writer for over six years.

But it's never that simple, is it?

When did I become a writer?

Was it July 22nd, 1993 when I wrote the first words of what eventually became my first fantasy novel and first sale, Cookbook from Hell: Reheated?
Click for more info
Was it the date that I set my alarm clock two hours earlier on October 10, 1995 (I was not an early riser), so that I could write before work? It wasn't with my first publication, nor my tenth, nor as I became a full-time writer.

Curiously (or should I say "funnily along the way..."), it seems to just be happening now. I've written over sixty novels and seventy-five short stories. You'd think that would have tipped me over. But it was my third non-fiction book that has finally flipped the switch inside my brain.

Self-help references for writers often strike me as near comical. Some are great, but so many of them are "now I've written two books, so I have tons of great advice to share." I wondered how much experience I'd need before I felt that I had something truly worth sharing to help other writers.

I found it. Brand new this month, it contains everything I've learned to date about character voice.

Click for more info
And curiously enough, a funny thing has happened over the last eight years--perhaps most of all in the writing of this little book. I'm not longer an ex-corporate project manager who writes.

Without my really becoming aware of it: I am now a writer.

Has your brain flipped that switch yet? If so, what did it take for that to happen to you?


M.L. "Matt" Buchman has over 60 novels, 75 short stories, and a fast-growing pile of audiobooks out in the world. M.L. writes romance, thrillers, and SF&F…so far. Three-times Booklist "Top-10 Romance Novel of the Year." NPR and B&N "Best 5 Romance of the Year." RITA finalist. As a 30-year project manager with a geophysics degree who has: designed and built houses, flown and jumped out of planes, and bicycled solo around the world, he is awed by what's possible. More at: www.mlbuchman.com.

Wednesday, October 24, 2018

Visiting The Lost and Found for Storytellers

by M. L. Buchman

Last month I talked about needing to find the "New." New voices. New storytelling.
https://romancingthegenres.blogspot.com/2018/09/the-old-and-new.html

This month, I'm back on the same topic, but different.

I think that I nearly lost something in the art of writing. There's a mindset among so many indie writers at the moment that you must produce to thrive (to even survive). You must climb on the gerbil wheel of telling story and run for all you're worth, hoping you never tire so badly that you fall off the wheel.

"Burn out!"
"Writer's block!"
"Crashed career!"

For crying out loud, I've given conference lectures on this point. They go something like this:

"I call it the Readers' Clock. Amazon is all about big data. And their big data has made them create an algorithm that rewards authors with a higher ranking if they release something every 30 days. Written Word Media (Bargain Booksy & Freebooksy owner) did a survey in which readers said they wanted to hear from an author via newsletter at least once a month. So we've got to hit that clock."

And sure enough, if we do, we see sales take off. Sustainability problems kick in. (But those issues are discussed endlessly in other places, so I won't dwell on them here.)

I suspect that Readers' Clock is even more prevalent in the world of voracious romance readers than other genres, but I know it's in the others as well.

Like last month's post, the question I need to ask is how does this apply to me. I'm prolific. In among all of my novels, I've released a brand new short story every month for the last 5 years. I've certainly been ticking away at the Readers' Clock.
http://www.mlbuchman.com/the-ides-of-matt/
 But at what cost? Hence the cries I've been hearing of "Burn out!" "Writer's block!" and "Crashed career!"

I also look at the cost to the story itself. Let me really sidetrack here for a moment. There are writers who make a very nice living by telling a common story. They write well, fast, and are entertaining. And there's a sameness to those stories, which many readers find to be a comfort.

This isn't me.

I write to understand the characters, storytelling, and myself in new and different ways that I never had achieved before. I fully believe in the effectiveness of the Readers' Clock. As a reader, I want more stories from my favorite author. And if I don't find it, I'll wander off and find another writer.

But as a reader of people pursuing the Readers' Clock's rhythm, I often see what I would call a Loss of the Art of Storytelling. There becomes such a need to "crank out" story that we forget to "tell," or perhaps even better, "pursue" story. I've had whole manuscripts rejected by my alpha reader for precisely that disease. I made that reader promise me: "If it isn't a step forward, at least in some way, from anything I've ever written--Reject it!" And they have.

It hurts like a punch to the heart. But after the pain, I pull back and I look at the story or the characters and I discover depth, richness, variety, technique, craft--elements I had left out due to thoughtlessness, lack of awareness, skill, whatever.

This whole post has just been me thinking aloud about my own career, so here's my next thought:
The craft, the art of storytelling is the ultimate Readers' Clock. My career is established. It's up and running, but neglect could kill it so easily. Is that neglect in missing some artificial release cycle? No, the true neglect would be losing the art of storytelling. Because good story is why we read.

Lately, I've been trying to think more about why I'm telling a story than how soon can I tell it. I want to discover how to speak to the reader so clearly that my alpha reader will never balk.

I love story. It's why I became a reader. Now, as a writer, I must be eternally vigilant to recall my passion for story ahead of my need to keep boosting sales.

Did I achieve this in my upcoming October 30th release? I like to think so. I explored character types I haven't written before. I added complexity of a villain who has an agenda of her own. And I worked to truly marry my love of romance and my joy of thrillers. Yes, I am pleased. Next, I'm... Well, I'll be pursuing my rediscovered love for the found art of story, I know that much.

Coming October 30th (e-, print, & audio)
www.mlbuchman.com/books/midnight-trust/
M.L. "Matt" Buchman has over 50 novels, 70 short stories, and a fast-growing pile of audiobooks out in the world. M.L. writes romance, thrillers, and SF&F…so far. Three-times Booklist "Top-10 Romance Novel of the Year." NPR and B&N "Best 5 Romance of the Year." RITA finalist. As a 30-year project manager with a geophysics degree who has bicycled solo around the world, he is awed by what's possible. More at: www.mlbuchman.com. 

Wednesday, September 26, 2018

The Old and the New

by M. L. Buchman

"What writers have most influenced your writing?"

As a writer, I get that question all the time. And I've had an answer that I've liked for a long time:

"Well, I'm not sure who influenced me, but I can tell you the writers who I've read almost everything they've written: Arthur C. Clarke, a lot of Heinlein and Asimov, the complete fiction of Ayn Rand and Herman Hesse (read in order), James Clavell (the only author I consistently bought in hardback even when broke because I couldn't wait), a lot of Nora Roberts and Susan Wiggs, Anne McCaffrey, Ursula K. LeGuin... That's the heart of it. There's also King and..."

I'm a great re-reader too. Tolkien each decade, Atlas Shrugged every 5 years (my favorite book that probably changed my view of the world more than any other along with Clarke's The City and the Stars). Lucifer's Hammer by Niven and Pournelle is another fav along with the Earthsea Trilogy.

Only recently have I noticed a real problem with that list...most of those writers are dead. Yes, I look forward to the next Susan Wiggs book, but partly its because I know just what kind of story I'll get.

Then I begin to think about my own writing. I feel like I'm just at the very beginning of my career. I'm starting my 60th novel this week, and I finally feel as if I'm getting some idea of what I want to ultimately write.

It's not that I'm not thrilled with what I've written. #59 hits the bookshelves on October 30th and I love it! It has a level of characterization and storytelling that I'm terribly pleased with (well, as pleased as I am with any title I've written).
www.mlbuchman.com/books/midnight-trust/

For me, my discovery of story (probably best as a topic for another time, so I'll just dip in a little here) is done by telling stories. Some writers think, some outline, some plan... I write and see what happens on the page. As I'm building craft (and fans--thank you very much), I'm also slowly unwrapping the core stories I want to tell.

Is it a voyage of self discovery? I think it is, and that's actually the key to my thoughts about writing at the moment.

I have been reading the (mostly) past masters and perhaps exploring my past self. But now, at the take-off point of my writing career, as I move forward into the next stage of my writing and my life, I realize that I need to read the new writers. I need to explore Ken Liu in science fiction. I just finished the latest William Gibson (yes, he's been writing a while, but his writing still pushes hard at the edges). Neal Stephenson's Anthema is one of my favorites from the last decade. But still, I need to find newer and fresh voices.

So, I'm moving soon. And I've decided it was a perfect opportunity to be lightening my load. After a lot of debate...I sold all of my fiction books. (Okay, I kept Atlas Shrugged.) Whole bookcases went away. Ninety percent of the fiction I still own in paper is now my own.

Why did I do this? Because I wanted to open the space in my mental shelves for new writers as well as my physical ones. For new words. I want to find people who are exploring the limits of their craft and the outer reaches of story. I've tried reading the "fiction as art" books as I think of them. I find them to be too disjointed, perhaps simply not to my taste.

For me, fiction must be accessible and filled with heart. Be it a romance, a thriller, SF, or high fantasy is less of an issue. The fiction I write will always meet those two criteria. But I wouldn't have read those "art" books if I hadn't been seeking "the new." I want to hear fresh thoughts in storytelling.

Everything evolves. From The Illiad's poetic capture of an until-then oral tradition to Hao Jingfang's Hugo winning Folding Beijing, storytelling has evolved immensely. She (the 7th bestselling book of all time--ahead of The Da Vinci Code and all but the first Harry Potter--once the most popular book in the world) is nearly unreadable just a hundred and thirty years later. It's not that the language is too arcane, rather that the style of storytelling has evolved so drastically.

I want the new. I need the new!

...any suggestions?


M.L. "Matt" Buchman has over 50 novels, 70 short stories, and a fast-growing pile of audiobooks out in the world. M.L. writes romance, thrillers, and SF&F…so far. Three-times Booklist "Top-10 Romance Novel of the Year." NPR and B&N "Best 5 Romance of the Year." RITA finalist. As a 30-year project manager with a geophysics degree who has bicycled solo around the world, he is awed by what's possible. More at: www.mlbuchman.com.

Saturday, October 14, 2017

Finding the THRILL In Romance!

by M. L. Buchman

Forty-five novels ago I set out to find a romance in the thrill. I wrote a thriller called Hard Lift and tried to run a romance right up the middle of it. I'd written love stories before, even had a contemporary romance that still sells very nicely a decade later (the 5 novels and 3 stories in "Where Dreams" series set in Seattle's Pike Place Market).


But I wanted something more. I wanted something that would grab me the way a good thriller did. A story that not merely forced me to stay awake to finish it because I was so enjoying it, but something that put me on the edge of my seat while doing it.

What I achieved, is just what I said above, a thriller with a romance up the middle of it. To make Hard Lift into a romance required a skilled editor and two massive revisions. 

(A side note on revisions: My story changed very little. It was the same story. It was the same characters. It was the same voice at the end of the two big revisions that it was at the beginning. What had changed was the balance.) That change of balance caused the American Library Association's Booklist to name it a "Top 10 Romance of 2012." An honor that still startles me.

Oh, you may know it by a different title:

Including spin-offs and side series, that book launched twenty novels and at least as many short stories. Both the Firehawks and the Delta Force series have earned the same accolade.

So, what lies behind that?

The answer for me harkens back to my first-ever writers conference, Romance Writers of America National Conference in 1996. I attended a session on cross-genre books. This was back before Paranormal Romance was considered a genre--though vampires were already heating up the pages. I asked about my newly released first-ever novel (actually, due to poor planning by the publisher, it released the week after the conference). "At what point does a fantasy become a romance, and at what point is it still a fantasy?"


The presenter (whose name I've regrettably long since forgotten), gave me a wonderful answer that I've lived by ever since:
"If you can peel the romance out of the story, and it still stands, it's not a romance. If you can peel the fantasy out of the story, but the romance still stands, then it is a romance."
Cookbook From Hell: Reheated does not pass that test. The love story, while important, is not integral to the story. So while it makes the story richer, it is not a romance.

However, I've learned that the extension is also true:
"If you can peel the romance out of the story, and it still stands, it's not a romance. If you can peel the suspense out of the story, but the romance still stands, then it is not a romantic suspense."
To be a romantic suspense (or as this month's theme calls it: a romantic thriller), both elements must be essential to the story. The romance collapses without the suspense element and the suspense element collapses without the romance. 

The two must interact as clearly as characters throughout the book. 

Sometimes they support each other, when the suspense slams the heroine and heroine together unexpectedly. At other times the suspense blows them apart. Also, the way they get through the bad times is their growing love for each other. The key that solves the suspense, must also be involved in solving the romance, and the same in return. It is only together that our hero and heroine can triumph against the danger that threatens.

Because I write military romantic suspense, all three elements must be essential. My romances wouldn't work if there wasn't the suspense and they weren't military. Likewise, my suspense is so tightly wrapped about the military, that it too is inseparable from character and story.

From the first moment to the last, these elements must interact--must depend on each other.
The low hill, shadowed by banana and mango trees in the twilight of the late afternoon sun above the Venezuelan jungle, overlooked the heavily guarded camp a half mile away.
But that wasn’t his immediate problem.
Right now, it took everything Duane Jenkins could do to ignore the stinging sweat dripping into his eyes. Any unwarranted motion or sound might attract his target’s attention before he was in position.
From two meters away, he whispered harshly.
“Who the hell are you, sister? And how did you get here?”
“Holy crap!”
He couldn’t help but smile. What kind of woman said crap when unexpectedly facing a sniper rifle at point-blank range?
“Not your sister,” she gained points for a quick recovery. “Now get that rifle out of my face, Jarhead.”
Ouch! That was low. He wasn’t some damned, swamp-tromping Marine. Not even ex-Marine. He was ex-75th Rangers of the US Army, now two years in Delta Force. And as an operator for The Unit—as Delta called themselves—that made him far superior to any other soldier no matter what the dudes in SEAL Team 6 thought about it. That also didn’t explain who he’d just found here in the perfect sniper position overlooking General Raul Estevan Aguado’s encampment.
Hero, heroine, military, and suspense. Now this isn't near the final problem that they must face together, but it is a good example of what I mean as well as an introduction to them that is going to escalate throughout my latest title. Romance, military, suspense—all wound together. Whether it is vampires, shapeshifters, detectives, CDC doctors, or any of the myriad others, the tighter the pieces are wound together, the more readers you'll be keeping up at night and sending to work exhausted.

Wild Justice - a Delta Force romance
launches on Tuesday 10/17





  • M. L. Buchman: 50+ novels, 3x Booklist "Top 10 Romance of the Year", NPR and B&N "Top 5 Romance of the Year."
  • M. L. writes: military romantic suspense, contemporary romance, F&SF, thrillers, even more short stories than novels.
  • M. L. has: bicycled solo around the world, designed and built houses, worked too many years as a corporate project manager, rebuilt and solo-sailed a fifty-foot sailboat, flown and jumped out of airplanes.
  • M. L. also: quilts!?!
  • Find out more at www.mlbuchman.com.

Wednesday, February 22, 2017

Moving Furniture

by M. L. Buchman

Sometimes themes gather in one place in my life. When they do, when they clump together in close proximity of place or time, I've learned to pay attention. I'm in the middle of one right now and I'm not sure what I'm supposed to be learning...yet. But it is time for this blog, which seems to be a part of this lesson. So, let's see what's going on.

WERNER
I was watching an interview with the legendary documentary filmmaker Werner Herzog. He has directed 65 films over the last 55 years and written most of them. He has won over 50 awards, including Lifetime Achievement awards. 

"I saw my first cinema at 11." He grew up in a very small town and a traveling projectionist finally passed through and showed a "terrible" samurai film in the town's one room schoolhouse. Herzog was not only amazed at how a film could show another place, but he noticed a particular three seconds.

In a battle, a man is shot with an arrow, and falls dead from a high rock. Later, in the same battle, the same three seconds occurs--the exact same three seconds, spliced in twice. None of his friends believed him. He stayed through a second showing to prove to himself what he'd seen.

"It was the moment that I understood that film had structure. That it was built up of pieces."

He had seen the furniture move.

STEELE
One of my favorite examples of this is Danielle Steele. Many think she is just a trashy romance writer. And every one of those people should look at the fortunes she's made--there are few writers who can boast such sales numbers. Danielle Steele doesn't only show you the furniture moving, she tells you that she's about to show it.

"Look. Look over here. Their relationship that was going along so smoothly is headed for trouble. See? See? They just don't know it yet. Here it comes..." Boom!

TEACHER
I was speaking with a writing teacher today and he was talking about trying to explain to students that the furniture doesn't merely move, it must move with purpose. And student after student was shocked, "Oh, I see it now." As if they didn't get what was happening.

The moving furniture can be anything: plot, theme, romance, Christmas, a meal... Think of the splendid Stanley Tucci movie Big Night. It is an entire movie centered around a meal.

ME
Everything has purpose. The better writer I become, the more clearly I see it. Just this morning, I was brainstorming my next book with my wife. 

"Well," I tell her, "they are both experts in explosives." (This is in my military romantic suspense Delta Force series.)

"I get it! When do they blow up the relationship? Short fuse or long and slow?" ...and the conversation spun on from there.

3 REASONS
So, I was puzzling at the collision of these different events: three of them in the same 18 hour period. (I'd read the Danielle Steele book several years ago, but remember it very clearly...another sign that she's a good writer, whether or not you like her writing.)

As I tried to explain this three-way collision to my wife, she laughed and said something that she's mentioned a myriad of times to me: "Right. Everything you do has to have 3 reasons." (She thinks I'm really good at that. Frankly, I'm just starting to understand it.)

What does she mean? Big Night is indeed centered around a single, perfect meal. But it is also about the struggles of two brothers. It is about hope and how to find it again no matter how far it has strayed. The meal isn't only the vehicle for the movie to progress forward, or the many plot points attached to it (which I won't give spoilers on), but the meal is also about how hope is possible under even the worst of circumstances.

That meal doesn't serve 3 reasons, it serves more like 30!

As a writer, I have studied the true masters of the craft. I have typed the opening of almost every novel in the house just trying to understand how they did it. I've typed in the last line of one chapter and the first of the next to study the craft of cliffhangers by a dozen different authors. 

And as I do this, after 50 novels, I feel that I am finally starting to understand how these pieces and objects move and intertwine. Watch any episode in the first 4 years of The West Wing and sit in awe at what Aaron Sorkin does with each layer. Watch Studio 60 on the Sunset Strip, which he wrote after that--his craft is even more incredible. Everything--EVERYTHING--serves multiple purposes: the clock, the set pieces, the roles of the actors, everything.

Watch episodes 13 and 14, "The Harriet Dinner." I watched it 20+ times trying to understand what he did and it still mystifies me.

I'm slowing learning about the furniture in my own stories, especially this week. I hope this helps you learn about yours...or helps you enjoy and appreciate the writers you love even more.

M.L. Buchman started the first of over 50 novels while flying from South Korea to ride his bicycle across the Australian Outback. He was on a solo around the world trip that ultimately launched his writing career.

All three of his military romantic suspense series—The Night Stalkers, Firehawks, and Delta Force—have had a title named “Top 10 Romance of the Year” by the American Library Association’s Booklist. NPR and Barnes & Noble have named other titles “Top 5 Romance of the Year.” In 2016 he was a finalist for Romance Writers of America prestigious RITA award. He also writes: contemporary romance, thrillers, and fantasy.

Past lives include: years as a corporate project manager, rebuilding and single-handing a fifty-foot sailboat, both flying and jumping out of airplanes, and he has designed and built two houses. He is now making his living as a full-time writer on the Oregon Coast with his beloved wife and is constantly amazed at what you can do with a degree in Geophysics. You may keep up with his writing and receive a free starter e-library by subscribing to his newsletter at:
www.mlbuchman.com.

Wednesday, January 22, 2014

Blaming the Romance Writers

by M.L. Buchman

It's the only thing I can think to do, blame my last month on the Rose City chapter of RWA. It's a good blame, but it's still their fault. Well, maybe the fault goes back further than that, but let's blame it on them anyway.

About two years ago at their monthly meeting, I was asked to give a talk. Understand, they've had wonderful speakers, so no pressure at all. Nope, none. Not until their scheduled speaker was called out of town and I, for reasons still unknown, said, "I can fill in if you can't find someone else."

Well, to make a long story longer, I had a talk I had recently presented to the Project Management International's monthly local chapter meeting. I had used the process of writing a book as a lesson in the 5 process groups and 9 knowledge areas of project management; after nearly 3 decades as a PM, I was also one of PMI's certified trainers. For the Rose City Romance Writer's I thought, "Hey, I can just flip the talk to make it about project management for writers instead."

Oy!

Well, after a lot of prep, the talk happened and the writers asked so many more good questions that I had to research and think more about what I was trying to say. By now I had taken my 1-1/2 hour talk and turned it into about four hours worth of notes. Then I was asked to present it in front of a group of thirty-five pros, not a beginner in the group, and do it in under an hour. I spent weeks preparing for that. By the time I was done, I had even more material...And I also had an even clearer focus on what I was trying to say.

But I knew an element was lacking. I knew my plot needed a sub-plot, so to speak. I contacted my sister, who has the same initials. She's also been a photographer for decades, is one of the country's leading digital archivists, as well as one of the few in the world teaching the nearly lost art of tintype printing. We threaded out knowledge together and finally created the book of the talk. We're very excited to say the least!
It's a fun look at managing your time and your creativity without stressing about one or quashing the other. And, as we were taught as project managers, it's all about how you communicate. Only with an artist, it's all about how we communicate with ourselves. Hope you have fun with that one.

And then, since I was over in non-fiction land, and I had just finished the first logical "chunk" of my Night Stalkers military romantic suspense series...I wrote about that as well. In The Night Stalkers Special Features I wrote a commentary on the first 7 novels. I looked at where ideas came from, what the editing process was like, how I grew characters, how I researched tech, and--most importantly--why?

What really surprised me here was how much went into each book. Telling only the best stories on each, I barely grazed the surface of what I learned by writing them. As a bonus, I included my Night Stalkers Christmas story, first published in Fiction River: Christmas Ghosts. It is also the only time I expect any paranormal element will fly with the Night Stalkers. (Publishers Weekly called the story
"a real stand out.")

This book too released this week!
  
I can't remember the last time I had this much fun. Wait! Yes I can. I just started writing the next book in the Night Stalkers series. I absolutely love by day job!

A special thanks goes out to the Rose City Romance Writers and to my Night Stalkers fans, without whom neither of these books would have been necessary! Thank you.

Saturday, March 17, 2012

GUEST: Paranormal Author Minette Meador- Tools forCreating a Paranormal Romance

An abbreviated approach to writing paranormal romance
NOTE: At the end of this article is a link to: An
11 PAGE LIST OF BODY CUES BY EMOTIO, A REFERENCE GUIDE TO THE HERO’S JOURNEY
, AND AN ARTICLE ON HOW YOU USE WORDS. Minnette :o)


 I.        THE ROMANTIC ARC – There is a story ARC in everything you write; whether it’s a thriller, mystery, or even a children’s book. I use a mix of the Heroes’ Journey (1) and Aristotle's tragic fall from grace for most of my books and especially for a paranormal.

a.  THE NORMAL LIFE – My depiction of the “normal life” that prefaces the story ARC of a paranormal isn’t dull. As a matter of fact, I try to portray the life of my lead characters as dramatically as possible. In Ghost of a Chance the story starts out with Keenan ogling the woman of his dreams just to be interrupted by a screaming apparition, which, for him, is also his normal life. I try to blend in the barriers right from the beginning to create mystery. In a romance ARC I think it’s important to build the “normal” romantic life from the beginning too: i.e. he sees ghosts so how can he ever hope to have a normal relationship; she has sworn off men and will never date again; she finds him annoyingly attractive, until he opens his mouth, that is; he can’t stand bossy women and this one is the worst… if only he didn’t like her so much. It makes that fateful step through the Looking Glass or crossing that first threshold an even harder step. The character has already been through a lot when I open my stories. I try to stay away from backstory as much as possible in the beginning pages. I want to portray that the normal life for this exceptional character will only become more intriguing.

b.     THE OPEN DOOR – The second part of the ARC for me is the beginning of the journey, the stepping through that forbidden door, or the change in circumstances that hurls the character into unknown territory. In a romance ARC, this could be anything out of the ordinary for my characters. In The Belle Stalker, the path opens when Belle finds her lover murdered in her apartment and her homicide detective ex-husband back in her life. In A Ghost of a Chance the road changes when Keenan is seduced by a powerful spirit that changes his life forever. Every story has this dramatic change of life circumstances and I try to make them powerful enough to turn the characters onto different paths way beyond their comfort zones.

c.   THE FALL FROM GRACE – some people don’t use this step in the story, but I love it. Human beings are flawed, awkward, crazy, argumentative, docile, and have many imperfections that make them ultimately fascinating. Even a hero has bouts of nerves, kind people sometime hiss with the best of them, smart people go suddenly stupid in the most dire of situations, and evil people can even show compassion. I build in a fall from grace for my characters; in the paranormal ARC this might mean something like turning into a coward at the threshold of disaster to save your own skin; walking away from responsibility when others are counting on you. The lower they go the more glorious the black moment and the resolution.

d.   MAKE IS WORSER – I have a wonderful editor, who would tell me to make it worser, i.e. make it bad, then go one further and make it worse… then make it worser. That piece of advice has always helped me. I torture my poor characters mercilessly. It makes for good reading every time.

e.    THE BLACK MOMENT – Donald Maase teaches this about the black moment:

                      i.      Work out the one thing your character would never do, then make him/her do it.
                      ii.     Work out the one thing your character would never sacrifice, then make him/her sacrifice it.
                     iii.     Work out your character’s greatest fear then make him/her face that.

f.    THE RESURRECTION – This is the shining moment of the ARC, the place where he executes the daring rescue despite his fears, the resounding revelation that they do love each other, or the all-encompassing realization that what you wanted all along was right in front of you. This works for the paranormal ARC as it does for any genre.

g.   THE JOURNEY HOME – This is the part that wraps up the story and takes the character “home,” wherever that might be.

            II.  GOALS, MOTIVATIONS, AND CONFLICTS – A great book on GMC is Goal, Motivation, & Conflict: The Building Blocks of Good Fiction by Debra Dixon. This is an amazing book about building substance into your heroes, heroines, and bad guys to make them more three dimensional. I do GMC for every major character in my book and even for secondary ones if it’s needed. I also do an extensive character survey sheet for each one to tell me all about them. In a nutshell:

a.   What: The ideal scene – What does the character want more than anything else? Note: It is NOT to fall in love. Romance is usually the LAST thing a character wants and it messes up everything every time. What is your protagonist’s goal? What is your antagonist’s goal?

b.   Why: What is his motivation?  Why does he want this goal? Because… The motivation is what drives characters and sets up the foundation for the novel. It also what keeps it moving forward. Think of a motivation your character has.

c.   Why not? Who or what stands in our way?
                      i.      Definition of conflict*:
1.     Conflict is a struggle against someone or something in which the outcome is in doubt.
2.     Conflict is bad things happening to good people.
3.     Conflict is bad things happening to bad people.
4.     Conflict is friction, tension, opposition… and danger.
5.     Conflict is two dogs and one bone.
*Goals, Motivation & Conflict: The Building Blocks of Good Fiction by Debra Dixon

d.    THE WIZARD OF OZ:
                    i.      WHO – DOROTHY
                    ii.      WHAT/GOAL – TO GET BACK TO KANSAS
                    iii.      WHY/MOTIVATION – BECAUSE HER AUNTIE EM IS SICK
                    iv.      WHY NOT/CONFLICT – THE WICKED WITCH OF THE WEST   WHO WANTS THE RUBY SLIPPERS
        III.    LAYERING IN THE ROMANCE
I’m a big fan of writing the story down as quickly as possible and then layering in the “details”: Descriptions, pacing, backstory, dialogue, emotions, reactions, timelines, and loose ends/plot problems. Here is what I do with three of these elements:

a.   The backstory – I try to work in as little back story as I can in the beginning of the book and reserve it for the “quiet” times. I try to build it into dialogue first and then in reflections. This for me is one of the hardest things to do because you don’t want to just do a “data dump” to your readers. It pulls them out of the story and usually causes page skipping. I’ve seen it myself in books by some of the best authors in the world. The backstory needs to come out naturally, a bit at a time, leaving a mystery after each bite to move the reader forward in the story. I try very hard never to give them all the story until the very end.

b.   Dialogue – This should be a natural result of relationship building. Sometimes just throwing two people together where they have to stay that way will generate dialogue. I try to make my dialogue short, sweet, and pithy wherever I can, however, I also have my characters tell their own stories as well. It’s usually more interesting coming from them than it is from me. I’m notorious for the “story within a story” using flashbacks that are usually funny and hopefully always interesting. Romance dialogue is used to learn about each other; think of a time when you went on a date. What was your conversation like? Have the characters ask questions, get into a tiff where something comes out that shouldn’t have, come up with a solution to a problem based on past experience that the other person didn’t know about. You can weave this all into your story to bulk it up. 

c.   The quiet moments - If you have no quiet times you are going to exhaust your reader – everyone needs a breather, including your characters. It is during these quiet moments that we learn all the good, bad, and ugly things about our characters, heroes and villains. As a musician I learned a lot about silence and its importance to music. It is the pauses as much as the crescendos that define the emotion of music. It’s the same with writing; the quiet and even silent times in the story builds a foundation for the tension and movement and make them more real. Just as life breathes in and out, so does a story. Even the most thrilling of suspense novels have their quiet times. The trick is learning to balance the two. 

 
            IV.  LAST NOTES:
a.   If you want to write well, read well.
b.   Study and practice your craft. No one lives in a vacuum. Learn from as many other writers as you can.
c.   Romance can be as subtle as a stolen kiss and as grand as an elaborate marriage. Let your characters be frightened, unsure, clumsy, and doubtful. In matters of love, we’re all like that no matter how we act on the outside. The only other occupation we know less about is being a parent. That is true for your characters as well.
d.   Even the most macho man in the world can be brought down by the flash of a lovely eye.
e.   Even the most steadfast liberated woman can melt into the arms of a lover who truly cherishes her.
f.    Romance can add warmth and passion to any story, even the dourest ones. We often cling to love when all else fails. And it is usually love that sees us through the worst life can throw at us.

WHERE TO FIND THE ENTIRE ARTICLE WITH HANDOUTS INCLUDING AN 11 PAGE LIST OF BODY CUES BY EMOTION, A REFERENCE GUIDE TO THE HERO’S JOURNEY, AND AN ARTICLE ON HOW YOU USE WORDS:
Creating Fiction: Tools, Tricks, and Tips
Includes body cues by emotion, The Hero's Journey, and 
It’s Not What You Say; It’s How You Say It
 
 © 2012 Minette Meador ALL RIGHTS RESERVED
Visit Minette at
and  her blog, World Weaver