A nice compliment

I had Scribes last Wednesday.  One of our members brought in a newspaper article about Louisa May Alcott with a few lines highlighted to share.  I never realized how hard Alcott had to work to make ends meet.  “She taught school, went out in service, sewed, and most of all, wrote.  She read all the magazines, figured out their style, and gave them what they wanted.  She wrote thrillers and mysteries, sentimental romances, modern fairy tales, and Gothic horror.”  (from Sarah Young’s column).  And then Rachel smiled and asked the group, “Does this remind you of anyone?”

I’ve never sewn, but yes, I’ve written a lot of different kinds of fiction over time.  And I appreciated Rachel’s compliment.  I’ve written a short Christmas science fiction story for a newspaper tabloid, and they bought it, but accidentally published it under another author’s name.  I’ve had short horror fiction in two anthologies.  I’ve sold dark fantasy, urban fantasy, and short mysteries.  And romances.  I like playing with genres, but I’m glad to be working on a mystery again.

Since it’s been a while since I’ve written one, my hubby and I went to the bookstore to see what kinds of mysteries are out there.  I read my old favorites, but they aren’t very helpful for research.  They already have built-in audiences.  They can break the rules and still sell books.  I haven’t kept up with new writers in the field.  I wanted to see who’s selling today and what they do.  I asked my editor what mysteries he likes, and he sent me a stack of Kensington authors, most of whom he works with.   They were all “niche” mysteries. Every book had a protagonist with a specialty of some kind–one runs a bakery and includes recipes in her books, one writes “clambake” mysteries and includes New England type recipes, another entered poodles in dog shows and gave details about that, and yet another runs an organic farm and spa.

At the bookstore, to my surprise, I found the rows of mysteries all clumped under the “mystery” title, but the first half of the shelves were filled with “niche” mysteries in alphabetical order, and the second half was filled with “serious” mysteries.  The books were kept separate from one another.  I’m assuming that means that readers who buy the niche, cozy-style mysteries rarely buy the heavier ones, and vice versa.

I’m writing the niche style.  That’s what my editor likes.  And yes, like Louisa May Alcott, I’m going to try to give him what he wants.  That also means that my agent won’t have much luck if she ever tries to sell me to a bigger publisher.  They want books with higher stakes, bigger themes, more drama–page turners.  I’m okay with that.  I like the idea I thought of for mysteries, and I’m having fun writing it.

In the meantime, Kensington sent me an AWESOME book cover for my sixth romance, due out in November.  Thought I’d share, and whatever you’re working on, happy writing!

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Making it personal

Experts tell you to write what you know.  That always confused me.  I started out writing mystery short stories and I didn’t know much about crime.  I went to conferences and listened to panels on poisoning, fingerprints, DNA, and serial killer profiles, etc., because I wanted to get the basics right.  And I’d read lots of mysteries to know the rhythm and format.  But I finally decided that “write what you know” meant write what you emotionally know.  I’ve never killed a person, but I’ve sure been mad as hell, felt betrayed,  or wished a person out of my life–forever.  The thing is, what we live, what we feel, is what makes our writing real.

In my third romance, the protagonist’s dad dies soon after he retires from the army.  My dad didn’t get to live long enough to retire.  After a long bout with multiple myeloma–where his blood became so thick, he was hooked up to a machine that took blood out of his left arm, used centrifugal force to “clean it,” and returned it to his right arm–he finally lost the battle.  His blood got thicker faster and faster until his heart had to work too hard to pump it.  I didn’t want to do that to the characters in my book, so Paula’s dad got a quick, unexpected death, but I know that feeling of loss and the aftermath.  Paula tries to help her mom through her grief.  That, I know, too.  So do my sisters.  Paula, herself, has lost her military husband overseas, and she has two kids to raise.  My daughter’s a single mom, and even though we helped her, I know it’s no piece of cake to raise kids without a husband.

In my fifth romance (and it’s far, far in the future before it’s released), Joel–the love interest–is raising his daughter by himself, because his wife isn’t emotionally strong enough to deal with their daughter, who has cerebral palsy and will never be mentally older than twelve.  She’ll never grow up and move away.  She’ll always live with him.  Which Joel is fine with, because, lord, what a beautiful human being she is!  But she’ll always be a child–the good and the bad of that.  My cousin has cerebral palsy, and is maybe mentally eight or nine, and I remember my grandmother and my cousin’s mother worrying about what would happen to her after they died.  My sister, bless her, took her in, but I’ve met more people with those worries.  When a child won’t grow up, will never be able to make it on her own, what happens to her when you die?

In the romance I’m working on now, Karli goes to Mill Pond to deal with her grandfather, who’s mean and uncooperative, but is reaching the point where it’s not safe for him to stay in his own home without help.  I’ve been there/done that.  My John’s mom was unstable when she didn’t take her meds, and after John’s dad died, sometimes she took them, sometimes she didn’t.  Even though we checked on her every day and brought her to our house for suppers, it didn’t work. Our two small daughters got on her nerves.  She’d wake up at two a.m. and call us.  Her doctor finally told us, “Find a place for her, or she’ll be in the hospital.”  The doctor told Harriet, too, thank goodness, and then Harriet pushed for me to find a good nursing home for her.  Those decisions are almost always messy.  They’re messy for Karli in book six, too.

You don’t have to battle witches or vampires to find the right emotions for good to battle evil.  Most of us have battled something in our lives.  We know how it feels.  A writer’s life experiences and the emotions they invoke add depth to our stories.  So use what you’ve got.  Write what you know!

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Writing: Why don’t you try . . .?

When I first started writing, I only wrote short stories, and most of them were a bit bizarre.  They didn’t quite fit any genre, so the majority of them ended up in a file cabinet in our basement.  They’re still there.  I don’t want to read them.  I don’t want to know how bad I was when I thought I was pretty good:)  I sold enough of them to small chapbooks, though, that I tried magazines and anthologies and sold to them until someone at my writers’ group finally asked, “Why don’t you try a book?”

So I did.  I was drawn to mysteries with  sturdy plot lines built into them.  I had a structure to follow,  but books are LONG.  My first attempt fizzled at 20,000 words, but Penny Paper Novels in Baltimore was buying “short novels” to print in newspaper form and sell at airports  as quick reads.  The editor bought GOURMET KILLINGS and then STING OF DEATH, at 25,000 words.  I finally learned how to do plot lines and character wheels and finished a 60,000 word mystery.

“Why don’t you try selling it?” a fellow writer asked.  So I sent to editors at every publishing house who’d take unsolicited manuscripts (they almost all did back then), and I got wonderful rejections–even though no one was buying cozies back then.  That’s what I knew how to write, though, so I wrote more until I sent one to Anna Genoese, who was at Tor at the time, and she said, “I’d love to see an urban fantasy from you.  Why don’t you try one?”

So I did.  And I sent her one she liked and wanted to buy, but someone had recently sold Tor a novel too similar to mine, so she had to pass.  And then she left Tor, but I’d been working on a paranormal mystery for her and had no idea what to do with it.  I sent it to an agent, and she liked it enough to make me a client.  I’d fiddled for so long, though, the urban fantasy market was crowded, so Lauren said, “Why don’t you try a romance?”

So I did.  And Kensington liked COOKING UP TROUBLE.  And I learned that I like writing romance.  I’m not suggesting that anyone else follow my route of trial and error, but I am suggesting that stepping outside of your comfort zone isn’t the worst thing that can happen.  I learned every time I tried something new.  I learned from writing short and concise.  I learned from writing long.  I learned every time I tried a new genre.  Whatever and however your writing journey goes, I hope you enjoy the trail.

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Writing: giving myself permission to fail

The Old Poop (my nickname for my adorable hubby) and I are driving to Bloomington tomorrow to pick up our grandson. He moved to a new apartment with his friends for their senior year at IU. He drove a U-Haul of furniture down there on Friday, and we’re bringing him back to his car in our driveway. He’ll eat a fast supper here and then hit the road for Detroit and his summer internship. It’s going to be a full day for everyone, so I thought I’d better get my blog up while I still had energy:) That’s the way summers are, though, right? You write around life, day trips, friends and family, and yard work.

It’s been a bit of a challenge to put up a new part of Ophelia’s story every Friday for five weeks, and I’m not sure that was my most brilliant idea, but it’s been worth it. I’ve had so much fun with this writing experiment that I want to try it again–with different goals–sometime soon. Anyway, Part 4 is on my webpage now. For this challenge, I wanted to write a story in five parts where the protagonist made a bad choice at the end of each section except the last. The thing is, I like smart protagonists, so I needed a reason WHY she’d make poor decisions, time and time again, without making her stupid or fickle. That took me a minute, but I’m happy with how the story played out. I wanted her to be fighting grief, but I didn’t want her to be pathetic. I’m not too into weak characters either. Not that grief is weak, but I didn’t want someone who just folded up and quit. Sometime, somehow, my protagonist had to pick up the pieces and move on. That takes time passing, and it’s hard. It took me a minute to get used to writing in first person, present tense, too. But I’m glad I did. I learned that I like writing in first person. It’s so in the character’s head that it pushed me to really “hear” Ophelia.

Just curious. Do any of you prefer first person stories? Third? Why?

At the same time I was playing with my story, I bought Chuck Wendig’s book, The Kick-Ass Writer, and I’m reading that, too. His blog’s just as awesome, and you can find it here: http://terribleminds.com/ramble/blog/ A couple of times a year, I get the urge to up my game as a writer. I read a “how to” book that I haven’t tried before. And I stretch my muscles by trying something I haven’t done before. Okay, I don’t experiment with LONG fiction. That’s too much of an investment. I test out new techniques on short stories or short-shorts. That way, if I miserably fail, (and that’s happened), I haven’t invested tons of time. The trick for me, though, is to give myself permission to fail. If I try to write a short story with an unreliable narrator, and I can’t make it gel, I can stick it in a digital cloud and come back to it some other time, when I might think of a way to make it work. If I want to try an unlikeable protagonist, same thing. I did try writing a character who built a wall around herself and came off as cold in one of my novels–and that got mixed reviews. Something I can try to do better some other time. But in a short story, if I want to experiment with language, why not? I might lose a few days of work, but usually I’ve learned something.

When I was younger, I tried writing horror. I can do dark fantasy, but I couldn’t get dark enough for horror. Now that I’m older, and life’s batted me around a bit, I might give it another try in a short story, but it would still be a stretch for me. I was a school teacher. I can hardly stand the thought that someone can’t be fixed, helped, or saved. I wrote mysteries when I started out, and justice always prevailed:) Not so much in horror. Bad things happen to good people. Ich.

Anyway, once in a while I like to push myself in my writing. What do you do to keep your writing fresh? Or are you so buried in stories, you don’t have to think about it? Or do you strive for consistency? Because let’s face it, when a reader picks up one of your stories, he/she comes with certain expectations and doesn’t want to be disappointed.

P.S. Here’s the link for Part 4 of Ophelia’s story, if you’re interested–http://www.judithpostswritingmusings.com/ophelias-story–part-4.html

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Writing: A Crap Shoot

One of my good writing friends, Kathy Palm, wrote a wonderful blog post recently. She signed up to judge pitches and the first 300 words of manuscripts. She’s a slushie. And she makes the point that writing is subjective. I’ve judged writing competitions before, and I can tell you, you learn a LOT from doing that. What, for you, makes a story good? What doesn’t work? Because sometimes, most times, if the writing’s clean and good, it comes down to personal taste. That’s why marketing is so important. Pick the right places to send your stuff. Kathy put it eloquently. I highly recommend her post. Hell, I highly recommend her blog:) https://findingfaeries.wordpress.com/2015/04/06/nestpitching-oh-the-words/

A long time ago, I heard Mary Higgins Clark at a mystery conference, and she said the same thing. Back then, I was writing mystery short stories to send to magazines and anthologies. That was a learning curve, too. What one editor criticized in a rejection letter, another editor might praise, and what one editor rejected, another might buy. Mary Higgins Clark told us that before she became famous, she’d send her stories to 20 editors at a time, and often what 19 editors rejected, the 20th might buy. That’s the thing about writing. Perfecting your craft is just the beginning. It’s easy to reject a writer who tells more than he shows, who uses passive voice more than active verbs, or doesn’t know grammar and sprinkles commas here and there like confetti. But those writers aren’t your competition. YOUR competition is other writers who write well. So why would someone–even a reader–choose your manuscript over other manuscripts that are done well? Now, you’re getting into personal taste. Most editors–and I think readers, too–are looking for something that’s similar to what they already read, but different. Different in a way that surprises and excites them, that keeps them turning the pages. It can be voice. An author’s voice is a compelling tool. It can be a twist on the same-old, same-old–adding dry humor to something that’s usually treated seriously. Anything that makes your writing individual. But the bottom line is–what one person loves might leave another person cold.

All you can control is trying to write a really good story. If you get everything right–a great opening hook, an awesome set-up, compelling characters, great plot, perfect pacing, voice, tone…the works, you could still be rejected. But what I’m trying to tell you is not to take it personally. There’s some fan out there who doesn’t like Stephen King. (Pretend you didn’t see that, Kathy). And as much as I love Ilona Andrews, Faith Hunter, and Patricia Briggs, some of my friends tell me that I don’t need to lend them the new books I’ve bought of theirs. Okay, let’s be honest, most of my friends don’t even want to read MY books. They’re not into urban fantasy. Some of them aren’t into romance either. Does that hurt my feelings? Um, no. Because do I like what they read? Hardly.

So, grow a thick skin. Pretend you’re an elephant or rhinoceros. When a dart of criticism hits you, let it bounce off. But do your best. Because only your best will make you competitive with the others who know their stuff. And then cross your fingers, light incense, and hope the planets are aligned for your sign of the zodiac. Because the rest is a crap shoot.

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Writing: Themes

When I was young, I drove my mom nuts by asking “Why?” I wanted to understand how things connected, the cause and effect of life’s happenings. A lot of my writing explored the meaning of life. Maybe that’s why I was so drawn to mysteries, and why I’m still so drawn to plot points. Plots use cause and effect to move from one scene to the next. Mysteries take the chaos of crime and bring the criminals to justice. It makes the world…and writing…more orderly.

Now that I’m older, I don’t expect to discover the meaning of life. It’s sort of like understanding the idea of infinity. I believe in it, because it makes sense to me. How can anyone draw a line in space and say This is where it ends? Because then, we have to ask What’s on the other side of the line? Something must continue. So even though I can’t fathom infinity, I believe in it. For the same reason, I believe there must be SOME meaning to life, but I have no idea what I think it is. I’ve heard lots of different discussions on it–that life is a classroom, and we’re here to learn, that life is a blessing and sacred, even if it stinks, and that life is a stage, and we each play a part–good or bad–for the experience it brings us. I can find flaws with each and every answer I’ve heard, but that just means that the question is possibly too big for me. Like infinity. So I can’t picture the answer.

These days, I’ve flipped the question and instead of asking, What is the meaning of Life, I ask How can I add more meaning to my life? And that’s the theme that turns up more often than not in my writing. Life experience probably paid a part.

Some people are lucky and don’t attend their first funeral until they’re older. I lost my one grandfather when I was too young to remember the funeral. I only have impressions of the man–a man with a big laugh who bounced me on his knee. I lost my second grandfather before my teens. Both men went quickly, no lingering. They were there, and then they were gone. My father believed that man’s days were numbered, like the notion of the Greek Fates, who wove a person’s thread and then cut it at the allotted time. My grandfathers had lived their days, until they’d reached their quota. I decided I’d better use my time wisely. But soon after I married, my father was diagnosed with multiple myeloma. He died before he was sixty, and the disease took him a little at a time. When his blood clogged with too many proteins and cells, doctors attached him to a machine and took the blood out of his left arm, spun it in a machine with centrifugal force, and then put his clean blood back into his right arm. In the beginning, a treatment would last a long time. Then, several months. Then, shorter. Being the man that he was, he went through the treatments with no complaints, making the best of each visit and the time he had between them…until his time was up. I’M the one who shook my fists at the heavens and asked Why? To me, a lingering death seemed more like a punishment than a quick one. It wasn’t a matter of just cutting Dad’s threads. But then, one of my close friends, who’d been through loss of her own, asked Why not? Bad things happen. Why wouldn’t they happen to you? A sobering thought, but it made sense to me. So I waded through the experience. And it helped me with the next one.

My mom died a short while ago, and my sisters and I felt almost guilty, we were so happy for her. Mom had suffered Alzheimer’s Disease for ten years. The last year was just plain ugly. My sister Patty cared for her, and my sister Mary, constantly helped. I was only an occasional visitor. My theory was to help my sisters, because it’s no fun being a caregiver. I got the easy part of the downward slide that ended my mom being my mom. But I can assure you that out of love, all three of us felt huge relief when Mom’s struggle was finally over. And that experience, along with everything else that’s happened in my life, has affected my writing. Maybe that’s why urban fantasy appeals to me right now. Life’s struggles loom large in my mind, too big for mysteries. The concept of life and death is more complicated than it once was. A witch or a werewolf live until someone or something kills him. Is that a blessing or a curse? A fallen angel is immortal and can’t die. How desirable is immortality? And what makes living each day, every day, meaningful? What purpose makes life worth living? Those are the themes I’m drawn to now. And next week, I’ll lighten up:) Maybe I’ll talk about romance:):)

http://www.judithpostswritingmusings.com/

Write what you love

I’ve mentioned before that when I first started writing and selling mystery short stories, I got more respect. Now, when people ask, “What do you write?”–I’m almost apologetic when I answer, “Urban fantasy.” “Is that the stuff with werewolves and vampires?” they ask. “Yup,” I say, “and witches, succubi, Druids, and gargoyles.” Some are intrigued. Some give me an odd look and say, “But you seem so nice.” Most wrinkle their noses and announce, “I never read that kind of stuff.”

That’s fair, but I don’t turn up my nose if they write literary novels, and I’m not a prolific reader of those. I’m not offended, though. My agent warned me that urban fantasy is a sub-genre of fantasy, and editors mentioned the market was glutted. Other markets are bigger and, maybe, more open. But it doesn’t matter, because urban fantasy makes me happy, and for some reason, writing it freed me in unexpected ways. I could never quite pinpoint why…until I read Lev Grossman’s article in The New York Times. http://opinionator.blogs.nytimes.com/2014/08/16/finding-my-voice-in-fantasy/?_php=true&_type=blogs&_r=0 He brilliantly identified what it was about writing fantasy that appealed to him. And his reasoning resonated with me.

I went to a writers’ conference once, where a speaker on a panel explained why each genre appeals to its readers. She said that mystery readers like the idea of justice, that good ultimately conquers evil. They like the idea that reason wins over chaos. Crime fiction is different than mysteries. It concentrates on…well, crime and criminals. Noir gives it a dark tone–the protagonist who doesn’t care about good or bad, but is swayed by what’s convenient for him at the moment.

Science fiction and fantasy readers, according to Carol Pinchefsky, http://www.intergalacticmedicineshow.com/cgi-bin/mag.cgi?article=012&do=columns&vol=carol_pinchefsky, often feel like aliens, or outsiders, in society and the stories they choose to read often reflect that. Horror readers, according to the panelist, enjoy scary stories as an outlet for the fears they have about everyday life. Romance readers, mostly women, like the emotional appeal of a hero who is completely focused on his love interest, unlike real life where a woman has to compete for a man’s attention against his job and favorite TV shows: http://www.ibtimes.com/why-do-modern-women-love-romance-novels-call-it-fifty-shades-grey-syndrome-720842

When I read the explanations for the appeal of each of these, I got it. I understood. But what pulls me to urban fantasy? At first, I thought it might be because the protagonists are kick-ass heroines. That’s fun, true, but action/adventure doesn’t have the same pull for me as UF, so there has to be something more. Lev Grossman nailed it when he mentioned the use of power. Who has power, who wants it, and why have always appealed to me. I believe what my parents told me–with power comes responsibility. Is it worth it? Not always. And what if you didn’t want the power in the first place, but no one asked you. What if you’re the only who can make a difference, but you don’t want to? These are questions that fascinate me. And thanks to Lev Grossman, I no longer feel apologetic about my love for urban fantasy. I embrace it. If more people thought carefully about power, the world would be a better place. Or not. After all, people are people. And that’s what makes them so interesting to write about.

P.S. I put a new post on my webpage and added a new, (longer), free short story. Hope you enjoy it. In Caleb’s casino (from Fallen Angels), the stakes are high.
http://www.judithpostswritingmusings.com/ href=”https://writingmusings.files.wordpress.com/2014/08/canstockphoto6781831.jpg”>canstockphoto6781831

What Kind of Reader Are You?

First of all, I want to mention that I’m putting my novel EMPTY ALTARS on Amazon for free from Aug. 14-18. I’m hoping a promotion will bring more readers to the second novel in the series, SPINNERS OF MISFORTUNE. But I know the risk of making a first novel free. The last time I tried it, lots of people downloaded my book, but only a few wrote reviews for it and only a few bought the second book. They did what I do. They thought, “Hmmm, that sounds interesting. I might read it someday.” So they downloaded it and forgot about it. Like I often do.

I’m not a fast reader. I’m not a fast anything. I’m more like the tortoise. Slow and steady win the day. If I write ten pages a day, five days a week, eventually I have a first draft. Same goes for reading. If I read for an hour every night, eventually, I’ll finish a book. But believe me, it takes me a while. I think I’m even slower at reading than I used to be, because in the back of my mind, I’m analyzing the structure of the novel, where the plot points fall, and how the characters develop. It’s a bother! But it is what it is, and I’ve gotten used to it. The only books I don’t analyze are books that have great ideas, but poor writing. Nothing to learn from them.

Anyway, when I thought about how I read, I realized I’d be a horrible fan for most writers. I can’t read more than two books by the same author in the same series in a row, or I get way too critical of the third one. Most of my friends, when they find a new author they like, go out and read every single novel that writer has available. If you ever read one of my novels or novellas and like it, please be like my friends…and not me.

Just because I like one series an author writes doesn’t mean I’ll even try the next one. I’m a huge fan of the Mercy Thompson series, by Patricia Briggs. And I often buy anthologies that feature one of her novellas. I’ve bought some of her older series and loved them. But am I that devoted to her Alpha and Omega series? Sadly, I haven’t really given them a fair chance. And I’m probably missing out. But sometimes I like the characters and settings, the premise of one series more than another, even though I dearly love the author’s voice.

Sometimes, I just want something different. Readers seem to be enamored of series, but one of the reasons I like Sarah Addison Allen is because she writes stand-alone novels. Each book has a different set of characters and a different twist on her own special magic, but they each share the same voice. Her voice. Which I love. So, in this instance, I read her because of her writing style, which combines whimsical and magical and lyrical in some concoction that equates to happiness…at least, for me.

I tend to tire of the same genre if I read one novel after another in it. Every once in a while, I need to switch it up and read outside my usual type of fiction. That’s when I reach for a mystery or a romance or even nonfiction that interests me.

So, who do you read? Why do you like them? Where do you find them? And how do you choose new writers to try? Because those are all questions that we, as writers, need to think about. How do we bring readers to our stories? What works and what doesn’t?

And, if you do look for Empty Altars or Spinners of Misfortune, I hope you enjoy them!

http://www.judithpostswritingmusings.com/

Writing: What do you HAVE to get right?

My friends and I were talking about some of our all-time favorite books.  What I found interesting was how much we disagreed.  An author one of us loved, another person might not bother to finish.   And the very thing that elevated a book for one of us was the same thing someone else considered a flaw.  That made me wonder.  What are the essentials for a good book?

At my writers’ club, I used to cringe when a person said, “This isn’t really something I read, so I’m not sure how to critique it.”  The qualifier used to bother me, but not any more.  I’ve learned to take very seriously what type of book a person’s writing.  Because, let’s face it, each genre offers an implicit promise to deliver certain things to its readers.

One of my friends writes Regency historicals and another writes historical romances, and a lot of times when they read at Scribes, they get the comment, “There’s so much description.  Does it really matter if her gloves have buttons on them or if her gown is silk?”  And the answer is yes.  Historicals aren’t just about characters and plot, they’re about a time period.  Readers want to be transported to that part of history with its mannerisms and social nuances.  Part of why I enjoyed Pamela West’s Yours Truly, Jack the Ripper was due to the realistic view of how miserable life was for the lower classes during Queen Victoria’s rule.  Caleb Carr achieved the same gritty feeling in The Alienist–showing the beginning of psychology in detective work.   And Barbara Hambly’s Fever Season depicts a New Orleans riddled with diseases during flood seasons and a social stratum that teeters in a delicate balance between whites, slaves, and freed blacks.  I read those books because of great story lines and wonderful characters, along with eloquent writing, but the historical settings added to my reading pleasure.  And yes, details matter.  They whisk me from my living room to a past that, in those books, I’m glad isn’t mine.

Writers–myself included–often bemoan novels being lumped into genres, and heaven help you if you cross one or two.  But the truth is, when a reader picks up a contemporary romance, that’s what he wants.  He wants boy meets girl, obstacles keep them apart, and then boy wins girl.  He wants a happy ending.  My friend Ann writes women’s fiction/romance, and that’s why she chose it.  She wants to feel good when she finishes a book–the one she’s writing or the one she’s reading.

To me, every genre, even literary, comes with certain expectations.  And a writer strives to meet them.  So…what is the essential for a good book?  I think part of it depends on what kind of novel/genre you’re writing.  Every book needs a great story line: a hook, a problem, and a goal to fix it.  It needs characters we care about.  We don’t have to like them, but they have to hold our attention.  A novel needs clarity, so that we don’t stumble and jerk our way through the plot, and it needs a voice that we want to hear.  It needs tension and pacing with no sags that lose our interest.  But I’ve read novels with plot holes that a truck could drive through, characters that I’d like to knock on the side of the head, and pacing that stops and starts in fits, and I still liked the books.  Why?  Each novel delivered what I picked up that book to find.

I’m a Martha Grimes fan, but one of her books–I can’t remember which one–had a roundabout plot that made me too dizzy to even try to follow along.  Usually, in a mystery, that would make me put it on a shelf and move on.  But the characters were so eccentric, the clues so bizarre, I kept turning the pages.  And if it’s true, that the end of a book makes you go out and buy the next one, Grimes did something right, because I did just that.  Still, a mystery has to have something to solve, a few clues to add up, some kind of detective–be it amateur or pro–or I might as well read some other genre.  There are all kinds of mysteries, and each comes with its own special spin.  P.I.s have a certain attitude, a flavor that’s completely different from a cozy.  Thrillers have the “ticking clock,” and women in jeopardy have…well, women pitted against some evil foe.  I have to admit, I can be had by a good woman in jeopardy book as long as the woman doesn’t do contrived, stupid things to up the tension.  When I have to yell, “Don’t go in the basement,” the author’s lost me.

Horror has to scare you or make you squirm.  Fantasy has to whisk you to some new setting with different rules than we have now.  The author has to make that world come alive and establish rules that are consistent with what she’s created.   Dystopian plops us in a future world after a disaster has changed mankind or society or both.

Anyway, reading and writing are subjective.  When I pick up a book, I want to like it.  I think most readers feel the same.  When I love it, I consider it a bonus.  But when I choose a novel, I’m looking for something specific–humor, a puzzle, a scare, or a happy ever after, and I feel gypped if the writer doesn’t deliver.

What stops you when you’re reading  a book or disappoints you?

By the way, if you like serdoms and myths, I have a new novella (short, 40 page read) online now:)

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Writing: Sprinters and marathons

It’s been a long time since I sat down to write original pages for a book.  I was so far ahead for a while, my agent couldn’t keep up.  So I started writing novellas so that I’d have new things to post online.  Now, things have changed.  I have 5 books online, I’m getting feedback on them, and people are asking, “When will the second or third book be available?”

When I wrote the books, they were sort of an experiment to see which things readers liked most.  I wrote the novellas for short, quick fun.  Maybe not the best idea.  It suddenly occurred to me, I can’t possibly keep all of the series afloat.  It’s time to narrow my ambitions.  With that in mind, I created four gargoyles (one for each corner of a cathedral) in my Ally/Dante series, and when I found the right supernatural creature for the last gargoyle, I considered that series finished.  Next, I wrapped up the Death & Loralei series and thought long and hard about a novella to bring it to a happy, upbeat conclusion.  Two series down, three more to go.

Sigh.  Three more novella series is no easy feat.  And I enjoy writing all of them.  But I know I’m not being realistic.  I currently have three novel series to work on, too.  I’m not a fast writer.  True, I can build up word count faster when I work on novellas.  Not because the words flow more quickly, but because I can see a goal in sight, and I race toward it.  Often, I write more hours a day, push myself harder.  It’s a sprint to the finish, and then I can relax.  Working on a novel is more like a marathon.  I pace myself, think of scenes instead of the whole story, and inch toward the final battle one step at a time.  I don’t write as many hours a day so that my brain actually works when I sit in front of my computer the next morning, and the one after that, and the one…..  You get the idea.

It sort of surprises me that I didn’t think of how I meant to balance everything when I started so many books and novellas.  But I was experimenting.  Did readers like medieval stories with witches and Harpies?  It doesn’t seem like it.  They’re my worst selling stories, but they’re also one of my favorite to write.  Who knew I’d get hooked on Christian and Brina?  And then there’s Emerald Hills, where I finally learned how to write a little bit of romance.  If I pat myself too much on the back about that, one of my romance writer friends will put me in my place:)    It’s easy for me to stay humble.  That’s what my friends and family are for.  And then there’s Babet and Prosper.  My absolute favorites.  I can’t stop writing them.  I like them too much.  And that’s just the novellas.

Aargh.  There are only so many hours a day that my brain will work.  I can only write so much.  So heed my advice.  Think before you write.  How many stories do you have time to make into a series?  People get impatient.  If they like book one, they might buy book two, and if they like that, when will book three come out?

I like balance in my life.  I’m not so fond of juggling.  So think before you write.  Hit your computer keys responsibly.  For your sake and others’.

http://www.judithpostswritingmusings.com/

P.S.  If anyone has any questions or topics they’re interested in, I’d be happy to give them a go.  Just let me know.