LOVE MATCH
Wanna be a romance writer? You came to the right place! We gaurantee you  doses of pure romance, intrigue, adventure, laughter, sensuality and passion! Be among the first authors to form the elite circle of LM writers. Be part of LOVE MATCH, the home of Unforgettable Love Stories. 

GUIDELINES/REQUIREMENTS IN SUBMITTING A MANUSCRIPT:

 AUTHORS: A typewritten/computerized biodata of the author (include tel.#, residential and email addresses), An email address is VERY important for faster communication and exchange of ideas specially during the editing process, so please create one if you still don't have one. Email your biodata to: sdmpublishing@yahoo.com

Writers/authors must be 21 years of age and above, male or female. A male author would have to take a woman's pen name. Also submit a short write-up about the author for back-cover purposes

SYNOPSIS:

 FIRST, WRITE A SYNOPSIS OF YOUR NOVEL AND EMAIL IT TO US. IT COULD BE IN PURE ENGLISH OR TAG-LISH.

WE WILL NOTIFY YOU IF WE ARE INTERESTED TO READ THE ENTIRE MANUSCRIPT.

SAMPLE SYNOPSIS

EMAIL THE MANUSCRIPT TO US AT sdmpublishing@yahoo.com

THE MANUSCRIPT WILL UNDERGO A RATING SYSTEM

IF YOU HAVE PASSSED OUR RATING SYSTEM, WE WILL ASK YOU THEN TO SEND US A HARD COPY (PRINTED) OF YOUR MANUSCRIPT.

MANUSCRIPT DETAILS: The manuscript must be computerized or typewritten; 144 pages with 1" margins on all sides, double line spacing on short  bondpaper; fastened or ringbinded; on the first page of the manuscript, put the real name and the pen name of the author, on the second page, write a foreword (might be in the form of greetings or dedication or a personal composition like poems etc, except birthday greetings and the like).

For MS Word users, please use the following paper margins: Top & bottom 1", left & right 1.8" with 1.5 line spacing. A manuscript page would at least contain 30 lines and 8-10 words per line, and 144 pages per manuscript. 

The manuscript must be written in  a clever and harmonious combination of Tagalog and English. It must be noted that she/he should have perfect command of BOTH languages. LM only allows this ratio = 40% English and 60%  Filipino. If you can reverse it, well and good.

4.COMPACT DISC FORM Manuscripts must come with the CD form. the CD form is VERY important in the editing process.

5. SENDING THE MANUSCRIPTS: The manuscript(hard copy) together with the CD should be sealed properly before dispatching it via a courier service at the following address: SD Printshop Building, Capareda St., General Santos City, Philippines, 9500;  OR you can submit it personally to our office at the abovementioned address.

6. HANDLING OF MANUSCRIPT: The manuscripts will be received properly by the LM staff and the author will be informed of its receipt through his/her e-mail address. The author will be kept posted on the status of his/her manuscript, if it had been accepted, rejected or subject for revision. LM will personally call the author if the manuscript had been accepted and will now undergo the editing process.

7. EDITING: Love Match has certain guidelines to be followed by authors when it comes to image and style in writing. These are not something that would hamper the author's freedom of expression but only to safeguard  and maintain the image and standards that the publishing house wants to foster and deliver  to the reading public. Check out the LM writing tips below.

8. EDITORS: Every manuscript will undergo the usual editing process which will be handled by the capable LM editors properly and ethically. The author  can expect professional treatment of his/her manuscript from us. The author will be informed of the status of his/her manuscript accordingly through e-mail.

9. COMPENSATION: A substancial and competitive compensation package will be given to the author upon approval of his/her manuscript. (Amount will be discussed with the author in private)

10. PAYMENTS: All payments would be in the form of checks to be claimed by the author personally or deposited in his/her bank account or mailed. Mailing/bank transaction fees would be deducted from the payment.

11. ROYALTIES: Royalties will be payed to the author (Amount will be discussed with the author in private) 

12. CONTRACTS: The LM publisher and the author whose manuscript had been accepted would enter into a written legal agreement before printing the manuscript. This is to ensure the legal and moral rights of both parties and to avoid untoward misudertandings in the future.This will also foster a smooth working relationship between the publisher and the author.   

13. COPYRIGHT: The LM Publisher is aware of the Philippine Copyright laws. This matter will be discussed by the publisher and the author in private. 

 

LOVE MATCH Criteria/tips for Romance Writing

Riveting and substantial plot

The plot is the foundation from which a whole novel is based upon. It must be clear and substantial, meaning it has to have a certain strength and credibility and believability. Fiction is often borne out of the author's imagination, sometimes bordering on outright fantasy, but it has to establish a realistic approach so the readers would be able to relate to the story. A plot must have an interesting beginning, a resolution in the middle and a climactic ending.

Time is precious for most people and the moment they start reading, time ticks away rapidly. Two things can happen after a few minutes into a book. They'd stop reading and regret shelling out cash for such a drag of a novel or they'd get glued to wherever they are and forget time altogether as they get immersed in the book. This is what Love Match strives for. Riveting, hard-to-put-down books.

Romantic Feel

When one is writing a romance novel, it has to speak to the readers. It has to invoke love and passion, dreams and fantasies of happily ever after and triumph above adeversities, of being swept away by a powerful feeling beyond their control. Romance novels are patronized by majority of women and women have secret dreams of being swept away by a gallant knight in a shining armor. Young and old, this dream of an ideal man never dies. It is the most treasured dream that a woman keeps in the deepest recesses of her soul, to be loved senseless by this dashing prince of her wildest fantasies. Romance novels should not pretend to be anything else but romantic.

Strong Characterization

They say that a romance novel's salability depends on its hero. It is true to some extent because women are the ones who voraciously read romance novels and they want nothing more than a to-die-for man to feel mushy about for a few minutes and to daydream secretly about afterwards.

A romance novel would never be as exciting without a dashing hero and a beautiful, spirited but loving heroine. The passion between them must be evident and palpable from the very beginning, simmering up to the point where they can no longer contain their feelings and they willingly surrender to the power of love. But a LOVE MATCH hero is much more than good looks. He has to embody integrity as well, courage and a strong sense of responsibility. He may have many faults, he is only human, but he should redeem himself at one point and eventually reveal his heart of gold. Remember, a hero is always, always a gentleman, even if he has a major attitude problem and  is trying his best to be a son of a bitch.:)

A heroine deserving of a Love Match hero should be strong-willed, independent, kind, loving and nurturing. She could be willful as an unbroken filly, but she should always give deference and respect to her man. She could be as stubborn as a mule, but she should always know when to shut up and rest her case(at least for awhile:) and give her undying support to her mate. She may try to dominate him at times (and successfully so most of the time), but she should be all woman inspite of her fiery spirit. Such is the embodiment of a Love Match heroine, beautiful from the inside out. Remember, beauty in the eyes of someone in-love is simply perfection.

Passionate Moments

A LOVE MATCH novel shouldn't be anything but passionate. Conversations are important specially the ones between the hero and the heroine. They should have plenty of interesting moments together, whether spent in a casual exchange of wit and humor, or an idyllic moment of tenderness, or a challenging duel of will and skill, or a poignant and heartwarming show of affection, or a stormy confrontaion of anger, regret and bitterness, or a steamy lovemaking. It is important to focus on their passion for each other while addressing other important aspects of the story as well. Romance novels should be romantic, but it should not lose its sense of direction and realism.

Love Scenes

Lovemaking is a very integral component of expression of one's love, affection and passion.  It is a beautiful thing that can happen between two people who care a great deal for each other. Love Match is proud to have a very be passionate image. By all means, we require our authors to be very passionate in their writing as well. There is no room for lukewarm passion  in Love Match. Love scenes should not be taken for granted though. We publish materials that cater to adult readers. Love scenes are encouraged but will be evaluated within certain objective LM parameters. But LM draws the line on violent and degrading sex scenes that subject women and children and even men for that matter to physical and mental degradation. As they are, love scenes are essential as long as the author delivers them within the bounds of what is humane. If there are references to such acts and are relevant to the story, the author may just need to be less explicit about them.

Happy Ending

LOVE MATCH novels should always have a happy ending. Readers are not happy and satisfied when they don't see a happy ending in movies. It's the same with romance novels. They buy romance novels with the full expectation of reading a story that has a happy ending, thereby leaving them a little in-love and inspired afterwards, not sad, bothered and pessimistic.

With all of that in mind,

 you are now ready to write your LM novel.

 

LOVE MATCH

book imprints to write under:

 Destiny

  These are stories written by various authors; it has a movie-like appeal; a sweeping drama of life, like a soap opera, full of fireworks, intriguing plots and passionate character. It should be moving and powerful and focuses on the lovers' struggle and journey of truly becoming one not only in body but in spirit. It would be written mainly from  the point of view of the heroine.

 110 pages

To Die For Series

This is a series written by various authors. This is about men and women who dare to risk all, take all and give all in the name of love. Bold, adventurous, sensual, this series will be full of intrigue, action and grit. A knight in a shining armor meets Damsel-in-distress  kind of stories.  This category focuses on the hero written from the point of view of the heroine. However, the hero's POV should get strongly in between pages so as to provide excitement and titillate the imaginations of female readers. A man's thoughts are always the cause of infinite fascination and curiosity of women. Letting the readers into the minds of our heroes is always a very thrilling experience for women.

The heroes in this category should be big, bad boys with devil may care attitudes. They should be magnetic, pumping with testosterone appeal, tough, aggressive and hard to hold. But they will fall hard, head over heels in love with our heroines:)

These guys could be anything. He could be a rich, powerful, ruthless tycoon trapped in a certain situation with the heroine thereby forcing them to get involved with each other; or a tough, streetsmart cop that roams the streets of Manila and accidentally bumps into our heroine in the middle of his job, or a man in a mean-looking bike who rescues our heroine from grave danger, or just an ordinary guy who suddenly finds himself essaying the role of a reluctant hero.

The plot of this book should be fast paced and exciting, like an action-love story movie. The more fireworks, the better. It should be steamy, passion-filled, full of adrenaline all the way to the last page. An author can do a sub-series within this series.

 110 pages

RED EDITIONS

WRITE RED STYLE!!! CLICK HERE

 Hot tales of love at first sight or (love at first errr lust?); people meeting in unusual places and unusual circumstances and having an immediate attraction for each other in a very tempestous way; they deny the attraction they feel for each other but it will haunt them like crazy as they are constantly thrown into each other's paths. This category is very sensual, very sexy and  hot as thunderbolt. Conversations must be witty and entertaining, sometimes funny, sometimes wildly erotic and provocative, sometimes all-out showdown of intellect and self-control. Lovescenes are required in this category. And they must must be sizzling!  110 pages

RICH  &  FAMOUS

This category is for the notoriously successful, rich and famous. They could be men and women; celebrities, politicians, influencial businessmen, heirs and heiresses from powerful and illustrous clans or political dynasties, sports superstars, people who are a constant fascination of the public and media. They should have a very colorful life worth of a headline and front-page gossip. They should be larger than life, brass, bold and have an innane flair for breaking all the rules.

This would be written from the point of view of the lead character. He could be the hero or the heroine. His/her lifestyle and character must be discussed in great detail. If she is a moviestar for example, the reader should have a glimpse of showbiz. If he is a sports superstar, his story should evolve within his work, say as a car racer or a billiard champ. The author should have an in-depth research of her subject matter. The love story between the hero and the heroine will unfold in the middle of the lead character's profession. It should be red-hot, full of intrigues and fiery, emotional confrontations. Their story is the stuff of fairy tales, magical, powerful, encomapassing, high stakes, high voltage-passion, high profile and glitzy. 110 pages could come in two volumes/books

SERIES

  

This category is for the seasoned and experienced writer (or even a beginner) who has the talent and creativity to write a series of novels inter-connected with each other but will end in each book. A concept paper is needed before starting the series. The concept paper would contain the  main story, scope and setting  of the series and its probable characters. 110/250 pages per book

GOOD LUCK!!!

ARTICLES ON WRITING BY VARIOUS BESTSELLING AUTHORS

LOVE MATCH RED EDITIONS

Six Ingredients of a Red-hot Novel

1. A very strong, sexy hero.

For the heroine to desire the hero with a passion, he has to be one hunk of a man. He must be powerful, strong, sexy, and sensitive in a way every woman wants a man to be.

In essence, the hero is the heroine s ultimate fantasy come true.

2. A spunky, spicy heroine.

To arouse the hero's interest, the heroine must be independent, self-contained, smart and not afraid to say exactly what she feels. The heroine must possess an inner strength that capitvates the hero straight to the altar! Remember, sex appeal is not all about what's underneath your clothes, but more importantly, what's inside your brain. Yup, make their brains clash, and duel in the most exciting way possible.

3. A sensual plot.

The moment the hero and heroine meet each other, there must be an electrifying attraction between them. The sexual steam between the two of them must rise off the page. Everytime the hero is near the heroine, he desires to touch her hair, taste her lips. And the heroine is so turned on in his presence, that she can t help but fantasize being naked in bed with him. But that doesn't mean that they have to hit the sack in every chapter.

To have a sensual plot, the hero and heroine are consistently in situations where the temptatious desire to make love is constantly present. But you have to draw out the sexual tension to an inevitable point. So that when it finally happens, it would be nothing but fireworks. Yup, lovescenes has to have perfect timing, or it's just one slam-bam thank you ma'am episode, and THAT is NOT sexy.

4. Red-hot scenes.

 A sexy scene with the hero and heroine can take place under the warm sun, at the beach, on a rug in the living room, or lying on fresh grass. Use your illusion:)

As the heroine passionately makes love to the hero, she feels her body and soul merging with his. The hero is so totally immersed in her that he forgets who he is, where he is.

The more intense the inner connection between the hero and heroine while making love, the more sensual the scene. Remember, this category may be bordering on the erotic, BUT, this is a LOVE STORY, and emotional connection is needed to achieve a really satisfying read.

5. Teasing, bold dialogues.

Bold verbal exchanges between the hero and heroine can be a real turn-on. Teasing words going back and forth between him and her sparks desire and make for a more sensual read.

The vibrant attraction between the hero and heroine must be evident behind every syllable they express to each other.

6. Ecstatically satisfying ending.

The sensual romance novel is intensely emotional and sexual right to the very last scene.

By the end of the story, when the hero and heroine are happily in each other s arms, the love and warmth they share must be totally complete. A feeling of utter satisfaction must pervade the final scene, knowing the hero and heroine will be together forever.

'Aight, so....are you ready to be a red-hot writer? Just one last tip. Lose yourself in it. Throw away your fears and doubts and inhibitions because this category is not for the fainthearted. Nor the sexually uptight:)

ARTICLES ON WRITING
So, you want to be a published romance writer, huh? Not only a published writer but a bestselling one. Here are some very important articles written by successful romance/fiction authors that you should read about if you want to make it in this business.

Understanding the Romance Genre

Why is a Romance a romance? 
by Sandra Marton

    At first glance, this sounds like one of those questions that rates a "Well, duh!" for an answer. Think about it, though. Is your book a romance simply because it's the story of two people who are in love? I Love Lucy was a sitcom, not a book, but, basically, the storyline was about two people in love... but it wasn't a romance. Ally McBeal is a sitcom, too. Ally's not married to the man she wishes she'd married. She dances with a, uh, a life-SIZEd, inflatable doll. She sleeps with that doll, too... and maybe we should just leave it at that. Still, at heart, Ally McBeal is a romance. More specifically, Ally is a heroine in search of a romance. 
 
 Are you with me, or am I out on a limb here? 
 
What does the word romance mean? If you're looking for a dictionary definition, the word is simply a synonym for a narrative, story, or saga. Dip back into history and you'll find that romance as a specific type of literature dates to the fifth century and referred to legendary tales, to stories of the supernatural and to stories of love. 
 
By the middle ages, romances were most often tales of courtly love, chivalry, and knighthood. They were exciting stories of knights embarked on dangerous quests, and of knights caught in conflicts between love and duty. In other words, a romance was a story about larger than life characters in larger than life situations. Many were tales of brave heroes beset with great problems which they had to overcome in order to rescue fair maidens from fire-breathing dragons. 
 
The best novels in our genre are still about knights and dragons and maidens in need of rescue, even if today's maidens live in apartments instead of castles and have nine-to-five jobs. Our heroines are not usually maidens, either. We write about women of the millennium. They're single, divorced, widowed and married. They're moms, teachers, waitresses, doctors and lawyers. They're as different from each other as real women are. Each heroine also has some difficulty to overcome. It might be a straightforward, internal problem, like putting an end to her loneliness. It might be external and complicated, such as escaping a killer. Whoever the heroine, whatever her problem, our heroines all share one desire. Each is longing for a guy with a warm heart, a great smile and sexy good looks to turn her everyday life into the stuff of romantic fiction, even if she doesn't realize it when her story begins. 
 
Our job, as writers, is to take the Everywoman we create and give her a man who is not Everyman. What we give her, when you come down to it, is a knight. 
 
He doesn't wear armor. He doesn't ride a horse. He doesn't carry a lance. But he's a knight just the same, seeking out the dragon that's been terrorizing the heroine, confronting it and slaying it and, in the process, laying claim to the heroine's heart. He's as brave and fearless as any knight of the middle ages, whether he rides the range, races cars, or manages corporations. And our heroine knows it. She's no delicate princess; she'd never be content to sit placidly within the walls of a castle and wait for her man to return to her, but she recognizes a hero, and a good deed, when she sees them. 
 
How we create this fictional hero varies from one writer to another. Some of us write home-grown heroes. The boy next door, who the heroine never really noticed until the day she realized he wasn't a gangly fifteen year old anymore but a handsome, responsible man. Others of us love to write the bad boy, untamable until he meets the right woman. Some of us prefer to create a hero who's definitely larger than life, a fantasy male powerful enough to dominate his world but completely vulnerable to the woman with whom he falls in love. That last man is my preference as a writer but my special take is that he's self-made and very often, life hasn't been kind to him. 
 
One of these men is the guy Ally is searching for. A knight, who'll rescue her from the mundane world she lives in, who'll make her feel safe and loved within his arms. He's the same man our readers are searching for, too. Think about that, when you sketch out the hero for your book. Take a moment and consider what would happen if he were suddenly whisked back in time and found himself a knight in the middle ages.  
 
Can you imagine him riding off on the back of his charger to do battle on behalf of his lady? If you can, you're definitely on the right track.  

Plot and Characterization,

Characterization 
by Sharon Sala

According to Webster’s Random House dictionary, the definition of the word is: to describe the character of. But as a writer, I don’t bring my characters to life just by description. Granted, I know my readers want to know what my hero/heroine look like, and I want them to see him or her as clearly as I see them myself. Finding the right way to define a character on paper is important to us all. But it isn’t just the physical aspect that makes them real to me.

You, as a writer, must remember that characters in a story must have strengths as well as weaknesses. There must be something in that character’s background that can bring him/her to their knees. There must also be something within their personalities that makes them strong enough to overcome, even to embrace adversity. I like characters who use adversity to become stronger.

I like tough men with tender hearts. I like a man who’s not afraid to cry. And when the tears finally come, they will always be from emotional relief or pain, rather than a physical one.

I like to remember that my characters see, taste, smell, feel, hear, appreciate and laugh. By the same token, remember that characters will have a breaking point. How they react in these instances is often what makes the reader connect with them the strongest. Use those strengths and weaknesses to build strong, believable, and memorable people within your stories.

Case in point: I recently had the good fortune to be invited to be part of an anthology on homecomings for one of my publishers. I created a wonderful, wild, reckless, rodeo cowboy with a loving heart called Walker Lee. Of course, Walker has all the prerequisites of a serious hunk. Big, strong, good-looking, right down to black hair and blue eyes and an off-center grin. But for me, Walker came alive when the woman he’d come back to claim started remembering the things about Walker Lee she’d tried ten years to forget.

She wanted to hate this man and all she could do was remember stupid little things, like the way he ate chocolate ice cream. Scooping up a giant spoonful, then slipping it into his mouth, one slow bite after another until there was nothing left on the spoon but a shine. And slow dances. Walker Lee could spin her heart into knots with little more than a shift of body to body. She shuddered. Eating ice cream and dancing weren’t the only things he liked to take his time about.

At this point, Walker Lee jumped off the page. I had created a three-dimensional character with something as ordinary as music and chocolate. Also, the subtle reference to the way he made love didn’t hurt.

So, if you want to create memorable characters, just remember what real people do. They laugh. They cry. They hurt. They die. Bring your characters to life by giving them a life in which to live.

---

Creating Memorable Characters  
by Lee Masterson

Before you begin your new story, take a little time to create fresh new characters that are your own. Using someone else's well-established formula will only brand you as a hack with potential editors.

Think of yourself as the Master Planner -- this is your story and only your characters are going to fit in it. Custom build them to suit your unique story-world. If you really must use real people you know, then try to disguise that person's identity as much as possible.

1) Begin by giving your main character (protagonist) a name that you are comfortable working with. Remember, you'll be with this character for a while, so you should choose a name you at least like.

The name must not only suit the character, but must also be easy on your intended readers. If you decide the name Xzgytgml is the only name that suits your character, bear in mind that the reader is forced to stop and stumble through the unfamiliar word, which means he is no longer engrossed in your story. Aside from this, you'll also have to write or type this name every time your character appears.

2) Create a short biography for your new character. You'll need to decide which physical aspects best suit your protagonist -- height, weight, hair and eye color and age. But these alone will not be enough. Consider creating a personality outline as well. Include:

• temperament
• moral/ethical/religious beliefs
• political stance
• hobbies
• habits
• quirks or eccentricities
• likes/dislikes
• fears or phobias
• short and long term goals
• hopes and dreams

3) It sometimes helps to scour newspapers, magazines and even the internet to find a picture of someone that fits the character you are creating. Tacking an image onto a corkboard at your workstation with a brief bio beneath it can give you a wonderful visual image to work from.

So now you have a character to work with, but this information is not enough to bring him or her to life. Using the principle that all good stories are about unique, individual complex people, you'll need to map out a few more points.

When you are creating your character's personality description, decide what his great strengths are. Give him several strong traits and then add one major glaring weakness. Your character must still be at least likeable, but the glaring weakness must form the underlying tension that drives his behavior.

Now create a staggering problem that preys on that weakness. It must be a difficult or fearsome problem for your character to overcome, so that the story can recount his struggle to turn his weakness into a form of victory at the end. Above all, never let the protagonist know he is going to succeed. That way he can not win unless he surrenders something of inestimable value to himself.

4) Remain with your protagonist's point of view for as long as possible. If your character doesn't see it or hear it himself, then the reader shouldn't either. This builds a sense of empathy within the reader for each piece of information he uncovers through your story.

Remember to describe all five (six?) senses the character encounters. Telling your reader only what he sees and hears is not nearly so evocative as sharing what he tastes and touches and smells.

5) Your protagonist must have a complex set of problems. The primary goal must always be in sight, but giving your character a few obstacles along the way will highlight the character traits you have chosen to help or hinder him.

Secondary characters should only have one fundamental problem to solve. They need not be as in depth as your protagonist, otherwise your plot becomes overly convoluted. Minor characters need not have any problems at all. Think of them as 'stage-extras'- they deliver a necessary line or piece of information, but their life history is not relevant.

6) Choose your crisis points. Give your protagonist an agonising decision to make. If he must make a morally wrong choice in order to succeed and survive intact, your protagonist will gain everything he wanted, but the price for this success must be high.

He could lose his (soul/conscience/freedom etc.) However, it must be clear in a scenario like this that choosing the morally right path would only result in his downfall or defeat.

Allowing your protagonist the reversed scenario is easier (choosing a morally correct path), but making the cost a worthwhile challenge is much more difficult.

If he does concur on the side of 'good over evil', be sure he is forsaking all he holds dear. He survives the struggle intact, but still must pay the price for making the right choice. Even though he is spared the downfall that threatened originally, he will ultimately lose all that he cherished/believed.

Finally, by the end of your story, your protagonist must have survived an enormous struggle, or moral dilemma, to arrive at the finale having undergone a fundamental change. He may have lost his beliefs, or his conscience. He may even have overcome that glaring weakness you assigned to him when he was created. Whatever the change, it must be noticeable.

When you have all these pieces in place, you'll have a complex, empathetic character that your readers will remember and hopefully come back for more!

Copyright © 2001 Lee Masterson

 

We Need a Hero:
A Look at the Eight Hero Archetypes

By Tami Cowden

I have never agreed with the old saw that all romances are alike. However, I do agree there are certain similarities. Besides the happy ending, you can count on a romance having a terrific hero – the kind of guy everyone loves to love.

Or can you? The truth is, just as in real life every woman has her own taste in men, every romance reader has her own taste in heroes. One woman’s dream date is another’s nightmarish evening. The hero I sigh for may make your eyes roll.

There was a time when the so-called “Alpha” hero reigned supreme among romances, but even if we could all agrees on what an “alpha” male is, we wouldn’t all like the fellow. Adding beta, gamma and delta to the list gave us a little more insight, but it still seemed a bit limited to my critique group, composed of Caro LaFever, Sue Viders, and little ole me.

It was, in fact, in an attempt to determine just which heroes of literature were the fabled “alpha” males that my two partners and I came across an interesting discovery. There are eight heroic archetypes.

The Eight Male Archetypes

The Chief

This hero is the quintessential alpha hero. He might have been born to lead, or perhaps he conquered his way to the top, but either way, he’s tough, decisive, goal-oriented. That means he is also a bit overbearing and inflexible.

This man tends to be at the top of his career field – maybe the CEO of a major corporation, or a prince. If he’s not already number one, it’s only a matter of time

Some examples of Chiefs:

• John Wayne in most of his movies
• Captain Kirk of Star Trek
• Marlon Brando in The Godfather

In romance novels, Kathleen E. Woodiwiss' hero in The Flame & the Flower was a Chief, and many of the Harlequin Presents books have Chief heroes.

If this man were trapped in a basement with an unconscious heroine and a bomb ticking, his first reaction would be anger, which he would, of course want to take out on someone else. He can never admit he's made a mistake, and since he's been trapped, well...he knows he's made a mistake. So he’s pretty darned mad.

He's used to being in charge, so he's going to make a command decision about what to do. He’ll make it quickly and the act. Not long planning time for him. He might find a way out by just charging through the locked door or windows. Or maybe he’ll get on his cell phone - trust me, he has one - and demand that someone come get him out.

The Bad Boy

This is the rebel, or the boy from the wrong side of the tracks. He’s bitter and volatile, a crushed idealist, but he's also charismatic and street smart. He hates authority and doesn't buckle under to anyone, which is why he often chooses jobs where he's his own boss. In western historicals, he's the perfect outlaw.

Some examples of Bad Boys:

• James Dean in just about every movie he made
• Patrick Swayze in Dirty Dancing
• Jack Nicholson often plays Bad Boys
• Fonzie from Happy Days was a great example of the lighter side of the Bad Boy

In romance, he's the hero in Teresa Medeiros' Nobody's Darling, C.L. in Jennifer Crusie’s Tell Me Lies, the regency hero of plenty of Joan Smith’s romps, and you can often find him in Silhouette Intimate Moments books, or in Harlequin Temptations.

If this man were trapped in the basement with an unconscious heroine and a bomb ticking, he'd be very physical. He's going to be resentful and have a bad attitude, but he's used to being in tight spots. He's a Bad Boy, after all. He’ll enjoy beating the stuffing out of those walls. Maybe he’ll just pick the lock, he’s done that sort of thing before! Or does he go way back with one of the villain’s henchmen, who’ll look the other way while he makes his escape?

The Best Friend

This is the beta hero. He's kind, responsible, decent, a regular Mr. Nice Guy.

This man doesn't enjoy confrontation and can sometimes be unassertive because he doesn't want to hurt anyone's feelings. But he'll always be there.

We all knew this guy in high school and didn’t appreciate him. If we were smart, though, he’s the guy we married. He's a people person and he'll always put the needs of others first.

Who are Best Friends? Well, Tom Hanks almost always plays a Best Friend in his movies. Bill Pullman in While You Were Sleeping is a fine example, and Jimmy Stewart in It's a Wonderful Life pretty much defines the type.

In romance, you can often find Best Friends in some of the light comedy lines like Harlequin Duets. Many of LaVyrle Spencer's heroes are Best Friends.

Trapped in the basement, this man would be incredulous. Things like that just don’t happen to him! But his first act would be to care for the heroine. He, alone of all the archetypes, would actually seek her help, because he knows the value of teamwork.

He's practical, down to earth, so he'd assess what could be done and get to work. He'll be very determined because he's responsible for the heroine. Getting his lady and himself out of this situation will be a real confidence booster for him, too.

Rescue is a real possibility, because he’s made friends and done favors for everyone. Everyone likes him. Even the villain thinks it’s a shame to have to get rid of such a nice guy.

The Charmer

We’ve all known these types. Fun, irresistible, a smooth operator, yet not too responsible or dependable. He might be a playboy or a rogue, but he's doesn ’t commit to a woman easily He's not crazy about hard work, and he might be in sales, or a gambler in the wild west.

Examples of Charmers:

• Ferris Bueller shows what this guy was like in high school.
• Tom Selleck in Magnum P.I
• Cary Grant made his name playing charmers

In romance you can find him in some of Susan Elizabeth Phillips' books - Heaven Texas or Lady Be Good. Light comedy also works well with this hero, so he might appear in Duets, or in Harlequin Americans.

If this guy's trapped in the basement, he'll be smooth. In fact, this fellow might try to talk his way out with the bad guys. Only as a last resort would he do something physical, like break out. Of course, he just might be rescued by an old girlfriend who happens along. After all, he's a playboy and knows everyone!

The Lost Soul

Tortured, secretive, brooding, and unforgiving. That’s this man. But he's also vulnerable. He might be a wanderer or an outcast. In work he's creative, but probably also a loner, so he might be an undercover cop, or do something artistic.

Examples of Lost Souls:

• Heathcliffe, of course, defines the type
• Hamlet
• Nicholas Cage in Moonstruck
• Angel from Buffy, The Vampire Slayer

In romance, Laura Kinsale and Mary Jo Putney tend to write Lost Souls, and you can probably find him in some of the Silhouette Intimate Moments books. Any Vampire or Beauty and the Beast type book probably has a Lost Soul as the hero.

If a Lost Soul is trapped in the basement, he'll be fatalistic. This is just another example of the series of despairing events that have punctuated his life. It’s a good thing the heroine is there, because otherwise, he might just throw in the towel. But he won’t let the villains kill her, so he will save them both.

He’ll have a surge of adrenaline, bashing against doors and windows. He's able to call up enormous physical strength in a situation like this. Think of Quasimodo, when he saves Esmerelda.

He's the most likely to know of a hidden tunnel through which they can escape, since he's lived most of his life in the shadows. Rescue? Well, no old friend will show up, that’s for sure, unless it is an old friend of the heroine’s. The Lost Soul has no friends.

The Professor

The first time you meet him, this logical, introverted, and inflexible guy might not be your idea of a hero, but take another look. He is genuine about his feelings. At work, he likes cold, hard facts, thank you very much, but he's also honest and faithful, and won’t let you down.

Best examples of Professors?

• Spock or Data from Star Trek
• Jeff Goldblum in Independence Day
• Kelsey Grammer on Frasier - in fact, Nils Crane is also a professor, it’s fun to see two version of the same type together

In romance, Jayne Ann Krentz writes Professors, which she also does under her Amanda Quick pseudonym. Pair him with a ditzy heroine, and you have a great hero for light comedy. Remember Jennifer Crusie’s The Cinderella Deal?

Put a Professor in a basement with an unconscious heroine and a ticking bomb and he'll stay calm, cool, and collected. He’ll push his glasses back up his nose and get to work on defusing the bomb. This man will analyze all the facts of the situation, make calculations, and see all the small details around him. He'll think his way out. And oh yes, he’ll remember the heroine, too.

The Swashbuckler

This guy is action, action, and more action. He's physical and daring. Fearless, he’s a daredevil, or an explorer. He needs thrills and chills to keep him happy.

Examples: Indiana Jones, of course. Also, Jackie Chan in all of his movies, and Michael Douglas in Romancing the Stone.

In romance, he's the perfect pirate. Read Karen Robards and Fern Michaels - they like Swashbucklers. A bomb in the basement? Hoo boy, he’s happy now. What an adventure! The Swashbuckler might use the explosion of the bomb itself to blast a way out. That way, he’ll get to hear the bomb go off! However he gets out, it'll be a show.

Rescue? Bite your tongue. He doesn’t need any help!

The Warrior

This man is the reluctant rescuer or the knight in shining armor. He's noble, tenacious, relentless, and he always sticks up for the underdog. If you need a protector, he’s your guy. He doesn’t buckle under to rules, or and he doesn’t go along just to get along.

Examples of Warriors? Dirty Harry, and most any Steven Seagal character. Check the Die Hard movies too. For a lighter version, try TV’s Hercules. Most superheroes are Warriors .

In romance, Suzanne Brockman and Linda Howard writes Warriors. Rosemary Rogers favors this type, too. Trap this man in a basement and his reaction is going to be pure outrage.

He's a protector, so his focus will be getting her out. But once they’re out, the villain better start running. The Warrior will hunt him to the ends of the earth.

Forget about rescue. This man is the cavalry.

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Writing Style

Style: the Rhythm of Prose

by Tina Morgan

Good prose has a sound or rhythm all its own. Learning how to write good prose isn't something that any book or article can teach you, but there are several things you can do to improve your writing.

Listen: 
One of the first suggestions is to read your work aloud. When you do this, make certain you read what is on the page and not what you think should be there. This can be difficult as even the most talented writer tends to see what they meant to write. Take your time. Pause for the half-breath on commas and semi-colons and for a full breath for periods and colons. Emphasize exclamation points and raise the pitch of your voice at the end of questions. Reading as though you're an actor isn't necessary but you do need to observe the sound of your punctuation.

If reading aloud is intimidating just remember that it's better to read your work to yourself and to catch the mistakes before others read it. Also consider having someone else read a few pages aloud to you or record a portion. The person reading needs to have a good grasp of grammar and pronunciation.

Discord: 
As you read, look for the elements that will strike a discord with your readers.

Alliteration is the repetition of the first letter in subsequent words or words in close proximity to each other: mad Mary, or proving innocence in prejudice predicaments. Used with care, alliteration can add power to your writing but it should be used very sparingly or it will create a juvenile or awkward flow. A close relative of alliteration is rhyme, which should be avoided in prose unless you're creating a new nursery rhyme.

Repeated use of names or third person pronouns can also set up an discordant echo through your work. Avoid overuse of your characters' names and resist the urge to remind your readers in every chapter of your character's full name. Once or twice should suffice for most readers.

Faulty Foundations: 
Sentence construction is the often at the root of style problems. Learn some grammar basics - comma, period, parenthesis, dash, semi-colon and colon uses. Correct usage is key to keeping your writing flowing smoothly.

While sentence fragments are technically incorrect, their judicious use can be used to stress important points in your plot or characterization. Short sentences can do the same but both need to be used with care or they result in stilted, hard to understand prose.

Avoid going to the opposite extreme and creating complex sentence that tire the reader just by their mere presence in the text. Just like short sentences and fragments, the occasional complex sentence can add to your style, but they must be used in moderation.

Finding Your Rhythm: 
Finding your own personal rhythm and style can be a difficult journey or it can come as natural as breathing. Some writers have a innate rhythm and style that typically comes with an equally natural understanding of the language and grammar usage. Other writers will need to work to learn proper sentence structure.

The best way to find your own rhythm is to write. Put the words to paper. Allow your muse free reign and write a page or two, or ten. Then go over your work with ease of reading in mind. If you stumble over your prose then your readers will too. Also, allow someone with good grammar skills to look over your work.

Workshops and their role: 
One of the primary complaints I hear about writers' workshops is that they alter a writer's style too much. This is where you have to temper your rewrites to what your critics say is wrong and the affect you meant for your prose to have. Consider their advice with care. If it doesn't "sound" right, then don't follow it. Writing is an art, not a science. Proper sentence structure and correct grammar use will improve your style but how you present the words is up to you.

Researching Style: 
Reading short stories and novels in your genre will expose you to a wide variety of styles if you try different authors and don't stick to those you've enjoyed in the past. If you find an author you dislike, take the time to examine their work. Read a page or two and look closely at their choice of words and sentence structure. It can give you a basis for examining your own writing and discovering how to fix the elements you feel need improvement.

When you read an author that you particularly enjoy, take a look at their style. Don't try to copy it. Your goal isn't to mimic but to find your own unique voice.

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Editor's Nightmares

Never Learned Grammar? 
Many writers I’ve encountered have adequate inspiration and ideas, but once they sit down at the computer, they discover they’re in trouble. Rules for capitalization, punctuation, antecedents, prepositional phrases, tenses and passive sentence structure become issues. Struggling through an annual Christmas letter or a business memo is one thing. Completing a 5,000 word short story or a 90,000 word novel is another. At this point it matters little whether the writers never paid enough attention while in school or simply learned and forgot most of that “grammar stuff.” All they know is that their grammar knowledge deficit is a major roadblock.

Grammar is important! Agents and editors look for reasons to reject a submission. Sure, the story may show promise, but so do many others that cross their desk—ones which are not rife with grammatical errors. Agents and editors get FAR MORE submissions than they could ever represent or find room for in the publication schedule. It’s simple numbers.

A manuscript or short story that isn’t perfect is not doomed to rejection. Editing is part of an editor’s job. However, a query letter, like a resume, should be error free.

Not only will editors and agents balk at reading a story littered with grammar mistakes, but friends and critique partners will too.

What can a writer who finds himself in such a position do? There are several options.

Find a Partner. A common theme heard in lounges at writer conferences and at online writer sites where one can post to find a partner or writer group is, “Looking for critique partner who can help with grammar.” A common follow-up refrain is, “Will help with ideas, characterization and plot in exchange.”

There are far more writers out there who can offer help with ideas and plot than there are who can (and are willing) to help with grammar. It’s not that the grammar-competent writers look down upon those who are not. Fiction which lacks punctuation, randomly changes tenses, misuses pronouns, lacks proper capitalization, and is littered with sentence fragments is very difficult to read. It takes a long time to correct before the story even comes through. That is why editors reject such submissions.

If a writer with weak grammar skills finds a partner willing to assist, in addition to being thankful, they should take notes and learn. Not only is it more tedious, but it also takes far longer to edit a grammatically inept manuscript than it does to simply evaluate one for plot, characterization, and consistency. Such a partnership is destined to be a lopsided one, bound for Splitsville. While critiquing has merit, every hour spent critting another writer’s work means one less hour available to complete one’s own work.

Learn Grammar. Simply learning (or brushing up on) the basic rules of grammar will pay off in the long run. It can save money and the sanity of crit partners, and will definitely save time.

If a partner with strong grammar skills is available, pay attention to their corrections and suggestions. When writing new material, implement what was learned.

Grab a favorite novel off the shelf. Read it, but this time not for pleasure. Observe how the author wrote it. Take notes on dialogue, sentence structure, capitalization, punctuation, and other areas of weakness.  Edit a dozen pages from a current project while referring to the notes. Then, apply what was learned to new materGet a good grammar reference book. They can be found at most used bookstores for a fraction of their original cover price. Sometimes one can be obtained from a university bookstore as a used book as well. Often a good dictionary will have, as part of its contents, a “Handbook of Style.” That may be sufficient.

Most books aren't rejected because the stories are "bad." They're rejected because they're not "ready to read." In short, minor stuff like typos, grammar, spelling, etc. 
 
I don't mean places where we, as authors, deliberately break the rules. Those are fine. That's part of our job. Language always changes with use, and we can help it on its way. No, I'm referring to places where someone just plain didn't learn the rule or got confused or overlooked it during the self-edits. 
 
Once you've found a publisher who publishes what you write, you want to present yourself in the best way possible. Submitting an unedited manuscript is a bit like going to a job interview wearing a purple Mohawk, no shoes, torn jeans, and a dirty T-shirt. Your resume may be perfect, and your qualifications impeccable, but something tells me you won't get the job. 
 
The publisher's investing a lot in every book it accepts. Why ask them to invest hours and days of editing time as well? If the publisher gets two or three or ten nearly identical books, you want yours to be the one requiring the least editing. Chances are, the favor will be on your side.
 

   Want to be a lean, mean, writing machine? Then put your words on a diet. Here are some great suggestions for cutting flab, firming muscle and punching up your prose.  
 
Learn to strip 
Brilliant as your prose may be, you likely can toss a word or two ... or three or twenty. Be brutal. Strip away the extraneous until your sentences go buck naked. They can then, like streakers, zip across your page.  
 
Remember the if's 
If you can say it in one page instead of three—do so. 
If you can say it in one paragraph instead of three—do so. 
If you can say it in one sentence instead of three—do so. 
If you can say it in one word instead of three—do so. 
If you can say it in a one-syllable word instead of one with three—do so.  
 
Avoid repetitions, redundancies, reiterations, restatements ... 
 
owns his own business = business owner 
 
a great number of times = many times 
 
red-colored train = red train 
 
broke both his legs = broke his legs 
 
during the winter months = during winter 
 
in the not-too-distant future = in the future 
 
at this point in time = presently/now 
 
postponed until later = postponed 
 
mutual cooperation = cooperation 
 
Take action 
 
In writing, as in life, you can't sit there like a blob. You've got to use the active voice. Before and after examples:

• The ballots were counted by him. = He counted the ballots.
• He was robbed by a knife-wielding teenager. = A knife-wielding teenager robbed him.
• There is much that today's parents have to worry about. = Today's parents have much to worry about.
• It has been shown by numerous studies that insulating your water heater saves energy. = Studies show you save energy by insulating your water heater.

Don't be dramatic 
 
When possible, use the plainest words possible. For example, too often we use "exclaim", "declare" or "chime" when plain ole "said" would do. Said's a great word; it doesn't draw attention to itself. Readers skip over it and concentrate instead on what's being said. Other examples:

• meander/shuffle/saunter = walk
• odorous/malodorous/redolent = smelly
• mawkish/maudlin/bathetic = sentimental

BTW—Sometimes people don't just walk; they really do meander, shuffle and saunter. Allow them their style, but keep your words in check.  
 
Mix it up 
 
Good writing has flow. One sentence rolls into the other, creating an ebb and flow of words. Stop the flow and you get writing like this:  
 
I love chocolate. Chocolate is tasty. Chocolate cookies are my favorite. I like chocolate ice cream, too. I like chocolate milk.  
 
An alternative:  
 
Chocolate cookies, ice cream, milk—I love anything chocolate.  
 
Don't worry about punctuation and grammar 
 
Big deal if you don't know the difference between who and whom, or when (or when not) to use a colon. Most of us don't, which is why books on punctuation and grammar abound. Use them as you need them.  
 
Hot tip: Find three books written in a style even you understand. When you get stuck, say, on split infinitives, glance through all three for guidance. You'll find that three angles are better than one and almost always provide the guidance you need.

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Why do manuscripts get rejected?

Submitting manuscripts to publishers is a courageous act. It can also be a frustrating and perplexing one. When you've spent months or years of your life writing a book that you take great pride in, it's hard to understand why editors don't see the value in it that you, your colleagues, and friends do.  
 
Let me share then some of the insights I've gained as a publisher-editor, so you might take your rejections a little less personally and target your submissions more successfully.  
 
Inappropriate subject matter for that publisher 
If a publisher does not publish in your genre, you're barking up the wrong tree. Don't submit your romance novel to a publisher of nonfiction, or your self-help book to a publisher of textbooks. It's a waste of the editor's time ... and yours.  
 
  Manuscript sent without a query
Editors are busy people. Be respectful of their time and courteous enough to send a query or proposal first (after verifying that they handle your subject), rather than forcing them to wade through stacks of paper.  
 
Good topic, poor writing 
Even if you've chosen a marketable topic, if your proposal or manuscript needs to be substantially rewritten, it's generally not worth an editor's time and effort. Work on your writing skills. Get feedback and work with a freelance editor to whip your manuscript in shape before you submit it. A poorly written piece rarely gets a second chance.  
 
Saturated market 
While it's true that a hot topic will spawn a deluge of books, many publishers, particularly small ones, are looking for books that are exciting and will have staying power. 

Market too small 
While it's good to target a specific niche, if the niche is too small, it's not worth a major publisher's time or money. The chances of making a profit are too slim. If you can't broaden the scope of your book, seek out a small press that caters to that niche or a regional audience, or consider self-publishing.  
 
  Book not to an editor's taste 
Unfortunately, there's not much you can do about this, but that doesn't mean your book is undeserving of publication. If you feel it is well-written and marketable, keep sending it out until you find the right match. Literary history is full of stories of authors who submitted their proposals and manuscripts dozens of times before they hit.  
 
Too much advertising and marketing required 
In the past, large publishers produced numerous titles, depending on their bestsellers to"carry" their other, more "moderate" sellers. While that's still true to some degree, large publishers today are cutting their lists down while looking for books with a strong market and promotable authors.  What does that mean for you? That you should expect to contribute to the marketing effort. Further, you should make your willingness to help—and your promotional ideas—known in your proposal.  
 
© Copyright 2001 Sharon Good

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  Okay, I know I'm smashing a popular misconception here but - Editors Really Are People! 
 
Take a deep breath and recover for a moment - it was a shattering revelation, after all. But it is the truth. Editors go home to their families after work. They eat and work and play and do all the things you do, too. They just happen to work for a publishing house, or magazine, in which you would like to see your work published. They have likes and dislikes and they have a job to do. 
 
Publishers are in the business of selling their products (be they books, magazines, e-books or whatever). They rely on their editors to make wise purchasing decisions that will ultimately create profits for their company. That doesn't make them bad guys - it makes them busy professionals. 
 
And the last thing a busy professional person wants to see land on his or her desk is a vague note from a self-marked amateur that probably won't make his boss the profit he needs to make in order to pay his wages. 
 

 Amateur - Print out your story on brightly colored, strongly-scented paper in REALLY hard to read font. Format your email/attachment to read exactly like an already published book. That way it's SURE to stand out from every other submission in the slushpile and the editor will pick it up first. Who cares about the eye-strain the editor has to suffer? And who cares about the hours of re-formatting some poor copy-person must sit through - as long as your story is noticed, right? 
 
Pro - Put yourself in an editor's shoes. Remember at all times that you are not the only person corresponding or submitting to that editor on that day.  
 Amateur- Demand that you be given special treatment after you submit your work by calling, emailing beforehand. (sounds desperate? It doesn't paint you well as a level-headed, smart and confident writer.Everything has a process. Wait till you get a formal, professional response from him/her. It's a business transaction, not a social call.)
 
Pro - Take the time do some homework. Research the publications needs and wants. Read some back issues and familiarize yourself with the editorial style. Find out the name of the current editor, and address your query directly to that person. Learn what the editor likes and dislikes. Send exactly what that editor is looking for. 
 
Amateur - send a casual letter asking if you could write for his publication (without sending any sample of your work.)
 
Pro - Include a Title page and a table of contents (chapters) with your manuscript. Pack the entire story into your manuscript folder with a large paper clip to secure it together. Your Cover Letter goes on the top, with your professional business card clipped to it. 
 
Amateur - Bind, glue, staple or tie your manuscript so that no pages escape. Pretty plastic folders with wire-binding are a good idea too - That way the editor won't mix the pages up with anyone else's story. 
 
Pro - Keep your submission packet clean, simple and professional. Where possible, do not fold submissions. Email queries and submissions are no different to traditional postal submissions. Don't be overly friendly - this is a business transaction. 
 
Amateur - Attach pretty stickers, bright labels, and photographs all over your submission packet to draw more attention. Paste Copyright symbols all over your work - we don't want some smarmy editor "stealing" it, now do we? 
 
Pro - Make sure you have followed all the necessary guidelines in submitting a manuscript to the editor. Use simple, readable fonts. The less pomp, the better. It should look like an unpublished manuscript but delivered by a professional.
 
Amateur - Format your story so that every line is even, and neatly justified down both sides of the page. Bind your book like a finished product. This approach should help the editor "see" your book as a finished product. It doesn't matter that the type-setter will hate you forever - he's not an editor. 
 
Pro - Briefly describe your work/novel. See if you can keep it to around twenty-five words. No more than a paragraph. Editors are busy people. They will want to know what you are offering as quickly as possible. 
 
Amateur - Tell the editor how much your grandma LOVED your story. Remind him again how good it is, because your best friend said it made her cry. Throw in another reminder of your brilliance and tell him you're the next Stephen King. 
 
Pro - Double- then triple-check your work for spelling and grammar. Many editors won't read past the query letter if it already shows signs of bad usage of language. 
 
Amateur - Run your story through the computer spell checker, then send it out to as many people as possible. Someone is bound to buy it then. 
 
Pro - Realize that a rejection letter is not a personal thing. It is simply a statement from the editor that the publication you submitted to is either over-stocked, or may have recently purchased another piece of work similar to yours, or it needs revision.  
 
Amateur - Send the rejection letter back to the editor, covered in death-threats and big red scrawls saying "Die, Editor". Bribery is another great option. Or perhaps send a rude article about the self-serving nastiness of editors who don't have a clue. And that "Black-list" thing? Why, that's only a myth, isn't it? Editors don't ever talk with other editors, so no one will ever know you were the one who threatened to kidnap his favorite hamster unless he published your masterpiece "I Was a Teenaged Ax-Wielding Homicidal Space-Pirate in Wyoming". 
 
Remember - A writer should be a professional business person, in the business of selling a product (your writing or your book) to a buyer (the publisher). Treat your words as though they are the foundation of your growing business enterprise, and you really will see the rewards. 

by Lizzie R. Santos

If you think proofreading equals editing, then you're wrong!  
Editing is a lot more than just scrutinizing your manuscript for misspelled words or missing punctuation marks.  
 
 
As a whole: 
 
- Edit only *after* you've written the *whole* piece. If you stop to edit after every paragraph or sentence, you will disrupt the flow of your thoughts.  
 
- It is better to take a break before starting to edit a long manuscript so you'll have a fresh perspective. 
 
- Revise only *hard copy* especially if your manuscript is quite long. Revising from a monitor is confusing.  
 
- Verify the spelling of names, figures, dates, and addresses. These are the most murdered items in manuscripts! 
 
- Be sure of what you put between those quotation marks! Otherwise, rephrase the line and omit the quotation marks. 
 
- Did you follow the writer guidelines? e.g., number of words required, font/font size specified, spacing, margins... 
 
 
Edit your content: 
 
- Be sure that you did not stray from your topic. Are your paragraphs coherent? 
 
- Did you fulfill your purpose for writing that piece? Is your entertainment feature article entertaining enough? Did your personality sketch bring out your subject's unique and  
distinct qualities? 
 
- If necessary, did you provide enough supporting data (graphs, charts, figures) for your piece? 
 
- If applicable, did your article answer the 5 Ws and H? Who, what, why, were, when and how. 
 
 
Edit for tightness: 
 
- Remove redundant and useless words. 
 
- What about diction? Did you use the right word to express what you mean? For example, "He stared at her" is more intense than "He looked at her." "Devour" is not the same as "eat." 
 
- Did you vary the length of your sentences? Combining long with short sentences makes your article easier and more natural to read.  
 
- Did you check that the body of your article is longer than the introduction (lead)? Some writers get carried way. They focus on an effective lead to hook the readers but neglect  
the body of the article! 
 
 
What about tone and style? 
 
- Does your work reflect your writing style or does it sound like a copied work? 
 
- Did you use the active voice? Are you consistent with the point of view you used? 
 
- Do your title and the words you used match the tone of your piece? 
 
 
 
Copyright © 2004 Lizzie R. Santos. All Rights Reserved

So you've finally done it. You've finished your prized manuscript - the one you've spent months creating - and the temptation to pop it into a postal package and ship it off to a welcoming editor is tugging at you mercilessly. 
 
I urge you to resist that temptation. For now, anyway. 
 
After spending so much of your time and effort in producing what you have so far, it would seem a shame to rush things at this crucial stage in your manuscript's life. Once the first draft is done, almost every writer realizes that an edit or partial rewrite is going to be a necessary task. 
 
There are almost as many different ways to edit and rewrite as there are writers. Some prefer to edit as they go. There are those who prefer to chop and change storylines midway through the creation process. Others seem to race through the first draft and spend time polishing it up once they're done. I'm one of the latter. 
 
It makes no difference which technique you prefer, as long as it works for you. The point is to end up with a professional manuscript which an editor will hopefully buy. 
 
So let's take a look at 12 polishing techniques that could mean the difference between a sale and a rejection. 
 
1 - Print it Out 
Seeing your words paraded before you on a screen is one thing. Reading your words in a different form means you will see it in a different perspective. If you write in long-hand, type it out. If you use a computer, print out a paper copy. 
 
I realize this method gets a little heavy on the pocket, but seeing your work in a new light will highlight a lot of little mistakes and inconsistencies that would not be so obvious otherwise. Your work will benefit from the exposure in a different format. 
 
2 - Read it Aloud 
Okay, so this might look a little silly to anyone peeking through your window, but the chances are, no one is looking anyway. The point of this exercise is to bring out the natural flow (or lack thereof) in your writing. 
 
For this step, a notepad and a plentiful supply of pens are handy. As you read, don't be tempted to stop and correct any redundancies, or awkward phrasings. Jot down anything you notice in your notepad, but keep reading. You will get to the fix-it stage later. 
 
Nothing will benefit your writing more than hearing it read aloud. You'll discover nuances of rhythm and interpretation that the printed word will not show. You may also discover odd-sounding cadences that interrupt the flow. Whatever you discover, hearing what you've written will give you a sense of distance. 
 
3 - Spelling and grammar 
When you read something you created yourself, the tendency to anticipate words is common. Often you mind will see the word you intended to write, rather than the actual error. Your computer spell-checker will not pick up these discrepancies. 
 
Words like "then" and "than" are easy to miss, and even easier to overlook. They are such little words, after all.  
 
Ask yourself how you would feel if you had picked up another author's work and found trivial typing errors sprinkled throughout the story. I'm sure you wouldn't be too pleased, nor would the story seem so enjoyable for this distraction. This is how a potential reader is going to view your work. Take the time to read it through carefully.  
 
4 - Plot inconsistencies 
During this initial read through, you should discover that there are points in your story that did not unravel the way you thought they would. You may also learn that you began several threads that vanished into thin air.  
 
It happens. You know all the material in your story backwards. From your perspective, all the information is already there. But the reader's perspective is what counts here. Just because the conclusions seem logical to you does not mean your writing clarified your intentions. 
 
You might have been caught up in the push of the story or the lure of the characters and the plot braid you began got lost in the moment. This is the time to pick up all the loose threads and tie them into a neat, satisfying conclusion. 
 
5 - Characters 
Is your point of view consistent? Do you have characters who wander into play, and then fizzle out, contributing nothing to the story? Are your character traits consistent?  
 
If you've introduced a character in Chapter One who is five feet five and brunette, describing her as five feet eight with blonde hair in Chapter Six is not going to sit well with readers, much less an editor. 
 
Similarly, bringing a character into play simply to deliver a line, or specific piece of information, is awkward. Find a way to utilize an existing character for this, or better still, flesh out your 'extra' so that he contributes more to the storyline than just a messenger service.  
 
Sometimes, though, minor characters are important. The nameless man serving behind the counter, the woman at the ticket booth, the girlfriend of the next door neighbor's son. Showing the extras is fine, but ask yourself how much relevance they have to your story before you jump into their life history, or worse, their point of view. 
 
6 - Propel the Story 
Know what your story's conflicts are. Conflict helps to build tension, which will drive your story forward. Without the right descriptions, or by cluttering up the stage, some of that impetus can be lost. 
 
Sometimes, though, the thrill of writing action sequences or steamy scenes can make you lose sight of where your story was heading. Adding an extra scene or two for the sake of excitement will not work if it does not advance your story-line in a positive way. 
 
It is hard to slash a great section of writing, or a favorite piece of dialogue, but be brutal. If it does not advance your story or strengthen your plot focus, then close your eyes and press delete 
 
Consider how a reader will feel looking at your work for the first time. Is the action propelling enough to make him turn page after page? Is the protagonist's struggle believable enough to earn a sense of empathy from your readers? 
 
Again, do not give in to the temptation to stop reading and fix the problem. Keep a note in your notepad of any changes.  
 
7 - Trim the Excess 
When describing anything in your fictional world, be specific. Telling a reader "the grass was a shade of green" or "she felt kind of ill" is wishy-washy and weak. If the grass is green, then tell us it's green. If your characters is ill, then tell us she is, and be sure to add the specifics of what ails her. 
 
Similarly, go through and remove any weak nouns, verbs and modifiers. Eliminate any abstractions and replace them with concrete images that will help your readers to visualize what is happening. 
 
Scan your manuscript for adjective-nouns combinations that can be replaced with a stronger, more specific noun. Remove any expletives that do not add to the story or characterization. Cut any clichés. If you must use a metaphor or simile, strike a unique comparison of your own. 
 
8 - Active versus passive 
Passive voice weakens any piece of writing, while active voice will add power and immediacy to your story. Instead of writing "the boat was tossed about by the rough seas", replace this with "rough seas tossed the boat".  
 
Keep a look out for any sections of passive voice and remove them, or replace them with a stronger alternative. 
 
9 - Simplify 
Is your plot complicated by twisting time-lines, too many flashbacks, or confusing plot braids that are improperly woven together? Consider eliminating some of these sections to give a straight chronology. 
 
Keep descriptions simple with powerful nouns. Strip your dialogue to its bare essence. The extra details won't be lost, and the conversations will have a tighter feel. 
 
Positive forms of description are clearer and more direct than negative. As you go through your writing, make a note of the words no and not. Then figure out a way to tell us what is instead of what isn't. 
 
Simplicity brings clarity. 
 
10 - Repetition 
Variety is a key factor in holding a reader's interest. Go through and find synonyms for any frequently repeated words or phrases. 
 
Reading through this article, the amount of times I've used the word 'replace' is scary. I should find a way to rearrange my structuring so the word 'replace' doesn't show up so often, or I will risk sounding repetitive. 
 
11 - Get another opinion 
When you have finally completed all the changes and edits from your notepad, it is time to seek another opinion. An unbiased viewpoint might pick up a few discrepancies that even you missed on the last edit. Besides which, it is always a good thing to have someone else check through your work before an editor sees it. 
 
It makes no difference who reads your work. You aren't looking for an A Grade editor, just an honest reader's opinion. All you need from them is an idea of how your work affected them. After all, more than 95% of your readers will eventually fall into this category. 
 
And if that reader does happen to pick up on a few little things, the objectivity will have been worth the time and trouble. 
 
An alternative here is to submit your manuscript to a workshop. Sometimes the critiques can seem harsh, and sometimes you will receive some encouragement or praise for your work, but mostly you will gain an understanding of how different people are interpreting your words.  
 
12 - Re-edit 
Once you have completed your read-through, it is time to make the changes real. Take the time to chop the redundancies and pull out pieces that don't contribute. This can take some time, but your story will be stronger for it. 
 
Just when you think you've finished, and it's time to send your masterpiece out into the big, bad world, read it again 
 
This is an important step. When adding extra words, or editing out the parts that didn't work, it is inevitable you will make a few mistakes. Simple typing errors, forgetting to delete the rest of an incomplete sentence, doubling up on added lines. These things happen. 
 
Don't skim this part. Read through your manuscript again carefully. When you are sure it's all in place and as polished as it's ever going to get... 
 
Send it out the door

---

Dealing with Rejection  
by Lee Masterson

"Dear Reject Writer, 
 
The brilliant, masterpiece-seeking staff at Bucking-Huge Publishing have decided to ruin your day and post you this pointless piece of paper. It is an official rejection of you as a person and as a writer.  
 
Basically, we thought your story sucked so much that we didn't want to use your SASE to return it to you - just in case you personally had licked the stamps. In fact, we were afraid to touch it. We hired someone to burn it for us. We also hired the same person to prepare this form rejection letter, so you'll never be tempted to think we read it at all. 
 
Once at the post box, the editorial staff will crowd around this soon-to-be-sealed rejection-letter-of-doom and chant curses upon your writing future, after which we shall laugh at you and call you names like Reject and Amateur, just to make us feel better, but especially to make you feel worse. 
 
Have a rotten day! 
The Editor"

Rejected - Personally! 
Many writers feel as though each rejection letter is deeply personal. Regardless of whether the rejection you receive is a form rejection or a personalized note trying to explain why that publication has chosen not to accept your brain-child - to a writer, the declining editor is the enemy. 
 
Seriously, the first thing all writers must realize is that rejections are NOT personal. I know many of you are shaking your heads in disagreement and even more won't believe me right now, but it is true.  
 
Let's take a look at some of the reasons an editor might reject a piece of work: 
 
* The publication is over-stocked with similar stuff right now 
* The manuscript was about the wrong topic for that editor's preferences 
* The manuscript was too long/too short for that publishing house's tastes. 
* That editor only buys horror. You submitted romance! 
* Your manuscript was addressed to the wrong editor.  
* There is no market for books about purchasing snow tires in the Australian Outback 
* The editor has spent the quarterly purchase budget, and so rejected everything that came in the door that month. 
 
The above examples are just a few things that could happen in any busy publishing office - and are also just some of the ideas that I came up with off the top of my head. In each example, the editor is in no way rejecting the AUTHOR personally. In each example, however, the editor is making a point of showing the author that his or her manuscript is simply not right for that publishing house on that day from a purely business point of view. 
 
There are many, many more reasons an editor may choose to reject any piece of writing. I could research for the next decade and STILL be finding new reasons why editors reject writing. I'll lay odds that very, very few of those rejections stemmed from a personal dislike of an author. 
 
What is an Editor? 
Despite beliefs to the contrary, editors are people. They breathe real air and work at real jobs. They go home to real homes and have real families (sometimes). They have bosses to answer to and they must fulfill job descriptions, like anyone else. 
 
An editor's job is to purchase manuscripts (be they novels, short stories or articles) for the publishing house who pays the checks on pay day. In order for that editor to keep receiving pay checks, the publishing house must continue to sell enough books (or magazines) to enough readers to guarantee the running costs will be covered for another week. 
 
If the editor purchases manuscripts that do NOT return sufficient profit for the publishing house to remain in business, then everyone loses. The author's work is STILL rejected, the editor loses his or her job, and thousands of related workers will also join unemployment cues once the publishing house files for bankruptcy and closes its doors. 
 
Now that we all understand that trivial fact, let's ask the following question: 
 
Why do so many writers feel the need to exact a bloody, dire revenge on an editor who is simply doing his or her job? 
 
Whilst researching for this article, I visited some "Coping with Rejection" sites. One of these sites offers a place for rejected authors to vent their frustration and anger at hapless editors. 
 
On one forum, I happened across the angry rantings of a rejected writer, determined to let the world know that he thought all publishers and all agents were only out to find out 'how much money that writer can make for [them] anyway."  
 
I'd like to know who told that unhappy Rejected Author that the industry was ever any different! Let's be honest. If your book is not popularly liked by the masses (your readers!) then no copies are going to sell. If no copies sell, then the publisher has lost money. The editor has lost money. The bookstore has lost money. The author has lost money - oh wait - the author has to pay back any money that wasn't covered by sales... 
 
Honestly, the publishing industry is a money and sales oriented business - just like any other. Why try to internalize something that is simply about how many books are going to sell of how many shelves on any day? 
 
What is a Published Author? 
I know, I know - you're already thinking "A published author is a writer who has been published." 
 
You're way ahead of me. Or are you? I was going to use the following definition: 
"A published author was once an unpublished author who didn't quit submitting." 
 
You see, ALL published writers were once unknown, unpublished writers, who kept submitting work until eventually they were accepted. It's purely a numbers game. The more you submit, the greater your chances are of receiving an acceptance! 
 
Did you know: 
 
* --The first Harry Potter book is reported to have been rejected by 14 publishers.  
* --Stephen King's Carrie had been rejected more than 30 times before being picked up for publication. 
* --Richard Bach's Johnathan Livingston Seagull received more than 140 rejections.  
* --After 743 rejection slips, British author, John Creasey went on to have 564 mystery novels published! 
* --Madeleine L'Engle's A Wrinkle in Time received over 30 rejections. It took 10 years to get published, and then went on to win a Newbery Award. 
 
What to Do When You Receive a Rejection 
It never ceases to amaze me how many potential authors swear undying vengeance upon any editor who may have rejected a story.  
 
You have several choices. You could: 
 
a) Scrawl "Die, Editor" in blood across the cheaply photocopied form rejection letter and promptly mail it back to that editor, along with the sawn off head of his Fluffy Bunny soft-toy. 
 
or 
 
b) Act like a professional writer, file each rejected piece of work into a file and send the piece back out the door. This way, each rejection is turned into a brand new submission the very same day. 
 
Now I'm not saying my way of dealing with rejection is the right way, but here are some of the things I do when I receive a rejection. 
 
Firstly, I open my filing cabinet and take out the file marked "Rejection". Then I place the rejection slip into it, close it and return it to the filing cabinet. 
 
Next, I'll open a file on my computer called "Writing Business". Inside this folder are sub-folders for invoices, contracts, taxes, clippings, ideas, snippets, half-finished articles & stories, pay rate schedules, two spreadsheets (submissions and pay amounts) and one last folder - you guessed it - REJECTIONS. 
 
Inside the rejections folder, I have another spreadsheet. I list the date and publication name. I also list where I intend to send that rejected piece next. Then it gets listed again in the Submissions spreadsheet (because it's not a rejection anymore, it's a new submission again, remember?). 
 
Improving the Acceptance Odds 
There are also lots of things you can do to improve your chances of being accepted by an editor. The most obvious solution is: Submit more. 
 
Simple, really, isn't it? 
 
Of course, the more work you submit, the greater the chances are that you'll receive a rejection. But the same odds are true for receiving an acceptance, too. It really is a numbers game.  
 
The more you submit, the greater your chances become of receiving an acceptance! 
 
 

---

During the course of trying to gather research for this article, I peered very closely at a number of best-selling authors. My aim was to pinpoint the things they have in common, the traits that stood out as being required to become successful.

I learned very quickly the only thing they all have in common is that they WRITE. They all have different reasons for writing, and they seem to hold different ideals for their career paths, but they all physically make time to write.

Not much information there, huh?

At the same time, I joined in the conversations on several mailing lists for writers. I also spent a lot of time reading and critiquing new authors on various workshops. During this stage of my research I spoke to aspiring writers from all over the world. I read some great work, and some not so great work, and I met some amazing people.

I freely admit that I have absolutely no idea how to tell who is going to make it and become famous in the publishing industry.

But I did learn to tell which writers will NOT make it!

These doomed writers are fairly easy to spot - once you know what to look for.

Spot the Excuse

"...but it's supposed to be slow-paced. I wanted the reader to think"  
"...my character is supposed to be inconsistent."  
"...you weren't reading it right. You misunderstood what I meant."  
"...but I wanted to leave the readers in suspense."

There's nothing wrong with your story containing any of the elements above. What is important is that the reader must be able to understand why you wrote it that way.

For this reason, a writer who needs to make excuses for his or her writing is missing the point. The idea of writing a story is to be sure your writing conveys exactly what you want the reader to see. I'm not talking about describing every tiny thing that goes on in your fictional world. I mean write so that your words are clear enough to carry the picture you created with your imagination into the minds of your readers. If you feel the need to explain it, then you haven't achieved the goal of telling your story yet.

Remember, you're not going to get the chance to explain to a reader in another country that you meant something else.

Poor writers make excuses for their work. Good writers revise and polish their words until every point shines.

Have You Learned It All?

No matter how much advice becomes available, there's always more to learn about the craft of writing, about correct submission procedures and about the publishing industry. Yet I am amazed by how many would-be writers feel they don't need any further education. They believe they already have everything they need to write a blockbuster novel stored in their heads.

Refusal to learn about current trends, ignorance of changing requirements and a lack of regard for the advice from already-successful authors will mark you as an amateur.

Refreshing information you already know is not learning - but it is almost as important. It serves to strengthen the knowledge you already have.

A true writer never stops seeking new knowledge.

I'm Too Busy

"I'm too busy to write today."  
"I'll write later."  
"I'll get around to finishing my novel eventually."

There are thousands of writers with this same lament. And they're right - life is busy. There is never enough time to get everything done. But if you truly want to succeed at writing, you'll find the time.

I have a personal friend who has been writing the same novel for the past 12 years. I don't think he'll ever finish. He's too busy.

Of course, sacrificing fun things can be a drag, but if you are determined to be a published author, that determination must reflect in your choices.

If you want it enough, you'll sacrifice a few things and create the time to write.

Of course, if you don't want it that much, there's always another show on the television soon.

Don't Judge Me

At some point in every writer's life, their work is viewed by someone other than themselves. It's inevitable. You might decide to show your masterpiece to a friend or family member. Or you might take the plunge and join a workshop critique group.

Whichever option you take, remember that the readers are never judging you. They are only reacting to the words you offered to them and giving a viewpoint based upon the emotions you did or didn't invoke in them. That's all!

The ability to look at where your story is going wrong and offer advice should be treasured. If someone gives you an honest opinion of where your story isn't working for them, accept that viewpoint graciously. Don't slam the critiquer, or make excuses for what you wrote. Try to view your story through the eyes of the reader and understand for yourself why your point isn't getting across.

Don't edit your work to please that one reader, though. It is still your story. The reader may simply not have understood your meaning clearly enough. By clarifying what you meant to say, you do not need to alter your story - only the way you chose to tell it.

Learn from the reactions of your readers.

That's Not My Job!

"I don't have to worry about grammar or spelling. The editor will fix that."  
"I don't want to revise it. It will change my story."

Nothing turns an editor off faster than a badly formatted, misspelled manuscript. Why guarantee yourself a rejection? If an editor can get past the initial manuscript, and finally asks you to revise it, then revise it.

Remember, an editor is on your side. If you make money, they make money. This means they WANT you to make money, so any changes they suggest are for your benefit too.

Do you still think you have what it takes to be a professional writer? I certainly hope so. Hold your chin up and believe that only you are capable of writing your story, your way. Have faith that you will succeed and learn from those who have preceded you.

But most of all, keep writing.

© Copyright Lee Masterson. All Rights Reserved.

---

Writing with distinction

 Many require constant reassurance that their work is good. Some even need to feel validated that they are striving for a worthwhile goal. Many also need to hear the praise from family and friends that will boost their nervousness back into inspired confidence.  
 
Yet if these same writers took just a moment to praise their own work, or their efforts, once in a while, a new-found pride in their talent will begin to emerge.  
 
Too often I have heard writers complain that they have not written as profoundly or as profitably as their own favorite author. I have also witnessed self-pity as the fledgling writer considers his own work to be beneath his idol's standards.  
 
When a writer compares himself to another, he plays down his own accomplishments and sees others in a far brighter light than they often deserve.  
 
Too many of us grew up believing that if we blow our own trumpets we'll be viewed as ego-maniacal self-centered big-headed twerps. For this reason, most people will never let themselves - aloud or privately - take pride in their own achievements. There is always someone else to point at so we can say, "She did it better", or "He's written twenty more than me."  
 
Remember, though, those veterans in the publishing world started somewhere once too.  
 
So instead of focusing on things you have yet to accomplish, take a moment to congratulate yourself for that particularly fine descriptive passage you wrote, or that wonderfully empathetic character only you could have created.  
 
Take pride in what you have achieved - even if it seems trivial to you - and admit that you'll never accomplish all you want to as a writer. Accept that there will always be new ideas, new horizons, or new markets to explore, and one person can only do so much.  
 
Most importantly, believe in yourself and the uniqueness of your own work. Write for the love of creating beautiful prose and for the simple joy of writing itself. Write only to please yourself, with no thought of being judged or criticized.  
 
Your writing will reflect the pleasure you received, thus pleasing those who will come to read your work later on. Then praise yourself for achieving a state of being able to enjoy your work.  
 
You'll be amazed at the confidence you gain, and it is that confidence which will soon become evident in the quality of work you churn out.  
 
Who knows? You might just surprise yourself with the opportunities that suddenly become available.

---

Finding Your Unique Voice 
by Rob Parnell

A writer friend asked me the other day, "When I read, I find I'm influenced by other authors. Depending on who I'm reading, my writing style is either playful, deep sounding or whatever. How can I stop writing like other writers and find my own voice?" 
 
(She also added that I might want to write an article based on my response - hence what you're reading now!) 
 
Before we get on to practical tips, we should cover some basic preconceptions about voice. 
 
First of all, your voice should never be some affectation you acquire or work on. I think you know what I mean. When we're at school or in the office, we're told there's a way to say things - a style we must adopt to conform to the medium. 
 
Many novice writers think the same applies to fiction - that there is perhaps some predetermined mental attitude and/or demeanour one should adopt - usually a 'superior, more learned' version of ourselves - to sound more authoritative when telling stories. 
 
Nothing could be further from the truth. 
 
You should always write in the style that is most natural to you. It may well be different from your speaking voice but should always reflect the way your mind works. 
 
Secondly, your voice doesn't have to be 'original'. You can waste years of your time wondering what 'originality' is and trying to define and acquire it. 
 
When critics, publishers and agents say they want 'originality', I believe they have no idea what they mean. They merely confuse writers by demanding something so nebulous and indefinable. I think what they should really be asking for is 'honesty'. 
 
The simple truth is you already possess all the originality you need. You are already unique. No-one else thinks and writes like you do - trying to undo your own originality by constantly striving to be anything less than yourself is counter productive. Trust yourself.  
 
Trusting yourself is probably the hardest trick you'll have to learn as a writer - but it is absolutely essential to your growth. Because it's only when you trust your ability to say what you mean with honesty and integrity, that your voice will start to come through. 
 
The real test of a good authorial voice is consistency - it is as strong and recognizable at the beginning of a story as it is at the end. 
 
So how do you achieve this consistency? How do 'get' your voice? 
 
It's a process, of course - and here's some practical tips to strengthen and consolidate your own: 
 
Practice 
 
Consciously practice different styles and categorize them. Write using different voices - some that are deliberately difficult to sustain. This will attune your mind to noting differences in style. Try writing highbrow and lowbrow articles, egocentric columns, playlets, short dispassionate biographies - anything that stretches you. These pieces don't have to be publishable - they are designed to help you 'play' with the writing medium. 
 
Detach 
 
Try to write without thinking for short bursts. If this sounds too hard, try writing for ten minutes just after you've woken up in the morning - before you can think straight, just write anything. 
 
Later, try looking up words in the dictionary at random and write for ten minutes without stopping on those words. Force yourself to write, whether you're inspired or not - this is a great technique for getting in touch with your subconscious voice (i.e. your true voice.) 
 
Avoid 
 
During writing spells, especially first drafts, don't read anything - no books, newspapers, magazines, cereal packets, nothing. Starve yourself of influences so that you can concentrate on just your voice and, not only the things you want to say but, how you want to say them. 
 
Affirm 
 
When you've written sections you're convinced are beginning to reflect your most natural and compelling voice, read them into a tape recorder and play them back. The very process will help - you'll probably find your best passages easiest to read. If not, delete the clumsy words, the extra adverbs, the overlong sentences and try again. 
 
Experiment 
 
Try writing two different versions of pieces - like short stories. Write one with all the literary might you can summon and write another with just a little casual indifference. Post out both to magazine publishers or read them to your friends to see what they think. 
 
Strengthen 
 
Consciously remind yourself everyday that you are a writer, that you are thinking writerly thoughts and your are determined that your writing will truly and accurately reflect your thoughts. Do not hide behind fear of honesty or the thought that exposing your inner psyche is in any way bad. It's not. 
 
The real you is what your readers want, respect and deserve.

---

Spicing up your novel

Writing the Love Scene 
by Patricia Kay

In this article I'm going to talk about WRITING THE LOVE SCENE and/or SEXUAL TENSION IN A ROMANCE. This particular aspect of the book is probably the scariest part of writing a romance for MANY romance writers, whether they're brand new to the genre or whether they've written fifteen or twenty or even forty romance novels. I know that in most of my books these scenes are the hardest scenes for me to write not because I'm afraid to write them and not because I have any hangups about writing them, but simply because they are so difficult. It is all too easy to fall into the trap of thinking a love scene is graphic images of body parts--with the emphasis on physical reaction rather than emotional reaction. 
 
There's an enormous difference between titillation for titillation's sake and a slow seduction of the senses, both emotional and physical. As writers, we should strive to make our love scenes tender as well as passionate--scenes that show the developing love between two people who genuinely care about one another and want to make one another happy. 
 
Have you ever read a love scene and found yourself scanning to get through it? Worse, have you skipped it entirely? Worse yet, have you yawned and decided this is a good place to quit reading for the night? What a disappointment! 
 
How can we, as writers, avoid this pitfall? Well, in the very best love scenes, the ones that have held me captivated and evoked all those memories of falling in love and being wildly attracted to someone, the scenes that made me laugh and cry and FEEL, the tension built very, very slowly. The writer milked the prelude to lovemaking for all it was worth, devoting pages and pages to emotional and physical foreplay. She kept increasing the tension until just the right moment when the characters could no longer deny their attraction to one another. 
 
RULE #1: LOVE SCENES SHOULD HAVE A SLOW BUILDUP OF SEXUAL TENSION.  
They should tease the reader and make her anticipate what is coming. They should seduce her JUST AS THE HERO OR HEROINE SEDUCES the other. This slow buildup, this ANTICIPATION is fundamental, even, I would say, crucial. 
 
RULE #2 - THE KEY INGREDIENT TO A GOOD LOVE SCENE IS EMOTION.  
The author has a chance to reveal not just the characters' bodies, but their deepest, most intimate feelings. The best books, just like the best movies, have one thing in common. They do not rely on titillating the reader with explicit and graphic sex. Instead, whether the stories are "hot" or "sweet", have explicit sex or don't, take us into the bedroom or not, they involve the reader emotionally. No matter what is happening to the people in the story, the reader is feeling everything the characters are feeling. 
 
As an audience, whether we're watching a movie or reading a book, we want to care about these people. We want to be inside their skins, actually living the experience with them. 
 
As a writer, you must put yourself inside the character: see what she sees, hear what she hears, smell what she smells, feel what she feels. And then you must convey all these thoughts and feelings and impressions to the reader with your word choices. You must let the reader feel the anguish of your heroine when the hero accidentally brushes her hand, then jerks away from her as if he can't stand the sight of her. You must make your reader feel every accelerated heartbeat, every nervous flutter, and every agonizing moment of uncertainty. 
 
RULE #3: LOVE SCENES SHOULD NOT BE INTERCHANGEABLE. 
 
Cheryl St. John, in an article she wrote called "Individualizing Your Love Scenes" says that to make your love scene unique, it shouldn't be transferable. In other words, you shouldn't be able to cut and paste this scene from one book to another. Yes, there are only so many ways two people can make love--the PHYSICAL act of love--but there are thousands of different ways two people can make emotional love. 
 
There should be enough dialogue and/or interaction between the two people involved, enough feeling and internal narrative to make it absolutely clear that this exchange couldn't possibly take place between any other two people. Every pair of lovers should have their own chemistry. 
 
RULE #4 - A LOVE SCENE SHOULD CONTAIN CONFLICT. 
 
I'll never forget when I first learned this. It was during the rewrite of CINDERELLA GIRL, my first book with Silhouette. Mary Clare Kersten, my editor, told me that there wasn't much of an emotional payoff in the first, big love scene in the book, and that I really needed to work on it. 
 
During a telephone conversation with a writer friend from Dallas, I mentioned what Mary Clare had said. I told my friend that I didn't know exactly what to do to increase the emotional intensity and give the reader a payoff. 
 
My friend said it sounded to her as if I had no conflict in the scene. 
 
"Conflict?" I squeaked. "A love scene should have conflict?" 
 
"Absolutely," she said. She went on to tell me that it was vitally important to remember that a love scene was like any other scene. It should have a beginning, a middle, and an end and it should have conflict. It should move the story forward. 
 
"But conflict? You mean, like whips and chains?" 
 
She laughed. "Of course not." She explained that conflict can be subtle or overpowering, but in a love scene it must be a conflict of emotion, and most likely a different type of conflict in each love scene as the relationship between the hero and heroine progressed and built toward the crisis. She gave an example: the hero, out of desperation and self-preservation, refuses to let himself even consider touching the heroine, despite the emptiness and loneliness he knows he will endure without her. The heroine, equally desperate and self-preserving, needs his caring touch like sun-parched earth needs rain, and in a wild, reckless moment, pushes their relationship over the brin and into bed. On one level, neither may WANT the other one. They may have a thousand reasons why a physical relationship would be disastrous. But on that deeper, more intense level, they can't turn away from the emotions that drive them. Such emotions provide conflict, and a riveting love scene that the reader (and editor) can't put down. 
 
Her words were like the proverbial light bulb going off in my head. Suddenly I knew exactly what I had to do to fix that love scene of mine. Since the theme of CINDERELLA GIRL was control (remember how I told you about learning what my theme was?) didn't it make perfect sense that during the act of making love, which is definitely a time when one or both partners lose control, Victoria, my heroine, would be afraid to let herself go? Couldn't I use this fear of losing control to enhance the emotional intensity and tension of the love scene? And didn't it also make perfect sense that Dusty, the hero, would be doing everything in his power to MAKE Victoria lose control, WITHOUT LOSING CONTROL HIMSELF? Here they would be: two people with opposing objectives--Victoria to keep from losing control, Dusty to make her lose control. Conflict. Emotional conflict. 
 
RULE #5 - DIALOGUE ENHANCES A LOVE SCENE. 
 
Dialogue is a wonderful tool in a love scene. A touch of teasing dialogue can dispel a woman's (or a man's) nervousness, a bit of tender dialogue can make an awkward moment less awkward, a whispered endearment can banish fear. Dialogue also helps the author hint at an action without having to physically describe the action. It can also heighten the sexual tension unbelievably and build some of that anticipation we talked about earlier.  
 
RULE #6 - HUMOR HELPS. 
 
Making love is inherently awkward. All those naked body parts. The impossible positions. The whole idea. It can also be embarrassing to think about. A touch of humor can help dispel some of those awkward moments of taking off clothes, getting into bed, etc. Even in the most emotional, angst ridden scenes, a moment of humor--perhaps a wry remark--can help lighten the tension, because unrelieved tension can almost be worse than no tension at all. 
 
RULE #7 - THERE IS NO RIGHT WAY TO WRITE A LOVE SCENE. 
 
The love scene should be unique to your characters and your story. Some writers take us all the way from the first glance to the last sigh, describing every stop along the way. Other writers close the door to the bedroom. 
 
Some writers are heavy on imagery and sensory details, others rely on dialogue and humor to carry the scene. 
 
Some writers have intensely emotional love scenes. Others write sexy, fun-filled love scenes. Some love scenes are naughty and filled with sexual innuendo. Others are tender and sweet and warm. Some are erotic and make us squirm. Others make us cry or laugh. 
 
It doesn't matter what kind of love scene you write, as long as it is true to your characters and your story. Only then will it be right. 
 
RULE #8 - A LOVE SCENE IS NOT A COLLECTION OF GYRATING BODY PARTS. WE DON'T NEED A PLAY BY PLAY OF EVERY PHYSICAL ACTION. 
 
Some of the best and most sensual love scenes I've ever read contain no graphic words or descriptions at all. They rely on the imagination, which is more powerful than any play by play account could ever hope to be. 
 
If you doubt this is true, just think of movies where there is one scene after another showing open mouths, lots of tongues, lots of body parts--don't you feel mostly embarrassed? As if you're a voyeur watching something too personal to be shared? 
 
Then think about movies such as my personal favorite, THE BIG EASY? Does anyone remember the big love scene? Where Remy, the hero, and Ann, the heroine, are in her apartment and they've kissed and are going to make love? They go into her bedroom, and the next scene shows her sitting up on the bed, fully clothed, and him laying next to her, his hand under her skirt. 
 
Her head is thrown back, and she's breathless. She says weakly, "Stop that." He gives her a wicked smile. "Stop what?" he says. "This?" Pause. "Or this?" 
 
Nothing is shown. 
 
Everything is implied. 
 
As a viewer, you are nearly as breathless as she is, because you KNOW what he's probably doing, you can IMAGINE how it feels, what she is feeling, and what he is feeling. It's absolutely wonderful. Their dialogue, their expressions, their tone of voice--all are fueling our imagination. The scene is very sensual, with such impact, that everyone in the audience is probably feeling their toes tingle. 
 
Another favorite is the New Year’s Eve scene in THE FABULOUS BAKER BOYS where the Jeff Bridges character is playing the piano and the Michelle Pfeiffer character is laying on top of the piano and singing. Later, when the revelers are gone and the party is over, they are going to make love. They know it and we (the movie goer) know it. That scene is filled with more sexual tension and eroticism and sensuality than just about anything I’ve seen before or since. Of course, I think Jeff Bridges is the sexiest thing on two feet, so I could be just a tad prejudiced.  
 
Perhaps you think it's easier to build this kind of sexual tension through a visual medium like the movies, but I maintain that as writers, we are supposed to be wordsmiths. We should be able to accomplish the same result with the use of the right words. In fact, we should be able to do it better because the reader's imagination will come into play more intensely than if she is watching a movie. 
 
Just try to remember: you don't have to tell the reader about every touch, every moan, every contortion of the hero and heroine to write an effective love scene. 
 
RULE #9 - DON'T BE AFRAID TO TRY SOMETHING DIFFERENT, AND DON'T BE AFRAID TO BE A LITTLE RAUNCHY IF THE STORY CALLS FOR IT. FOLLOW YOUR INSTINCTS. 
 
Surprise your reader. Do something different. Something they don't expect. Shock them a little bit. Remember, romances are supposed to be a little bit of fantasy, something to liven up our ordinary lives, something to get our imaginations working. In one of my early Special Editions, I had the hero tie a red bow around a certain body part because he’d promised the heroine a present. She liked it. And many of my readers wrote to tell me they did, too. 
 
RULE #10 - AVOID CLICHED PHRASES AND EUPHEMISMS. TAKE AN OLD PHRASE AND MAKE IT YOUR OWN. 
 
Aim for variation and imaginative use of language, but not so imaginative it's laughable, and beware of over-dramatization. To read a master at original phrasing and imagery, immerse yourself in Nora Roberts' category books. I don't know how she does it, but she manages to make every love scene fresh and wonderful and filled with brilliant writing. 
 
RULE #11 - EVERY PAIR OF LOVERS SHOULD HAVE THEIR OWN CHEMISTRY, JUST AS EACH BOOK HAS ITS OWN TONE AND ATMOSPHERE. 
 
There’s not much to say about this. Just keep in mind what I said earlier in this article. Your characters, like your love scenes, should not be interchangeable. They are unique and the way they relate to one another should be unique, too. 
 
RULE #12 - DON'T FORCE THE SCENE. LET IT EVOLVE NATURALLY. 
 
Just because it's page 160, and your hero and heroine haven't made love yet, doesn't mean you should panic and throw in a love scene. The reader isn't stupid. The reader knows when you're forcing the characters to do something they wouldn't normally do. The best thing to do is just write the story the way you know it should be written. And let the love scene come where it's supposed to come--not dictated by what page you're on--but by your characters and how they feel. An editor is not going to refuse to buy your book because your love scene doesn't appear until the end. 
 
Case in point: my June, 1995 Special Edition called THE GIRL NEXT DOOR. This book is about best friends. The entire conflict revolves around the fact that Jenny, the heroine, realizes she's fallen in love with her best friend, Simon, and he's blind and dense and clueless (in other words, a typical man). He can't see what's right under his nose. Now in a story like that, you can't have them falling into bed together. It's totally out of character and completely wrong for the story. So I knew up front that the only love scene would come in the last chapter, but I also knew I needed some reason to have them kissing and touching, or else how was Simon ever going to discover that he had more than feelings of friendship for Jenny? I came up with the perfect answer. A way to have them in each other's arms and a way to intensify the sexual tension to a fever pitch before they ever go to bed together. 
 
At the opposite end of the spectrum, in my December, 2000 Special Edition, WEDDING BELLS AND MISTLETOE, there was a love scene in the Prologue, because what happened between the hero and heroine when they were kids is what drove the plot and gave me a story to tell in the first place. 
 
Ultimately, the story and the characters should dictate when, where, how, and what kind of love scene should take place. 
 
 
 
Copyright 2001-05 by Patricia Kay

The art of self-promotion

Do You Need An Author Web Site? 
by Dawn Seewer

Do you have a book to sell? Do you have a name and a career to promote? Do you want to increase your readership? If you answered yes to any one of these questions then you’ve answered the title question as well. Yes! You need an author web site. 
 
With the Internet becoming increasingly faster, more affordable and more available, authors (and publishers) are finding it to be a versatile, dynamic marketing resource for their titles and a platform for creating long-standing relationships with readers. Let’s take a look at the top three uses of the author web site: 
 
The Web Site As A Book Promotion Tool 
 
Is there a more prefect place to strut your stuff than on your own web site? Your web site will provide you with a dedicated space and a very targeted audience to promote your books.  
 
Your promotion technique may depend on the type of book you are promoting. If you are featuring a non-fiction book then you probably want to concentration more on reference material while a fiction author will want to focus on content that offers entertainment value. 
 
A non-fiction author looking to promote a book on knitting will want to develop a site and content that focuses on the craft. The author might provide a table of contents so that readers will know what they can expect to learn about knitting from this book. She might also provide a list of knitting FAQ’s that serves to reinforce her authority on the subject. 
 
Meanwhile, a fiction author looking to promote her newest romance will want to develop a site that not only offers information on her book but also includes entertaining content that speaks to lovers of romance. She may include excerpts of her story along with glowing reviews from well-known romance writers or avid readers. 
 
The Web Site As An Identity Tool 
 
Companies spend a great deal of time and money developing an identity. An eye-catching logo provides a visual representation for their company, product or service. A memorable catch phrase tells people what they are all about or what they can expect. This “branding” helps define them as company. It says, “hey pay attention to us, we’re better than the competition.” Likewise, authors can take advantage of these “branding” techniques. From the genre they pursue to the covers on their books, authors can define themselves as a master of their field. 
 
The website is quickly becoming another weapon (and in some cases the biggest weapon) in the author’s arsenal when it comes to creating an identity and setting themselves apart from the competition. Everything on the web site from the design, to the content, to the color scheme should reinforce your identity as a writer and your commitment to quality work.  
 
The Web Site As A Fan Club 
 
New readers… every author wants them. Attracting new people to your web site is a key factor in turning those just dropping by into avid readers. Your web site must be a place not only for your legions of already adorning fans to hang out but also a place where those with mild curiosity can find out more. You’ll want to provide content that is current, entertaining and interesting. Content that gives them insight into you, into your work, into your world.  
 
Endless Possibilities 
 
These are just a few of the ways your web site can help you promote yourself and your work. There is no limit to the amount of information you can provide and the type of promotion you can accomplish through your web site. The possibilities for your web site are as endless and varied as the readers who flock to the bookstore shelves. 
 
© Copyright 2004 Dawn Seewer. All Rights Reserved