Showing posts with label Liv Rancourt. Show all posts
Showing posts with label Liv Rancourt. Show all posts

Wednesday, September 30, 2015

Whitewashing Our Work

One of the benefits of being the Blog Mama is I can jump in when I've got something to say. I know I just posted last week, but I'm grabbing the spotlight again...because I can...lol...

The Secret of Obedience - Coming November '15


So the other day I went to the annual Gay Romance Northwest meet-up, a fabulous conference where I had fun with friends and learned a lot. The last session of the day - except for the bookfair and Banned! Books in Drag up at Neighbors Nightclub - was a panel discussion called  The Evolving LGBT Romance Genre: Where do you want it to go?

One of the questions the moderator asked the panelists was, "What kind of character would you be frightened to write?" The first to respond, an articulate, successful author of f/f romance, said that even though she'd been married for fifteen years to an African American woman, she wouldn't write a black character, because she might not get it right.

And I thought, "well damn...

If SHE'S not going to write a black character, when she's got an in-house (in-bed?) expert to check her facts, where do I get off doing it?"

Another panelist said that as a trans-man with some economic stability, he wasn't qualified to write about the experiences of trans kids who were living on the street. The other panelists made similar statements, and their rationale went along the lines of, "if we don't get it right, it'll be hurtful."

To which  I thought, "but if you don't even try, they'll be invisible."

True confession: I just signed a contract with Evernight Publishing for a short piece entitled The Secret of Obedience. One of the heroes is a white, twenty-two year old gay man from Ellensburg, his best friend is a black football player, and his love interest is a twenty-one year old Vietnamese man who works for a clothing designer and spends a fair amount of time in dance clubs.

Am I any of those things?

Nope.

Do I know people who are similar to these characters?

More-or-less.

Do I think I do a good job of telling their stories?

Maybe I'm arrogant, but yes, and here's why. The story's about a young person who's had to make compromises to feel accepted by his friends. He moves to the big city and struggles to feel connected with the people he meets. He falls for a young man who's brilliantly talented, but who has been rejected by his family for who he is.

I know what it feels like to make compromises to feel accepted by the group. I know what it feels like to walk into a big, new place and feel overwhelmed by it. I know what it feels like when my true self doesn't align with my family's values.

And I know what it feels like when fear is the primary motivator of my decisions.

That's all in my story.

I don't mean to make this all about me, but at the same time I don't want to potentially bring criticism to others by using their work as examples.

Here's one final question. Do I feel like I got the details right?

To the best of my ability, yes. Do I think I perpetuated any negative stereotypes? No, but one of the risks is that by putting this story out there, I'll reveal my own prejudices and blind spots. I may get feedback, though reviews or on-line comments or email, where people point out what I got wrong. If that happens, I'll take those comments and learn from them and let them guide my approach for next time.

Because there's going to be a next time. I try and write the world as I see it, and that includes people of all different races and genders and sexual orientations. I'll probably get things wrong, and I'll probably make mistakes.

But I truly believe visibility, even if it's imperfect, beats the alternative.

What do you think? I'm open to any comments, as long as they're constructive.





Thursday, September 24, 2015

Five Books You Really Oughta Read

I love posts that tell me about books, though they usually cost me money. Well, hopefully this one will cost you money, too, though your bank account is safe for a while. Because instead of listing books I've already read and loved, I'm listing books that haven't released yet. (Well, I have read a couple of them...okay, half of them...but they're really, really good!) So settle in for a look at the new and upcoming releases I'm most excited about...they're listed in order they'll be released...




3. Stygian by Santino Hassell 


(release date 10/26) I started this list yesterday, without realizing today would be Stygian's cover reveal. Good thing an editing project delayed my post, because WOW the cover is cool! Well worth waiting for, and I'm SO happy to feature it here. I've read some intriguing snippets from Stygian, and the premise - emo rockers in a creepy Louisiana mansion - sounds totally cool. Plus, Santino Hassell brings so much intensity to everything he writes that I know this'll be an amazing ride.

Jump HERE for the blurb and an excerpt on the SinfullySexy blog.
Jump HERE to pre-order from the publisher, Dreamspinner Press.






1. Real World by Amy Jo Cousins 


(release date 11/17) This is the fifth book in Amy's fantastic Bend or Break series, and the cover reveal was just the other day. Real World picks up the story of Tom and Reese, whose falling-in-love happened in the first book, Off Campus. I loved them then, and this story is a wonderful follow-up. I had the chance to read Real World, and there's a lot of life's wisdom worked into the funny, sweet, and naughty bits. I recommend this book for fans of the series - or for anyone who likes to see a couple grow together, work stuff out, and stay in love. Of course, if you haven't read Off Campus yet, you totally should. Because Reece! And Tom! And Cash!

Jump HERE to pre-order on Amazon.




2. You Can Leave Your Boots On by Irene Preston


(release date 11/10) Travis and Bo. Oh. My. Word.
*fans self*
In case you can't tell, I've read You Can Leave Your Boots On, too, and boy howdy is it fun. This is an "opposites attract" story with the sexiest blind date ever. Travis is a gay liberal from Austin, and Bo's a "cowboy-boot-wearing, meat-eating, truck-driving ode to masculinity". Bo's not gay - he just likes to have sex with men. Travis is open about his orientation and he won't live with a lover who's in the closet. Can you see their problem? You Can Leave Your Boots On is steeped in Texas atmosphere and full of heart. I recommend this book to people who prefer their love stories like good barbecue - sweet and smokin' hot.

Jump HERE to pre-order on Amazon.


4. Unnatural by Joanna Chambers


(release 11/24) Desire for this book is making me CRAZY! Historical m/m is my absolute weakness, and JChambers Enlightened trilogy is near the very top of my list of favorites. (Jump HERE to for the first book in the series, Provoked. Read the sample and I double-dare you not to download the whole thing after that.) Unnatural takes one of the side characters in the series, Captain Iain Sinclair, and gives him his own story. Joanna Chambers writes grounded, realistic historical romances about intelligent men who are struggling with the realities of their time. She puts some heat in there, too. 

Can. Not. Wait.

Jump HERE to pre-order on Amazon. Which I've already done. How many minutes left till 11/24?





5. A Seditious Affair by KJ Charles 


(release date 12/15) KJ Charles is pretty much an auto-buy for me, and this is the second book in her Society of Gentlemen series. I own the first book - A Fashionable Indulgence - but haven't read it yet because once I read it, I won't have it to look forward too anymore.

Which, lame.

These are Regency romances, historical m/m, so better than crack cocaine where I'm concerned. This one gets more into the politics of the era, and KJ Charles has promised a dark, gritty look at the time. And because it's KJ Charles, I know it'll involve a heart-stopping romance, too. I think the real reason I haven't read A Fashionable Indulgence yet is because I know I'll immediately want to start A Seditious Affair. Of course, by that logic I'd have to wait until A Gentleman's Position releases next April. Oh hell no...not waiting that long...

Jump HERE to pre-order a copy from Amazon.




Bonus! Hidden Scars by Amanda K. Byrne 

(released 9/22) Look! A girl! (heh) Hidden Scars is a hot little love story, one I first read back when Amanda was calling it What Didn't Happen. This book actually released this week, so you don't have to wait, you can just jump HERE to grab a copy from Amazon. Sara's haunted by her past, and Taylor's hunted by his. This isn't a case of auto-love; these two have to work for every moment of sweetness. When they get there, though, it's fireworks!

So there you have it. A reason to keep going as the days get shorter and the nights get colder. Any one of these books will heat your blood and warm your heart, and I hope you check them out.

If you've got a minute, leave your favorite upcoming release in the comments. I always like to add to my TBR pile...

Thursday, August 13, 2015

How To Name A Character

Okay, so you've got a brilliant story idea, one that's humming through your veins, making it all but impossible to do anything but sit down and write.

But when you do sit down your fingers freeze, because you've already hit a roadblock.

 

Their names! What are your characters names? 

See, naming a character's not as easy as it looks.There are rules which are worth taking a look at, even if you don't follow them. This Writer's Digest article by Elizabeth Sims suggests some really practical things, like looking at the name's root meanings, considering your time period, and saying your possibilities out loud to make sure the name doesn't turn into a tonguetwister on the audiobook version.

Coming up with the right name for a character is key. Would Severus Snape have been as threatening if his name had been Douglas Darby? I came up with Douglas using a random name generator, and it works pretty well for this example. The two names are similar in that both use alliteration, which is another recommendation in the Writer's Digest article. The repetition of the first letter draws attention to the name, marking the character as someone special.

That's about all these two names have in common. The first name "Severus" is unusual and a little bit odd, however it's not hard to think of men named "Douglas" (MacArthur, Fairbanks, Booth).

(If you're old - like me - google Douglas Booth. Even better, just click HERE. Because pretty.)

And really, which last name sounds scarier, Snape or Darby? If I was playing a word association game, I'd probably equate Snape with snake, and Darby with Mr. Darcy.

Creepy reptile or Colin Firth in a wet linen shirt. I'll let you decide.


I could probably do a whole blog post analyzing ways the name Severus Snape is frightening. As such, it's a fantastic example of how the right name can boost the character. Really, though, the point of this exercise is to look at resources so you can come up with your own Severus Snape.

For example, here's a post with 100 Sexy Names for Contemporary Romance Hereoes. Author Bryn Donovan has created a comprehensive list, and while I don't agree with all of her choices (Clive is just never going to sound sexy to me) it's a good place to start.

I also found several random name generators for writers. THIS ONE will also come up with character profiles, first lines, and all kinds of other writing jump-starts.

THIS ONE lets you choose the character's sex, ethnicity, and the year they were born, and will give you a name plus a whole profile. Pretty interesting stuff.

Finally, THIS ONE just lets you choose male or female, but prefaces it's tool with some good advice (go interesting but not too weird), AND it's the one that came up with Douglas Darby. Clearly they know what they're doing.

There's quite a bit of information about how to choose your characters' names. Writing-World.com has a great article, and I liked this one by Devyani Borade, also on the Writer's Digest website. If you're writing a historical, the Social Security website has lists of the 100 most popular names by decade, going back to the 1880s.

I'm just skimming the surface here, but finding the right name can make a huge difference to your character, and there are tons of resources to help you do that. In the end, I hope you type in a name that makes you say...


via GIPHY


If you've got a secret strategy for naming your characters, feel free to leave us some tips in the comments. And if not, feel free to play with the random name generators and leave us your favorites.
Cheers!
Liv

Thursday, July 30, 2015

Writing A Series

About two weeks ago, my book King Stud was published, and for about an hour I was just like this:



 


Yeah, I was just that excited. Sadly, though, the euphoria didn't last. I mean, book promotion can be fairly time consuming, but it is fun to get out and meet new readers. No, there was one thing that brought me down to earth faster even that writing an unimaginable number of blog posts. You wanna know my biggest buzz-kill?


The sequel.





King Stud is the first in a five book series about the O'Connor family. I know which O'Connor kid will star in each book, who they'll fall in love with, and the order of their stories. I even know the book titles!


King Stud  -  Loose Cannon  -  Same Love  -  Rock Solid  -  Queen Bee 


The problem is the writing. I can think of ways to make a series out of every book I've written, but I've never actually done it before. (So if you're looking for a post where some real experienced writer with seventeen series under her belt tells you exactly what to do....um, sorry. I'll make it up to you. Promise.)

We've all read series where characters or events morph from one book to the next. You know, that, "wait a minute" feeling you get when something bumps you out of the story and you have to dig through the previous book to figure out if there's really an inconsistency or if you're just crazy.

Probably you're not crazy.

Rather than talk about How I've Done It Before, I came up with the top three things I'm fretting over as I approach writing the next book, and how I plan to deal with them. 



1. The Details

When I finished King Stud, I knew that Ryan's eyes were blue and Dani's were hazel/green and Ryan drove a black Ford F250 and Dani drove a white Mini Cooper. Those are pretty important details, but there were others - minor characters' names, dates in the timeline - that got a little bit foggy in the time between finishing the project and getting it published. And now that I'm starting book two? Foggier still. No one can keep it all in their head, so here are some strategies for maintaining continuity between books.


  • The series bible  I learned how to put together a series bible in a class by Lisa Wells through the Lawson Writing Academy. (Jump HERE to see the course description.) For my series bible, I'm using power point. I started with a list of all the main characters and another list of key locations. Each book has its own section, and each character has their own page(s). I've got notes about story lines that are particular to each book, and lines that cross over several books. I've got pictures of the characters, because I like to work from an image. My goal is to have as much information as possible in one place. 

The cover of my series bible for The Seattle O'Connors

  • Detailed character sketches  I know this kills the creativity for some people, but I like the character outline I use. It's basically something I cut and pasted together from a couple different authors' outlines, and it helps me get to know the characters as I write them. I save these sketches to my thumb drive in each book's folder, and put summarized versions in the series bible. If I know Maeve is going to feature in a scene in book three, but I haven't written her in a while, I can take a glance at her sketch to make sure I get it right. I can amend the doc as I go along, if I discover new things about the character, but the hard details - height, weight, eye color, basic personality traits - are preserved.

  • Consistent beta readers I know if lose track of something between the beginning of a book to the end, my beta readers call me on it, and I'm hopeful that a few of the people who read King Stud for me will be willing to take a look at the subsequent books. Hopefully. Right guys?



2. The Energy 

So how many times have you picked up the fifth book in a series and thought, "yeah, they shoulda quit at number four"? Because not every premise/character/theme can sustain an endless number of books. Once an author tosses a story out into the universe, it belongs to the readers, and their affection for the characters can motivate an author to keep writing. Authors love their characters, too, and that can keep them pushing past the freshness date.

So how am I going to sustain the energy for the five books I have in mind? There's a couple plot lines in King Stud that won't be entirely resolved until book five.  Each book will stand on its own, with storylines that reach a satisfying conclusion, and some lines will carry over two or even three books.I don't want to give the big ones away yet, but if I get it right, readers will keep coming back to see how it all works out.

And then, that's it. Finished. Done. I can see a couple possible novellas involving side characters, but there are only five O'Connor siblings, so when they each have a book, I'm on to the next project.


3. The Writing

And here's where the irrational terror sneaks in. I've done a fair amount of planning already. What if the characters insist on taking the story in a completely different direction? What if my ideas don't work? What if? What if? What if?

Yikes!

The only strategy I have to deal with this is simple. 


Write. 


Butt In Chair, Hands On Keyboard. Get the words on the page. Which I'm going to start doing. Any minute. As soon as I'm done hyperventilating. 

I expect to learn and grow as a writer, so my approach to book five, Queen Bee, will be different than when I wrote King Stud. It's all a process, but in the end, I expect to be as happy as Johnny Karate down there. Family is important to me, and so is acceptance and open-mindedness. I've got four more books to explore how those themes work in the world of The O'Connor Family.

I know there's stuff I haven't thought  of yet, so if you know what you're doing with series writing, feel free to leave me ideas in the comments. Cheers!
Liv






If I've whetted your curiosity, here's a peek at King Stud's cover...







Buy Links





Shh...it's A LOT cheaper from Evernight...don't tell...

Monday, May 11, 2015

Where Do You Get Your Ideas?

Where do you get your ideas?


I'm a writer. People ask me that. And when they ask, I want to do this...


Yeah Ke$ha, I don't know either.


Because tearing my hair out is easier than trying to explain how I come up with my ideas. Take my current project...

Jack rides his bike from Portland to Seattle in January because his maybe-ex-boyfriend's mom is in the hospital and he doesn't want to accept the gift of an airplane ticket. Will his stubborn streak end things for good, or can he and Gregory find a way to rekindle their love?

As hard as it is to summarize a 200 page story in fifty words, it's even harder to explain how I came up with it in the first place. Most people who aren't writers (or artists, or musicians, or participants in any other kind of creative endeavor) think we must carry around some magical fountain from which all good things flow.




Instead, I feel more like a pug doing bicep curls. The initial concept - whether it's a photograph or a song lyric or a mental image - comes from...somewhere...and then it's all heavy lifting while I figure out the story's shape. 




Because really, when it comes right down to it, there are only seven types of stories in the world. According to a guy named Sir Arthur Thomas Quiller-Couch, you can tell a story that's
  • man against man
  • man against nature
  • man against himself
  • man against God
  • man against society
  • man caught in the middle
  • man and woman
Of course, if those are a little abstract, here's another way of looking at the same list...(also from the post by Len Wilson

  • Overcoming the monster
  • Rags to riches
  • The quest
  • Voyage and return
  • Comedies
  • Tragedies
  • Rebirth
So really, all you have to do is pick something from one of these lists, come up with a couple characters, and you're golden.



Hold on, Adam. Wait till I get to my point.

The thing is, especially when you're writing genre fiction, the tropes - some would say clichĂ©s - do govern a lot of your choices. How many fantasy novels can you think of that involve a quest? How many romances start with a friends-to-lovers premise? The trick is taking a standard story structure and giving it a fresh spin. 

In Save the Cat, Blake Snyder even titled a chapter Give Me the Same Thing...Only Different. So, you know, take something you've heard before and put it in a different century or a different country or a different planet. (I swear someday I'm going to rewrite Wuthering Heights with Heathcliffe as an L.A. biker. Don't steal that. It's my idea. Mine.)

As Mr. Snyder puts it...
“You can be near the clichĂ©, you can dance around it, you can run right up to it, and almost embrace it. But at the last second you must turn away.”

While it may be exceedingly unlikely that you'll come up with a truly unique idea, the game is to take something that's been done a thousand times before and make it your own. And when you do that, well...

Happy Dance!

The place where the magic happens is when you make YOUR friends-to-lovers story absolutely unique. Where you take an old Harlequin Romance blurb & rework it as  a m/m romance (& I totally just stole that idea from Josh Lanyon's fantastic book, Man, Oh Man: Writing Quality M/M Fiction). Where you "borrow" from Shakespeare or People Magazine or a story your college roommate told you.

Ideas are EVERYWHERE, people, and my own ideas don't come from anyplace special. I keep my eyes, ears, and heart open, and when it all comes together...


Boom!


So where do you get your ideas from? I'd love to hear from you...
Peace,
Liv


Gratuitous Prince. Because, Prince.

Thursday, April 30, 2015

M/M Romance: The Next Big Thing?



Last Tuesday, the US Supreme Court heard arguments on a case that could allow same-sex marriages in all 50 States. I truly hope common sense prevails and that soon every American will have the right to marry, regardless of gender or sexual orientation.

And ten years ago, we weren't even having this conversation.

Something happened last month that reflects a similar shift, but on the micro level (meaning, not nearly as important as the Supreme Court, but still telling). Three M/M romances were nominated for RITA awards. They were Fever Pitch by Heidi Cullinan, Bonds of Denial by Lynda Aicher, and The Bells of Times Square by Amy Lane. (The only one I've read - and reviewed - is Fever Pitch. Great book!) Before these nominations, there'd been only one LGBT story nominated for a RITA, Melt Into You, a F/M/M story by Roni Loren.

And ten years ago, M/M romance existed almost exclusively as fanfic or slash fiction. These stories were mostly written by women, for women readers, and most of them described the hypothetical exploits (sexploits?) of known movie, television, or literary characters.

Like, what was the REAL relationship between Harry Potter and Snape?

Yeah, I don't actually want to think about that one too hard. At some point between about the year 2000 and 2010, publishers caught on that the popularity of M/M fanfic meant there was a market for these stories, and authors started creating and publishing original works of fiction featuring gay men. (M/M is a shorthand for man-on-man, or thereabouts - jump HERE to read more about the evolution of the subgenre.)

Right here I need to make a short apology, both for using M/M in the title of this post, and for my focus on it as a subgenre. It's possible to find lesbian romance, and stories featuring trans and other LGBTQ characters. There's also a subgenre referred to as gay fiction, whose authors don't rely on romance tropes and endeavor to create stories set in more realistic, contemporary worlds dealing with the day-tot-day issues faced by people of a variety of orientations. (Jump HERE for a great post comparing M/M romance & gay fiction.) I don't mean to ignore anyone's preference or orientation or kink, but honestly, M/M is the big bear among LGBTQ romance fiction.
 
So how popular is M/M romance? While I'm pretty handy with a google search, I could't find any sales figures. However, in addition to the three RITA nominations,..

  • The Goodreads M/M Romance group has 17,468 members (and growing!), which puts it in the top four genre groups. That's right. Over 17,000 fans are part of this very active, engaging Goodreads group.

  • New groups like QUEERcentricbooks.com work to promote M/M and other subgenres of queer romance, along with a variety of LGBTQ fiction. New publishers like BrainMill Press are taking calls for a variety of gay fiction and romance, building on the foundation laid by Dreamspinner Press, Riptide Publishing, MLR Press, and other publishers of M/M. Perhaps even more significant, major publishers like Harlequin, Kensington, and Loveswept are seeking out and signing M/M authors.

  • This might be totally subjective, but I've seen a trend toward M/F romance authors slipping M/M books into their series. The Understatement of the Year is Book 3 of Sarina Bowen's Ivy Leagues series, is M/M while the other three feature heterosexual couples. Amy Jo Cousins did the reverse - the first two books in her Bend Or Break series are M/M, while the upcoming The Girl Next Door tells the story of a het couple Cash & Steph (though it does include a menage scene that just about blew my mind). And just this week, Christina Lee released There You Stand, the third book in her Between Breaths series, and the only one (so far) that's M/M. My view might be skewed by the corner of the internet I'm hanging out in, but I have to think these authors wouldn't be crossing subgenres if they weren't selling books.

One thing you might have noticed is that so far in this post, all the authors I've cited are women. While men do write M/M romance - Josh Lanyon, Damon Suede, Brad Vance, and Alexis Hall are well-known and fantastic at what they do - the majority of M/M romance writers are women, as are the majority of the genre's readers.

And isn't that a little weird?

Maybe yes; maybe no. I mean, the majority of romance readers are women, so it makes sense that they'd be attracted to stories that follow standard genre tropes, regardless of what was happening below the characters' belts. Women might like to read about men who are connected with their emotional side, but are some of the characters in these stories just "women with dicks"? Do they fetishize gay men, or even exploit gay sex?

Yep, some of them do. Some of these stories are the equivalent of the kind of lesbian porn that's aimed at sexually stimulating straight men.

But a lot more of them - and most of what I read - make an honest attempt to explore the love relationships between two characters who happen to be gay men. And some of that is erotic, and when it's done well, it's pretty exciting.

A few years ago, M/M author Alex Beecroft wrote this amazing post Why Do Women Write M/M Fiction - Answers for the Men. Among other things, she addresses the issue of whether M/M is exploitive, and if you've got a moment, her post is well worth reading (and so are her books, for that matter. My current fave is Blue-Eyed Stranger).

One of the most critical questions Ms. Beecroft asks is why it's considered bad form for women to get turned on by gay sex. (I'm going to quote her here, because she's so amazingly eloquent.)

Are straight women not allowed to have sexuality?

Or is it just that women are supposed to have such tight control over our sexual fantasy life that we can decide not to find something sexy even though by nature we do?  Are we, in short, supposed to stifle our sexuality because it makes men uncomfortable?

Hm.  That sounds like a very old form of oppression.  Men have put women in chastity belts and insane asylums in the past because they were uncomfortable with the fact that we too are sexual beings.  Stifling our writing is likely to be taken as one more attempt along the same lines.

Because shut up and stick to your heteronormative reality is kind of a harsh message, don't you think?

The other day, I got into it with my teenage daughter. She'd brought home a stack of books about different aspects of Native American life, "even though they were written by white people". In her view, only Native people could accurately capture the reality of their lives. I asked her what she thought about middle-aged white women writing M/M romance.

She didn't think much of that, either.

Taken to an extreme, her logic would say that only vampires can write paranormal romance. Which is kind of silly and reductionist, I'll admit, but I don't think you can put limits on what an artist chooses to create. If a writer has a story to tell, and makes an honest attempt at capturing the truth of that story, I don't think their plumbing should matter very much...although I acknowledge that there's been reams of blogspace taken up in debating this issue, in attacks and counterattacks and criticism of women who write M/M. I hope that won't happen here.

In a perfect world, readers will move on from M/M to F/F to trans to whatever else is out there. And in a perfect world, all these differing orientations will change from OTHER to just another way of being.

One final thought...the other day someone posted a query on the M/M Romance Reviews Facebook page, asking whether the people who follow the page get grief from their significant others for their reading/writing choices. The vast majority of the responses were along the lines of "my husband rolls his eyes, but is generally supportive", which is great. The query did make me think, though, because while my husband falls into the eye-rolling crowd, I haven't been real specific with my mother about the subject of my M/M romance Aqua Follies.

I mean, I'll tell her. Eventually.

In the meantime, I'll do my little bit toward bringing us all closer to the day when it won't matter who you read, and it won't matter who you love.

Because love is love.

Cheers,
Liv

If you've got a fave M/M book or author, or you want a recommendation for something to read, leave me a comment.



Wednesday, April 1, 2015

Hiding In Plain Sight - Thoughts about author pen names



So the romance teakettle was in a bit of a tempest last week when Jane Litte from the Dear Author review blog announced she was also indie author Jen Frederick.

Jump HERE to read her statement, detailing her reasons for keeping the pseudonym separate from her Dear Author persona.

Jump HERE to read an anonymous post on The Passive Voice blog, detailing why her rationalizations might be kind of bogus.

This is a tremendously complicated issue. I can totally see why Jane Litte would want to keep her roles separate by using different names. I can also understand why the anonymous blogger (who kept their own identity private for fear of retaliation by Ms. Litte or her allies) felt betrayed when it turned out that the Jen Frederick they knew from a private author discussion board was actually a prominent reviewer.

I can respect Ms. Litte for the stand she took in support of Ellora's Cave authors. She hasn't backed down, even though she's now the subject of a lawsuit brought by the publisher. On the other hand, I've seen her and her reviewers get into some pretty petty bitchfests with other authors, which makes me question their credibility.

Like I said, it's complicated.

Whether she's a hero or a villain or somewhere in between, Jane Litte is a smart and successful businesswoman, and her Jen Frederick pen name is going to be a lot more prominent when that movie deal goes through.

So why use a pen name?


Ms. Litte says she "partitioned off the fiction writing from the blogging, to keep (her) writing identity private" because "it was important that DA (Dear Author) remain its own, inviolate entity." She did it to keep her writing life separate from her day job, and of all the reasons to choose a pen name, I think this is the strongest.

Liv Rancourt is my pen name, and I chose to use it because I didn't want people doing google searches for Amy Caldwell, Neonatal Nurse Practitioner, to find pages of hits for vampire porn (as my children affectionately call my first book). When I started out as a writer, I had kids in Catholic school and sang in the church choir. I wanted the freedom to write on any topic without worrying what people who knew me in those contexts would think. I don't care so much any more, but back then I needed the barrier.

Now, if you're thinking about writing under a pen name so you can get back at the guy who broke your heart in high school or the Ice Queen who beat you out for a promotion, you should probably take a hard look at your motivation. As it says at the bottom of this post from WritingWorld.com, using a pseudonym won't protect you from legal action if the axes you choose to grind fall into libelous territory.

Building your brand.


Another reason for choosing a pen name is to compartmentalize, to give each genre you write in a separate identity. An easy example is romance writer Nora Roberts and thriller/suspense writer JD Robb. Same person, different genres, different personas.

Choosing separate pen names allows you to develop a clear brand for each one, which can help attract readers. The biggest downside involved is the amount of work involved in developing and maintaining two separate author brands - separate twitter profiles and Facebook pages and blogs and oh boy I might have a seizure just thinking about it.

It's possible to craft your brand on a level above genre - basing it on humor, or tough-talking characters, or a specific setting or socioeconomic level. Janet Evanovich, for example, writes funny, quick-thinking heroines, whether she's doing Stephanie Plum mysteries or Lizzy & Deisel paranormal stories or Kate O'Hare spy thrillers. Because she's so consistent, readers know what to expect from Ms. Janet, regardless of the genre of the story. (Jump HERE for a thoughtful post by Belinda Pollard on whether you need separate pen names for different genres.)

Building your brand - the reprise.

  • Say your surname is made up entirely of consonants. You might want to consider a pen name.
  • Say your name is undeniably feminine - Maybelle Valentine, for example - and you write political thrillers. You might want to consider a pen name. 
  • Say your parents, Tom and Mary King, named you Stephen. You also might want to consider a pen name.

I could go on, but I think you get the idea. There are circumstances where the name on your birth certificate should stay there, while you put something different on your published work. The tricky bit is figuring out what name to use.

The name should resonate with you and should be accessible for your readers. It's got to be something you can live with, because for the foreseeable future you're  going to be seeing and hearing it nearly every day. It should fit within the expectations for the genre you want to write. Ms. Valentine from the example above might be a hard sell as a thriller writer, but she'd fit in fine writing cozy romances.

There are all kinds of places to get ideas for pen names. Liv Rancourt is a close variation of my great aunt's name, Livia Rancourt. You might find a family name that would work, or a list of names in a source like the phone book might give you ideas. Wait, except we don't really have phone books any more. Use google then. You can do anything with google.

More seriously, here's another great post by Belinda Pollard with ideas for how to choose a pen name.

Learning and perfecting the craft of writing is important. So is learning the business side of publishing. Choosing a great title for your story is key. But how many times have you asked a friend,

"Hey, have you read the new one by (fill in the blank with the author of your choice)?"

The name you choose to publish under is the thing most readers remember. It'll be tied to their memories of your work, and it's a symbol of trust that you will both entertain and connect with them on an emotional level. In writing, as in every other part of life, you should think real carefully before doing something that betrays somebody's trust.

Peace,
Liv

What about you? Do you have a pen name? Why? Do you have any thoughts on the Jane Little/Jen Frederick brouhaha?

Monday, March 9, 2015

Letting the Smart People Talk - Inspiring TED Talks

Here at RelentlessWriters we generally talk technique, publishing, or promotion - some aspect of the writing craft that's relevant to writers from across the spectrum. Today's post is going to be a little different, because instead of me telling you what I've learned through my writing journey, I'm going to let some experts do the heavy lifting for me. So pull up a comfortable seat, pop some popcorn, and check out these TED Talks from three very diverse voices..

For starters, check out this thoughtful & funny piece about the importance of story by filmmaker Andrew Stanton. He wrote movies like Finding Nemo and Toy Story...so yeah, he knows what he's talking about...



Elizabeth Gilbert has some really brilliant - and encouraging - things to say about creativity and the creative process.



Keep showing up, y'all. 


And finally, this piece by Amanda Palmer gave me a whole lot to think about. She's got some challenging things to say about the intersection between art, the media, and social connection.



I hope you enjoy all three of these talks. If anything strikes you as particularly relevant, please feel free to share your ideas on the comments.
Peace,
Liv

Thursday, February 12, 2015

Writing Research: A Valentine to People I'll Never Meet

My last three big writing projects were an urban fantasy set in now-ish L.A., a contemporary romance set in now-ish Seattle, and an m/m romance set in 1955 Seattle. I've loved working on all three, but trying to capture 1955 was a unique challenge.



And you know what? I loved it. I loved the historical angle, discovering the rhythm of the language, throwing around terms like Aqua Velva and dungarees and Brylcreem. I loved it so much that I've jumped into a new historical project, one I've affectionately designated Victorian Goth QueerPunk. Everyone wears gloves and refers to each other as Miss and Mister, and I'm having too much fun!

Maybe writing historical fiction is my true calling. It makes a certain amount of sense. I'm old enough that my take on the contemporary time period is filtered through the 70s, the 80s, and the 90s, so might not feel all that contemporary. Also, I love detail, even though it drives me crazy.

And I love research.

Now we're getting to the heart of this piece. Nothing makes me happier than an open browser and all kinds of time. There are at least three pages open on said browser: Google (because it'll take me anywhere), Wikipedia (because duh), and spl.org.

Good ol' spl.org. Not one you're familiar with? Well let me tell you a thing or two. It's the website for the Seattle Public Library, and their main page will take you to a wonderful place. The Seattle Times on-line archive. Seriously. Someone(s) uploaded every page of the Seattle Times newspaper from 1900 going forward.

I love them. This nameless, faceless person - or more likely a group of people - who scanned page after page of fragile newsprint, and the nameless, faceless person(s) who created the super-fantastic word recognition software. Their keyword searches seem to be quite sensitive, and I have yet to pose a query this program couldn't handle.

Let me give you some examples on how useful this can be for writing historical fiction. I'm not an expert, by any means, but when I have some success at something, I like to share it so others can have the same success.


Example 1


I wrote a short story for a Christmas anthology, set in Seattle in 1911. Part of the premise was that the upper middle-class heroine had just graduated from college (without her M-R-S degree). One beta reader commented that a woman in 1911 wouldn't have gone to college. From Google, I was able to determine that the University of Washington's first graduate was a woman, in 1876, and that the school's 1910 catalog listed nearly as many female students as male (follow the link and scroll to the last several pages).

I also searched the Seattle Times archive and found the University of Washington Sunday Pages, a weekly feature provided by the staff of the UW newspaper, The Daily. On the Sunday pages, there were articles about fraternities and sororities, and about the women's track and rowing teams. I also found an enlightening article about the debate over weather a woman's education should focus on preparing for her future as a homemaker, or if it should have a broader application.

Seriously good stuff - and it shows how the newspaper enabled me to flesh out the facts I was able to find from other sources.

Example 2


I used the archive extensively on a more recent project. A good friend of mine was researching a book about the Alaska-Yukon-Pacific Exposition, a World's Fair-type event that was held on the University of Washington campus in 1909. She emailed me to ask if I knew anything about the baby incubator exhibit on the fair's midway.

Um, no.

In my conversations with Paula, I learned all about the turn of the century fad for displaying live "premature" infants in incubators. People paid $0.25 to see them, and the newspapers did a great job of selling these littlest stars to the general public. My friend asked if I knew which hospital was the first in Seattle to have baby incubators, and although I'd spent my entire adult life working in the field of neonatology, I couldn't answer her.

But the Seattle Times archives could.

Using the archive, I was able to reconstruct a rough history of premature baby care in Seattle. In doing so, I uncovered gems like this, from 1907...

According to the accompanying story, the poor man was running up 2nd Avenue with a tiny newborn baby wrapped in a shawl, begging for someone to direct him to a hospital where he might find an incubator. He and his wife were new to the city, and were staying in an unnamed hotel under the care of an unnamed doctor. Someone on the street apparently directed him to a hospital, though the reporter was unable to learn whether he found an incubator or if the baby survived.

I can see the plot bunnies from here!

More than that, without the Times archive, I wouldn't have been able to answer Paula's question about which hospital had the first incubators. I know this, because I tried. I talked to my older colleagues and friends, but their collective memory didn't go that far back. Even Sr. Theresa from Providence Hospital couldn't tell me, and she was in her 90's and had been working there forever. It would have taken a search of every hospitals' archives, looking for meeting minutes and budget data, for me to come close.

As it is I can say with some confidence that the first hospital in Seattle to care for infants in an incubator was Monod Hospital (a place I never knew existed) in 1902, and the first hospital with a designated unit for premature babies was likely Seattle Children's (then called Children's Orthopedic Hospital) sometime in the late 1950s.

Example 3

So I've talked about how I used the Seattle Times archive to fill in the gaps around facts I found elsewhere, and how I used it to construct a rough historical record. I used both of these techniques when writing Aqua Follies. From other sources I learned that the Follies had happened during Seafair throughout the 1950s, but it was from the Times archives that I was able to start coloring in those bare facts.

I saw articles about how the water ballet team and the dance troupe were from Minneapolis, that they traveled by train, and that they stayed in the the UW dorms while they were here. They were media darlings, and photographers caught them brushing their teeth and curling their hair and practicing their routines, then put those pictures on the front page of the paper. Beyond that, I learned that the summer of 1955 was quite cool and rainy, which impacted attendance at the outdoor Follies.

All those things are in the book.

I also used one of the articles for a major plot turn. I needed something to interfere with my two heroes and was brainstorming possibilities when I found a tiny article about one of the Aqua Dear swimmers. Seems she inhaled water and required first aid, then treatment at Harborview County Hospital. (I badly wanted to crop the article out and paste it here, but couldn't get the pdf to cooperate.) I don't want to give anything away, so won't say HOW I put that poor swimmer to work for me, but she's there.


The Seattle Times isn't the only newspaper archive on line. I was digging around the Boston Library website the other day (because research geek) and saw one of that city's major papers has an on-line archive too. Obviously the record is limited to how far back the paper was printed and how much they scan, but there's tons of information out there if you know where to look. You can use these on-line archives to learn facts, to flesh out what you already know, and even to help inform your plot.

And while you're at it, send a big Valentine's smoochie to the hardworking, patient soul(s) who made your research so much fun!

Cheers,
Liv

In the interest of sharing what we know, if you've got other ideas for how to apply on-line archives - or other sweet research tips - leave them in the comments. I'd love to learn from you...



Friday, January 9, 2015

Literary vs Genre: The Smackdown


Posted by: Fern  On channel: WhatGifs.com  At: Sun, 12 Aug 2012 23:20:27 +0000  Originally posted by at Reading Is Educational


The other day an author I'm friends with on Facebook went on a multi-status rant about Gone Girl, the novel by Gillian Flynn. Let me say right up front that I have not read this book, because early on a couple people told me the ending pissed them off, and there are too many books in the world for me to read one that plays games. I followed my author friend's statuses, and she went from OMG this is a wonderful book. The prose is so gorgeous (my paraphrase) to I'm half way through and the character WHAT?! No WAY.

My author friend then upped the rant factor, saying people who read literary fiction must hate themselves if they enjoy being treated like crap by books like Gone Girl .

Or something.

She went on to say she'd stick with genre fiction, where people behave like people. And my comment on her thread was a big ol' AMEN.

Here's the thing. While I'm squarely in the genre fiction camp, like most people who read - and write - genre, especially romance, I'm an eensy bit apologetic about it. I mean, if anyone took a serious look at the titles on my kindle, I'd blush.

Just a little.
Okay, more than a little.

Why is that? Why does genre get treated like the shabby stepsister? For this - my first Relentless Writers post - I thought I'd take a look at three of the most obvious differences between genre and literary fiction, to see if I can stir up some debate. It's not hard to find good discussions of the differences - Jami Gold did a fine one a few months ago - but because the ideas have been bugging me this week, I thought I'd write about it. The three things I'm going to play with are prose, plot, and philosophy.

Prose

It's common knowledge that literary fiction is the place to go for beautiful language. I jumped over to the Oprah's Book Club website to grab this quote from Gone Girl, because I think it's cool...

"I feel myself trying to be charming, and then I realize I'm obviously trying to be charming, and then I try to be even more charming to make up for the fake charm, and then I've basically turned into Liza Minella: I'm dancing in tights and sequins, begging you to love me."

I love the rhythm created by the repeats of charming, and I love the humor injected by the mention of Liza Minelli, tights, and sequins. It's such a great visual. I don't know where this comes in the context of the story, but I can see it's a fantastic illustration of character. Margie Lawson would LOVE this language.

I find the use of fancy language can be off-putting, however. My last serious attempt at reading literary fiction might have been the book C by Tom McCarthy. Publisher's Weekly gave it a starred review, and it got some press when it first came out in 2010. The premise, "WWI..radio operator...prison camp...mission to Cairo...Egyptian tomb", sounded interesting, so I gave it a try.

If I had read this review from the New York Times, I might not have. McCarthy, author of the ingenious 2006 novel “Remainder,” withstands the temptations of emotional plotting and holds out instead for something bigger, deeper, more universal and elemental. “C” is a rigorous inquiry into the meaning of meaning: our need to find it in the world around us and communicate it to one another; our methods for doing so; the hubs and networks and skeins of interaction that result. Gone is the minimalist restraint he employed in “Remainder”; here, he fuses a Pynchonesque revelry in signs and codes with the lush psychedelics of William Burroughs to create an intellectually provocative novel.

All that intellectual provocation was just too much for me. The author's language was denser than the review, and I couldn't find anything to connect with on an emotional level, so  I gave up.

The thing is, I find lyrical writing in genre fiction, too. Authors like Alexis Hall, Tiffany Reisz, and Devon Monk write gorgeous stuff. They take me out of my own little head and make me think about the world around me. And they do it in the context of a plot I can comprehend.

Plot

It's easy to summarize the differences between genre and literary when it comes to plot. In literary, plot takes second place to process, but in genre, plot IS the story. As Jami Gold says regarding literary fiction,
The point of the story is for the character(s) to understand themselves better. This is achieved through episodic events that force understanding. However, characters aren't forced to internally change or to change their situations.

In genre fiction, the whole point of the exercise it for the characters to face external challenges that require them to grow and change to overcome them. They need to find the skills in themselves to solve the murder or slay the dragon or bring that badass biker dude to heel. Genre fiction generally follows a relatively predictable three-act structure, while in literary, they can meander along from episode to episode until the story is over. There's no expectation that the character has anything to overcome, because really, there's nothing to overcome, because that's how life is.

Philosophy

And that, Virginia, is my real bitch with literary fiction. I cannot deal with a story that tries to sell me on life sucks and then you die. If I want real world, pointless heartache, I'll go to work or watch the evening news. Maybe I'm a sucker at heart, but I firmly believe that people can overcome the challenges they face, and that they can change and grow.

That's me. The little engine that could.
I think I can. I think I can. I think...

My real life cup may not be half full, but my characters' damn well better be. Things aren't absolute, however. I've found pessimistic genre fiction, books I had to stack on the DNF file. Charlie Huston's Joe Pitt vampire novels are dark and violent, and I loved the first couple books in the series, but the later books got so grim I finally I had to give up. Maybe Joe eventually redeems himself, but I didn't hang around long enough to see it.

I've also read books that are considered literary fiction that were filled with joyful optimism. Mink River by Brian Doyle is a wonderful book, fun and beautiful and full of real life. The plot meanders a bit, but the language more than makes up for it. Finding just one quote from the novel to share with you here was tough, but this one's a favorite...

Rained gently last night, just enough to wash the town clean, and then today a clean crisp fat spring day, the air redolent, the kind of green minty succulent air you'd bottle if you could and snort greedily on bleak, wet January evenings when the streetlights hzzzt on at four in the afternoon and all existence seems hopeless and sad.

While there is some crossover, I think the difference is readers don't assume literary fiction will be optimistic, while a positive world view is built into most genre fic. You can find examples that cross over the philosophical divide, just like you can find beautiful language in novel from both camps. It seems to me the only differences have to do with expectations for prose, plot, and philosophy, so why do I feel second class for preferring my prose clean, my plot strong, and my philosophy optimistic?

Maybe I don't hate myself enough to read literary.
*winky face*

Thanks for reading along,
Liv

So what about you? Do you prefer genre or literary, or are you a swinger?
Also...I'll throw in a $5 gift card (Amazon, B&N, ARe, whichever) to one lucky winner if you follow this blog by 1/16/15 and leave me a comment to tell me you did.
;)