MASTER OF THE OPERA, my erotic retelling of The Phantom of the Opera set in modern day at the Santa Fe Opera House, originally published as a serial ebook, is now available in print! Exclusively from Books A Million for the time being. You can read a snippet from the book at That's What I'm Talking About today. Also, if you like my contemporary erotic stuff, you can vote for a scene from UNDER CONTRACT here for six more hours! Finally, over at Here Be Magic, we're celebrating August with Beach Week. I've got an excerpt of Ursula at the beach - a scene I really love.
This week at Word Whores, we're talking about whether topical or contemporary references should be avoided in fiction.
I heard this debate a whole bunch back when I was writing essays and creative nonfiction, which meant I was heavily involved in the literary and university/arts council-driven writing communities. I've rarely encountered it in genre circles, either in the romance or the sci fi/fantasy groups.
Frankly, I never bought the argument back then. People felt it "dated" the books, which would prevent them from becoming classics. I'd always bring up Jane Austen, whose books are classics partly because they so perfectly capture that era.
I imagine this doesn't come up as much in SFF because the stories are rarely about the contemporary era as is. In romance, particularly contemporary romance, topical and contemporary references are, well, pretty much expected and necessary. That said, I did hear one piece of advice on topical references that I've since taken to heart.
Angela James, Editorial Director at Carina Press, said in a workshop that writers should avoid comparing their characters physically to celebrities. I wanted to object, because I did this in GOING UNDER, comparing my hero Fox to Tom Hiddleston. To make her argument, she said two words: Val Kilmer.
Everyone groaned.
If you don't keep up with such things, Val Kilmer, who used to embody all things smexy, enigmatic and smoldering has now... gone exceptionally squidgy around the edges. In a distressing Brian Wilson/Marlon Brando way. Angela said, "you don't want people picturing that."
In addition, I've since learned that - astonishing to me - not everyone has a THING for Tom Hiddleston. Go figure.
Word to the wise!
Showing posts with label Under Contract. Show all posts
Showing posts with label Under Contract. Show all posts
Sunday, August 9, 2015
Will Contemporary References Crash and Burn a Novel?
Labels:
Angela James,
contemporary references in fiction,
Going Under,
Jeffe Kennedy,
Master of the Opera,
Phantom of the Opera,
Tom Hiddleston,
Under Contract,
Ursula,
Val Kilmer
Sunday, July 12, 2015
Do Book Trailers Work?
Amusingly enough, this week's topic might again fall to Veronica, as the most experienced with the topic - Book Trailers: Yes or No?
I have exactly two book trailers - both that other people made for me. One my friend made as a gift, above, for ROGUE'S PAWN, the first in my Covenant of Thorns trilogy. And the other I paid a reader/fan to do, below, for THE MARK OF THE TALA, first in my Twelve Kingdoms series. I like them fine. They're fun. Do they work?
Meh. I dunno.
The idea is that they should work like a movie trailer, to generate excitement for the book. The problem is that movie trailers are, obviously, assembled from actual clips from the movie itself. For a book, the images must be created. Depending on budget, the images can be video or still. (Mine are the more cheapie option, of a series of still images, which I don't think is as effective. Even if you cough up for video, we all know that the movie is just NEVER as good as the book. That's with multi-million-dollar budgeting and doing the whole book.
All that said... can a short trailer capture the essence of a book? Probably not.
Can it get far enough to entice a reader? Maybe.
But, so far, my experience says it's not worth the money.
Oh! And my new contemporary erotic romance comes out tomorrow!
Under Contract
The kinkier the sex, the higher the price tag…Ryan Black has admired Celestina Sala from afar for years, her lush body and sensual nature calling to the dominant in him. For just as many years, Celestina was off-limits—married, proud and self-sufficient. But all that has changed, and now Celestina is in debt and in need…and available. Ryan proposes a contract: he’ll pay off her debt if she gives herself to him in bed, yielding control in exchange for the pain and pleasure he’ll bring them both.
There are words for women who take money for sex, and none of them are nice ones. Celestina never thought she’d have to sink this low, but giving up control sounds more enticing than ever before. And suddenly it’s not about having to give in to Ryan. It’s about wanting to.
But when Ryan’s dark past comes to light, they may both be in over their heads. The terms of his contract say her body is his…but her heart may be another story.
One thing is for sure—now that Ryan has Celestina, he can never let her go.
Available July 13, 2015
Labels:
A Covenant of Thorns,
book trailer,
Falling Under,
Rogue's Pawn,
The Mark of the Tala,
Twelve Kingdoms,
Under Contract
Sunday, July 5, 2015
The Pleasures and Perils of Audiobooks
To audiobook or not to audiobook...
What was the question again?
I mean, this topic could be do we listen to them or do we like to have the books we write in audiobook format?
My answer to both: YES!
(By the way, the awesome pic above is my superheroine alter ego, provided to me by sister Word Whore, Linda Robertson. Isn't it PERFECT?)
Okay, back to the topic at hand. I love listening to audiobooks. They make doing housework actually pleasurable. I'm always looking for more opportunities to fit in reading time, so being able to listen to a book while I take care of necessary chores is awesome.
I also love that my books are sometimes converted to audiobook format. I wish they all were! So far, of the eighteen books I have out (as of July 13, with the release of my latest erotic romance UNDER CONTRACT), five are available in audio format. I particularly love the cover they made specially for the audio version of THE MARK OF THE TALA. Because I'm working primarily with traditional publishing, whether to produce an audio version of my books is not up to me. I've never gone that way with any of my self-published books, but I'm considering it. At a signing for the THE TALON OF THE HAWK, a faithful reader asked if there were plans to put the other Twelve Kingdoms books in audio. She's already read them all, but she likes to listen to her favorites while walking. I had to tell her "not yet," which is all my publisher will tell me. If they don't do it, I might see if I can get the rights to do it on my own.
One thing I notice about my audiobooks, however, is that reader ratings are significantly lower for them than other formats - by pretty much an entire star. I think this is related to the impact the narrator has on the experience. Jen Twimom has a great series on her review blog called Listen Up! where she specifically reviews audiobooks. She tries to split out the story from the narration, which I appreciate. The biggest error in all of my audiobooks - which makes me cringe every time I think about it - is with RUBY. My New Orleans chef hero calls the heroine "chère," which is a common endearment in that region. But it's pronounced like "share," and the freaking narrator pronounced them all as "sharee." Which is French (though it would be spelled "cherie"), NOT New Orleans.
Alas. So it goes.
What do you all think? Do you like audiobooks? Any cringeworthy tales to tell?
What was the question again?
I mean, this topic could be do we listen to them or do we like to have the books we write in audiobook format?
My answer to both: YES!
(By the way, the awesome pic above is my superheroine alter ego, provided to me by sister Word Whore, Linda Robertson. Isn't it PERFECT?)
Okay, back to the topic at hand. I love listening to audiobooks. They make doing housework actually pleasurable. I'm always looking for more opportunities to fit in reading time, so being able to listen to a book while I take care of necessary chores is awesome.
I also love that my books are sometimes converted to audiobook format. I wish they all were! So far, of the eighteen books I have out (as of July 13, with the release of my latest erotic romance UNDER CONTRACT), five are available in audio format. I particularly love the cover they made specially for the audio version of THE MARK OF THE TALA. Because I'm working primarily with traditional publishing, whether to produce an audio version of my books is not up to me. I've never gone that way with any of my self-published books, but I'm considering it. At a signing for the THE TALON OF THE HAWK, a faithful reader asked if there were plans to put the other Twelve Kingdoms books in audio. She's already read them all, but she likes to listen to her favorites while walking. I had to tell her "not yet," which is all my publisher will tell me. If they don't do it, I might see if I can get the rights to do it on my own. One thing I notice about my audiobooks, however, is that reader ratings are significantly lower for them than other formats - by pretty much an entire star. I think this is related to the impact the narrator has on the experience. Jen Twimom has a great series on her review blog called Listen Up! where she specifically reviews audiobooks. She tries to split out the story from the narration, which I appreciate. The biggest error in all of my audiobooks - which makes me cringe every time I think about it - is with RUBY. My New Orleans chef hero calls the heroine "chère," which is a common endearment in that region. But it's pronounced like "share," and the freaking narrator pronounced them all as "sharee." Which is French (though it would be spelled "cherie"), NOT New Orleans.
Alas. So it goes.
What do you all think? Do you like audiobooks? Any cringeworthy tales to tell?
Labels:
audio book,
audiobook,
Jeffe Kennedy,
Listen Up!,
Ruby,
The Mark of the Tala,
The Talon of the Hawk,
Twelve Kingdoms,
Under Contract
Sunday, February 15, 2015
Non-Human Antagonists (and I Don't Mean Aliens)
Sometimes I feel like a fraud, writing these craft posts.
You know - now with topics like this week's: Antagonists who aren't villains - I start thinking more about what I studied back in the days of AP English than of my own work. Things like place as a character and antagonists who function as protagonists. Things OTHER writers do. My undergraduate and graduate degrees are in science, not literature. I am not one of those studied writers who plans out themes and symbology, who even thinks in terms of protagonists and antagonists.
It's funny because yesterday my local chapter of RWA, the fabulous Land of Enchantment Romance Authors (LERA), sponsored a program on using the Scrivener software, taught by Ben Prior. For those who don't know, Scrivener is a program many writers use for drafting and revising novels. It lets a writer compose by scenes and shuffle them around, combining and recombining, along with tracking metadata like setting and character profiles.
All of which makes my skin crawl.
Pretty much literally. In fact, my chapter mates know me so well that they teased me about it, asking at the end of the presentation if I was a convert. Anna Philpott, sitting next to me, burst out laughing and answered for me, saying no - that I'd been actually squirming in my chair in discomfort. Ben came over to me after and asked about my process. So I showed him my spreadsheets. ~eyebrow waggle~ And I explained that I don't think in terms of scenes or character profiles, that it's all one story to me, that I write from beginning to end.
And he said, "Oh, you're just one of those naturally talented storytellers."
So I'm clinging to that explanation, rather than the fraud one.
ANYWAY.
As I mentioned in last week's post about villains, I don't think I really write them. I suspect *most* of my antagonists aren't actually villains. Particularly in my contemporary romances, there aren't really villains at all. And the "antagonists" tend to be whatever it is in the protagonists that is stopping them from finding happiness. Their own stubbornness or blindness to what they need to see.
It's interesting to me, writing both genres. Particularly now, having just completed a final read of the galley proofs of my (very long) epic fantasy romance, THE TALON OF THE HAWK, and finishing and sending to my other editor the draft of my contemporary erotic romance, UNDER CONTRACT.
You'd think these two books would have little to no overlap and yet I noticed that they do. And it's in this arena - the antagonist who's not only not a villain, but not even a person.
Drought.
Yes, I have drought in both books, a relentless force that drives a great deal of the desperation to effect change. I did not plan it that way - or even notice until the other day - because (duh!) I don't plan any damn thing in my books. But it's there in both. No doubt a reflection of my life in the desert southwest of the US, where our ongoing severe drought has woven into the fabric of my subconscious.
I suppose my point is - since I really ought to have one - is that an antagonist can be any kind of conflict faced by the protagonist, whether human, alien, animal or a force of nature. Villains are a very small subset of antagonists, and fairly limited to certain subgenres. And, to my natural storytelling mind, among the least interesting variety. ;-)
You know - now with topics like this week's: Antagonists who aren't villains - I start thinking more about what I studied back in the days of AP English than of my own work. Things like place as a character and antagonists who function as protagonists. Things OTHER writers do. My undergraduate and graduate degrees are in science, not literature. I am not one of those studied writers who plans out themes and symbology, who even thinks in terms of protagonists and antagonists.
It's funny because yesterday my local chapter of RWA, the fabulous Land of Enchantment Romance Authors (LERA), sponsored a program on using the Scrivener software, taught by Ben Prior. For those who don't know, Scrivener is a program many writers use for drafting and revising novels. It lets a writer compose by scenes and shuffle them around, combining and recombining, along with tracking metadata like setting and character profiles.
All of which makes my skin crawl.
Pretty much literally. In fact, my chapter mates know me so well that they teased me about it, asking at the end of the presentation if I was a convert. Anna Philpott, sitting next to me, burst out laughing and answered for me, saying no - that I'd been actually squirming in my chair in discomfort. Ben came over to me after and asked about my process. So I showed him my spreadsheets. ~eyebrow waggle~ And I explained that I don't think in terms of scenes or character profiles, that it's all one story to me, that I write from beginning to end.
And he said, "Oh, you're just one of those naturally talented storytellers."
So I'm clinging to that explanation, rather than the fraud one.
ANYWAY.
As I mentioned in last week's post about villains, I don't think I really write them. I suspect *most* of my antagonists aren't actually villains. Particularly in my contemporary romances, there aren't really villains at all. And the "antagonists" tend to be whatever it is in the protagonists that is stopping them from finding happiness. Their own stubbornness or blindness to what they need to see.
It's interesting to me, writing both genres. Particularly now, having just completed a final read of the galley proofs of my (very long) epic fantasy romance, THE TALON OF THE HAWK, and finishing and sending to my other editor the draft of my contemporary erotic romance, UNDER CONTRACT.
You'd think these two books would have little to no overlap and yet I noticed that they do. And it's in this arena - the antagonist who's not only not a villain, but not even a person.
Drought.
Yes, I have drought in both books, a relentless force that drives a great deal of the desperation to effect change. I did not plan it that way - or even notice until the other day - because (duh!) I don't plan any damn thing in my books. But it's there in both. No doubt a reflection of my life in the desert southwest of the US, where our ongoing severe drought has woven into the fabric of my subconscious.
I suppose my point is - since I really ought to have one - is that an antagonist can be any kind of conflict faced by the protagonist, whether human, alien, animal or a force of nature. Villains are a very small subset of antagonists, and fairly limited to certain subgenres. And, to my natural storytelling mind, among the least interesting variety. ;-)
Labels:
#LERANM,
antagonists,
drought,
Jeffe Kennedy,
LERA,
RWA,
Scrivener,
The Talon of the Hawk,
Under Contract
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