Karina Bliss - romance writer

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Start as you mean to go on

I’ve recently been asked to comment on first lines and it made me realise how important they are. I always need the first line(s) exactly right before the book ‘fires’ into life. The right beginning always gives me the idea for the end as well. For example, in MR IMPERFECT my first line was:

Christian Kelly cried at funerals. For a man who never wept it had been an appalling discovery.

I knew the ending would have to include Christian crying at his wedding. It was a perfect growth arc for a strong character. At the start, he's unaware and burdened; at the end he's happy and proud of his softer emotions.

The second book, MR IRRESISTIBLE, published this June 07, gave me real trouble. The first book I ever wrote, (I wrote four manuscripts before I got an offer of publication), the first line was poetic but lacked impact. Here’s the original:

Summer and Autumn had begun their squabble over April, and summer had won on a day that was still and clear, warm enough to draw Auckland’s office workers to the city’s parks and outdoor cafes.

Here's the new version.

Scandal.

Yep, that's it. My first line. The second is:

The fashionable restaurant reeked of it, along with Chanel, the fruitiness of Chianti and mouth-watering stone-grilled meats so calorie-loaded Kate Brogan tried not to inhale too deeply.

I wanted lines that suggested conflict and a ‘sensual’ tone to the book, which is carried through in the interactions between two very strong characters, Jordan King and Kate Brogan.

Now I’ve plotted out the third book in the series, MR UNFORGETTABLE, and have begun writing it. This is the first line:

She was in bed with a man who wasn't her husband.

Notice I’m not giving away the endings of books two and three. I’d hate to spoil it for you. J

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The secret to getting and staying published

We all know there's a magic formula, quality, secret...whatever you want to call it, that separates the published from the unpublished. When I first joined RWNZ and met published authors I knew they'd cracked a code more important than Da Vinci's but whenever I asked, (subtly or stridently), they gave me vague, unsatisfactory and often contradictory answers, obviously protecting the secret that was keeping me out of the hallowed club.

On my own I decided it was talent. Except time went by and I discovered a lot of talented people weren't getting published, including (obviously, :) me. In the absence of editor/publisher interest I wrote to contest deadlines, and even won a few, which I was sure would catapult me into publication. What actually happened was that the rejection letters got longer, a promising thing I was told by the published writers, bless their sadistic hearts. Personally I couldn't see the upside of editors taking another page to tell me why my work was unprintable.

I came to believe that craft was the magic ingredient. So I learned what GMC was, and how conflict differed from bickering and how to escalate sexual tension without letting them DO it. My own tension also rose as the years went by.

As a last resort I forced myself to write regularly rather than TALK about writing or STUDYING the writing craft. Forget the magic sledgehammer; I resigned myself to doing it the hard way - chipping away at the coal face with a broken fingernail.

And one day a wonderful thing happened. I got the Call. Somehow I'd bluffed or lucked my way into the secret club without knowing the magic password. I was 'in.'

First book: Every word I write is precious and perfect; my editor said cut 50 pages.

Never mind, no one gets rejected after publication - my next proposal was rejected... the line had just bought two control freak heroines, didn't need another. Send us something else.

I sold a second book on sixty pages and a synopsis... worked hard to get it in on time and started to relax. Okay, obviously the magic quality was self-discipline - a quiet steady progression to the Holy Grail of all writers which is (obviously), an easy writing life.

The editor rang and said, 'partly my fault for approving the synopsis but you have a structural problem - Supers are full of people and you've isolated the hero and heroine on the river for 100 pages...bring more people in on the river journey and while you're at it, change the hero's motivation and back story. Oh, and do it in two and a half weeks.'

I thought about my choices. I could refuse, complain or bawl which would really help my career. I could say I'm a slow and painstaking writer who produces around a page an hour. Or I could say yes, I'll do my damnedest.

And at that moment I knew the magic secret. The one thing everyone needs to start and maintain a career in romance writing. It's GRIT. And strangely that made it easier for me to say yes. Because grit's a choice, not a gift like talent, or a skill like craft. Grit is a commitment to try...I could do grit.

So I didn't mention to the editor that my house was for sale and had to be kept spotless OR that I had a workshop to deliver which I'd deferred for months because I thought I was too busy OR that my sister who I hadn't seen for two years was arriving from Ireland with her new baby to spend quality time with her family. I did say I would have fourteen writing days to achieve a complete rewrite. The editor said 'great.' Eventually my agent got me another week. And by challenging every perception I had about myself as a writer I made the deadline.

Defining grit

Grit is the ability to persist with passion despite setbacks and studies have shown that it's at least as good a gauge of future success as talent, which generally accounts for around twenty-five percent of success.

If you want to succeed it's just as important to be focused, hardworking and able to bounce back from setbacks as it is to be talented. Experts often speak of the "10-year rule"-that it takes at least a decade of hard work or practice to become highly successful in most endeavours, which explains why the ability to persist in the face of obstacles is so important in major achievements.

Geniuses are the exception, not the rule and because we all love 'instant gratification' stories the facts are often mythologised. In his diaries, Mozart wrote that an entire symphony appeared, supposedly intact, in his head, and that's the part that's often quoted. But no one ever mentions the next paragraph, where Mozart talks about how he refined the work for months.

At Kara Writing School I remember Daphne Clair and Robyn Donald saying they couldn't tell which of their students would make it as a writer. Some with a lot of talent gave up; others more moderately blessed honed their craft and polished and persisted and went on to publication. Now I know they were talking about the grit factor.

Grit is good; where do I get some?

The good news is that New Zealand tends to produce grittier people because our immigrant forbears needed to be energetic risk-takers to immigrate here in the first place. But don't just rely on good genes, here are some other techniques:

Feed the passion - Attend or do online workshops, read craft books, go to conference, develop a writing support network and read fiction that inspires you. Passion will help you through the hard times. Some great books to tap into for feeding the writer's soul are: Julia Cameron's The Artist's Way and its sequel Vein of Gold; Stephen King's On Writing; and Ann Lamott's Bird by Bird
Set challenging long term goals - Gritty people don't say 'I'm going to write a paragraph today' but 'I'm going to have a book finished for the Clendon Award.' They set seemingly impossible goals - I'm going to have a book on the New York Times bestsellers list within five years. Working towards a BIG goal makes the smaller goals appear both manageable and achievable.
Develop self-discipline, defined as the ability to refrain from doing something ie: stop procrastinating, get on the computer and write something.
Develop perseverance defined as the ability to keep doing something - stay at the computer until you've written x number of pages.
Develop an attitude of optimism. You have to believe you're going to win and until you do, you're going to keep on pushing. The Lord of the Rings trilogy were great movies because all the characters kept going despite every setback. Frodo and Sam crawling up Mt Doom epitomised Grit.
Encourage grit by rewarding yourself for effort rather than result. If you pin everything on this submission or this contest or this contract then if you get a rejection or negative feedback you experience that as a failure. The doing is under your control; reward yourself for the doing - for having the guts to try.

Grit is encouraged by commitment. I became a writer when I started thinking of myself as a writer and wow, what a difference that made to my progress. Now I know that regardless of whether my editor rejects or accepts a book, regardless of whether I place or not in contests, I will be a writer as long as (yes, there's a catch :), I write.

Grit's the secret, pass it on.

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Advice for aspiring romance writers

For years I wanted to be a romance writer without actually doing much about it. I read ‘how to’ books and attended NZ romance writers’ conferences, then wrote a paragraph and rested until next year. I waited for it to become effortless but it never did. Once I decided to make a concerted effort it still took five years before SuperRomance bought my third completed manuscript.

The key lessons from the wilderness years were:

Small writing goals are better than no writing goals - Thirty minutes at the computer does make a difference. Prolific author Nora Roberts says, You can fix a bad page but you can’t fix a blank page.
The story is the only thing that will get you sold...concentrate on writing, and getting better at it.
Finish a book. Writing beginnings won’t teach you how to write middles and endings.
In romance, plot turning points need to be emotional. Base them on the characters’ greatest fears and values.
You need craft, patience and practice to make the book in your head match the one on the page. Give yourself that time. It takes an average of five years and 4.5 manuscripts before romance authors get their first sale.
Take the heat off yourself and accept you’re going to get rejected. Everyone does. It’s not personal.
Never give up on a book. Use advice you receive from rejections or contest judges to keep improving it. If you’ve exhausted every avenue put it aside. As you become a better writer you will see how to fix it. Or the market may change and become more receptive to that story.
Studies have shown that perseverance, endurance and hard work are as important as ability and creativity in gauging future success.
Competitions are a microcosm of publishing – they help you get used to having your work read, and teach you how to handle rejection and act on constructive criticism.
Keep a life going in tandem with your writing. Your family will like it and it will help you keep rejections in perspective.
Remember - you’re doing this for FUN.

Favorite craft books

~ Techniques of the Selling Writer by Dwight Swain

~ Writing the Breakout Novel by Donald Maass

~ On Writing by Stephen King

~ Bird by Bird by Anne Lamott

~ The Elements of Style by Strunk and White

~ Heroes and Heroines by Cowden, LaFever, Vivers

~ The Writer’s Journey by Christopher Vogler

~ Story by Robert McKee

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Celebrating rejection

Okay that got your attention. Why the hell would any sane person do that? Here’s two reasons:

Rejections come frequently in the pre-pubbed years

Why? Because you’re inexperienced and need to learn and practise your craft. It doesn’t mean your writing’s crap, just that it’s not yet to a publishable standard (in the early years) or suitable for the editor or line you’re targeting (in the later years).

Handling rejection successfully will determine whether you achieve publication and probably (as a two book author I’ll get back to you on this), build a career as a romance writer.

M Scott Peck’s book, The Road Less Travelled, starts with the memorable line: “Life is difficult.” Accept that fact, says Peck, and you can transcend it.

Well, getting published is difficult. Oh sure, we all want to be the exception, the shining talent, the Charlene Dickens whose unmistakable genius is picked up on the first book. I just rang the only person I know who had their ‘first’ book published, the fantastic historical writer Helen Kirkman and she told me the book that sold was her fifth manuscript. She just didn’t submit the first four.

Rejections will tell you whether you really, REALLY want to get published and force the commitment of time, study, and writing that makes that possible. Or not...you may decide you don’t need the heartache and that you’re happy writing for yourself. Either way, you get clarity.

These days when rejections come, I try and see them as an opportunity to take stock. Is it time to put this book aside and work on something new? Is it time to investigate whether I’m targeting the wrong line? Is it time to get a craft book out and bone up on an aspect that’s holding me back? The first rejection I got after publication reminded me that I’m better writing the whole book rather than submitting a synopsis and three chapters. Rejection can point a direction, strengthen resolve...okay I wasn’t sure how much I wanted to get published but hell, now I am sure!

Accept that you’re going to get rejected and rejections will lose their crushing importance. Everyone gets ‘em; they’re a rite of passage, welcome to the club. These days I’m damned if a rejection letter is going to leach me of creativity for more than 24 hours. I’m saving my energy for the book. Of course I still have to trick myself by saying, okay I’ll write half a page and then I’ll grieve/sulk/overeat.

We often hear that Harlequin gets a trillion manuscripts a year – Gee, what chance have I got, you ask, clutching your latest rejection. Exclude the books on gardening or hunting sea slugs and that number drops substantially. What would the odds be if you knew your market, knew your craft, and never gave up? Honey, publication’s a cert.

Sound far-fetched? How many Australasians sold their first book in the last twelve months. Twelve? Fifteen? Yvonne Lindsay had been trying for ten years, Maxine Sullivan for twenty - kudos to them. I can guarantee that every one of us ‘newbies’ has had a knock-back that made us think, ‘To hell with it, I’m going to be a party girl instead’. And then somehow dragged ourselves back to the keyboard.

That’s the only choice you need to make when you get a rejection. To give up. Or not give up. (See how easy this gets ?) The worst rejection I ever got was on a manuscript that later won a Golden Heart. Imagine if I’d dumped it? And you know what, that damn manuscript still won’t sell because I can’t get it right despite fabulous help from writers and editors. But it has earned its keep by giving me credibility with editors for the next book. Sometimes a loss is a win.

We write conflict, epic battles against self; we like dark moments and prevailing against all odds. Rejections are another milestone on your road to publication, gatekeepers between you and your dream. Your heroes and heroines don’t turn back in adversity - that’s what makes them heroic, admirable, worthy of respect.

And neither will you.

This article appeared in the September 06 newsletter of Romance Writers of Australia.

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The Ultimatum

Published in The Australian Women's Weekly August 2007

"Don't do this," said Jack, his grey eyes steady on hers and for a millisecond Cassie nearly took it back. Her ultimatum.

The one that hung in the air like a spark over gunpowder. Just a whisper - okay, I won't - would have blown it out. All she had to do was take a single step, put her arms around his waist and lay her head against his heart to hear the slow steady beat that had measured her happiness for five years...

But.

She thought of other whispers, the soul-dark ones that said 'if he really loved you'. She thought of the long-buried need of a little girl aching to be a princess just once. Important enough, just once. And she said, meaning it, "If you don't marry me, I'm leaving."

Even though she knew that part of the reason she loved him was because of his stubborn reluctance to live by anyone's values but his own. But her values mattered too.

"We're happy, aren't we?"

Their discussion had become circular so Cassie didn't answer, simply dragged her suitcase out of the back of the wardrobe, brushed some dust off it and started to pack.

The dust bothered her. When had she got so complacent?

Jack sat on their bed and watched her, dark eyes both troubled and stubborn. "Cass, emotional blackmail won't solve this," he said.

"I promise you, this isn't emotional blackmail." Numbly, she chose a few clothes to tide her over. "Irreconcilable differences - no one's fault."

He raked a hand through his brown hair. "Marriage won't keep us together if one of us wants to leave."

Cassie knew that better than anybody. Her mother was in the middle of yet another divorce. And now her daughter was about to land on her doorstep.

"Marriage is a commitment to try harder," she replied, knowing his loyalty was already beyond question. But it wasn't marriage she wanted really; it was the cock-eyed optimism; the suspension of disbelief, the act of faith in a cynical world.

"Show me the statistics that back that up."

"You know I can't," she said through a tight throat. As always Jack argued from logic; she argued from emotion. Cassie finished packing and put on her winter coat over jeans and woollen jumper. Outside a southerly squall smacked rain against the pane.

"I don't get it. Why has this come to a head now?"

"We're about to buy a house together." But it wasn't that. She'd attended a hen celebration last night and got teary-eyed and sentimental, even though Cassie knew the nuptials she'd been toasting would be lucky to last a year. This morning, she'd woken up with a hangover and a snarl and it had all gone downhill from there.

Except...she was tired of the sidelong glances of pity that echoed her belief that marriage meant something. Being anti-matrimony was Jack's conviction - not hers and everyone knew it. "I'm tired of being an apologist for your cause," she added. "And yes, I know how many marriages fail, I know the quality of the relationship has no connection with how big your wedding was, or how sincere everyone is on the day, or how many bloody presents you're given. I know all that but I don't feel it, and every time I go to someone else's engagement, hen night or wedding it hurts."

Resigned, Cassie picked up her luggage.

"Okay," he said in a resigned tone, "we'll get married."

She was so surprised she dropped the suitcase. Slowly, Cassie turned around. Jack was looking at her like the enemy.

Her euphoria dissipated before it had time to build. "As long as it's in a registry office, no party, no fuss," he added.

Oh for God's sake. "And maybe we shouldn't tell anyone," she said sarcastically.

"Even better," he agreed. "After all, it's our contract, not anyone else's."

She hated it when he split hairs like that. And she wanted public acknowledgement of his love. Wanted her friends and family watching Jack adore her. The mental picture that conjured was so ridiculous that Cassie started to laugh. Okay, maybe she could relinquish that particular fantasy but the wedding he described was a sad, furtive affair not a celebration.

"I'm sorry," she said, "that's not good enough. But thanks, anyway."

The reaction to their fight was setting in, the numb anger giving way to a nauseous panic. What the hell was she doing? Her fingers slipped on the handle of the suitcase.

"Cassie, come here," he said in a low voice.

Somehow she found herself bawling into his shoulder. "The trouble is, that I can't see any middle ground," she hiccuped between sobs, "If we get married, we compromise your beliefs and if we don't get married we compromise mine. Someone always has to lose."

She pushed up to a sitting position and dug in her jeans for a hanky. "I know there's a solution but we're so entrenched in our positions I don't know what it is anymore - or how to fix it. But it has to be fixed, Jack. Somehow."

"I know," he said. "But in all of this, I've never had any doubts that you're the One. Have you?"

"No," Cassie swiped her eyes dry then blew her nose. "Never."

"Then let's stop making this marriage thing so important. It's a side issue, let's treat it as one. Take away a winner and a loser and have some fun with it."

She looked at him doubtfully. "Fun?"

"I have an idea."

Her eyes widened as he reached in his pocket and dug out a fifty-cent piece. "You're deciding our marital status on the toss of a coin?"

"No. Jack handed it to her. "You are."

The metal was cold in her hand, warming through as she stared at him. "That's the craziest thing I ever heard."

"But what a story," he said, "to tell our grandchildren."

"Heads," she said and flung the coin high. Through the bedroom window the sun caught the silver as it spun, over and over. Beyond it, they smiled at each other and Cassie thought how wonderful life could be sometimes.

And how simple.