I’ve been thinking a lot about today’s topic: What does it mean to be a successful author?

I think we all tend to measure success in terms of monetary gain. Let’s face it, our society is all about the mulah, so it’s instinctive to use this as the indicator of success. But I honestly believe that for most of us authors, there’s a lot more to it than that. We write to make a connection, to inspire others. To know that we’ve made a difference.

So, even if you haven’t made a lot of money as an author, who’s to say you’re not successful? An email from a fan, a conversation with an excited reader, a glowing review: in many ways those things last longer and mean more than money.

While it’s somewhat necessary to focus on money because, let’s face it, smiles and good will don’t pay the bills or put food on the table, money is not the only thing an author should think about. It’s those connections we make that really make a difference, and that’s what we’ll ultimately remember when we come to the end of the road and reflect back on our lives.

For you writers, I’d like to know, how do you measure success as an author?

embracingthedragon1200

Update: The winner of this contest is Renee Rearden! Thanks to everyone for participating. :-)

Good morning everyone! Today I have a guest post by the awesome Kathryn Scannell, and boy is it a fun one. Smile Let’s get going:

One of the hot button topics in erotica/erotic romance is whether or not we have a responsibility as authors to encourage safe sex practices by setting good examples in our stories. In general, I think it’s a good idea, but that’s as far as I’m willing to go. Why? There are actually quite a lot of good reasons.

First, there’s the question of whether it’s appropriate to the story. There are settings where it just doesn’t make sense, and paranormal romance is often one of them. After all, if your shifter or your vampire is immune to bullets and heals from nearly any injury, how likely is it really that an STD will stand a chance of infecting them? Although there was an entertaining story in one of the tabloids back in the early 80’s when AIDS was a new problem very few people had heard of about how it was decimating the vampires of Europe…

It’s not very realistic for most historical settings either. Options for safe sex were fewer then, and the association between the act of having sex with someone who might be sick and getting sick yourself was tenuous at best in many cultures and eras.

Even in the modern era where it’s a practical option, it may not be appropriate to the character. In the real world we all know of guys who aren’t careful, even very intelligent ones.

We’re writing for adults here. I’d like to think my readers are smart enough to realize that not everything that happens in my book is a good idea to do themselves. That includes not practicing safe sex. If I were writing stories that were trying to send a message or teach a lesson, then I’d be sure something unfortunate happened to the character as a result of that unprotected sex. But I’m not doing that, and neither are most romance/erotica writers. The point of the story is the romance, and the happy ending, not a social message. So if its useful to the plot of the story, there may be repercussions, but I won’t add them to the plot just for the sake of making a point about practicing safe sex.

Building a nanny attitude into our books is a slippery slope. Saying my characters will always practice safe sex to set a good example seems like it might be a good idea at first. I’ve been feeling a little guilty that I didn’t give some kind of nod to it in my latest book, but it just doesn’t make sense. If you’re a wizard and can heal yourself, the idea of needing to worry about catching an STD is ridiculous. There’s not even a good reason for the character to think about the fact that he doesn’t need to worry.

Here’s the problem – if you start feeling you have to avoid any kind of unsafe sex even if it would be in character, for the sake of being a good example, why stop with sex? Why not extend the attitude to other things? That character that smokes, the one who drinks too much, the one who’s overweight – they could all be fair game for things that shouldn’t be in the story because they’re bad examples. If you write nothing but good examples, you end up with a book full of perfect, healthy people, who are terminally boring to read.

I do make one exception, and I’ll freely confess that’s a personal soapbox. When I write a BDSM scene, I’m very careful that it’s something that can be done safely, and that the precautions that make it safe get mentioned. I’ll confess that’s a little inconsistent with my general feelings about self-censoring your books for health or political correctness issues. My reasoning is this – these days nearly everyone gets the safe sex message from a lot of places – school, TV public interest spots, and so forth.

BDSM is a little different. A whole lot of people get their primary exposure to it from reading it in fiction. They may never go read an introductory book on how to do it safely, or have a more experienced partner for their early experiences, or seek out someone to advise them on what’s safe. So I want to be sure that if someone decides the scene I wrote was really hot and they want to act part of it out with their partner that they’re not going to damage anyone doing it. I don’t want that on my conscience.

I do lean toward putting in at least a voice advising safe practices when I can do it without impairing the story. I’ve got someone in Embracing the Dragon who advises the main character not to drive when he’s been drinking, because it’s something a friend or co worker should say under the circumstances. It would be odd if he didn’t.

When I write in contemporary settings, my characters do use condoms, because they’re generally smart, practical people, and safe sex is the smart thing to do.

Kathryn’s latest release is called “Embracing the Dragon”, a M/M romance straddling the boundary between urban fantasy and high fantasy. Read on for more info.:

Blurb:

Danny O’Riordan’s life was complicated before he had the vision of a past life that forced him to admit to himself that he was bisexual. There’s a war going on, and being Liegeman to Aran, the Elven King of Avalon puts Danny squarely in the middle of the politics of two worlds, Earth and Avalon. Adding a romantic relationship to the mix could be explosive.

His lover from that previous life has been reborn as Mordellir, the ruler of the Tengri Empire. The Dragon of Heaven is the most powerful person in his world. Will he want Danny back once he knows he’s been reborn? If he does, how far will he go to get his way?

Danny knows it isn’t smart to get involved with the Dragon of Heaven. Aran hates the Tengri. Following his heart and renewing that old relationship with Mordellir will leave him torn between his commitment to Aran and those old feelings which are still frighteningly strong. If he yields to temptation, can he balance his love for both men?

Excerpt:

Mordellir looked more at ease than Danny had ever seen him. Was this what he’d been like before he became Emperor?

Looking at him now, in this mood it was easy to see the resemblance to Demeth. Certainly there were differences. Demeth had been only part Tengri. He’d been shorter and a bit heavier built. Demeth’s hair had reddish highlights, which hinted at demon in his family somewhere. But there was still something in the body language, and the aura which reminded Danny achingly of those memories of Demeth. It wouldn’t be hard to put this man in place of the image of Demeth in those memories…

Thinking that had not been a good idea. Danny realized his mistake when he felt his cock start to swell. Just remembering the damned dreams he’d been having was enough to get him hard again, and the bathrobe he was wearing was not going to hide it. He could see a telltale bulge already. He shifted to cross his legs, hoping to keep things under control, but it just didn’t work.

Mordellir had noticed, too. His gaze followed that moving bulge, and he gave off a mix of amusement and interest. All the extra blood that wasn’t already in Danny’s cock rose promptly to his face as he realized that.

Mordellir grew even more amused as Danny turned bright red. “I didn’t think you were interested, Daniel. It’s certainly nothing to be embarrassed about. You’re a handsome young man. I’m not intimate with all my Favorites, but it’s certainly an option.”

Danny cursed inwardly. This was rapidly becoming a disaster. “No! I’m not– I mean I don’t– Oh Hell.” He ground to a halt. Doing anything would be stupid, and guaranteed to make settling the problem of those old memories worse, not better, but how did he say no without insulting the Emperor? Especially when his cock was obviously saying yes.

“Slowly, Daniel,” Mordellir said gently. “If I read that wrong, I’m sorry. Will you tell me why you’re so confused and embarrassed? It can’t be just having an erection in front of someone else, not after living among the Elves and the Kennakriz. What is it?” He looked probingly at Danny out of his good eye.

Danny took a deep breath to try to calm himself. “No. This isn’t simple to explain. You didn’t misread my reaction, but it would be a terrible idea to act on it.”

“Why?” Mordellir sounded genuinely puzzled.

“Because you’re the Emperor of the Tengri, and I’m the senior Liegeman to the King of Avalon, who happens to hate Tengri in general, and you in particular. That gives whole new levels of meaning to conflict of interest,” Danny said, wondering why he was explaining the obvious to someone this experienced in politics.

“So?” Mordellir felt perplexed. “Is this an Earth thing? A little sex hardly constitutes anything important. It’s not as if there was a commitment involved. There isn’t even a chance of children to worry about negotiating.”

What could he say to that? From an Avalon or Empire perspective, Mordellir was entirely right. The problem was that Danny was sure that if he let himself get any closer to Mordellir that those old memories would hit him full force, and he’d want something more. A lot more. That would be a serious political problem.

His first impulse was to explain that, but doing that could be opening a huge can of worms. He didn’t really know Mordellir. He might not be anything like Demeth. There were vast differences between Danny and Emrys, thanks to the different worlds they’d lived in, and the things that had happened to him in this life. Emrys had trusted Demeth, but everything he knew about Mordellir told Danny not to trust him. This was a man who’d schemed his way to the Imperial Throne over a trail of bodies, including his father, the previous Emperor. Then he’d held his own against his remaining siblings and children to keep that throne for more than 10,000 years. He had to be a master of manipulation and deceit. It would be ridiculously risky to lay a vulnerability like this out for him to exploit. But it was so very tempting. It felt right to do. Danny’s thoughts spun in circles, his impulses arguing with his common sense.

Mordellir waited for him to answer, looking faintly puzzled. In the end, that pushed Danny over the edge in favor of explaining. The expression was so like one Demeth had often directed at him when Emrys was new to the Empire, and reacting oddly to everything. This was still Demeth, and some deep part of him trusted Demeth.

Buy Link: http://www.torquerebooks.com/index.php?main_page=product_info&manufacturers_id=272&products_id=3116

You can follow Kathryn at the following sites:

Email: Kathryn.scannell <at> gmail.com

Website: http://www.kathrynscannell.com

Blog: http://kathryn-scannell.dreamwidth.org

What are your thoughts? Is it a total turn-off for you if the characters don’t think about safe sex, or do you feel that you’ve had your nose rubbed in it too often, and want to enjoy a good fantasy where you don’t need to care about that level of realism?

One lucky commenter will win a copy of “Leap of Faith”, Kathryn’s short story set in the same world as “Embracing the Dragon” (selected via random.org).

Editing

Simon Howden / FreeDigitalPhotos.net

I’m in the process of editing the first book in my Demons of Infernum series, which is set to be released by Entangled Publishing in August 2011. Having gone through the editing process on a couple of different manuscripts now, it strikes me I have a pretty standard process for editing. It goes something like this:

  • Day 1 – Receive and read through edits. Throw them down in panic and obsess over how I can’t possibly do what’s being asked of me.
  • Day 2 – Panic and worry about how I’m going to be a total failure.
  • Day 3 – Alternate panicking with pep talks about how I can do it.
  • Day 4 – Read through the edits again. Realize these suggestions will make the story much stronger. Get excited. Sit down and start editing.

I have a feeling my process is not so unique. I would imagine a lot of other writers feel the same exact way when editing their work.

What I’ve found is that nothing alleviates the worry and stress of editing like actually sitting down and doing it. (Novel concept, huh?) But that initial period of reflection is necessary. Even though it mostly feels like I’m just worrying, I’ve accepted that some part of my brain is working through those edits, mulling them over and trying to puzzle out how they’ll be accomplished. In other words, it’s all part of the editing process (at least for me).

I’d love to hear from some writers who’ve gone through editing with publishers/agents. Do you have a similar panic-to-acceptance-to-excitement process, or do you (gasp) get excited about it from the very beginning? 

supernatural

Those of you who’ve read my blog probably know what a big Supernatural fan I am. Demons, monsters, and two hot sibling demon-hunters? What could be better than that? Especially considering how amazingly fresh the writers have kept the show’s content over the years.

I remember seeing an interview some time ago featuring Jensen Ackles, the actor who plays yummy older brother, Dean Winchester. He talked about how he was a big fan of westerns and would love to do a Wild West episode on the show one day. So when I saw the commercial for this past week’s episode, I had to laugh. It was….drum roll…an Old West episode! How will the writers pull this one off, I thought?

Amazingly enough, they did. And here’s how they did it: by building a foundation throughout the show. Past episodes have gone over things like demons and how they could be killed (a gun invented by Samuel Colt in the 1800s), as well as the ability to time travel (angels can send humans back in time for limited periods to accomplish specific missions). So when the writers put these things together into a storyline where the brothers have to go back to the Wild West to find Samuel Colt and the ashes of a phoenix, I totally bought it. That’s because a foundation had already been laid for time travel and for why they would have to go back into the past.

Us novel writers can take a few lessons from the screenwriters for Supernatural. They know that when you build a proper foundation, your fans will follow you wherever you choose to take your storyline, as long as it fits within the parameters of the world you’ve built. But there has to be some basis for that action. If the Winchester brothers had never traveled back in time before, I probably would have scoffed at this episode. It wouldn’t have been believable. But because they’ve done it before, it doesn’t come out of the blue. I can suspend my disbelief and just go along for the ride.

So the morale of this story is: You can do anything, as long as you lay a proper foundation for it in your story.

Did anyone else see last week’s episode. Did you find it as fun as I did? :-)

Hallow House

Morning everyone. Today I have Jane Toombs on the blog, talking about one of my favorites subjects: our attraction to the paranormal realm! Without further ado:

What attracts some authors and readers to paranormal while others don’t care for it at all? Maybe one needs an early introduction to walking the dark path. Because I was introduced to E.A. Poe’s poems and stories as a child and loved almost all of them–especially this line in one of the poems–“the ghoul haunted woodland of Weir.” That line reverberated in my mind for years and I never truly forgot it.

The proof is that many, many years later, I wrote a story about a ghoul in a cemetery named Weir, green in color, who lives in a crypt and is the hero. Not easy, because ghouls are reputed to be foul smelling among other unsavory things. So I had to think about the human heroine. Aha! As a nurse, I knew some babies who are born with cleft palates and hare lips, may experience a complete loss of smell even after the repair. So that’s what happened to my heroine as an infant. Though she now looks pretty normal, she has no sense of smell at all. The story was a lot of fun to write. It’s called “It Can’t Be Mine“ and can be found in my TEN PAST MIDNIGHT, Dark Tales by Jane Toombs.

As I got older I discovered H. P. Lovecraft, who wrote nothing but paranormal tales and A. Merritt, who wrote books with titles like Burn, Witch, Burn, and Creep, Shadow, Creep. Impossible for me to resist those. While Lovecraft wrote highly imaginative horror, Merritt wrote dark fantasy romance. Enjoyed them both.

My very first sale to a publisher (Avon) was a gothic romance called Tule Witch back in 1973. Since then I’ve written seventeen more published gothics because I can indulge my love of the dark side in that kind of story and still have a happy ending. Six of them were Silhouette Shadows. Many of the others are historical gothics by various publishers

While gothics usually are paranormal romance, all paranormal romance isn’t gothic in nature. Some of it is closer to horror. Horror, by its nature, rarely has a happy ending. Since I’m also fond of HEAS, I have only one published horror novel to my credit, Hugger Doll, plus two novellas. So, all in all, my favorite genre to read and write is paranormal romance. Given the nature of paranormal and the fear of it, adds the element of suspense to paranormal stories.

My most recent book, HALLOW HOUSE, is one of those long multigenerational gothic suspense romances loaded with paranormal happenings. My publisher, Books We love Publishing Partners, decided to publish it in two halves. I was surprised to find a natural place to divide the story, with each part complete in itself. And yet Part One at its end does hold the promise there’ll be a Part Two. Part One is out now, with Part Two to follow shortly. As one reviewer put it: “…Victoria Holt meets Stephen King…”

She isn’t far off. But Hallow House does have a happy ending for each generation, even if they have terrifying times getting there.

But paranormal can have its light side as well as a dark one. My. Up The Airy Mountain, while paranormal, is a light-hearted fairy tale.

I don’t just write dark tales, I also enjoy historical, contemporary and fantasy romance to read and write, preferably with a happy ending. The important ingredient in any story, paranormal or not, is for the writer to make it easy for the reader to enter into it and become so fascinated that he or she can believe what’s happening for the duration of the book or poem. Whatever fascinates a writer can also fascinate a reader if presented in an appealing way. Which is what every writer must learn to do the best of their ability.

All my recent books have a buy button at my website: www.JaneToombs.com

Hallow House Part One Blurb: A house built for love and cursed with death. Two children, one will live, one will die. Magic potions and secret rooms. Is there a curse or does evil reside with innocence? What is the real secret of Hallow House?
 
Excerpt: On the second day of April, the Tule fog lifted and the sun broke through, Tabitha clapped her hands like a child. “Now that the day is fair, Cousin Alicia, we must take the walk to the gate posts to see the wolves Boris mentioned..”

The day was not only sunny, but pleasantly warm, a beautiful spring day as the two women, suitably attired in bonnets and gloves, ventured along the drive.

“Do you ever miss the city?” Alicia asked. Though they’d led a quiet life in San Francisco, still they had taken in the sights and occasionally gone
shopping. Here there was nothing to do other than needlepoint.

“When Boris is at home, there is nothing to miss,” Tabitha said, smiling. She placed a hand over her lower abdomen. “And soon we’ll have a son to keep us company.”

Though she knew little about child bearing, Alicia had heard many women suffered unpleasant symptoms when carrying a child–nausea and
light-headedness among them. Tabitha was already showing a definite bulge, but had been remarkably healthy so far. She hadn’t had a single strange turn, either. If only it lasted.

They reached the end of the drive, stopped and examined the snarling wolves crouched atop the posts.

“How fierce they look,” Tabitha said. “Quite frightening. I do admire the pink marble, though.” As they walked back toward the house, she added, “I
believe I’d like a St. Francis statue done in that same lovely marble.”

“A charming idea. Perhaps you might have a grotto built among those pines.”

“Yes, with animals around the statue and a bird perched on his shoulder. I shall speak to Boris about it when he returns. We might–” she paused and
reached a hand to stop Alicia. “Do your hear that strange noise? Whatever can it be?”

Alicia did hear something odd. A rattle? She knew there were rattlesnakes in the area, but this seemed to be coming from a distance. Quite near the
house, she judged.

“I can’t tell what’s causing it,” she told Tabitha. “Since we don’t know, it’s best if I take you inside and send a man to investigate.”

“No. I must see for myself.”

Alicia bit her lip. Though Tabitha was usually tractable, when she slipped into one of her spells, she was sometimes impossible to reason with. Alicia
hoped this was merely a whim and nothing else.

“You must think of the child you carry,” she said firmly, taking her cousin’s arm. “Come, we’ll go round to the front of the house and–”

Tabitha pulled away. “The sound is not in that direction. I want to discover what it is.”

“Quite possibly it is one of the groundsmen working.”

“No, it’s not. I’m meant to go there.”

Alicia’s heart sank. In this state, Tabitha was unreasonable. Nothing short of brute force would prevent her from heading for the rattling sound. By
herself, Alicia wasn’t capable of picking up and carrying her cousin, all she could do now was to humor her and try to keep her safe. Likely enough
there was nothing to harm either of them anyway.

She gave one last try. “Boris wouldn’t want you to put yourself at any risk.”

Tabitha acted as though she hadn’t heard her, walking faster and faster in the direction of the sound. Hurrying after her, Alicia hoped her cousin
would be more tractable once they discovered the source.

Ahead, in the newly planted rose garden, an oddly dressed, bent-over figure appeared to be engaged in some kind of a dance. The rattling sound came from something he held. Alarmed–it couldn’t possibly be one of the grounds workers–Alicia caught up to Tabitha and tried to stop her.

With the extra strength Tabitha possessed in her spells, she thrust Alicia away, approaching the stranger, but stopping several feet away from him,
thank heaven.

The man wore some kind of bizarre feathered cloak and head-dress and a loincloth. He had on what appeared to be shoes made of reeds. As she joined her cousin, Alicia realized he must be an Indian.

Seeing them, he raised a stick with snake rattles attached, shook it menacingly at them, all the time chanting alien words.

“No!” Tabitha screamed, clutching the bulge in her abdomen.

She swayed and it was all Alicia could do to support her weight.

“You can’t faint,” she said fiercely. “I have to get you to the house. Walk!”

To her relief, Tabitha obeyed, leaning heavily on her as they slowly made their way to the back door, the closest entrance.

Agnes stared as they came into the kitchen, then rushed over to help. Between them they managed to get Tabitha upstairs and onto her bed. The
master bedroom was actually a suite, with the two rooms sharing a connecting door so that Boris and Tabitha each had a room.

Tabitha was in the process of redecorating hers, so at the moment it looked rather bare.

“Please ask one of the grounds workers to chase away that Indian in the rose garden,” Alicia said to Agnes.

When the cook was gone, Alicia hurried to her room across the hall and brought back one of the pills from the bottle Mr. Woodward had given her.
Sometimes they helped and sometimes not, but the pill usually kept Tabitha fairly quiet. Now if she could just coax it down her.

By the time Agnes came back upstairs to report there was no Indian outside, no one at all who didn’t belong there, Tabitha was sitting up with the
tell-tale blank look she always got after one of her episodes.

To get rid of Agnes, Alicia thanked her and asked if she’d make some tea and send it up with one of the maids.

“I know what he said,” Tabitha announced, fortunately after Agnes had left the room.

“He wasn’t speaking English,” Alicia pointed out. In the aftermath of the spells, she always tried to behave as though Tabitha was acting normally, in
the hope it might help her to recover more quickly.

“I understood him,” Tabitha insisted. “He was cursing Hallow House and all who dwell within.” Her eyes rolled up and she began to chant in an eerie
high-pitched voice:

“Between the gates the two wolves lie
Of children two, the one must die.
God hears not the prayers you send
Death and destruction mark the end.”

Horrified, Alicia stared at Tabitha, who’d fallen back on the pillow, her eyes still rolled up to show the whites.

“Rusalka,” a voice from behind her said.

Alicia whirled around and was startled to see old Metta standing at the foot of Tabitha’s bed. Boris’s great-aunt so seldom emerged from her room that Alicia tended to forget about her. She never appeared at mealtime–her food was carried up to her by one of the maids.

“I don’t understand Russian,” Alicia reminded her.

“Dead no want stay dead. Want live,” the old woman said, pointing at Tabitha. “Want what belong Boris. Want baby.”

For you paranormal fans, we’d love to know: what is it that attracts you to the genre?

Stressed Woman

Image: Michal Marcol / FreeDigitalPhotos.net

Professional jealousy…in a word, it sucks.

It’s so easy to look at someone else’s accomplishment and feel envy. To wonder, why can’t I have what they have? Especially when you’re talking writers and publishing contracts/bestsellers lists. But it’s a dangerous emotion to have. Why?

Well, for one, a lot of these things are out of our control. The market is ever-changing and retail space for books is shrinking. This is bound to create disparity between authors who are already well-established and those who are newer to the industry. Sure, the digital revolution will probably change this up to some degree, but things are still in flux. Who knows how they’ll shake out?

Secondly, we are all different. Our writing, the way we think, our worldbuilding. These are all factors that go into determining our professional successes, along with a healthy dose of luck. And let’s face it, some of us have more of that than others. 

I have more than my fair share of frustrations and jealousy over the success of other authors. Whenever I’m feeling that way, I try to remind myself that they probably had a good amount of failures too. Everyone pays their dues, at one time or another.

(Updated Note: This blog post is my overall reflection on the industry, not a personal indicator of anything going on in my life right now. I have actually have some major things in the works that I can’t wait to SQUEE about! :-) )

Do you ever have moments of frustration, moments of jealousy over others’ professional successes? How do you handle it? Do you ignore it? Get wasted? What? Winking smile

PlacingOut       CrimePunishment

Today I’m delighted to host Pat Brown on the site. We’ll be talking about her latest release:

ME: Your latest novella, Placing Out, is a historical romance featuring a police officer who is firmly in the closet. Can you tell us more about it?

PAT: My interest in historical fiction grew out of my love for Los Angeles. While watching a documentary on the city during Prohibition, I was fascinated to find out that Los Angeles didn’t have the organized gangs like Chicago or New York at that time, instead they had the LAPD, who were very ruthless and efficient in keeping East coast crime bosses out – they wanted the job themselves. Pretty well all police forces were corrupt during Prohibition, but the LAPD didn’t work with the gangs, they were the gangs. Along with City Hall, local businessmen and the L.A. Times, gambling joints, brothels and speakeasies were protected and sometimes even owned by cops.

Once I knew this, I had to write about it. My first historical was actually a novel called Shadows and Smoke, but it hasn’t been published yet. I got an agent for it, so he’s out working to sell it. But while researching the time that led up to Prohibition I stumbled across a program called placing out. It was devised by social agencies to move impoverished and often orphan children to a better life out west. The west needed workers and the children, the logic went, needed homes. Train loads of children, from babies to teenagers were shipped out to territories like Nebraska and Kansas.

I tried to imagine what it must have been like to be a kid taken from his home, no matter how bad it was all he knew, and sent out to live with strangers who might or might not care about him. Some of those children ended up in good, caring homes, but others became little more than indentured servants. I came up with Dylan Daniels, a boy of 10 who had lost his mother and whose father could no longer care for him. He was a thief and pickpocket and was arrested and shipped to Nebraska to stay with a farm family. He grew up there, among a stern, unloving family until he ran away. He realized he preferred the company of men to women and knew he couldn’t stay in Nebraska. He fled to Hollywood where he became a high-priced rent boy who catered to rich and famous men. Until he meets Ben Carter, an LAPD officer who arrests Dylan in a pansy bar raid. From the very beginning, Ben, a cop buried deep in the closet, finds himself hopelessly attracted to Dylan. Their struggle is to find a way to make what they have work against self-hatred and society’s pressure to be ‘normal’.

ME: You write M/M romance. What inspired you to pen stories in this genre?

PAT: I wrote those characters because that’s what they were. My characters grow in me and they tell me who and what they are. I originally meant Shadows and Smoke to have a gay protag but when I started writing, the character basically said in no uncertain terms that he liked women, so he became straight.

ME: What do you think your readers will like most about your story?

PAT: I think Placing Out shows a side of Hollywood/Los Angeles few people know. It’s not the Hollywood of movie stars, or rich, glitzy people. It’s about an LAPD cop who does things he’s not proud of and how he comes to accept it and even embrace it.

ME: What types of stories do you like to read and who is your favorite author?

PAT: I love reading darker crime fiction. I love Michael Connelly, Robert Crais and T. Jefferson Parker to name a couple. Lately almost all of my reading has been non-fiction history books. Prohibition, Los Angeles and most recently, New York City in the 1800s.

ME: What’s next for you? Do you plan on writing any other historicals?

PAT: I have the one historical novel finished. I’m currently working on another one, this one set in New York City in 1880s. It deals with 2 Irish immigrants who have to find their place in the new world and a smart-assed, 10 year old thief who wants to be somebody.

You can find Pat on the following Social Media Sites:

http://pabrown.com

http://twitter.com/pabrown

https://www.facebook.com/PatABrown

Blurb: Placing Out is an historical romance set in 1932 Los Angeles. Ben Carter is a 6 year veteran of the LAPD, deeply in the closet. Dylan Daniels was a placed out kid sent from New York’s Five Points at 10 to a family in Nebraska until he ran away at 18 when he realized he preferred boys and didn’t want to be a farmer. In Hollywood he ends up as a popular hustler with a number of wealthy clients. In a bar raid he meets Ben who is instantly attracted and repelled by this beautiful man. Between them they struggle to overcome the barriers that keep them apart, including Ben being in a brutal squad that frequently raids pansy bars and beats the patrons. This tears Ben apart. Will he let Dylan’s love heal him or destroy him altogether?

Excerpt:

The New York Times headline is based on a real headline I found in the archives of the Times. The actual date was in the 30s. But much of the wording is the same.

NEW YORK TIMES

Thursday, May 15, 1919

A HEARTLESS FATHER

Two children named Daniels, aged respectively two and eight years, last night sought shelter in the 6th precinct station house and told the Sergeant in charge that their father turned them into the street, and told them to help themselves. The children will be sent to the Almshouse.

Five Points, New York, 1919

I always remember the train. A black dragon, it smoked and roared, throwing up sparks that burned my face and left spots on my brand new shirt. The one the lady from the Five Points Mission got us so we’d be ready for our placing out. She told Da we had to look good for our new family. Every time I hear a train whistle now, I think back on that day. And all the days that followed on my trip west and the new life I had there.

Don’t remember Ma and Da much. Ma wasn’t there at all in the end and Da was gone most of the time working, out looking for work or in jail when he got pinched working for the Five Pointers or the Gophers. I barely remember Ma at all. She died in that big fire at her job in the garment factory when the owners locked all the doors and no one could get out. Da was never the same after. Only a year later, the fever took Flora and Mary, our little sisters. They were both sweet girls. That only left me and Sean who was only two. Moira, the oldest, was always a bitch. Even Ma said so, calling her a witch and born slattern.

Didn’t matter, after Ma died, Da said it was up to Moira to take care of us. She got out of that when she run off with Jimmy Paglia, that no good Eye-tal-yan Wop. She married him. Da nearly had a fit when she did that. But it was worse when she told us she wasn’t gonna mind me no more. She called me a no good street rat who should have been drowned at birth. I slugged her and ran away. No one caught me. No one ever could when I didn’t wanna be caught. They call me Jack because I was as fast as a jackrabbit.

I ran with Ding Dong for a while, helping him and other Dusters with their hustles. Until the coppers got me cornered behind Old Bailey’s saloon. I’d run off with a bottle of gin. Stuff tastes like piss, but I can sell it for two bits and ain’t that sweet. Except this time the coppers caught me and tossed me in the hoosegow. I figure Da would come around and get me out. He did, then he turns around and put us out, sayin’ we were too much trouble.

Sean was the one took us to that police station. They sent us away too. I was still expecting Da to come get us, instead this wrinkled old dame showed up carrying a Bible. Tells me she’s from something called the Five Points House of Industry. Her skirts were all black and crinkly and rustled whenever she moved. I don’t remember Ma wearing anything so fancy. This lady said her name was Rose Marie and she was a woman of God, doing God’s work. When I ask her what that is, she say it’s saving lost and fallen souls like me.

“I ain’t lost,” I told her. “And I ain’t fallen nowhere. I’m standing right here.”

“You are indeed, young man. You’re a poor orphan boy who has taken to the dirty streets to survive. You have fallen into that vast and stinking den of iniquity. Arrested stealing a bottle of the devil’s drink.”

“Ain’t no orphan neither.”

“Your ma died. You live in squalor among the most base humans. You’re father can’t take care of you. He told me as much.” She patted the folds of her big dress and touched my head. I jerked away from her, wanting to tell her not to touch me. Instead I batted her hand away when she tried to touch me again. “We’re going to take care of you, Dylan Daniels. You and your brother. We’re going to take you to a place where you can learn to be a man.”

“A man?” I snorted. “I’m ten years old. I ain’t no man.”

“Nonetheless.” She was all stuffy and stiff. I didn’t like her. She didn’t care. “You are going to be placed out.”

“I don’t know what you’re talking about, lady. I ain’t going nowhere.”

She looked around the filthy cell they had put me in. It smelled like piss and shit. There was a sparkle in her brown eyes when she looked back at me. “No, young man, you aren’t. For now.”

I still didn’t know what she was talking about it. I didn’t know until Da came with a bag I recognized as belonging to Ma, all tied up with twine. He also handed me a silver dollar.

“You be a good, boy. Make your mother proud.”

I stared down at the bag and the dollar glittering in the palm of my hand. I’d never had that much money in all my life. I still didn’t get it.

“They haven’t told me where you’re going to, but Missus Matthews says they’re all good homes. You’re getting a real chance if you behave and mind your betters.”

It hit me like I got kicked by one of Tony Gambol’s big bay Clydesdales. Da was sending both of us away. “I won’t go,” I said, folding my arms over my chest. “You can’t fuckin’ make me.”

He slapped me across the face. I didn’t see it coming and fell back, landing on my ass on the dirty, rough floor. I threw myself to my feet but he backed away, going to the jail cell door.

“I don’t like doin’ that, Jack-boy, but you ain’t got no choice in this. I can’t be your ma and pa both. With your ma gone, I gotta do what’s good for both of you.”

I argued and yelled but no one listened. Da left and I was alone. I stayed alone until the Five Points lady came for me and took me and my bag and silver dollar, now carefully hidden in my shoe, to the train station. Sean was there with Da. He clung to Da ’til he shoved Sean at me. Then he hung on to me so tight my hand fell asleep. He was already wailing when I dragged him into the belching monster. It shuddered and grunted as it pulled away from the station. I looked at the platform through a grimy, soot-covered window but Da was already gone.

I got so I could sleep in the dragon’s belly. I met other kids like me. Over a hundred of us. Some were real orphans, some were like me, picked up by the cops, others volunteered to be placed out. They fed us, mustard sandwiches and sometimes jam. In Omaha they divided our four cars up into cities. Our car was going to Nebraska. Someplace near North Platte. The resident agent, William T. Elder, took us out in a horse drawn wagon to introduce us to our new family, the Chatterfields.

As we drove away from the still belching train, I watched until we turned a corner and headed on a dusty road out of town and I couldn’t see the train no more. Then I turned in my seat and stared straight ahead, knowing I ain’t never gonna see Da or Moira agin. Sean kept at me about when Da comin’ to get us ’til I slapped him.

Folks ask me later if I cried. ‘Course not. I don’t cry. What do they think I am? A baby? Sean was the baby, not me.

Buy Links:

http://www.amberquill.com/AmberAllure/index.html

http://pabrown.com/place.htm

So Pat wants to know, what is it you like about historical fiction. What would you like to see that hasn’t been done yet?

Something really cool happened to me yesterday. Someone who had critiqued the first two chapters of For Love of an Angel (randomly via Critique Circle) contacted me to tell me she couldn’t stop thinking about my story or my characters. Yippee! That’s what every author wants to hear, isn’t it?  But that got me thinking about critique groups and/or partners, and what benefits they should be providing.

Everyone differs when it comes to their critiquing style. Some people prefer to work with one or a few critique partners, others like to be a part of a bigger group. Here’s what I found works for me:

I have a critique partner, another author who I met at RWA National last year. She gets to see my really shitty initial drafts, the ones riddled with adjectives and adverbs (poor her, LOL). After I get comments back from her I’ll do one or two more rounds of edits before submitting the first few chapters to www.critiquecircle.com. This is a site where you can submit your work to be critiqued. It sits in a pool and whoever’s interested in the story will pick it up and critique it. The great thing about this kind of critiquing is that you get comments from multiple people (usually 3-10 or more) who don’t know you and therefore aren’t worried about hurting your feelings. The downside is they aren’t worried about hurting your feelings. Smile

I’ve found Critique Circle to be a great tool for testing reader reaction. Some people will love my work, others won’t, but I know if I’m hearing the same comment by two or more people, then that’s a suggestion I should consider taking.

So what have I learned from this type of critiquing? Well, I’ve learned what I need in both critique partners and groups.

With a critique partner, I need someone who can provide encouragement while pointing out the flaws in my manuscript. This person sees the work in its infancy stage, when I’m still very attached to it. There are those who say crit partners should be completely honest, even if the work sucks. That’s a valid point, but that’s not the kind of critique partner I want. In an industry riddled with rejection and negativity, I need to have someone on my team, someone who is encouraging me to go for it. She should help make my work stronger, not be judge and jury regarding the sales potential of my manuscript.

With a critique group, I need people who can provide quick, honest feedback on what works and what doesn’t. Getting these multiple reviews helps me decide how I want to proceed with revisions. 

So tell me what works for you? Critique partners? A critique group? Or do you prefer to go it alone?

Happy Monday everyone! Guess what I did last week? This:

Haunted_Mansion

Anyone recognize it?

It’s the Haunted Mansion at Disney World! I thought it might be a little much for the 2 year old, but he loved it. And let me tell you, speeding past those darkened corridors, gazing upon the ghostly inhabitants, was major fuel for the imagination. I’m feeling a Gothic novel coming on. Smile

The Disney World trip was preceded by this:

55548_hig-harry-potter-0620                      Harry Potter World

Look familiar? It’s the Wizarding World of Harry Potter, and man was it something to see (super crowded though). Walking down the narrow streets, passing Ollivanders and Dervish and Banges, and touring Hogwarts, I could practically imagine I was in Harry’s world.

After taking in all these amazing reminders of just how great the human imagination can be, I’m ready to get back to writing!

So tell me, what fuels your imagination? Movies? Music? Visits to foreign places?

aliens

Hi everyone. Today (while I’m at Disney World Smile), Greta van der Rol is here to present a guest post on aliens in science fiction. Without further do:

Have you ever noticed how often ‘Aliens’ (especially in the movies or the TV) are humanoid? They usually have two arms, two legs and one head, two eyes and they speak with a mouth. Or maybe four arms or legs just for variety. Check out Star Trek sometime. And what’s more, in Star Trek they can actually mate with humans and produce hybrid beings like Spock. Or so we are led to believe. Yes, okay it’s not always like that. But cast a glance at the Cantina scene in Star Wars IV (The first one, ‘A New Hope’), or even the new arrival, the being in the new movie Avatar.

What’s wrong with that, you ask? Well, in a way, nothing. After all, we’re not talking intelligence here, we’re talking technology. Sure, you can have all sorts of aliens inhabiting other worlds. Look in a pond on mother Earth, or in the ocean trenches or in the deepest caves. Life abounds in all sorts of conditions. But not much of it uses technology. Take dolphins; acknowledged to be very, very smart with abilities (like echo location) we can only dream about. But I can’t see your average dolphin building a spaceship. To do that, it seems you need first the desire and secondly the digits to make it happen.

Enter the opposable thumb. Oh, and some brains. And suddenly all those humanoid aliens become a little more understandable. You need things like fingers to build machines. So smart lizards would fit the bill. Very common, your lizard-like alien – especially if it’s a baddy.

Okay, so there might be other ways of building technology that we quite literally cannot imagine. That’s not much use to a writer, is it? So let’s accept that our aliens will have to have some way of getting around (we call them ‘legs’ in our part of the universe) and some means of manipulating material (fingers, hands). But there are other issues. Astronomers have found a number of ‘earth-like’ planets in the galaxy. That means lots of liquid water, a reasonable temperature range. Just one small catch, though; they tend to be much, much larger than Earth. Can you imagine the effect of gravity on a planet that size? I reckon we’d have trouble walking. Unless we can invent some sort of anti-gravity suit.

And what about the air? What if there’s too much oxygen? Or not enough? Earth’s atmosphere hasn’t been the way it is now for most of its existence. Indeed, even now, we need breathing apparatus if we go above a certain altitude on our own planet, or to go down into the water which occupies two thirds of its surface. So it’s pretty hard to imagine all those aliens in the cantina scene all comfortably breathing Tatooine’s air. Yes, I know some of them wore respirators or some such. But not very many.

Really, when you start looking at the difficulties, the solution used by more and more SF writers makes a stack of sense. Bioengineered planets, terra-formed to suit humans. You’ll find them in Elizabeth Moon’s books and Jack McDevitt’s books among others.

I must say also that I find it difficult to imagine why the inter-stellar inhabitants of a planet like (say) Jupiter would ever want to come to Earth and do more than take a passing look. Always assuming, of course, the amorphous blobs living in Jovian storms subject to enormous gravity would bother to build a space ship.  So they get here from their star system and then what? Wouldn’t they be more likely to eye off Jupiter? Now this assumption puts paid to a lot of space wars. Why bother, after all?

Which is why the Ptorix (aliens in my book ‘The Iron Admiral’) evolved on a world similar to ours and live on worlds similar to ours. We are cosmic rivals trying to share a galaxy.

The Ptorix don’t look humanoid, but they do have tentacles. They have two mouths, one for eating which looks rather like an insect’s proboscis, and another for speaking. They have three eyes set on top of a conical ‘head’ which enable them to see most of the way around them and they see different light spectra to us.

Here’s a brief description of them from “The Iron Admiral : Conspiracy”.

‘They followed the crowd into the cavernous main hall. Most of the passengers were Humans, probably getting out while they could. Just like us. Sean headed toward the flight schedule displayed in the middle of the main hall while Allysha waited, arms folded, foot tapping on inlaid tiles, eyes flicking around the hall. The building glittered around her, all curved walls and ornate embellishment, busy with people and luggage. A Ptorix voice rose above the echoing din and she started, nerves jangling. No. The two conical forms approaching her had pale blue fur and wore elaborately decorated, green robes. High caste business people, she’d guess. The writhing tentacles at the ends of each of four arms betrayed tension, nervousness maybe, but not alarm. They passed her, appearing to glide in their floor-length costumes.

 

Hard to believe that the sight of a Ptorix would frighten her. Then again, she would never have imagined the violent demonstrations, crowds of Ptorix brandishing placards saying ‘Humans Out’ rampaging through the streets, attacking human businesses, looting, even assaulting passers by. She shuddered at the memory.’

Oh, by the way, there is NO possibility of a half-human, half-Ptorix. There is no tab A for slot B and even if there were, the chromosomes and other bits simply wouldn’t match. Sorry about that.

Bio:

Greta wishes she was born a thousand years or so in the future, where space ships zip around the Galaxy and people have adventures on exotic worlds. Well, if you can’t be there, why not write about it? And slap in a healthy dollop of romance, too? She lives not far from the sea in Queensland, Australia. When she’s not writing she enjoys photography, cooking and the beach. Greta is a member of the Queensland Writer’s Centre (QWC) and Romance Writers of Australia (RWA)

Come and say hi at:

http://gretavanderrol.com/

http://twitter.com/GretavdR

http://www.facebook.com/#!/pages/Author-Greta-van-der-Rol/149930055064863

You’ll find “The Iron Admiral : Conspiracy” at:

Smashwords http://www.smashwords.com/books/view/45072

and at Amazon http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=the+iron+admiral+%3A+conspiracy&x=0&y=0

 

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