Cover Reveal, the RITA® Awards and Boring the Reader

Cover Reveal!!

So, my novella, THE DRAGONS OF SUMMER, which first appeared (and still appears) in the SEASONS OF SORCERY anthology is a finalist in the RITA® Awards! The amazing Ravven had only just completed the cover - and we'd been planning to release the standalone story in April - but we seized the opportunity to put that shiny silver Finalist medallion on the cover and we'll be releasing the stand alone story any minute now. I'm even doing a print edition for you paper purists. 

Since our topic at the SFF Seven this week is the open "On My Mind," I feel like I should say, also, that I share the concern about the RITA Awards recognizing diverse authors. It's a difficult place to be - wanting to celebrate that this story, which I truly love, received this wonderful recognition - while being aware that the finalists include only four authors of color (AOC) and no Black authors.

There is, without a doubt, bias in judging. Reading is always subjective to begin with. Worse, within RWA and the judging pool, there are judges with conscious and unconscious biases. Racism and homophobia absolutely come into play. From personal experience, I can confirm that THE EDGE OF THE BLADE, my book with a dark-skinned pansexual heroine, received a 4/10 from one RITA judge - the lowest score any of my books has ever received from any judge in this contest. This book is the sequel to THE PAGES OF THE MIND, which finaled for an won a RITA that year. I seriously doubt the judge who gave the book a 4 found that it was badly written compared to the others. Sure, that lowest score got dropped. (Five judges read and rank each book; the highest and lowest scores are dropped.) But if two judges impose that kind of bias, that can severely sabotage a book's overall score. Even the "I just didn't connect with the characters" syndrome can lower a book's score by a critical 1 point.

So, what do we do? A lot of people are working on this. I absolutely support the RWA Board's continued efforts to rectify this problem. The current Board of Directors is a diverse - color, gender, and orientation - and committed group who absolutely want to solve this problem. They have been working on it. Unfortunately, correcting this kind of systemic bias occur on the societal equivalent of geologic time. There are a lot of moving parts and ingrained attitudes that need correcting. I'm hearing a lot of "burn the RITAs to the ground" and even "burn RWA to the ground," and I don't agree with either solution. When you burn things to the ground you get a lot of scorched earth. I fully believe we can make this change - and the fire of all this passionate involvement can be rocket fuel rather than lighter fluid. 

On another note, because I promised a few people, I want to follow up on my post from last week on what I think is bad writing advice: "If you're bored, the reader will be, too." James said the following day that he disagreed, but he also didn't understand my point. He said he hates being bored as a reader. Well, of course! I never said it was okay to bore the reader.

What I said was that it's not valid to conflate the author experience with the reader one. 

The reverse situation proves this point: that what the author finds fascinating is not necessarily what will fascinate the reader. Witness the common mistake where a writer does a bunch of in-depth research - and then can't resist throwing it all into the book. This is such a pervasive phenomenon that "the overly researched historical novel" has been a category in the Bulwer-Lytton Fiction Contest for an atrocious opening sentence to a hypothetical bad novel. 

That's part of why I think "If the writer is bored, the reader will be, too" is such bad advice, because it implies that as long as the writer is having fun, so will the reader.

And this is SO NOT TRUE.

Of course no writer wants to bore the reader - and a great deal of craft goes into ensuring this doesn't happen. How can an author know? Experience, refining the craft, listening to valid feedback. (The valid part is really important - you have to learn who to take seriously.) But a writer cannot assume that their subjective writing experience will translate to the reader's experience. 

Learning to communicate our stories so the reader receives something of what we hope to tell is a lifelong effort in refining voice and craft. 

The Ultimate Positive Review

MASSIVE CONGRATULATIONS TO VIVIEN JACKSON!!WANTED & WIRED IS A RITA FINALIST!

This book is one of 6-8 finalists out of a field of hundreds of books. The RITA, again, is the highest award honor bestowed upon romance novels by the romance industry. Finalists are the books our peers pick up and say, "OMG, this is amazing!" There are few reviews better than that. So CONGRATS, again, to Vivien. And you, yes, you! Here's where you pick up this book to see what all the fuss is about AND to leave your own impression of the story on whatever venue lights your fire. :D

PS: The actual RITA awards ceremony takes place at the Romance Writers of America National Conference in July. You have until then to read WANTED & WIRED so you can root for it to win along with the rest of us!

What's Your Core Story?

So, this happened.

At the RWA National Convention in Orlando, I actually won a RITA® for Paranormal Romance. Our subgenre is a broad category ranging from J.R. Ward’s urban fantasies to Ann Aguirre’s and Susan Grant’s science fiction—along with Harlequin Nocturnes and Molly Harper’s Paranormal Romances. Winning was an amazing experience. Hearing my book’s title called out—THE PAGES OF THE MIND—gave me a rush of pure joy like no other.

Here’s a video clip of my win and speech, recorded by the fabulous Tawna Fenske, also a RITA finalist.

It had been heavy on my mind, that story I told, of being in Orlando at this same convention in 2010, and how low I’d felt. A long way for me to come.

I made time this year, as I try to do every year, to  attend Susan Elizabeth Phillips’ and Jayne Ann Krentz’s discussion of their careers and friendship over the many years. One thing they discuss is that every writer has a core story, which comes from the conflicts and beliefs that drive us. The core story is independent of the fictional landscape—meaning that it’s not confined to genre. It can take place in any genre and subgenre.

So it’s apropos that this week’s topic is “What is your recurring theme and how does it manifest?”

Mine is always about power and transformation. In THE PAGESOF THE MIND, my librarian bookworm heroine survived the rampages of a tyrant. She discovers her own power through fortitude, through surviving and arming herself with knowledge. To serve her high queen, she goes on a quest to discover hidden knowledge. She is kickass at understanding words and language—but to find true happiness and balance in herself, she has to learn to trust in the wordless, in the language of the body and passion.

This story comes out in my contemporary and erotic romances, too, and even in my nonfiction essays. For me, finding the personal power in ourselves to become more than who we’ve been is the great journey of our lives.

And that’s a journey I’ve undertaken these last seven years—from crying in the bar because someone said my work fell in the cracks between genres, to standing up on that stage with a RITA® in my hand.

Felt pretty damn wonderful, too. 

The One Thing I Need

Really lovely how RWA sends the RITA and Golden Heart Finalists this invitation to the reception, along with our shiny finalist pin! Both are mementos to treasure.

Our topic this week at the SFF Seven is "I need to make more space in my life for…"

I find it interesting that whoever submitted this topic phrased it as "I need," rather than "I want." I'm a believer in separating "needs" from "wants." We can want all sorts of things - from the immediate impulse of that yummy chocolate whispering from the pantry in the kitchen to that Italian villa overlooking the Mediterranean. As opposed to the actual needs for adequate nutrition and shelter from the elements. See my point? The latter is about basic survival and keeping ourselves alive, whereas the former are about treats and luxuries. In the case of some treats - too much chocolate, for example - those can actually work against survival by being not good for long-term health.

Not that I am against treats and luxuries! In fact, I believe treating ourselves to things we DON'T need is an important reward for hard work. Just yesterday I bought these Steve Madden blingy shoes to wear to the RITA Awards ceremony. (Only $64 at DSW, though!) I don't need them. I had other shoes I could wear. But all that hard work I put into the books that led to finaling for this award deserves a little fun treat for myself. Plus, zero calories!

So, when I consider the question of what I NEED to make more space in my life for... I'm coming up empty. These days I'm doing pretty well. I've worked out a reasonable writing schedule that's maximally productive without draining the well. I'm adding back in fun things like gardening and seeing friends. I'm even (reasonably) on track for my reading goal of 150 books for this year!

There have been times in my life that I would have had a long list for this question, but right now I can think of only one thing: zero-calorie Prosecco.

Now, that I truly NEED! ;-)

Writing the Denouement - What's the Right Amount of Wrap-up?

So... this is *MY* big news this week. How about you all?

Tee hee hee!

Yeah, okay, I'm still in a daze, totally gobsmacked, and running about in this kind of gleeful haze where I whisper to myself, "My fantasy romance, THE PAGES OF THE MIND, finaled in Paranormal Romance in RWA's RITA®  awards!!!"

To unpack that a little, for those not familiar, RWA is Romance Writers of America and the RITA® Award is our premiere award for published books in the romance genre. (There's also the Golden Heart, for unpublished works.) Because romance is an enormous umbrella with many subgenres, there are thirteen categories. "Paranormal Romance" is basically all science fiction or fantasy style stories with romance in the story arc. Yeah, it's a polyglot of a subgenre, but there you are. With entries capped at 2,000, and every entry read and ranked by five judges, it's a tremendous effort. It's basically the Academy Awards for romance authors. The winners will be announced at the very glam awards ceremony at the Annual Conference, which will be in Orlando this year, July 22-29.

Okay! Moving on...

Our topic this week is on story structure, specifically asking the SFF Seven about the Denouement: How long do you spend wrapping up a novel?

I'm very interested in the answer to this question because it's something I've been working on. I get "ended too abruptly" as a comment more than any other (I'm pretty sure - I haven't annotated or anything), and across all the genres I write. On the occasion that someone I'm friendly with makes the comment and I'm able to dig a bit, they'll always say, "Oh, it's a good thing - I just wanted MORE!"

Wanting more IS a good thing, but ending too soon isn't so much.

The way ideal story structure works is like this. We all learned this in grade school. I don't know who else among the SFF 7 uses this, but it's a standard basis to work from.

Really, it's not so even, and it will look more or less like this for the Hero's Journey, which is how a lot of SFF stories go:

Thanks to Digital Worlds for this excellent graphic!

When you break this out into percentages, it looks like this:
Act I, Beginning: first 25%
Act II: middle 50%
Act II Climax:: at 75%
Act III Climax: at 90%
Denouement: 10%

"Denouement," for those who've forgotten high school English class, is a French word that means "untying." Basically that final percentage is for unraveling all those knots that got snarled and tightened along the way.

BUT - and this is the interesting part to me - if you measure the actual space of story after the final climax in most stories, it's not 10% of the total. Many authors end within pages of the ultimate climax. One exception to this is urban fantasy author Jennifer Estep. She has a good chunk after the story's climax, which she regards as a kind of "bookend" to the opening scene. She also uses that to set up the next book in the series.

Me? I do chart my own books and ... yeah, the percentages say I end abruptly. I never hit anywhere near 10%. It's more like 2-3%. But I'm trying to change this! I'm making an effort to add more onto the ending, untying some of those knots, to see if it makes a difference.

In fact, one book I deliberately made the effort to do that with is THE PAGES OF THE MIND, which had 8% of denouement after the Act III climax. Did I mention that finaled for a RITA???

Tee hee hee.

Anyway!!!

I'm interested in both reader and writer experiences with this. How much ending do you like? Who are some authors who handle this really well?