Thursday, July 27, 2017

Louise Rose-Innes: Writing Cross Genre

Welcome to Louise Rose-Innes who writes about a subject that will relate to many members.

They say you should write what you read, but what if you love two distinctly different genres? I fell
in love with romance from an early age, devouring Johanna Lindsay’s novels featuring strong, stubborn men and feisty damsels in distress, as well as an unhealthy number of Mills and Boon and racier novels like Lace and The Thorn Birds. I lived the heroines and daydreamed about finding such a man. It seemed obvious to me that one day I’d write my own romance novel.

Then as I matured, I moved on to crime. I read a Sydney Sheldon that my parents had in their bookcase and I was hooked. I sped through all of his books, then went on to Robert Ludlum, Michael Connolly, David Baldacci and the list continues…

Funnily enough, when I finally sat down to pen my own book, it was romance that I tried first. I signed up for a romance writing short course and loved it. I was addicted. After many false starts I finally finished a 50K word romance novel – and boy was I proud of it. I knew it wasn’t a work of art, but it was a fine starting point. It motivated me to write harder, learn more about the romance writing craft, delve into conflict, relationships and resolutions. I devoured every book I could find on the topic. I joined the RNA and went through the New Writer’s Scheme. Words cannot express how valuable that lesson was for me. Eventually I got a romantic suspense novel published and self-published some of my older works, that I’d reworked. I was a bona fide romance author. Woo-hoo!

Then the inkling began… If I could write romance, surely I could conquer crime thrillers too? My reading tastes became more crime oriented over the years and now I rarely read romance anymore. I’d been writing romantic suspense for a few years, so I was ready.

I outlined a suspense novel, tentatively, after reading in-depth about creating suspense, conflict in crime novels and analysing all the hundreds of crime novels I’d read in the last ten years. Then I outlined it a second time, and a third. I left the outline for a while and wrote another romance. Then went back to it and fleshed it out, worked on some of the more complicated plot points and ironed out some creases in the story. Now I was ready to put pen to paper.

It took me three months to finish the first draft. I wrote every day for about 3 hours. That was the only time I had available. Luckily, I’m a fast typist and if the story is flowing I can hit 6000 words per day with relative ease. I sent the draft to my mother, who is a big crime reader too. She made some valid points and I reworked the manuscript a second time, smoothing the rough edges and building in deeper conflicts, past traumas and adding tension.

I think the hardest part for me was the plotting. With romance, the story is more character driven. So while there is a plot, it’s the personalities of the characters that drive the story forward. While this is true to a certain extent in crime, a good, well thought out, intricate and clever plot is worth it’s weight in gold. The idea behind the story that hasn’t been done a thousand times before – that’s what really got to me. I laboured over the plot for ages in the outline, slept on it, researched certain angles and added more layers. This is an art in itself and is way more difficult that I expected.

When it came to writing the novel, layering on the suspense, foreshadowing and building tension required a great deal of thought. Often, I’d reach a point in the book, and go back and add in some foreshadowing earlier in the novel before continuing. Or I’d set something up and then it wouldn’t materialise… and I’d have to go back and rework that section.

On the flip side, the development of the characters came easily to me. Their past traumas, the psychology of the villain, the developing love interest between the main characters were all things I’d done before, practiced and got right. I felt this was a strength that I’d carried through from writing romance.

The danger, of course, is adding too much romance into a crime novel – and this is something I am aware I may have done. Old habits die hard. But since this is my first attempt, I’m not being too critical of myself. My second thriller, set in the United Kingdom, will be grittier as I get a handle on the tougher nature of crime novels and the lack of demand for romance. I’ve already outlined it and am waiting for the moment to sit down and let it take me on it’s journey.

What I’ve Learned:

1.     Writing romance will set you up nicely for developing characters in crime novels. Your additional insight into what makes people tick will give your characters depth and hidden layers that will be useful in other genres.
2.     Building suspense is a multi-layered process and (in my opinion) impossible to get right in one draft. As your story changes and develops, tension will escalate, but foreshadowing and plot points will need to be reworked.
3.     Plotting is crucial to a fast-moving story. There can’t be any holes, and to drive a 80K word story, it has to be complicated or intricate or else it won’t sustain the novel. Plot twists are hard to get right, as so many things have been done already and you don’t want your reader finding the book predictable.
4.     Reading thrillers and analysing what other successful writers do is a worthwhile pursuit. I’ve made notes on countless other books and learned from them. Be your own teacher, if you want to try out another genre.
5.     Give it a go. As a storyteller, there is no reason why you can’t tackle another genre, especially if you read it and enjoy it as well. I took ages to work up the confidence to write my first thriller, but I’m so glad I did.

UNDERCURRENT is the new suspense novel by Louise Rose-Innes, and is currently under review with various publishers. Sign up to Louise’s newsletter to be notified of it’s release date.

Blurb: Ex-special forces private investigator, Munro Crane, is forced to betray the man who saved his life in order to see justice served.


Thank you Louise and good luck placing your latest work.

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Wednesday, July 26, 2017

jay Dixon: Write the best novel you can!

We welcome jay Dixon to the RNA blog today. jay is one of those wonderful people who help authors make their novels shine.

I love my job – most days. To help an author write the best book possible is a privilege – though sometimes I have to admit it is rather exasperating! What is plain to me – for instance, if a character is being addressed, there is always a comma before their name/title, e.g. ‘I love you, Mother’ ­– is obviously not to many authors! And it is so tedious, keep having to insert commas!

Even if you know nothing about editing rules, there is still a lot you can do to make an editor’s job easier. The first rule is ‘be consistent’. For instance, if you start with using single quote marks, keep to single, except when quoting something within the single quotes, when you use double (and vice versa) – e.g.:

‘It’s as Dorothy L. Sayers said, “I love you – I am at rest with you – I have come home.” That’s how I have felt since you came into my life.’

These days you don’t have two spaces after a full stop (or question mark or exclamation mark). Oh, yes, and if a character asks a question, please use a question mark!

Some writers have a problem with timelines. Personally, I’ve never understood this, but all authors I’ve spoken to assure me it is difficult. I once edited a book where the heroine had an 11-month pregnancy! And the reason I knew this was because I had written down in each set of chapter notes how many days/weeks/months had passed since the events in the previous chapter. So my timelines look something like this:

Chapter 1
Eve and Adam in garden

p.10 Ch 2 + 2 days
Eve meets Kaa

p.20 Ch 3 + 1 week
Eve has garden party (with apples!)

p.30 + 1 day
Leave garden – after 10 days [ms has 2 weeks]

Of course, if you are using flashbacks, or a story with multiple viewpoints, or set in multiple periods, it is not quite that simple, and you may need another timeline for each POV/period. But the principle remains the same.

And please ensure that characters keep the same name! One M&B I read had the heroine’s name in the title – unfortunately the then editor hadn’t spotted that her name changed halfway through! And don’t duplicate names. Indeed, if it can be avoided (which is not always possible, especially in historical fiction) don’t use names beginning with the same letter for major characters – readers will get them muddled up.

Make sure you follow through on things – if you mention that something is going to happen, even if the character only thinks it, ensure that it does, or give a reason why it doesn’t. This can also be noted on the timeline by writing a number in red by a future event and the time when it is going to take place, and then the same number in blue when it happens – this way you can immediately see if you have missed anything out in the writing.

I am not suggesting that you keep stopping when you are in full flow to check the presentation is correct. But when you go through the ms once you have finished it, do bear the editing rules in mind.

These are examples of what has to be done. There are other things an editor does which are only suggestions. To my mind no editor should rewrite the author’s prose – unless it is grammatically incorrect. Make a suggestion and the reason for the change – clarity, for instance – yes, but not rewrite. And any rewriting should be done using track changes so the author can see what has been done.

I have said I love my job, and I do, but some mss make my heart sink. There have been mss which have been so boring I could only manage to concentrate on them for an hour at a time – and the particular ms I am thinking of was not written by an RNA member, so don’t think it was by you! I find RNA members generally have a good idea of how to structure an ms, to give it tension, and write believable characters. This one didn’t. The author had told me that it didn’t need a line edit because all the research had been done. The author was wrong. If you possibly can pay for both a line edit and a copy edit do so – friends may have read it, even other authors, but an editor is reading with a different cap on, and it is amazing what she will discover no one else has picked up. Oh, and a hard and fast rule is that you can’t edit your own work. You know what you have written and that is what you see on the page. When I was working for a legal firm, I once asked a solicitor what he had written, because it didn’t make sense. He read out to me what he had intended to write!

There are lots of other editing rules but, in the end, it is the editor who has to know them, not the author. Just write the best novel you can, and let the editor worry about the rest!


I have been an editor for 40 years. I started in academic publishing, moved to general and eventually become head of editorial at Mills & Boon. Since leaving M&B to write a feminist analysis of M&B romances, which was published in 1999, I have freelanced for private clients and publishers, most recently, M&B, Choc Lit and Accent Press.

I'd love to talk to you about your manuscript and any problems you may have, so do come and say hello!
Contact me at:

“Thorough, excellent, in tune with her clients needs, jay is a highly recommended and experienced editor.”
Carol McGrath, bestselling author of The Handfasted Wife

‘I feel very fortunate that I discovered jay, who has edited several of my manuscripts. The fact that I returned to jay on more than one occasion testifies to her perceptiveness and to the thoroughness of her editing, both substantive and copy-editing, and I’m very grateful to her for helping my novels along the road to publication.”
Liz Harris, bestselling author of The Road Back 

Thank you for your interesting words, jay. 

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Monday, July 24, 2017

Karen Byrom – Commissioning Fiction Editor - My Weekly

We are delighted to welcome Karen Byrom to the RNA Blog’s monthly series where we speak to book bloggers and reviewers and get an insight into their world. This month we take a small detour to speak to a fiction editor who commissions short stories and is well know to the RNA. Thank you to Ellie Holmes for this most interesting interview.

Welcome Karen, tell us a little bit about yourself and your work at My Weekly
Hello, my name’s Karen Byrom and I am the commissioning fiction editor at My Weekly. I’ve
worked in magazines for over thirty years, having begun my career with D C Thomson straight after graduating from St Andrews with a degree in Ancient History and Latin – which at least ensures I can spell!I live and work in my hometown of Dundee, a city beautifully situated on the firth of Tay, in the most beautiful scenic surroundings. I’m married with one daughter, who married two years ago, and lives nearby.

How long have you been at My Weekly?
I started my journalistic career at D C Thomson back in 1982, on the fiction desk of My Weekly. The fiction editor at the time was Liz Smith, and I remember thinking, “I want her job.” I had to wait 32 years! After eight years on My Weekly, I moved around the different magazines, working on features and fiction on Annabel and People’s Friend before returning to My Weekly for good in 2010, where my main responsibility was the health pages. When Liz announced her retirement in 2015, I seized my chance!

Tell us a little bit about a day in the life of a Commissioning Fiction Editor
As each day is so varied, it’s probably easier to describe my week. I check emails for submissions coming in and news about new books. I read and choose stories for up-coming issues – we don’t hold stock any more, so every story I buy must have an issue date. I send back stories that aren’t right for us, with feedback. I aim to have a six-week turnaround, but that doesn’t always work out, sadly.

I go to work on the bought stories, finding or commissioning artwork – I work closely with the designers on this, and often send artwork out to be enhanced so that it matches the story. Then I sub them lightly before sending them off to our production team. I don’t see them again until the page stage, when I give them a final check over.

Every week I choose archived stories for the website, and publish them myself – that’s quite a lot of work. I do the same for book reviews, author Q&As and giveaways. Then the tweeting begins – I think it’s a great way to build up relationships with writers and publishers and get My Weekly’s name out there.

Every four weeks, we have book reviews in the magazine so I’m constantly skimming books to decide what our readers will enjoy. I try to get to London three or four times a year to meet authors and publishers, and this year I’m off to Devon to take part in a literary festival, which is exciting.

I attend lots of meetings, contributing content ideas for the magazine as a whole, and I write occasional features, particularly travel and royal features. I also attend brainstorming meetings for new publications. At D C Thomson, we really are one big team.

I write fiction, too, for the Specials and The Annual, but tend to do that in my own time.

You must be inundated with books and stories, how do you choose which books and stories to read?
I receive and read around 90 submissions a month. It would be more, but I have a rule that you must have been published before in My Weekly before I’ll consider your story. It seems harsh – and I wish it could be different - but it’s the only way I can cope with the workflow, as I am the fiction desk! I’m constantly streamlining, though, and hope that someday I’ll be able to welcome submissions from everyone.
I wish I could read every book that comes in but I get around six a day! I skim them, then choose the ones I think will interest readers – a mix of romance, historical and detective thrillers. Even then I can’t read them all, but fortunately lots of my colleagues are voracious readers, too, and willing to give me reviews.

Do you have a submission policy for authors to follow?
I do. Short story and serial writers must have been published by My Weekly before, and I have a pool of around 100 such writers. I send out guidelines to them every two months, explaining the length and type of stories I need for upcoming issues.
I also consider approaches from publishers whose authors are keen to write a story for My Weekly. I’ve got some top names that way – Veronica Henry, Victoria Fox, and C.L. Taylor, to name just a few. Liz already had Milly Johnson and Sue Moorcroft on board - they continue to contribute charming stories and serials.

My Weekly is known for its lovely short stories and serials and its specials packed with lots more stories – your wonderfully titled Sunshine Celebration Special is on sale now – how far ahead do you plan what will feature in each edition?
Thank you for the lovely compliment. For the weekly, I have an eight week rolling programme, choosing stories to fill issues up to eight weeks’ ahead. That’s flexible of course – a story may come in that I just have to have, or a publisher may approach me with a fantastic story from a big name author. Or I’ll suddenly realise two stories in the same issue have the same theme! So it can be a juggling act. But once a story is bought, it will be used, even if I have to move it to a 2018 issue…

Specials’ stories are chosen around eight weeks in advance. I choose them to reflect the theme of the Special, and work closely with Specials’ editor Maggie Swinburne to ensure they complement content. She sees to the artwork for these, thank goodness.

If you could give one piece of advice to authors what would it be?
Read, read, read the magazine. In the last 10 years, My Weekly has evolved considerably, to reflect modern trends and attitudes and that’s reflected in the fiction content. While there’s always a place for what we Scots call “couthy” stories, involving old aunts, country cottages and cats, our readers also demand up-to-date stories with empathetic characters and convincing plots.

What are your interests away from work? Do you ever read just to relax?
I love to read – on a Sunday afternoon you’ll find me lying back in the conservatory reading a book
for review. I read on the bus to and from work, at lunchtime, at home in the evenings, with one eye on the TV. The only time I don’t read books is during working hours – I don’t have time!
I have always particularly enjoyed literary and historical fiction, but being fiction editor has forced me to expand my taste, and I find I really enjoy a well-written romance or detective story.
Hilary Mantel, R J Ellory, Neil Gaiman, Anna McPartlin and Joanna Courtney are all high on my list of favourite writers.
Other than that I love yoga and attend three to four classes a week. I also play tennis.
Family is important, too. I spend time with my elderly father – Mum died just 18 months ago – and love to go to yoga classes and shopping with my daughter, or walking with my husband.

We often ask agents and publishers what they consider to be the next 'big thing' - what do you hope to see next?
I hope to be surprised! I’m not too keen on the next “big thing” – too often it leads to a raft of copycat themes, never quite as good as the original. The “unreliable narrator” is a case in point. When it’s done well it works – I’m thinking about Apple Tree Yard by Louise Doughty and Jane Corry’s My Husband’s Wife – but it is now in danger of becoming a cliché.
I don’t like to invest a lot of emotional energy into a character, only to find she’s been lying to me, if only by omission. Never mind the plot, for me, characters are what make a good book – and, of course, a good short story.

Thank you Karen for such a wonderful insight into your world and a fascinating behind the scenes peak at My Weekly.

Twitter: @FictionEdKaren

About Ellie:
Ellie Holmes writes commercial women’s fiction with her heart in the town and her soul in the country. Ellie’s debut release was The Flower Seller. A member of the Romantic Novelists’ Association and the Alliance of Independent Authors, Ellie’s latest book, White Lies is out now.

Friday, July 21, 2017

Louise Allen: The Confessions of a Pantser

Are you a Pantser or Plotter? This discussion often pops up on the RNA Facebook group. Today Louise Allen explains how she writes her novels.

Thank you for the invitation to the RNA blog.

I’m a pantser by profession – in other words I fly into writing a novel by the seat of my pants, with no
route map, usually two lines of notes in my head and almost certainly with thick fog ahead. It is dangerous (is this book ever going to get finished, let alone by the deadline?), worrying (3am: what the heck is going on?) and full of technical difficulties (how do I maintain pace, for example, when I don’t know what is happening next?). You’d think after 55+ novels that I’d know better.
Why do I do it? Essentially because once I’ve told myself the story then I mentally file that under ‘solved’ and want to get on with spinning the next one, whereas flying into the fog keeps me as intrigued as I hope my readers are going to be.
I always start with a situation and two people in it. How did they get there? Who are they? What are they? Then I’ll start writing. Often I’m hazy about their names, but they usually tell me those by the end of the first 2,000 words. By about 20,000 I begin to know them, understand what makes them tick, recognise the parameters of the situation that they’re in.
By this point I’ve had the equivalent of three or four emergency landings, the undercarriage is getting a bit shaky, one wing is coming loose, the cockpit is in a terrible mess (empty tea mugs everywhere) and the pilot (me) is feeling somewhat queasy. Time to go back to the beginning and revise with my new knowledge of who these people are, my understanding of what their issues are and what the conflicts, internal and external, might be. A spreadsheet emerges with a timeline and character details and the names of everyone so far and the chunks of text in red where I did not stop to do research get turned black.
Phew. Off I go again, this time keeping the spreadsheet updated as I write. I still don’t know where we’re going, but I do know who is going there and why, which is a huge help.
50K in and a vague landscape is beginning to emerge from the fog, so time to land again for more revision. That can be quite drastic – I have just realised that at 57K (out of a projected finished length of 75K) a large chunk of my hero’s backstory was making him look decidedly unheroic. Problems and issues are one thing, but he was coming over as weak, which was absolutely not what I had intended. Back I go and sort him out.
By now I know my characters inside out. I know and understand the conflict, the story has structure – Brilliant, I tell myself, brewing more tea. Only problem is, I have no idea how it is going to resolve itself. This is the point where the 3am panic is liable to set in, the moment when I have to tell myself firmly that the previous 58 novels found their ending, so this one will too. (The memory of the one where I had no idea how it would end until halfway through the final chapter still haunts me. I was starting to feel like Nanny Ogg in Terry Pratchett’s wonderful Discworld novels – she was the witch who could start to spell any word, but had no idea how to stop.)
Finally I work it out, or rather, I assume that my subconscious does, but I try very hard not to poke about in that for fear of what I might disturb. By some miracle that resolution always occurs at about 75,000 words – and don’t ask me how I do that, because I have no idea. I can only assume my subconscious has some kind of internal pacemaker. Then it is time to revise, but, thanks to the number of times I have stopped and gone back, I am working from something closer to a third than a first draft.
There have been books where I had to plot to a certain extent – when I’ve been working with other authors on continuities and series, for example, or where a novel follows an actual historical timeline very closely – but I’m not comfortable with it and the spreadsheet comes into play to maintain continuity rather than for any character or conflict development.
My long-suffering editors have, over the years, learned that it is pointless asking me for a synopsis. Either they receive a very short work of fiction bearing no relationship to the final product or they get a lot of arm-waving and err-ing and umm-ing. On one occasion, pushed to provide at least an outline for a novella set in the early 19thc Middle East, I said, ‘There’ll be an oasis and palm trees and…and… Oh, insert camel here!’ The contract came back for a novella entitled ‘Insert Camel Here.’ (It eventually became Desert Rake.)

Would I recommend my method (or lack of it) to anyone else? Definitely not, because it can be exceedingly stressful, although I know other pantsers, all of whom have their own successful technique. I certainly couldn’t teach it because I don’t understand how it works myself, although recently, writing An Earl Out of Time, I realised that what I was doing was building up layers, like creating an onion from the outside in. With that book I not only had to write an historical romance, which was familiar ground, but also puzzle out how to make a timeslip work and add a mystery. Discovering what I was doing with that book has not made the work-in-progress any easier, however, although I’m glad to report that the hero’s backstory is now sorted.

PS I do plot my non-fiction!

About Louise
Louise Allen is the author of over 55 historical novels published by Harlequin Mills & Boon and, independently, of romantic historical mysteries (Loving the Lost Duke) and timeslip mysteries (An Earl Out of Time). She also writes accessible historical non-fiction, including Walking Jane Austen’s London and The Georgian Seaside. Virtually all her books are set in her favourite ‘Long Regency’ period and she can’t bear to think of her heroes getting older and growing Victorian side whiskers.
Louise lives on the North Norfolk coast with her exceptionally long-suffering husband who has learned to keep a straight face when asked if he is the inspiration for all her heroes.
Her next novel, due out in August, is Marrying His Cinderella Countess.


Thank you so much, Louise.

How do you write your novels? We’d love to know. Please leave a comment in the box below.

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