Lynn Raye Harris

One of the lessons I’ve learned in my past few months working with an editor is this: if you have the character backgrounds pretty firmly fixed in your mind, you might save yourself some rewriting.

I’m getting ready to start a new book while I wait for the verdict on TSMR. I’ve done several things that aren’t like me. I’ve written a synopsis — I never do this, except when forced, and I know things will probably change as I go along anyway (it’s a good thing to be forced, actually, because it makes me think through issues I won’t otherwise). I’ve written the character backgrounds — this helps me know why they do some of the things they do. Who are they? Where do they come from? What are their issues? What do they want now?

These are important things to know. If I throw two characters into a situation without knowing who they really are and what made them that way, then how can I have a coherent story? Because they could do anything for the sake of plot if I don’t know them. It’s when you know what your characters would and wouldn’t do that you are ready to write their story.

I still consider this pantsing, btw. Plotting, to me, is mapping out everything from the first kiss to the first turning point, the black moment, the resolution, etc. And then not deviating from it, or deviating only slightly. I need more room than that because I grow bored otherwise.

But not so much room I rewrite the book three times. I’m determined to slice those rewrites in half at the minimum. So I’m writing backgrounds, forming a synopsis, and brainstorming 20 things that *could* happen during the course of the story (this is a trick I gleaned from a Jane Porter workshop). I already know the first scene, and I’m beginning that today. I may learn something new as I go along, and I may have to rewrite a scene or two. But I really, really hope I’m figuring out how to cut the rewrites down to size with all this pre-writing.

If you’re a panster, do you do any prewriting? If you’re a plotter, how much plotting do you really do before you begin? And do you ever deviate from what you’ve predetermined? How do you plot and not feel stifled by the roadmap you’re created?

I’ve wanted to see The Rookie for a long time — six years, in fact, since it came out in 2002. Dennis Quaid plays Jim Morris, the real life guy who tried out for major league baseball at the age of 35, long after he should have been through and long after he’d bombed out in baseball in his 20s due to injuries. But the guy threw a mean fastball as he got older; in fact, it was even better than when he was younger. And the high school baseball team he coached made a bet with him:

In 1999, Coach Morris made a fateful bet with his perpetually losing team. If they won the district championship, Morris — who threw a 98 mph fastball — would try out for the majors. The team went from worst to first, and Jim, living up to his end of the bargain, threw caution to the wind and was on the road to becoming the oldest rookie in the major leagues.

I love stories like this, because that’s what writing is about too. Not giving up. We don’t have to contend with aging bodies making our dreams physically impossible. We have only to contend with the doubt demons in our heads, the rotten contest scores, the rejections from our dream agent, or the editor who loved our concept but hated the execution. It’s tough and it can be brutal.

But you have to keep trying. That’s why I love movies like this. Because they remind me that someone had a dream and suffered to make it happen. That someone took all the hard knocks and managed to make it anyway.

What are your favorite inspirational movies? Do you like baseball movies? I don’t care for the actual sport, but I love baseball movies. (Bull Durham is my all time FAVORITE baseball movie — Kevin Costner and the “long, slow, deep, soft, wet kisses that last for three days” speech — how can you go wrong?)

Things I’ve done recently:

1. Redesigned the website again. It was no longer an accurate reflection of all I’m writing. It is now more generic, though I warn you it will likely change again as I contemplate hiring a designer.

2. Started a Newsletter. You can sign up for it here:

Click to join lynnrayeharrisnews

Or scroll down and look for it on the sidebar (or at the newly revamped website…).

3. Did anyone else watch the premiere of Life last night? I loooove that show! So happy to see it come back on again. I was ticked that they canceled Moonlight, but at least they kept Life — and Pushing Daisies. That’s on tomorrow night.

Any shows you’re looking forward to? Any website redesigns? Anything?

Oops, didn’t get around to writing a new post until now. The anniversary graphic, while nice, is no longer relevant. We did have a nice time, though. Nice dinner out the first day, home cooked meal at Mom’s house the next. Pleasant times.

Finally, it’s starting to cool down a bit in Alabama. There’s a Fall nip to the air in the early mornings. I like that. You can still wear shorts or capris during the day, though. I like Fall. When I lived in Hawaii, I loved the weather. Summer all the time. But I realized when I moved that I did miss the seasons. I could do without Winter, of course. But Fall has that feeling of new beginnings, doesn’t it? Maybe it’s conditioned into us from the school years, but Fall is when you embark on something new. More so, I think, than New Year’s.

I love fresh start feelings. I think of new projects, or get into the mood to revitalize old projects. I have a new manuscript planned, and I’m having fun thinking about it. And yes, this pantser is trying very hard to write a synopsis and character backgrounds FIRST. It’s tough, but I think it’ll make the writing easier. But I won’t be committed to a definite path, so I can still change things as I write.

Any fresh starts for you this Fall? Busy weekends? Anniversaries?

I found this story inspiring!! An idea, thirty years, umpteen rejections, and finally published to acclaim.

And not only is it my debut novel, but it is my first piece of commercial fiction ever, and after an entire adult life of trying.

Would you give up if it took you 30 years? We are always told not to keep rewriting the same book. I happen to agree with that advice. But obviously it worked for this man. Fascinating story. What do you think?

I believe today’s post will be appearing at I Heart Presents. I’m talking about revisions and working with an editor. Stop by and ask me a question!

UPDATE: As of 8AM central, it wasn’t there yet. Keep checking. If not today, then hopefully tomorrow. But Amy told me today….

UPDATE AGAIN: It’s there! Click on over…

Do you get a lot of it? Because I don’t seem to lately. I go to bed at a reasonable hour (sort of) and then I lay awake thinking about what I need to do, what I want to do, and what is going to happen. Not a lot of fun to be tired and have your mind race.

When morning rolls around, the hubby gets up for work. And I can’t help but get up with him. Right now, his parents are visiting. And there’s a whole relationship with coffee that I thought I understood but apparently don’t. I love my coffee in the morning, don’t get me wrong.

But my FIL is SO worried about it, like I’m going to oversleep and he will have to sit there without it for hours on end, that I make sure I get up and put a pot on. I just can’t listen to the endless questions every night — “Will you make coffee in the morning?” or “Is there going to be coffee in the morning?” or “Are you making coffee?”

As IF.

So, even if I haven’t slept well, I have to get up and make the coffee. Add in the stress of revisions, submissions, and waiting for news and you have an insomniac writer. Guess I could work on the next book idea…..

Do you have trouble sleeping? What do you do for it? Do you have a crazy FIL who obsesses about coffee? Let’s talk. Just wake me up if I’m dozing….

It’s that time again, contest season (is there a season, or is this just when I’m judging a lot?), and I’m noticing something.

Good openings are hard to do. It’s tricky to get a character on the page, let the reader know what she needs to know, and get the ball rolling. There’s a balance to be found, isn’t there?

My favorite openings begin with a character in crisis. And I don’t mean running from a killer either (though that can work too!). I mean someone encountering something they usually don’t. Being forced to make choices and act.

I hate set up. I hate a character angsting about a situation and telling me all the bad things that have recently happened in order to get me up to speed. Just dump me in the thick of it and let me figure it out!

Long passages of our emotionally torn heroine thinking about what went wrong when her sister ran away with the circus clown, and how that meant she had to go tell the hunky hero what her sister had done — and, oh yeah, turns out he now owns or controls something very important to her — while checking her hair and eyes in the mirror and talking about how she doesn’t feel sexy these days…..

Um, no. Don’t like. Not enough to make me want to keep reading.

But openings with immediate drama and tension, I’m there. And yet I think writers sometimes get confused about what constitutes immediate drama and tension. A person on the run from something in and of itself isn’t enough. There must be some kind of sense for the reader of the stakes. What will be lost if a character I don’t even know gets caught?

Which, I suppose, comes down to this: Make me care about your character. I’m not sure this can be taught in 3 easy lessons. It must be learned over time and with much practice, I think.

I have often rewritten my first chapters until they were right. I’ve rewritten first scenes a dozen times, until it clicked. I don’t always get it right, but I’m not simply satisfied with an evocative first line and then a bunch of backstory.

Get the ball rolling. It doesn’t matter what Famous Alice Author does. It matters what YOU do.

What are your favorite types of openings? Least favorite?

A revision letter is both a terrible and wonderful thing. On the one hand, it means an editor gets your voice enough to suggest changes that will, hopefully, make your work better. On the other, it means you’ve got work to do.

As unpublished or uncontracted writers, revision letters aren’t a part of daily life. Many writers are trying to find their style and voice and dream of the day when an editor makes the wonderful call that says, “I want to buy your book.”

And yet, as you learn when you cross to the other side of the fence, the grass isn’t greener. It’s still grass, and you still have work to do. Revision letters are a part of the, er, yard work (hmm, should have thought this metaphor out a bit more…).

It can be easy to get discouraged when this is new to you. You think you’re the dumbest writer to ever fire up a lap top. You wonder why you can’t just get it right the first time. Sometimes, you need to walk away and think about it. Other times the ideas are flowing fast and furious and you just know you’re nailing it this time.

I’ve been in both states, believe me. Tonight, after frowning over the work yet to do, I picked up Sherry Thomas’s Delicious. And there, in the acknowledgments, this new author who has received many accolades for her work, talks about a 16 page single-spaced revision letter from her editor on the very book I’m holding in my hands. Um, I think I’ll stop worrying myself to death now.

How do you deal with revision letters? If you have yet to receive a revision letter, how do you think you’ll handle it?

I’ve been thinking about branding and promo lately. Probably because of the RWA National conference. Writers are urged to get a brand, to associate something about the types of stories they write with their name. Start the association early and get the idea planted in the minds of your fellow writers at least. Once you sell, the brand is there, ready to branch out for readers.

I don’t disagree with this. And yet, my brand is undergoing an evolution and I’m uncertain how to proceed. I branded myself as a military romantic suspense writer. I still hope to do this.

But now I have international tycoons to add into the mix. And I love them. Oh, I am so happy writing and rewriting my story for Presents right now! I realize how much I fit there, how much I love those stories — even if it’s taking me a bit of work to get into the proper groove with my own story.

But how to combine these two things? Many writers start out with one kind of story, one place where they know they fit. Some write a bit of everything. In that case, I think brand is contained in tone and voice. It’s about sexy or flirty or dangerous or whatever the underlying core of a writer’s voice is rather than a specific genre like suspense or paranormal.

I realized in San Francisco that my own brand of suspense is dangerous and sexy, not gritty or dark or terrifying. And, in many ways, this describes my heroes — whether they are military warriors or wealthy tycoons. I love dangerous and sexy men.

In my stories, not in real life. Thankfully the hubby’s most dangerous habit is abandoning me to play on the computer when I’d prefer he help me unload the dishwasher. This is dangerous to my temper and his well-being, but that’s about it.

But dangerous conjures up danger, so maybe it doesn’t work for tycoons. Which brings me back to my dilemma. How to brand myself with something generic enough to work for more than one subgenre without being so generic it’s forgettable. Or should I even worry about this? I haven’t sold anything yet after all.

What are some of your favorite author brands? Is there any tagline that stands out to you? Do you have a brand?