Issue #06
June, 2005
Dear Romance Student,
It's hard to believe that June's already more than
half gone. The dog days of summer are rapidly approaching and the beach calls
to me. Yet that little voice in my head keeps saying writing is something I
must make time for.
Over the years, I have learned to pay attention to that little voice. It keeps
me disciplined and committed to a career that is rewarding in so many ways.
And deadlines have a tendency to creep up on you.
That said, what are your plans for writing this summer?
Since I recently submitted two books back to back, I plan to spend some time
catching up on my reading.
Still, I have to do some writing. I can't lose sight of my September deadline
when my Harlequin, Bombshell book is due.
June started off with my book signing at BEA (Book Exposition America.) in
New York. For those of you unfamiliar with BEA, it is considered the largest
book event serving the largest book market. It's exciting, exhilarating, and
totally overwhelming.
Every year, an eclectic group of industry professionals converge from all over
the world.
Authors sign and give away their books (free) and publishers and small presses
showcase their goods.
The event is not limited to those writing or reading romance either. For more
information about this event and upcoming ones, log on to www.bookexpoamerica.com.
Now for a shameless plug. My latest release, A Taste of Paradise, a book in
the Arabesque Port of Calls series, will be on the shelf of your favorite bookstore
come July. Please pick up a copy and drop me a line to let me know what you
think of it at mkinggambl@aol.com.
Please enjoy your summer --and make time to write!
Tools of the Trade
Beware of Clichés
This month's tip is provided by Writing for Love and Money advisory board member
Sandra Madden. Sandy is a prolific contemporary and historical author. For more
about her, visit www.sandramadden.com.
Counting Clichés
by Sandra Madden
For most of us writing is a labor of love, and thereby hangs a
tale… of clichés. While I hesitate to make a mountain out of a molehill, let's
get down to brass tacks. How many clichés work their way into your writing?
Do you use clichés without thinking? Do they effortlessly fall
into your most erudite paragraph?
Or do you avoid using them at all costs? And if a cliché should slip in here
and there, do you edit it out of your work?
I never gave a great deal of thought to clichés until I started
judging writing contests. The first thing that happens after you're published
is that you are deluged with invitations to judge writing contests. The second
thing that happens is a jolting awareness of clichés.
A common denominator in the proposals I've read during the past
few years is an excessive use of clichés. Sometimes it seems that every romance
cliché ever written is included in the first three chapters of every entry.
This phenomenon may be an attempt to demonstrate that the writer is well-read
in the genre. Unfortunately, it's not a great way to win contests or make sales.
But it's certainly had an effect on me. I've become a closet cliché counter.
The word "cliché" is derived from the French "clicher," meaning "stereotype" --
which literally translates to the process for making printing plates.
And we all know what printing plates do. They repeat and repeat and repeat
what is printed on them. And so it is with a cliché, an expression repeated
so often it loses its freshness.
Eric Partridge -- no relation to the singing Partridge family
of the seventies -- is the author of the Dictionary of Clichés. He defines cliché
as an outworn commonplace; a phrase or short sentence that has become so hackneyed
scrupulous writers shrink from it. To use them is an insult to the intelligence
of readers. Although Partridge's definition seems fairly harsh, it is food for
thought.
As beginning writers, we often rely on words and phrases we've
read time and again, words and phrases that we know are accepted and understood.
How often have you read the following romance clichés?:
- He pinned her
with a piercing gaze.
- His heart slammed against his chest.
- Her pulse
quickened ... leapt, spun, jumped, ran.
- From the very depths of her
soul.
- Her eyes, glazed with the fire of desire, met his.
Creating an original phrase, simile, or metaphor will add sparkle
to your work and make your proposal stand out from the rest of the pack. Count
the clichés and ditch them.
It's always better to be safe than sorry.
Heppenings in July / August
July 27-30 2005
Reno, Nevada
Romance Writers of America National Conference
Members and non-members welcome. Participate in the workshops, literacy book
signing, and Golden Heart Awards. Online registration started February 2005
at www.rwanational.org/conferences.cfm.
August 26-28 2005
Holly wood Beach, Florida
For screenwriters - the First Annual Reel Hollywood Premier Event and Pitchfest
For information, log on to the website:
www.thereelhollywood.com.
Now ... on to our interview with Monica Harris.
Monica is a savvy professional editor who earned her excellent reputation by
launching a successful and profitable line as well as a bookclub. Her publishing
career began at Kensington, where I first met her.
She is known for her innovative outlook, business acumen, and classy yet down-to-earth
approach. She has discovered many of today's popular authors.
Marcia King-Gamble
Director of Student Services and
Editor, "Writing for Love and Money"
Interview with Monica Harris
RY: Monica, when we first met you were an editor at Kensington Publishing,
where you were acquiring historicals. Later, you went on to be my editor.
Can you fill us in on your life since then?
MH: While at Kensington Publishing, I edited historical romances, contemporary
romances, mysteries, women's fiction, and self-help books, as well as launching
Arabesque. After I left Kensington in 1997, I joined Carol Publishing, where
I focused on non-fiction titles, including gift books and cookbooks. In 1999,
I joined Bertelsmann to launch Black Expressions Bookclub, which grew into one
of the most successful bookclubs in publishing history. Later, I left to raise
my children and begin an editorial consulting business. I continue to work for
major publishers and individuals.
RY: What does consulting for a publisher entail?
MH: Among other things, I look for manuscripts, negotiate the contracts, and
prepare the manuscripts for production.
In general, I pay attention to what books are popular and why. I look at cover
treatments and copy. I am alert to social trends that help me decide which stories
are of interest to readers. I also talk to others in the industry to discuss
how and why books are sold and what indicators they see in marketing, sales,
and publicity. Mainly, however, this is a solitary job where one is alone with
the words, the stories, and the fantasies that the writers create.
RY: Let's say a manuscript that you want to acquire comes
across your desk. What's the next step?
MH: I alert the editorial staff of my interest in the manuscript, get permission
to buy it, and negotiate the contract. After all the contractual details are
complete, I reread the manuscript with the eye of reader and the experience
of an editor. I write a detailed letter that will guide the author through revisions.
When the revisions are complete, I look the manuscript over once more before
sending it to production. I also contribute to writing promotional copy and
creating the cover.
RY: I've heard about meetings where editors bring projects
they're interested in to a committee? Can you tell us what happens in those
meetings -- and why a manuscript that an editor is hot on might get turned down?
MH: The editorial department often has editors who specialize
in genres, so getting a manuscript that they love approved is rarely difficult.
However, if a manuscript has crossover or mainstream potential, or if it is
on a subject that has not been published very much, a larger discussion is needed
-- often with the input of the sales, marketing, or publicity departments.
The final decision is an agreement amongst the editor-in-chief and another
department, as well as the sponsoring editor.
RY: What is your favorite part of the editorial process?
MH: Actually editing the manuscript. I like reading the manuscript with an
editor's eye and helping the author make the book the best it can be. Since
there are only so many original plots, it's really the talent of the writer
that makes a book fun and interesting.
RY: This may seem pretty basic, but can you discuss the preferred format for
manuscript submission? Is it disk, CD, hard copy, or a combination? How should
the manuscript be laid out and in what font?
MH: I prefer manuscript submissions to be double- spaced and
in 12-point type.
RY: On any given week, how many manuscripts are submitted to you? And of that
number, how many end up in the slush pile?
MH: I get an average of five submissions (including queries)
per week. Slush piles (which is what we call unsolicited manuscripts) are rare.
Most manuscripts are solicited either through agents or by the editor asking
for them directly.
RY: Can you give us an idea of the types of query letters that get your attention?
MH: The best query letters are those that indicate the writer has done his/her
research. The writer knows the editor he or she is sending the manuscript to
will be interested in it. The letter is crisp and clear. The detailing of the
novel is intriguing, making the editor want to read more.
The letter also includes a SASE.
RY: Our students have heard nightmare tales about manuscripts sitting on an
editor's desk for almost a year. Can you tell us why that happens?
MH: Simply because the editor is busy and there isn't an agent to remind the
editor of the project. If you're uncomfortable with the length of time your
manuscript has been on an editor's desk, ask to have it returned. That way,
the editor will be reminded of it -- and may want to consider it before giving
it up.
RY: What are your thoughts about self-publishing? Would you
recommend that a new author having some difficulty placing a manuscript go that
route?
MH: Self-publishing has created a lot of successful authors. But being a self-publisher
is a long and difficult job, because the writer is also the editor, printer,
distributor, marketer, salesperson, and publicist. However, if you are successful,
it may be easier for you to get the attention of a major publisher, as you will
have a sales history and book reviews.
RY: Can you discuss how advances and royalties are determined?
MH: The publisher negotiates with the author for the advance. Royalty rates
may sometimes be negotiated, but usually only with a multi-published author.
There is generally an initial standard for both advances and royalties. You
get more when you prove yourself through sales and reviews.
RY: What suggestions can you give to a new writer who's having trouble breaking
into the romance industry?
MH: Simply write the story you want to write, and you will find a good fit
at the right time. The marketplace is full, so you will stand out only through
your creativity and writing skill.
RY: And, finally, what's next for Monica Harris?
MH: I've always been open to new opportunities and ideas. I love challenges
and doing things in publishing that I've never done before. Today, I'm very
excited about working with new romance authors and bringing fresh voices to
the publishing scene.
Who's Acquiring
- Tor/Forge -- Open to submissions. Anna Genoese seeking paranormal romances.
- Natasha Panza seeking chick-lit.
- Dorchester Books -- Acquiring multi-cultural romances, 90,000-100,000 words.
- Monica Harris-Mindolovich -- Acquiring.
- Harlequin -- Paula Eykelhof actively acquiring for Epic, a brand-new line,
75,000 words.
- Guidelines are posted on the romance forum.
Also actively acquiring for the
brand-new African American Line is Mavis Allen, editor.
Coming Next Month:
In July, we'll interview New York Times best-selling author Carla Neggers, whose
book Dark Sky will be released in August.
ABOUT ROMANTICALLY YOURS
Romantically Yours is a FREE monthly newsletter for students of American
Writers & Artists Inc.’s Romance Writing Course – “Writing for Love
and Money.”
We want to hear from you. Please send comments, news, research, or story
ideas directly to Marcia King-Gamble at romanticallyyours@awaionline.com.
American Writers & Artists Inc.
245 NE 4th Ave., Ste 102
Delray Beach, FL 33483
Phone (561) 278-5557
Fax (561) 278-5929
studentservices@awaionline.com
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© 2005 American Writers & Artists Inc.