Technical Topic -- Narrative versus Dialog

Someone was wondering --  (I paraphrase here) -- 
"I write lots of narration and exposition.  How much dialog does a Romance genre book need?"


Or, to put it another way . . . in Romance genre, do the hero and heroine have to talk to each other?

Ever on the alert for topics of world-shaking import, I set my mind to this one.

where metatext needs metatext

One way to investigate the dialog/narration question is to . . . look.
(This is the alert-and-proactive attitude that kept your hunter-gatherer ancestors alive in a hostile world and allowed you to survive High School.)

One can go to googlebooks. Here. 

At googlebooks, type in the name of a wildly successful romance author.
Eloisa James, for instance.
Pick a book at random. Your Wicked Ways. Here.

In the 'search box' to the right,
(We'll all wait while you find the search box to the right.  You've got it?  Yes.  Good.)
type in the word,  'under'.
This will generate a variety of random pages.

Randomness is powerful.

On these random pages, we will estimate the percentage of dialog.
(which we will dictatorially assume also includes tags and trailing stuff actions and like that but not exposition or narrative.)

page -- percent dialog-ish stuff

page 334 -- has only 5% dialog-ish
223 -- 50%
126 -- 95%
290 -- 15%
281 -- 40%

Jayne Ann Krentz, Absolutely Positively

58 -- 10%
38 -- 90%
156 -- 95%
43 -- 20%
244 -- 95%
174 -- 0 %

Mary Jo Putney, Never Less Than a Lady

76 -- 0%
245 -- 90%
133 -- 70%
236 -- 15%


Nora Roberts, Vision in White

331 -- 0%
262 -- 100%
313 -- 15%
131 -- 95%
126 -- 60%

What we see from this is that successful authors use both dialog and narration and they don't mind committing a whole page to one or the other. A cursory glance at a few random pages would indicate there's a pretty even balance between pages heavy on one and heavy on the other.

Which is about as much Romance genre structural analysis as anyone can be expected to do on one cup of coffee.

The Chinese Cover

A writer's life is not necessarily one of frantic and absorbing interest to the observer.

I mean, it can be.  I do not doubt that there are writers who finish the day's work and flip down the lid of the computer and stroll out to rassle aligators --

(Crocodiles have a narrow snout and alligators are the ones with a broad snout, in case you ever find yourself rassling one.  Alligators are considered more dangerous because of that greater crushing power of those wide jaws.  But then, writers are not wimps.)                                                                                                    These are alligators                      

or toboggan down the Matterhorn --

(Did you know it's the Matterhorn only in Germany?  If you're in Italy it's Monte Cervino.  In France it's Mont Cervin.
. . .  And folks wonder why there's so much international discord.)




This is the Matternorn, 
or whatever.

or conduct a wild passionate affair with Johnny Depp.



(You thought I'd never get to the end of that sentence, didn't you?)

But mostly writers lead, as I say, dull lives.
I know I do.

Today, however, as I was walking the dog, I met a most beautiful red fox out in the fields, who kinda curled his lip as if to say,

"You're interrupting me, you know.  Do I come into your dining room when you're hunting mice?  Do I?"
and loped off into the bushes in a snit.

The second wild bonus of the day is that I ran across the cover of the Chinese Spymaster's Lady which had not previously come my way.  In fact, I didn't know Chinese Spymaster was actually out.  It's here.

The Title, according to Babelfish, is:

Spy Sea Rival in Love

which I kinda like.

ETA:  In the comment trail, Sherry Thomas points out that this title is actually Love and Hate Among Spies 
which I also like.



If you go to the site you'll see, over on the right hand side, they've given me five little pinky thingums.
I think they may be ducks.

In any case, I am so delighted with this  beautiful cover.  I really like it. 

My Lord and Spymaster will come out in Chinese next month and then they will maybe send me a copy of each.


The fox that appears above is not the actual fox I saw.  I don't cart a camera around with me, worse luck, so I do not have a copy of the actual fox.  This is an entirely different fox, attrib galen.  It is almost as pretty as the fox I saw.

Technical Topics -- The Scalpel Approach

Somebody asked:

But what about the wonderful scene in Chapter One. 
I know it's backstory,
but it's really good. "

(I'm kinda parphrasing what was said here.  He had lots more excuses, for one thing.)






       
 This giraffe is really great backstory put into Chapter One.  I mean, as a visual concept.


What I said:

I, too, hate to discard good writing.

Lookit here.

See Joanna discard good writing.  See Joanna suffer.
Sometime there's a scene you have to write and you can't use because it don't fit in the action of the book.
Live with it.

We don't add scenes because they are interesting, beautiful and cool. We set scenes in place because their action, tone, pacing, emotional content, and movement through the character arc
TELL THE STORY.


[/shouting]

If the reader has to edge his way around a kitchen sink in the front hall, we take the sink out. It doesn't matter that it's a beautiful kitchen sink.

Be ruthless. Does that scene drive the narrative forward . . . or slow it to a grinding halt?

Which is all very fine and philosophical, but how do we actually DO this?


1) Finish Draft One.

2) Set the ms in front of you and take out a sharp knife.

3) You are going to cut out everything that is not essential to the action.
If you remove a scene and the story still works, it is not an essential scene.

Especially take out
dream sequences,
flashbacks,
old men reciting prophesy,
descriptions of sunrise over the steppes,
scenes of somebody thinking about things,
talking heads explaining what somebody's grandfather did.

4) You now have two piles
(a) the working action of the manuscript, and
(b) literary kudzu.

This is where you can indulge yourself.
You get to take an amount of kudzu no greater than 5% of the total mass of the ms and fold it back in.


This is a WeightWatchers indulging of oneself --
i.e. you get a piece of chocolate cake the size of a postage stamp --
but it is better than nothing at all.



5) Reread this new, sleek Draft One. It's better, isn't it?

An interview at Romantic Crush Junkies

Interview with me here at Romantic Crush Junkies.


They have reviews of books by Anna Campbell, Julia Quinn and a whole raft of Nicola Cornick goodness.  Cool stuff.

Romance genre -- The forbidden tropes

Elsewhere, discussing what is forbidden in genre Romance, I came up with a short, tentative list.

I bring this bright and bouncy back to show everybody.
Or at least, everybody who's writing straight genre Romance.  I can't imagine this particular blog has a wider audience.




So.  These are some 'Romance genre rules' I came up with.
This is in random order, not running from more forbidden to less or something. And I'm talking about standard mass market Romance genre.

Which is all very specific and technical and also behind the cut:

Regency Bling

Regency Bling

The Regency gentleman's code might be summed up as, "no perfumes, exquisitely fine linen and plenty of it, country washing . . ."
and bling. 

I went in search of Regency bling, hoping for a gold ring in the ear of at least some Regency fops. 
Alas, not so much. 

The robust and adventurous Tudors wore earrings.  The courtier Buckingham sported major rubies.  That man of action, Sir Walter Raleigh, a gold hoop.  (This picture here shows him with a remarkably fine pearl earring.)


A half century later, Charles I wore a great pearl in his ear when he mounted the block to face the axe. 
By the Eighteenth Century, however, earrings had become the province of buccaneers, exotic foreigners, and the most foppish of macaronis.

See the rest at Word Wenches  here.

Technical Topic - Pronunciation

I put this together because the Penguin Audio people wanted to get the pronunciation right.  Or at least, get it the way the author wanted it, which is not quite the same thing.  It's very conscientious of them, isn't it? 

This is part of what authors do, I guess, when they are tearing their hair out and not writing the JUSTINE manuscript because her voice just won't come to them.

 So maybe you're interested in how it's all pronounced.
Or maybe you're not . . .  That's good too.

I've put the looong chart with the pronunciation below the fold

 

A Basketful of RITA Recommendations

Every year RWA honors outstanding Romance books. These are some of the best of 2009  Here.

I don't get to do as much reading as I'd like, so I haven't read most of the RITA winners and finalists.
But I've read and loved these here below.
I recommend them.
They are wonderful books.  
     

Laura Lee Gurke, With Seduction in Mind
Elizabeth Hoyt, To Beguile a Beast
* Sherry Thomas, Not Quite a Husband   A 2009 RITA WIINNAH !!
Liz Carlyle, Wicked All Day
Deanna Raybourn, Silent on the Moor
Susan Wiggs, Lakeshore Christmas
Carolyn Jewel, My Forbidden Desire and Scandal
Tessa Dare, Surrender of a Siren
Alissa Johnson, Tempting Fate
Kate Noble, Revealed 
* Julia Quinn, What Happens in London  A 2009 RITA WIINNAH !!
Courtney Milan, This Wicked Gift 
* Molly O'Keefe, Christmas Eve Promise  A 2009 RITA WIINNAH !!
J.D. Robb, Promises in Death

Out in Italian

You know how I find out I've got a foreign language edition ensconced happily on some foreign shelf?

Pick one:

a)  My agent sends me a congratulatory e-mail.

b)  My publisher's two copies of the foreign-language edition show up in my mailbox.

c)  Kindly and alert reader Nina M. sends me the news.



In yet another of my small-minded carpings about covers, I will point out that my Annique and Grey have wandered into the High Victorian era (complete with gas lamps,) and that she has Really Big Hands.

I feel great kindliness toward this Italian publisher.  They translated my very first fiction book way back in the dim ages when folks still wrote on clay tablets and baked them in the sun. Italian Romance readers seem to be a great bunch and I hope they've got themselves a good translation.

Un Amore da Spie is Mondadori 921, neatly snuggled between Maggie Osborne's I do, I do, I do (920) and Johanna Lindsey's The Heir (922).  Un Amore da Spie is pleased to be in such august company and rather enjoying having its very own number.


Un Amore da Spie is available from Arnoldo Mondadori Editore, somewhere, somehow.  Those who buy Italian books will doubtless know how to find them.

The Housing Situation

I have been pounding out the JUSTINE manuscript in a conscientious manner for the last couple o' days, which means I haven't been blogging.  I am quite utterly uninhabited except for pictures of Justine's bedroom up in the attic of the brothel and worries about what POV I should be in. This is fine for me.  Not so interesting for anyone else.

So I cannot blog, really,
the mind being dry and empty as a tin can put out for recycling by a conscientious householder.

Instead of writing something of grave import or practical use, I'm going to complain about the bird situation in my yard.

This requires an explanation.
A lengthy preamble.
A prorogation, even.

This next immediate bit is an example of why we don't do prologues.  Because they are all a form of special pleading, aren't they?

I will now insert a fold so people do not have to upload the many pictures that follow if they do not want to.

I will just warn you that there is nothing about writing below the fold.
Just philosophy and birds.

Let Them Eat Brioche

One of the minor disappointments of life is that there are no croissants in the Regency. My characters can enjoy flaky rolls, buns, sliced bread, tarts and all sorts of pastries for breakfast, but croissants didn't arrive in Paris till the late 1830s.  They're as anachronistic on the Regency table as cornflakes.

Regency folks can chow down on brioche though.  We got brioche.

Brioche is a light yeast bread, eggy and somewhat sweet -- though the recipes tell us it was less sweet in 1800 than it is nowadays -- frequently carrying a nice surprise of nuts or raisins.  It was a veritable breakfast cliché in Paris in the Eighteenth Century.  Brioche would have been comfortable and familiar on any wealthy English breakfast table, those being the ones influenced by the French way of cooking.  By 1820, brioche was so common in England it was standard in cookbooks.

Which brings us to the question . . .  

 . . .  and click here for the rest of the posting, over on Word Wenches.

photocredit dessert first

Technial Topic -- Outlines. I mean, like, why?

In the comment trail, excellent commenter Annie said:

But I can't quite imagine how I'd outline a story, since all I have are scenes. The few I've written down I already know would have to be thrown out--the setting isn't right, the characters are a different age than I thought, etc. And then there's a character off stage who's not even in the story, and I find him really annoying. I'm in awe of you and other writers who can live with the unrulyness.


Scenes come up and clamor for attention and we love them all as a hen loves her chicks.
But we must stop thinking -- Is this scene not wonderful?  Is this scene not cool?  And start thinking -- what does this scene do? 

An Outline is simply a list of scenes that tells the story. 

Lots of stuff goes on in our fictive world . . . . battles and betrayals and getting yer hair cut and eating asparagus.
We have to pick just a few morsels of all this activity for the manuscript.

We fall in love with the scenes that come to us.
It is a traditional weakness that we collect up wonderful scenes that take place before the story actually starts and make them Chapters One-through-Three.  This leads to many a carefully crafted Chapter One-through-Three being torn out by the roots. 

All along, we create scenes that serve no story purpose. 
They become outtakes. 

It's like some cruel sacrifice to the Writing Gods.

In the end, in a mood of cold, dire ruthlessness quite alien to our character, we will gather to our bosoms the few, favored scenes that tell the story and toss the others away onto the scrapheap of our subconscious where they will jitter at us in dreams for the next decade which is why we are like this.


How do we take the inchoate mass of possible scenes -- which are not in any order and some of them don't fit at all and we have no idea how they relate -- and make story?

Well . . . we outline.

Basic process, (and I am talking about my process, since I have no idea what anybody else does,) is we work backwards. 
We go from what we need back to what we have imagined. 

Ok.
There are several kinds of scenes we need.

I) -- We need scenes that convey plot. 

Plot consists of a series of Necessary Actions.  You know something is a 'Necessary Action' because if you leave it out or you change it, the story doesn't happen.  All else being equal, we try to show these Necessary Action on stage because they tend to be interesting.

II) -- We need scenes that change the protagonist. 

In a coming-of-age story, the change might be his developing maturity.  In a spy thriller, this might be the villain deciding to blow something up, or the hero deciding to leave his comfortable retirement and go hunt villains.

In Romance genre,
(I love Romance genre because it is straightforward,)
this character change is growth of the love relationship.

In a Romance genre story, we show the Character Change as a series of Romance Stages.  There is an analog to the Action Plotting in that there are Necessary Romance Stages.
You know something is a Necessary Romance Stage because if you leave it out, the love relationship doesn't hold together.  It seems unrealistic. 

(Erotica is not Romance genre because there is no development of a love relationship through a series of stages.)  

See how when I talk about the kind of scenes we need I am not saying, scenes that 'explain why,' or scenes that 'set up the story,' or scenes that 'reveal character'? 
We do not write scenes to convey information. 
Really.  We don't.  There are reasons for this.

III) -- And we need scenes that are just so wonderful we can't leave them out.
"No, we don't."
"Yes, we do."
"No."
"Yes".
"Oh, go ahead and add them.  I can't stop you.  But the editor is going to jerk them out anyway."
(jo's subconscious pouts.)

Just about every scene in the final manuscript will be built around either Necessary Plot Action or Character Change. That's what we outline.

See how this helps corral the little darlings?

Even before we begin to outline we can shoo away many of those clucking, fluttering, beloved scenes
because they do not contain the protagonists learning and changing,
do not contain action that is essential to the plot,
and a good many of them do not even occur within the brief span of the story here-and-now.

This gets rid of much of the chirping throng.


SPOILERS lie below the cut.
BIG SPOILERS.
Just don't go there if you haven't read Forbidden Rose.

Interview 'avec moi', a Forbidden Rose giveaway

It is with some chagrin I note yet another website is eager to give away their copy of Forbidden Rose.

And yet, there it is.  The excellent writers at 'All The World's Our Page' will give you a chance at a spanking new copy of Forbidden Rose if you drop by and comment at 20 Questions.

While there, you will have the opportunity to

1) read the 20 Question interview with me where I natter on about life, writing philosophy, coffee shops, 'story as the elephant in the writing playpen', and other matters of breathless interest;

2) discover a brief excerpt from Forbidden Rose which might be entitled 'Jean-Paul and His Knife' or 'What Maggie and Doyle Were Doing Before They Had Wild Monkey Sex';

3) read the similar but more interesting and polished 20 Questions with Deanna Raybourn which will absolutely require you to go out and buy her books if for some inexplicable reason you have not already done so.

Free copy of Forbidden Rose

You want a copy of Forbidden Rose?  You haven't bought one yet?

Here's your chance.

Fellow historical writer Deniz -- she does YA -- is giving away a copy of Forbidden Rose.  Here.

YEAH!!!





Drop a comment by her blog to enter, then read down the page a bit till you encounter 'sahlep'.

Sahlep is not a magical kingdom located in the Mountains of the Moon or a Rock Star from Israel or a breed of long, slinky dog.  It's an ancient beverage made of orchid flour, still served in Turkey.

It's so ancient, it was a predecessor to coffee and chocolate in Europe.  As 'saloop' it was popular in Seventeenth and Eighteenth Century coffee houses in England. 

The wiki, here, explodes the notion that the name means 'fox testicles', which takes somewhat of the fun out of it, do you not think?

Outtake from Forbidden Rose

You may or may not know this;
I spent a lot of time agonizing over the beginning of Forbidden Rose.

I rewrote the beginning a dozen times.
I'm still not sure I made the right choice. *g*


Here's  a beginning I wrote and discarded and put in and took out and put in and took out.
It was almost Chapter One.
Instead, it went in the waste basket.  Such is the life of a writing snippet.

******* beginning of outtake *****

France was a black line cut between the starred sky and the sea.  They were killing each other in Paris and at convenient spots in the countryside, all in the name of Revolution.  Doing it in imaginative ways.  The gates of hell were open and all the devils were loose.

If there'd been a general increase in liberty, equality, and fraternity, he hadn't seen it.

William Doyle took a wood cask from a smuggler, rested it on the gunnels to shift his grip, and lowered it over the side, down to outstretched hands.  The next cask was ready when he turned back.

Everyone worked in practiced, heavy-breathing silence, in the dark.  The rhythm to it came half came from these Devon smugglers, who knew about heaving bales and boxes from one boat to another, half was the sea itself.  The sea lifted the French fishing boat towards him and drew it back, then lifted again.  He and a barely-seen Frenchman timed the waves and passed cargo when the ships knocked sides, clapping against the bags of sand that kept the hulls silent.

This cargo was Assam tea leaves, pressed into hard blocks and packed tight in waterproof kegs.  It'd be poured into teacups in the Faubourg St. Germaine by the end of the week.  He didn't expect to get to Paris half that quick himself. 

If he ever got to Paris.  That was looking damned problematic.

His own personal cargo was the two crates over there, bobbing in the French boat. Counterfeit notes.  Troublesome stuff.  Then there was the boy, also troublesome.  He was starboard, puking his guts over the side as he'd been doing with some regularity, every ten minutes, since they left Dover.

Almost made him feel sorry for the murderous little animal.  Almost, not quite.
   
This was just a duckfooted mess of a job.

Doyle hefted the last keg, grunted, and handed it down.  Soft-footed on the deck, whispering, the French smugglers scuttled about, tying and securing and covering illegal cargo with canvas and fish.

The transfer was complete. Time to get a move on. The boy crouched with his back to the forecastle, pale gray in the flicker of the dark lantern, sullen as a dirty rag. 

He strolled over and nudged all that suffering with his boot.

"You."  He spoke French.  The boy understood just fine. "Get the bags." 

No response.   

"Or stay on the boat.  They'll drop you off somewhere.  Mid-Channel, probably."

The boy, Hawker, got to his feet and staggered off to get their luggage.

***** end of outtake *****


I kinda regretted not using this.

Now, just in the interests of full disclosure and maybe somebody is interested in how this all works, down below the cut I've put up what this little segment actually looked like when I set it aside.
Which is to say, with all the notes I make for myself still in. 

My Dog

Could anyone possibly be interested?

Me.  My dog.  My coffee.


Here we are, me and Brittany. She's a ... can I call her All American Dog? We think she's collie and husky.

But maybe it's more complex than that.
It's a wise dog that knows its own father.



I drink coffee in the morning and make up a pot of tea for the late afternoon.

When I'm working at home, Brittany is right there keeping me company while I type away.

Here, you see us having the day's first cuppa. That's Brittany just checking it out for me. Note the 'walking ware' -- those are classic cups.

Find more, much more, incredibly extended more,  here

Walking Sticks and Canes

I'm talking about Sticks and Canes over at Word Wenches.

I am now a Word Wench.
*jo hugs herself madly*

This is so wonderful.

I am so delighted.

Word Wenches is THE cool blogplace to be.

And I am there.  From now on.

Yes!!






*cough*

Settling down now to talk about canes and walking sticks in a historical Regency sorta way . . .

I'm here to talk of walking sticks and canes carried by the haut ton of England and France.

English gentlemen, long before Teddy Roosevelt showed up to advise this, walked softly and carried a big stick.  Every other portrait shows some nattily dressed fellow  with a walking stick pegged jauntily into the ground or a slim baton negligently tucked under the elbow.  The dress cane was the quintessential mark of the dandy for three centuries, part fashion accessory, part aid to communication, part weapon.


And I suppose you could always just to lean on it.


More here

What you need . . .

I was writing along elsewhere, talking about what you need to get a first novel published.


The question was brought up as to whether anyone could work like the devil and learn lots of craft and become a wiriter . . .  or if it's a gift that you either have or don't have.
In short, a fairly standard discussion that comes up a lot.

I brought my posting back with me from that site, stuffed in me cheek pounch.


ISTM you need a couple three things -- I'm coming up with a list of six -- to be successful in fiction.

Three of these imperatives are out of your hands.
Three, you can maybe do something about.

The Order of Reading

Down in the comments section, some folks were wondering --
What order should the books be read in?

The order in which they were written?
. . . .  (1) . . . . . . . . . . . . . . . . . . . (2)  . . . . . . . . . . . . . . . . . .  (3)

Or the year in which the stories are set?  Their chronological order?
..  (1794 . . . . . . . . . . . . . . . . . (1802)  . . . . . . . . . . . . . . .  (1811)

Or, like . . . alphabetically or something. 

This is what excellent commenter Annie said here:

". . . the reviewer [on Amazon] advises that the books should be read in order, by which she means chronologically by time period rather than the order in which they were written. 

I've been ruminating on the implications for the (or more particularly, my) reading experience ever since. Would I have read TSL differently if I'd encountered Adrian and Doyle first in FR?"

Which is the cogent point.

The books are meant to be standalone.  Everything a reader needs to enjoy and understand the story is contained in the book at hand.  We always start with the, 'You Are Here', on the map and explain the local topography, even though the territory stretches out large from there and we only cover part of it.

But the reading order is going to make a difference in how the continuing characters are perceived. 

An example of this, probably the most important instance so far,
(though I have another one I'm writing into the JUSTINE manuscript,)
shows up in the relationship between Doyle and Annique in Spymaster's Lady.

In TSL, I've tried to create a non-threatening and non-sexual role for Doyle.  There he is in 1802 -- all large, strong, masculine, and young enough to play a romantic hero.  But I don't want the reader to see that.  When Doyle and Annique interact -- alone together in her bedroom or sitting scrunched next to each other on the seat of the coach -- the reader is not meant to get any sexual vibe at all.

In Forbidden Rose, eight years earlier, Doyle is presented as an earthy, sexual man.  At least, that's what I'm trying for. 

If a reader brings the 1794, Forbidden Rose, sexual Doyle to Spymaster's Lady, she has an enriched view of Doyle.  She knows him better.  Because of that, he's going to feel like a 'bigger player' on stage.  And, most important, the scenes between Doyle and Annique might have undertones I'm trying to avoid.

So complicated.   Remind me again why I decided to set several books in the same fictive universe.


If I'd written the books in chronological order, I would have seen these problems of TMI about continuing characters and dealt with it in some cunning and just incredibly nuanced way that does not come to mind at the moment.

But I didn't.
Not a bug, as they say in the software industry.  It's a feature. 

So I think what I come out with at the end of this is:

If you read the books in the order in which they were written, you're going to see the characters develop as they did in my own mind.  You'll find out about them in the way I found out about them.

If you read the books in chronological order, everything is going to fit together neatly with the ongoing historical events.  And you should -- I hope -- get some sense of the growth and developing relationships between my folks.

If you go in chronological order, there will be no 'spoilers' about who ends up with who and gets happy endings. 

Though really, Romance genre is not the place to come if you want to be surprised at the end of the book that the hero and heroine live happily every after.

Animals in the House

I delight in animals . . . all kinds -- from wild tigers to tame kitty cats.  The feistier they are, the better I like them.  I try to put at least one in each of my books.

SPYMASTER'S LADY introduces us to Tiny, the huge black dog that guards the house. 

Follow the rest of the blog here to Romcon

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