An Ode to Coffee Shops

I do a lot of my writing in coffee shops.
And in libraries.

So I wanted to say, thank you,
to these various places.

And to coffee in general.















This here to the right is not my coffee shop.  This is Les Deux Magots which is in Paris, and where Simone de Beauvoir, Jean-Paul Sartre, Ernest Hemingway, Albert Camus and Pablo Picasso hung out.

They probably drank coffee there.  Though I may be fooling myself and they may have just drunk absinthe and brandy and got plastered.


My own coffee shop is in Virginia, but the principle is the same.  Except for the possibility of getting plastered with attentive waiters and croissants and the literati of Paris as company.

Here's my coffee shop menu of coffees.  You can see we are all extensive and international and sophisticated.

It's pretty good coffee though.

And the baristas have piercings, which makes it authentic.

This is the sofa where I hang out . . . see my computer, hanging out, and that there on the floor is the bag I carry the computer around in.


This is my coffee shop coffee, which I drink in the morning.  It smiles at me.
My coffee likes me.

I need coffee,
btw.
Really.


But I also like tea.

Here is my coffee shop tea, which is what I get in the afternoon, so I will be able to sleep at night.

I will not say my conscience is entirely clear, but mostly it is having too much caffeine that keeps me up at night, rather than regrets for a misspent youth in the tenor of, 'and yet I could accuse me of such things,' though there is some of that too.


My tea comes in a very heavy iron pot with a very heavy iron cup.  I think they are enameled and this is authentic Chinese tea drinking in which I indulge.

The electronics that surround me are much smarter than I am.  Sometimes my food and drink is smarter as well.


This is the other place I write.  The library.
I don't know why I go there to write since they don't buy my books.

I do not drink coffee, tea, strong liquor, or indeed anything at all at the library. 
They do not allow WATER in the library.  Maybe they think we will get into food fights or something.
The parking lot of the library is particularly lovely.


The interior of the library, however,  is like every other library nowadays.

Why do all libraries look alike?






For instance.  Here is a picture of the Bullock Fire Department in Bullock, North Carolina.

What we have here is some individuality.




If libraries would serve coffee, we would all be better off.

Putting Your Fiction Online

Someone asked, more or less,

"I'm an unpublished writer -- should I post chapters of my Work in Progress on my website?"


To which I reply:

There is a definite downside to this.  When you post a significant portion of  a work of fiction online, you may imperil your First Publication Rights.  (That's what you're generally selling when you sign a contract -- those First Publication Rights.) Putting your fiction online may also make your work less salable.  Publishers may be reluctant to buy a novel that's available free on the net.


Why would you want to DO this?
Why would someone want to post fiction online, on his website?
Seems to me there are a couple three possible reasons: 

-- Because he wants to fill up his blog with cool content, but doesn't want to write stuff specifically targeted to the blog and he has this piece of fiction handy.

Advice: If you want to keep a blog, write stuff intended for your blog. Don't be lazy.

Cool story example

-- Because he believes his fiction will draw traffic to his blog. He wants to build a following.

Advice: Do you read one chapter of a good book and then return it to the library?
Not so much.
Why would the readers of your blog feel good when you cut off your ongoing story, having just interested them?

Not the way to bring folks back to your blog.

'Teaser excerpts' of your cool story work when they point the reader to a buy button. If you can't include a link to the whole work, you've annoyed the folks you want to attract.


-- Because he wants praise/advice/discussion/feedback on his writing.

Typical Writer's Group

Advice: Join a writer's group.  Join or form a critique circle.  Print up copies for your friends.
 
Try Absolute Write.  
Try Compuserve Books and Writers Forum.



-- Because an agent or editor might drop by and see the work and be bowled over by it and get in touch with him about publishing it.  He heard this happened to somebody.

Advice: This is not so likely. 

Consider the slushpile an agent or editor has in her office: Here, Here. Here. Here.

With this kind of mail arriving every day, do you think agents and publishers go out trolling the web for more submissions? The odds of finding an agent or editor are astronomically better if you finish the work, send out queries, and submit the manuscript.


-- Because he does not have a completed manuscript and he wants someone to appreciate his writing right NOW.

Advice: I understand this.  Writing is a lonely business.  We don't get much feedback when we're working.
But . . .  posting a rough, flawed, unedited draft of your work is not respectful to the readers of your blog. If you intend to build a blog following, treat these people as you will someday treat your readers. Give them your best work.

-- Because he doesn't think the story will ever be published. He sees this as his only chance to share with a larger audience.

Advice: This is why folks post on fanfic sites -- this desire to share their work.
It's a generous impulse I hate to quell.

But do you intend to be a professional writer and get paid for it? 
Then trust yourself. Trust your work.

Later on, when you're published, you may regret that some of your apprentice work is out there online, haunting you, with all the newby mistakes that you can never, now, correct.

Technical Topic -- Historical Romance versus Historical Fiction

Someone asked elsewhere, "I write historical fiction. But I love a good love story. And so I set out to write a story where the love story played a prominent role  . . .  I've read about a "formula" that most romances adhere to; I know that I haven't stuck to it."

Is this book a Historical Romance?

Well . . . it might be.  Then again, it might not.  A 'love story' isn't enough to put you on the Romance shelves.

What it is --
There are many more titles on the shelf that call themselves 'Historical Romance' than there are titles in the 'Historical Fiction' section. Maybe it looks like it would be easier to go the Romance genre route.

But, not so much.  The many Romances are not really germane to a book stuck in the no-man's land between Historical Fiction and Historical Romance.  They're lighter reads.  History is a backdrop in these books, not a main player. Getting a dense and accurate Historical Romance published is probably about as difficult as getting published in Historical Fiction.

What you cannot do is get a book published as Historical Romance if that is not what the book actually is. The agents and editors are really canny about this. They know.

To qualify as Romance -- (I'm talking via my direct link to Infallible Knowledge here) --

(a) At least half the manuscript should be the male and female protagonists in the same scene, face to face.

(b) Another quarter or so, if you can't put the two protagonists face to face, should be scenes directly related to the MMC (Male Main Character) or FMC (Female Main Character.)

(c) The POV should be either MMC or FMC, (unless it's Omniscient Narrator,) for more than 90% of the writing.  You will see that this means almost every scene has one of the two protagonists in it.

(d) Here we come to the big one:

The central problem of the story -- the stuff that sends everybody into action -- is solved when the MMC and FMC finally get together at the end.

That is -- the central problem is not the Queen's Pearl being misplaced or Princess Elizabeth dodging the ax long enough to inherit. The central problem is that Thomas and Anne can't get married because their grandparents are feuding.
You know what problem is central to the story because most important actions the MMC and FMC undertake are motivated by that. We see them act in ways that will get them married rather than merely recover the Missing Pearls.

(e) In a Historical Romance, the FMC should have considerable 'agency'. She does stuff, and important later events happen in response to her action.

(f) The ending should be upbeat. There is a plausible HEA for the MMC and FMC. Everybody walks away smiling, except the villain.

(g) Nobody kills a puppy. This means the MMC's friend does not die lengthily on stage. Nobody the reader cares about dies.

(h) As a minor note, the word count is going to be under 120K.  Better and more salable if it's under 100K.

(i) Roberta Gellis did this.  Georgette Heyer got away with this once or twice.  But a brand new Historical Romance author probably can't.

Do not write about history.

By this I mean, be as accurate as you want, but do not have the narrator or any character tell us 'Why Henry VIII had money in the treasury when he inherited' or 'Why the 1814 Battle of Paris was a good deal more important that the Battle of Waterloo'. No consecutive 300 words should convey historical information.

If the readers of dense, accurate, well-researched Historical Romances want to read Historical Fiction, they know the way to those shelves. When they pick up your Historical Romance they do not want to read Historical Fiction.

Technical Topic -- Just a minithought on Show and Tell

Mostly, I hate to use the terms 'show' and 'tell' because I find them confusing.

I'd rather talk about basically the same concepts by calling them 'Here&Now' and 'Being Elsewhere'.

When the POV character is immersed in the sensory components of the scene or is involved in on-going action or is speaking dialog that deals with what's right there underfoot in the scene -- that's being in the Here&Now.

When the POV character is talking or thinking about stuff that's not going on at the moment in front of him, he's gone Elsewhere.  The character does this when he's adding backstory or infodumping or describing what happened last week or to his cousin who lives in Altoona or thinking about what he might do in the future and stufflikethatthere.

John picks up the toast and bites into it, tasting jelly -- Here-and-Now
John burns his mouth on the hot coffee -- H&N
John remembers his mother made good coffee -- Elsewhere
John hits Maurice over the head with a hammer -- H&N
John sees Maurice fall down dead -- H&N
Three hours later John describes the murder to Mary -- E
John thinks about the morality of murder while driving home -- E
John is afraid he's going to get arrested and hides under the sink -- H&N
John buys bleach to clean up the murder scene - H&N
John and Thomas plan to bury the body --E
John and Thomas bury the body -- H&N 

In general, I try to stay in the Here and Now of the scene, because that's where the story is happening.

It's all very Zen, y'know.  If I stay with the POV character and he's immersed in what's going on around him, the reader gets to move through the scene and watch it unroll, event by event.  Everything is solid, sensory, relevant to this fictive instant, logically successive in time, each emotion related to the next action, showing motivation that forms minute by minute.  The reader is caught in a stream of events that pulls him along.

Whenever I take the reader Elsewhere, I relegate the experiences to second hand.  I pull the reader out onto the bank to show him birches and willowtrees.  They may be interesting, but they are static.  He's plucked out of the story.  No longer dragged along by it.

Somewhat, this is the difference between information and story action.
I get all philosophical here and ask myself about the nature of fiction.
The fictive experience does not lie in the knowledge of events.  It's being part of the events.

That said --  there is a place for just plain laying down information.  You have to do it.
But don't mistake conveying information with putting the character inside the ongoing story, which is your main objective.

A Black Hawk Excerpt

At Romcon.  An excerpt (where they're about to make love.)   Here.

At Jeannie Lin's blog.  A fellow author's take on Black Hawk -- always interesting what other authors see --  Here.
You should click on 'books' up at the top and go see her covers.  Some of the loveliest in the business.

At the Debutante Ball.  An interview.  That's here.

Visiting the excellent writers at Risky Regencies.  Here.    There's an excerpt there and some discussion of cats, birds and dogs arising out of why the book is titled Black Hawk.



Where to Buy  Black Hawk


Oh.  I should mention that you can buy Black Hawk, (and it is on special sale in both sites,)  at:

Amazon
Barnes and Noble


Some Interviews with Me and Some Comments on Black Hawk

At Booktopia.  Nine interesting questions about the writing life.  Here.  

At History Hoydens.  An interview where  I talk about the problems of plotting Black Hawk.  There is no corner of that blog that is not interesting.  Here.

At Romance Dish -- you will find just the most flattering and wonderful review here .  That is four wonder folks --Gannon Carr, Buffie Johnson, PJ Ausdenmore, and Andrea Williamson who support Romance genre in all its forms.

Melanie and I, at Bookworm 2 Bookworm, do an interview, talking about the age of the hero and heroine, talking about  writing in general and plugging Black Hawk. That's here.   Bookworm has also posted such a lovely review of Black Hawk.   Here.


Reader I created him has another interview with me.  And it is so thoroughly another interesting place you should be visiting just on general principles anyhow.   That's here.



And I got an excerpt right here  (or Rat Cheer as we say in the South):


His chin was shadowed with a need to shave. She had known a boy three years ago. She did not really know this young man.

I do not know how to ask. Everything I can say is ugly. I do not want this to be ugly.

She gave her attention to pouring hot water onto the tea leaves. Rain drummed on the roof. Since they were not talking, since they were not looking at each other, it seemed very loud. He said, “As soon as you drink that, you should leave. It’s getting worse out there.”

I must do this now, before I lose my courage. “I am hoping to spend the night.”  She chose words carefully, to clarify matters beyond any possibility of misunderstanding. “It is my wish to spend the night with you, in your bed.”

Hawker was silent. He would be this self- possessed if tribesmen of the Afghan plains burst through the door and attacked him with scimitars. The refusal to be ruffled was one of his least endearing traits.


Time stretched, very empty of comment, while she swirled the teapot gently and he was inscrutable.  Finally, he took the oil lamp from the end of the mantel and busied himself adjusting the wick, lighting it with a paper spill from the fire. “The hell you say.”



Buying Black Hawk Overseas

Black Hawk is available as an English language book in Germany at amazon.de, here.   They don’t seem to sell the kindle version in Germany.  In the Netherlands, one can order the paperback here , in theory, but possibly not in practice.    The book is available on kindle at amazon.uk here but won't be out in paperback till January 19th. (Thank you, Ute, for the information.)


Book Depository has it here for free delivery worldwide.

Little blurb for Black Hawk

Black Hawk

Joanna here, talking about my new book, Black Hawk.

This is Adrian's story.  I don't know about anyone else, but I'm relieved the boy finally has his happy ending.
We've met Hawker as a secondary character in the other books.  He's Hawker, or Adrian Hawker, or sometimes Sir Adrian Hawkhurst, depending who he's pretending to be and who he wants to impress.  He is deadly and sarcastic and maybe a bit too fond of sticking knives into people.  Naturally he has the making of a Romance hero.   
 
Two of the most dangerous spies of the Napoleonic War — on opposite sides, natch — fall in love.  Think Montague and Capulet.  Think Yankees and Red Sox.  Think Hannibal and Scipio Africanus.  Think about the owl and the hawk, two birds that  might share the sky for a while, but can't live together.

hawk is cc attrib velosteve

. . .  The rest is here at Word Wenches.

Best Historical Romance -- Romantic Times Nominees

Romantic Times reviews such wonderful books every year.  Some books, they nominate for awards. See here.

I think of the RT nominees as the 2011 tack-down-and-buys.  Every one is a book of merit. It's like a Who's Who of Excellent Romance Writers.


The reason you're seeing this list is the name at the bottom is I'm among the nominees for Best Historical Romance of the Year. 
*cough*


RT NOMINEES FOR BEST HISTORICAL ROMANCE



NEVER A GENTLEMAN Eileen Dreyer, FOREVER, (April 2011) 

TAKEN BY THE PRINCE, Christina Dodd, SIGNET SELECT, (April 2011) 

AN AFFAIR WITHOUT END, Candace Camp, POCKET STAR, (April 2011)

 NOWHERE NEAR RESPECTABLE, Mary Jo Putney, ZEBRA, (May 2011) 

ELEVEN SCANDALS TO START TO WIN A DUKE'S HEART, Sarah MacLean, AVON, (May 2011) 
WHEN PASSION RULES, Johanna Lindsey, GALLERY, (June 2011)

BY HIS MAJESTY'S GRACE, Jennifer Blake, MIRA, (August 2011) 

UNCLAIMED, Courtney Milan, HQN, (October 2011) BOND OF PASSION, Bertrice Small, NAL, (October 2011)
 LADY SOPHIE'S CHRISTMAS WISH , Grace Burrowes, SOURCEBOOKS, (October 2011) 

THE NORSE KING'S DAUGHTER Sandra Hill, AVON, (October 2011) 

THE BLACK HAWK Joanna Bourne, BERKLEY SENSATION, (November 2011)

ONLY ONE CAN WIN

Giving Away Black Hawk (and here's an excerpt)

I've bumped this up to the top again.

Technical Topics -- Setting

Whether our story takes place in the trackless jungle, on the third moon of Jupiter, or aboard a fishing boat off Haiti, it's always there. Setting. The, 'where the devil are we?'

Setting gives the characters something to stand on. It keeps everybody from floating around in a formless white void.

Good setting is the polar opposite of that void. It has physical dimensions the characters can waltz around in. It's full of color, smell, sound and texture. It has a certain underlying reality, which is why it helps to know something about the place you're describing.

Good setting changes while we're looking at it and it changes one scene to the next. We go inside, if we've just spent time outdoors. Quiet after frenetic. Safe after danger. Bright after dark. Crowded after solitude. Shiny and mechanical after pastel and pastoral.

Good setting is a stuffed-full-of-possibility place that's interesting even after your characters walk off the set. A pair of boots left by the door says somebody will go out to milk the cows in a bit. A cleaning rag, stuffed hastily in a pocket, tells us the woman who answers the door has been dusting. The bicycle leaning outside a shop says someone has stopped in to buy milk. Good scene ties us to the wider fictive world. It holds the loose ends of of unrelated stories. It has a before and after that continue when the scene is done.

All this drama, color, and contrast keeps the reader from nodding off in the middle of Chapter Six, which is one of those writerly goals we have.

For the rest of this posting, go to 'The Other Side of the Story,:  Here. 

Giving Away Black Hawk (What I'm doing here . . .)

This is soooo overtaken by events.  Just read right on through.

Welsh Law and 'The Comrades'

We're here today with Lynne Sears Williams, well known to all of us over at the Books and Writers Forum.



JB:  Hi Lynne.  Glad you're able to be here today.  Your book, The Comrades, is set in Wales in the Ninth Century.  I understand you did a lot of research into Welsh law in that period, especially law relating to women Can you give us a quick overview of what was gong on in European law?

LSW: Many countries in the 9th Century had codified law to some extent.  The Anglo-Saxons in England had a lock on the feudal system, and decided the inheritance of a deceased man went to the eldest son. No money or property passed into the hands of a daughter; illegitimate children were ignored.

Wales took a different view, which focused on people in terms of status. Essentially, it was a caste system with a Celtic flare.

JB:  Give me some examples of how Welsh law dealt with the status of women.  Marriage law, for instance.

LSW:  Marriages were usually made for dynastic reasons, to form alliances and women never married a person of higher status. When codified in the 10th Century, "The Laws of Women" took up considerable space in the book.

The daughter of a king was worth 24 pieces of gold and brought a dowry that might include livestock, pots, pans, or jewelry.

JB:  What about divorce?

LSW: Divorce was permitted, though the Church, fostered by Irish priests, deplored it.

One factor could initiate the process. If a groom discovered on the wedding night that his wife was not a maiden, he could leave, with a certain weapon fully erect. Once he located witnesses to show his 'disappointment' they all had to go check the bridal sheets. No blood, no bride, no marriage. Divorce was instantaneous.

There were many categories for divorce; if one person changed his or her mind the next day, if a partner turned out to be infertile or wait seven years and divide everything.

A song in our century once asked, "What's love got to do with it?" The answer in Wales: "Nothing!"

JB:  Can you give us something of the flavor of the law in Wales in the Ninth Century?  What are some specifics that would feel odd to us today?

LSW:  Law prescribed everything possible. The seating arrangement in the Great Hall included specific people who would sit with the King, including the priest. He would sing the Pater Noster before meals. The falconer and the bard had places of honor.

The law stated that if the queen desired to hear more music, the bard would play quietly, just for her.

'Claim-time' occurred once a year when people who'd been arguing needed to settle the affair or have the king step in. The only capital offence was theft; in a land where controlled order was needed, to steal was anathema.

JB:  So you could say law dealt mainly with property.

LSW:  Every man, woman and child had a specific 'price' that would be considered by the King if a person was harmed. 'Honor price' entered the stage and could never be ignored. 

Land law, surety, how to treat a person not born in Wales were logistically calculated as were dogs, tamed or wild.  Then to the truly different: all of the king's possessions had a specific price, including his cat, who was worth a sheep and a lamb if killed or stolen.

Curiouser and curiouser, Alice might say.

Not in 9th Century Wales, my dear. Go on and chase your rabbit; we are busy looking for the King's Cat. It's missing.
Again.

JB: Heh heh.  Tell me a little bit about your book.


LSW:  In The Comrades, Evan, king of Powys, returns from a wedding to find a village ransacked, with women and children dead. Neighboring Gwynedd has broken the peace, crossing the mountain to pillage and murder. The dead babes tear his heart, and Evan vows to break the heart of Gwynedd.

Gwynedd's most guarded treasure is a pampered princess. In a bloody raid, Evan's comrades return to Powys with Gwynedd's heart.

Evan knows holding the princess will be dangerous and her safe-keeping may mean the difference between the lasting peace he desires and a bloody war. He's prepared for her to be kept safe but unprepared for the girl's intelligence, compassion and damnably kissable mouth.

"Evan took in the vision of a scarlet gown, which barely disguised the shapely form and a river of black curls that caressed to girl's waist.  Oh, Lord. He wished he had ordered sackcloth."

Morleyna's secret gift of Sight reveals a cruel betrayal that sends Evan on a mystical journey where he discovers his only chance for redemption rests in the hands of his captive.

Her brothers will arrive to claim their sapphire-eyed sister. Will her kinsmen, bent on revenge, destroy Evan and his comrades? Or will destruction come from Morleyna who may be the reincarnation of someone whose beauty captivated a nation?

JB:  Lynne's book is available from Amazon and as an e-book kindle, Nook, and iTunes.  And here's the lovely book trailer.

Hands. Just because.

I have a scene in the back of my mind that I really want to sit down and write.  I will, as soon as I get some mental space.

I'm about to introduce the character of Pax -- Camille and Pax -- to each other.  I want Camille to notice Pax's hands.  So I'm thinking about hands in general.  You are about to reap some of that.

Some gems and some heroines

Jess, Maggie, Annique and Justine. 
Four heroines.
Four gems.

Which gem goes with which heroine?

Can you match 'em up?

Find out over at The Romance Dish, and get a chance at a copy of The Black Hawk.

Diamond and pearl are Smithsonian.  Ruby attrib JOBAfunky. Amber attrib ericskiff. 

Giving Away Black Hawk. (Where I'm doing this . . .)

I've bumped the giveaway post up a bit, just so it stays on top.  I'll do this as long as I'm blogging around the town and giving away books.

Technical Topic -- You're Out of Order

Someone asks, more or less,

"When it comes to publishing a series, can I start somewhere in the middle and fill in the blanks as I go?"


Well, of course you can.
People do weirder things than that every day of the week.

You can start anywhere in the timeline and slip the next book in before or after, as you please.  This is what I do.
I'm headed into planning the sixth book, the PAX STORY, and it'll hit about midway through the series, timewise. 

If I were giving advice, I'd say:


-- Every story should be standalone.

This doesn't just mean each story has a full story arc and that you've shovelled in the needed backstory.

It means your twelve-year-old minor character doesn't telegraph what he's going to be at twenty.

You suppress foreknowledge.  Even though you know a character will die six years after the close of the book, you don't write her as 'doomed'.   In this book, she's not.

And you try not to pull characters in from other books just to say hello.  Continuing characters appear if they earn a place in the plot.  If not, they wander off to live their lives outside the book.


Certainly, leave Easter Eggs for your insiders.  That's part of the fun. But these references have to be invisible to the novice reader.








--  Be stingy with backstory

Well, one is always stingy with backstory. 

But in a discontinuous series it's especially wise to avoid handing out all the particulars of, 'what has gone before'.  You may want to write something cool ten years in the past.  Something that hasn't occurred to you yet.

Give yourself room to maneuver.  The more you've tacked down the past, the more you limit what you can do there. 


-- Every book is trapped in its own moment of time.

We deal with this all the time when writing historicals.

We know the French Revolution turned out badly. Folks in 1789 didn't. They had high hopes.  When we write what characters thought and did, we can't let our knowledge of future events creep in.



-- Imagine the entire lifetime of the characters.

When you write your fifty-year-old man, try to image him as a twenty-year-old and a twelve-year-old.  You may someday need him in that capacity.  You want to make him a useful character, doing interesting things at all ages of his life.

I find it easier to imagine forward than to imagine back, as it were.  Easier to see the old man who grows from the young dude than pulling the young dude out of that old man.




-- Leave big empty patches in everybody's life.

When we write chronologically, we're free to build any future.  ("Always in motion is the Future.")  We are so powerful and unconstrained. 

When we set a story in our fictional world's 'what has been', the action must be consistent with and lead to what comes later. Our feet are all tangled up.

Some of it we can avoid somewhat.
I mentioned above that we don't get specific with backstory.  Being vague about our character's past is particularly important.   We try not to just randomly predetermine our character's life left, right, and center.

So we might be specific about stuff that won't affect anybody's action but coy when we assign life events that do constrain.  We'd say, 'he was promoted to lieutenant in 1809,' rather than 'he fought at the battle of Corunna'.  That way we don't sit down to write a scene set in Paris in 1809 and suddenly notice, (by way of those charts we're keeping -- see below,) that somebody we need is off fighting in Spain.

And we leave some years in the chronology just as empty as we can.  We don't say what anybody's doing.  Those years are vacant lots where we can build something.


And, finally:

-- Keep records

From the first chapter you set down in electrons, make notes.  Make charts, year by year and even month by month over the whole period covered by your books.

What's going on in the world?  Where is everybody?  What have they got themselves up to?

If you don't write this down, you are not only going to get stuff wrong and feel like an idiot, when somebody points it out to you,
you're going to get cross-eyed with looking things up when you have three or four books out.