Interview with author Joanne Brothwell

Today I have a special treat, kiddies! Author Joanne Brothwell has graciously decided to share her journey to publication and advice on how to write a fantastic novel.

Joanne is the charismatic author of STEALING BREATH, a thrilling paranormal romance from Crescent Moon Press. Joanne currently lives in the country with her family where her stories are inspired by the dead things that appear at her doorstep on a daily basis.

Thank you so much, Joanne for taking the time to share your wisdom with my followers.

I always like to start with a little background, where were you born?

 I was born in Melfort, Saskatchewan, Canada. A little town in the middle of the Canadian prairie.

How old were you when you realized you wanted to be a writer?

When I was four years old, I wrote several illustrated books of poetry and a few short stories. My mom still has them!

What genre are you most comfortable writing?

I like paranormal romance. I enjoy everything supernatural, and so I just love spinning tales about anything strange and freaky. I’m drawn to writing about relationships because in my day job, I’m a marriage therapist, and I’m truly fascinated by how people relate to one another. Writing about it is the best part.

How long does it take you to write a book? What is the average word count?

It takes me six months. I used to be able to bang off a first draft in three, but the revisions were ridiculous. Now, I find if I take my time, the revisions are much more surmountable. Average word count is 80,000.

Do you have a critique partner(s)? Do you ever use beta readers?

Yes, I’ve had three critique partners in the past, all with incredible writing skill. They’ve proven absolutely invaluable! I’ve found with beta readers, the quality of feedback is quite variable, so I haven’t been using them much lately.

What dreams have been realized as a result of your writing?

It was a huge goal of mine to be published. I still remember that day, when I opened the email, from you, Sherry, and saw the subject line that read: Contract. I screamed for about half an hour! I still feel all giddy inside when I think about it! (Joanne is referring to my prior association with Crescent Moon Press as an Acquisitions Editor, where I read and fell in love with her engaging prose and then immediately offered her a publishing contract. :-D)

What did your voyage from unpublished writer to published author entail? What were the key highlights along the way to achieving your dream?

Wrote the book.

Revised about 100 times.

Got a critique partner.

Rewrote it

Got another critique partner.

Rewrote it again.

Found the right editor who loved my manuscript! (Sherry!)

What was one of the most startling things you learned during your experience as a struggling writer?

How all-consuming writing is and how nobody else can relate. My family and friends were just so disinterested. I was like – Hey! I wrote a damn BOOK here! I had to realize that non-writers have no frame of reference. They have no idea how many hundreds and hundreds of hours goes into this career. Connecting with other writers has helped me a lot.

Do you have any helpful suggestions to help struggling writers become better novelists? If so, what are they?

Join a writing group. Get critique partners, learn from other authors – the internet is a wealth of information. Just make sure you go to reputable sites!

Were there any major revisions to your debut novel? How long did they take?

Yes! My content editor said my manuscript looked like a rough first draft! I was crushed! But I got over my hurt feelings, and after licking my wounds, got right to work. It took about six months of back and forth revisions before it truly was ready to go. (I know just how you feel. My editor(s) at Edits [THAT] Rock said the same thing about my last maunscript. It's a blow to the ego, but when you take a deep breath and start on the revisions, you realize afterwards that you have greatly improved your prose!)

Five rules for writing fiction that you live by?

Be passionate about what you write. Be consistent. Be open to criticism. Have faith in yourself. Most importantly, have fun!

Tell us about your latest project How was your story birthed? What was your motivation?

My latest WIP is called Inversion, and it is based on characters and a storyline that I’d developed from an earlier draft of my first novel. During the revision process, those characters and that part of the story were cut. But the story and those characters were so great; I just had to resurrect them!

What do you know now that you wish you knew back when you started in the business? Just because you wrote, a novel doesn’t mean you’re a good writer. That one took me a long time to really understand and accept.

Would you be willing to share your query blurb with us?

Sure: Deep in the backwoods of North Dakota, twenty-one year old Sarah Ross is searching for a missing child when she is attacked by a glowing-eyed, transparent creature. Sarah survives, destroying the monster by using mysterious abilities she didn’t even know she had.

Bloody and bruised, Sarah flees the scene and runs directly into Evan Valente, a handsome, charismatic stranger who helps her back to safety. But what is Evan doing out in the forest at five in the morning?

Turning to a healer, Sarah is shocked to learn her eyes bear the mark of the Indigo Child—an evolved human with the ability to feel the emotions of others. But her indigo aura also makes her an easy target for those who wish to consume her powerful essence.

Soon, Sarah is falling deeply in love with Evan and wants nothing more than to follow her heart and trust that he is the man he says he is. But she can't ignore the lingering feeling that Evan is hiding a terrible secret. The deeper she digs, the more danger she faces, leading her on a course that will force her to face the darkest, innermost parts of her soul.

*Fun Bonus Questions

What are you currently reading?

Torn, by Amanda Hocking

What’s your favorite movie or TV show?

Vampire Diaries. Love it!

If you weren’t a writer, what would you be doing?

I’m a therapist by day, so I guess I’d be doing that. But I’d probably watch a lot more TV.

Rejection letters – save ‘em or toss ‘em?

Toss. Get rid of that negative energy.

How would you describe yourself in three words?

Spacey, creative, daydreamer.

You can find author Joanne Brothwell online at:

Official website: www.joannebrothwell.com

Official Blog: http://joannebrothwell.blogspot.com

Top Ten Paranormal Authors of 2011

Hell kiddies!

I thought for fun that I'd have everyone comment with his or her top 10 favorite authors from 2011. It could be an author you recently discovered, or even a writer whose first novel was published this year, but it has to be an author who mainly writes paranormal-related fiction. 

So, what authors made your top ten last year?

   

My top ten in no particular order:

Jennifer L. Armintrout

Marjorie M. Liu

Rachel Vincent

Elle Jasper

Amanda Marrone

Charlaine Harris

Rachel Caine

Lynn Rush

Jus Accardo

Tara Fuller

Editing and Writing a Synopsis

1. Begin the synopsis with a thematic or story question at the beginning and circling back to it at the end with an answer to the question. Ask yourself what the story question is. It helps if it's something of a hook. Think of it as your high concept or your pitch sentence, or even your back cover blurb. I'm going to give you some examples but while I'm doing it, try jotting down your own write one for a future story.

2. Tell who the protagonists are, what they want, and why they want it. By this, I don't mean a character sketch—particularly of physical attributes. That's not necessary for a synopsis. What I mean is sort of a summation of who these people are emotionally. What are they like? Here are some questions to ask yourself, and you'll want to answer them by the end of the synopsis: What haven't they taken into account? What makes it unlikely that this person can resolve the story question? Here's a romance example: Mr. Ultra Conservative meets Ms. Liberal. She teaches him to lighten up; he checks her more outrageous impulses. For instance, in Deborah Tisdale's Corpse On the Court, her protagonist, Summer Walsh, must solve a crime in a retirement community and her soft spot for the elderly sidetracks her from her main goal.

3. For a short novel synopsis, you should only include details that apply to the main story question. Secondary plotline, character arc, etc, are only included if they affect the story question.

4. Secondary characters are only mentioned as they affect your protagonist’s internal conflict or external conflict (i.e. the story question).

5. When considering what elements to include in the synopsis, think in terms of how the hero or heroine "gets it wrong." What choices or decisions do they make that they think will help them attain their goals or solve their problems but instead lead them in the wrong directions, gradually bringing them to the correct conclusions/emotional change needed to resolve their internal conflict. Key words: internal change and moments of change.

6. If there is emotional change or development in your storyline, then include it in the synopsis. What changes in #5 above are the characters undergoing to make it more likely they'll solve the crime or resolve the story question?

7. The black moment or when their pretty bubble breaks…when things look their worst... When have they been backed up to a wall and they're forced to change or make a decision that could lead them into not receiving what they want. In a romance novel, the black moment should inevitably lead to an internal change allowing them to commit to the other.

8. Resolution and wind-up of theme. This is the reward stage: what does the hero get for changing and the sacrifices he's made? Think of this as the story windup.

9. Read over every statement in your synopsis and for each action or reaction of the hero, make sure you've told "why.”

10. Tone—if this is humor, add statements to reflect that. If poignant, use language indicative of that emotion. You strive to hit a similar tone in your synopsis as your book's tone.

Here's a few references that might help. Click on the titles below! Good luck.

kathycarmichael

17 Reasons Book Manuscripts Are Rejected

Interesting article I came across that might help some of you in your pursue of a writing career:

Julie Scheina (Little, Brown editor) and Haile Ephron (writer and book reviewer at the Boston Globe) joined literary agent, Janet Reid for a 90 minute session about sending queries, editing manuscripts, and publishing books.

The writer uses the phrase “fiction novel” 

“The writer uses the phrase ‘fiction novel’,” says Reid. Misusing the English language is why she – and many editors, publishers, and agents - stop reading and reject manuscripts.

The manuscript doesn’t seem organic or authentic

“If you’re trying to follow a trend, you’ll lose your voice,” says Scheina. “If I feel like this is something I’ve already read, I’ll put it down.” (Read How to Write Authentically From Anne Lamott for tips on better writing).

The book is too complicated to be published

“If there are too many characters and I have to make a list to keep them straight, then I’ll put the book down,” says Ephron. Your manuscript will be rejected if it doesn’t flow or transition easily.

The book is boring (immediate manuscript rejection!)

“If your opening paragraph is someone driving and sleeping, I’ll put it down,” says Reid. “Most writers need time to warm up – but I don’t want to read that. Make sure your story starts in the first sentence.” (Read Grabbing Your Reader by the Throat for tips on writing introductions).

The writer offers no reason to care about the character

“Why do I care?” asks Scheina. “Each character has to be unique and special, or I’ll want to close the book.” The first day of school, moving, or packing your boxes aren’t gripping leads. “Prologues are really boring most of the time,” she says.

The writer slips into a sliding point of view

“You get one point of view character per scene,” says Ephron. “Every scene should be narrated by one character in that scene.” Don’t shift the point of view. Stay with one specific character’s perspective throughout the scene.

The writer includes too many stock characters in the manuscript

Beautiful blonde bombshells, evil billionaires, and hookers with a heart of gold are all stock characters – and Reid is tired of them! Limp descriptions are also boring. “I want complex, nuanced characters,” she says.

The book is too “moral” to be published

“Don’t send me fiction books that give moral messages, because neither kids nor adults will reason them,” says Scheina. “If you have a message, it shouldn’t be on the first page or in the first chapter.” She also says readers don’t want to be preached to; morals and messages should occur to the reader after they put the book down.

The writer keeps saying how great the book is

“When I don’t know what the book is about, I’ll stop reading your query,” says Reid. She urges writers to describe what your book is about, but don’t brag about how great it is.

The writing is too flowery

Ephron says that writers should show what the character is feeling through their physical behavior – not through phrases like “she whimpered morosely.” It’s the classic “Show, don’t tell” — and get rid of adverbs and adjectives, or your query letter will be deleted. (Read Tips for Improving Your Query Letters for help).

The writer sends illegible or handwritten queries

Make sure your queries are professional and easy to read. “When you’re sending an email query, include white spaces,” says Reid. “Don’t send big blocks of text in a query, because that’s hard to read. Remember, you have 15 seconds to catch my attention.” She suggests sending your query to several different people first, to make sure it emails properly.

The writer uses too many cliches in the manuscript

“Show emotions in a stronger way than ‘butterflies in my stomach’”, advises Scheina.

The writer incorporates graphic violence, profanity, and explicit sex

“I feel as if a writer has to earn the right to go there with me,” says Ephron. “Develop your characters, show me you can write, before we go there.” She doesn’t necessarily reject those books, but she’ll want to stop reading if graphic violence happens right away.

The writer has an unpleasant tone and attitude

Reid says she gets a lot of queries from writers who don’t like agents, and those writers are often open about their dislike. She suggests not revealing that you dislike literary agents.

The book’s pacing is off

“Don’t write your slow parts too slow, or your fast parts too fast,” says Ephron. If the pace of your novel is off, then your manuscript is more likely to be rejected.

The writer is a stalker (immediate manuscript rejection!)

Don’t send agents, editors, or publishers anything that’s clever or cute. Reid wants to read queries and know about your book, so you don’t need to bribe her with your gifts. “And, don’t disrespect yourself in your query letter by saying ‘I know how busy you are,’ – you’re important and busy, too!”

The manuscript has an improper word count

“Make sure your word count is around 100,000,” says Reid. Manuscripts under 50,000 or over 200,000 words don’t meet the common industry standards – so aim for the general target of 100,000 words.

Publishing Tips From a Literary Agent and a Publishing House Editor

Literary Agent Janet Reid on Query Letters: “You get 15 seconds of an editor or an agent’s time when you sent a query letter,” says Reid. “The hook for your novel has to grab my attention immediately, or I’ll immediately move on to the next one.”

Reid gets 100 query letters a week; other agents in her office get 500 queries a week. Reid may request 4 partial manuscripts from those 100 query letters (it’s challenging to get your book published, but not impossible!).

Reid rejects 99.2% of the queries that go through. “The default answer to query letters is no,” she says.

She also recommends querying every literary agent in the world – don’t just send your manuscript to your top five choices. “I say no to a lot of really good work for a variety of reasons,” says Reid. “Other agents may say yes.”

Little, Brown Book Editor Julie Scheina on Publishing Book Manuscripts

When I’m considering a book, Scheina asks:

• How does this fit with what I have on my list at Little Brown?
• How does it fit with what other editors have at Little Brown?
• Is this something I can fall in love with?

“As an editor, I have to work with the manuscript for years – and I have to sell it to senior editors and colleagues,” says Scheina. “Most of Little, Brown’s authors are already published through Little, Brown. About 25% are new authors.”

Editing the Narrative Arc

The “Narrative Arc” is a common editor's way of saying that every story needs to have a beginning, middle, and end. In other words, you need act one, act two, and act three.

A successful Narrative Arc requires action

If there had been the necessary Narrative Arc structure, our heroine would have been tested and endured a series of adventures, figurative actions and meaningful experiences that would have left her more mature by the climactic epiphany. In a successful Narrative Arc, the hero or heroine is faced with dangerous threats, personal challenges, risky choices, major decisions, necessary feats of physical bravery, or emotionally powerful assaults from family or social pressure.

When I’m working with a writer who needs to strengthen the Narrative Arc, I go through the story scene by scene and find the gaps in the storyline, the moments in time when something needs to happen to get the central figure to the next level in the story.

I help with suggestions to insert within the story that target the character’s weakness or dramatize the symbolic threats from rivals, challenges from mentors, dangerous social stress within the political or cultural context of the situation, opportunities to succeed or fail.

A good narrative arc needs to:

• start with a bang
• quickly rush to a level of action
• have moments of drama and suspense that keep rising in intensity
• sustain a high pitch
• level off by degrees
• gradually come slow into an emotionally satisfying resolution and conclusion

Constructing such a Narrative Arc is not easy but it is mandatory. If you’re having a problem, I suggest first writing a rough chapter outline to chart out the rise and fall of your own arc.

How To Write A Back Blurb For Your Book

You pick up a book because the cover or title looks interesting. The next thing you do is read the back blurb, or if you are online, you read the first excerpt which is usually the same thing.

At basics, the back blurb is a sales pitch. It has to be almost an exaggeration of your story that entices the reader to buy, or at least download a sample to their Kindle or iPad.

How do you write good back blurb?

This is a list of what featured most often from a number of bestselling thrillers reviewed as research from my bookshelf. The principles hold true for any genre although the details change for each.

• A hint of the plot. “Secret experiment. Tiny island. Big mistake.” (Scott Sigler, Ancestor); “must fight their way past traps, labyrinths and a host of deadly enemies” (Matthew Reilly. Six Sacred Stones);

• Use of words that evoke images and resonate with readers of the genre. Examples, “ancient monastery” (Raymond Khoury, The Sign), “hidden esoteric wisdom, Masonic secrets” (Dan Brown, The Lost Symbol), “the secret behind Noah’s Ark” (Boyd Morrison, The Ark), “Druidic pagan cross” (James Rollins, The Doomsday Key); “A buried Egyptian temple. A secret kept for 6000 years. A race for life worth killing for.” (Andy McDermott, The Pyramid of Doom)

• Main characters are named and characterized. “TV news reporter Gracie Logan. Matt Sherwood, reformed car thief” (The Sign); “Harvard symbologist Robert Langdon: (Lost Symbol); “Trapped inside a paralyzed body, Rhyme’s brilliant mind is channeled through his partner, policewoman Amelia Sachs” (Jeffrey Deaver, The Twelfth Card); “Commander Gray Pierce and Sigma Force” (James Rollins, Doomsday Key)

• Idea of setting. Washington DC, Rotunda (Dan Brown, Lost Symbol); “from the Roman Coliseum to the icy peaks of Norway, from the ruins of medieval abbeys to the lost tombs of Celtic kings” (James Rollins, Doomsday Key)

• A question or a hint of mystery that draws the reader in to be solved or answered. “Is the sign real? Is God talking to us? Or is something more sinister going on…” (Raymond Khoury, The Sign)

• Hyperbole. “stunning controversy that’s spinning out of control” (Raymond Khoury, The Sign); “..never before seen revelations seem to be leading him to a single impossible and inconceivable truth” (Dan Brown, The Lost Symbol); “The mission is incredible. The consequences of failure are unimaginable. The ending is unthinkable.” (Matthew Reilly. Six Sacred Stones)

• Quotes about the book or previous books by the author. “Part Stephen King, part Chuck Palahniuk…a pulpy masterpiece of action, terror and suspense” (James Rollins on Scott Sigler’s Infected)

• How long. Most seem to be 100-150 words long as the blurb text itself, not including about the author if included. That is also a nicely spaced blurb, not a squashed one.

• About the author. This isn’t done often for the blockbuster novels, but James Rollins does it well with a rugged photo and a description that includes “An avid spelunker and certified scuba enthusiast, he can often be found underground or underwater.” Now that’s a thriller writer!

Here is my proposed blurb for ‘Pentecost’

A power kept secret for 2000 years.

A brotherhood broken by murder.

A woman who stands to lose everything.

When Jesus of Nazareth rose from the dead, the apostles took stone from his tomb as a symbol of their brotherhood. At Pentecost, the fire of the Holy Spirit empowered the stones and the Apostles performed miracles in God’s name throughout the Empire. Forged in the fire and blood of the Christian martyrs, the Pentecost stones were handed down through generations of Keepers who kept their power and locations secret.

Until now.

The Keepers are being murdered, the stones stolen by those who would use them for evil in a world transformed by religious fundamentalism. Oxford University psychologist Morgan Stone is forced into the search when her sister and niece are held hostage. She is helped by Jake Timber from the mysterious ARKANE, a British government agency specializing in paranormal and religious experience.

From ancient Christian sites in Spain, Italy and Israel to the far reaches of Iran and Tunisia, Morgan and Jake must track down the stones through the myths of the early church in a race against time before a new Pentecost is summoned, this time powered by the fire of evil.

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You can now get free chapters of Pentecost on the Facebook page by clicking here.

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What do you think? Do you have any tips for improving the ‘Pentecost’ blurb? Or any tips for writing blurb in general?

Photos done in Photofunia.com.

This is a reprint from Joanna Penn's The Creative Penn.