A Sense Of Place

Posted on October 15, 2014 by jenniferscoullar

Welcome to our monthly blog chat with writing guru Sydney Smith and fellow Penguin author Kathryn Ledson. Today we’re talking about the role of setting in narrative.

KATH
This writing caper is full of surprises and learning curves. Even now, with two books published, I sometimes feel like I’m only just ready to graduate. From Novel Writing kindergarten.

When I wrote Rough Diamond, I planned to keep its Melbourne setting to a minimum. Why would I do this? Well, it’s about my own reading preferences. Firstly, I like a fast-paced plot with plenty of action, not lengthy descriptions. But mostly because my own taste is for exotic locations―places I’ve never seen or would love to see. Parts of the world that exude whatever isn’t Melbourne. Because Melbourne’s humdrum, right? It’s my city, where I grew up in my dull little life. It’s just an extension of boring old me. It’s all so everyday, routine, familiar. How could it be interesting?

Rough Diamond was released, and reviews poured in. Imagine my surprise that many of the positive comments were about the Melbourne setting! The setting I’d so determinedly kept vague (as I thought) with just a few snippets to place the reader: the streets of Richmond, the botanic gardens and tan track, South Melbourne market, Crown casino, Collingwood football club, the local pub. All those very boring, everyday, familiar spots. As it turned out, in my naiveté, I’d unwittingly yet convincingly set my novel in Melbourne.

Until I read those reviews, I hadn’t realised―or rather considered―how enjoyable the familiar can be. In reading we relate to characters for various reasons; we share their pains, joys, experiences of all kinds. So, too, I’ve learned, can we relate to a novel’s setting and enjoy the company of familiar turf. Joggers who frequent the tan track, people queuing for those famous South Melbourne market dim sims, our love and hate of Collingwood football club.

Funnily enough, I appreciate Melbourne more now. In fact, I’m giving careful attention to place in my current work-in-progress, Grand Slam (working title, my publisher reminds me to add), which is set around the internationally famous Australian Open tennis tournament, hosted by my own beautiful Melbourne. My characters will spend time at the tennis and surrounds as well as thrilling, familiar spots like Southbank and Chadstone Shopping Centre (Chaddy!). And you know what? I’m feeling so excited about it, I might take a quick research trip now…

SYDNEY
I do get what you’re saying, Kath, about the allure of the exotic. But I also get the thrill of reading a novel set in a familiar place. The former is an escape from daily life. The latter makes me feel as if I’m IN the novel I’m reading. I could walk out my door and bump into these characters, pop them on the nose if they irritate me, hug them if I like them.

Michael Connelly – Crime Writer

I happen to like a good description. One of the things I love about early Michael Connelly, US crime writer, is the depth of characterisation of LA, where his novels are set. His series hero, Harry Bosch, lives in a house on the side of a hill, with scrub choking the arroyo below, scrub bearing Spanish names―that word “arroyo”, too, which conjures up the dry deserts of California and nearby Nevada. He usually spots a coyote trotting amidst the brush. The coyote is his animal, the battered loner struggling to survive in the increasing urbanisation of its native land.

Harry works in West Hollywood, a place seamed with porno shops, greasy hotels where rooms are rented by the hour, soiled junkies and prostitutes. The big Hollywood sign looms over the city, promising the dream, but it’s a damaged sign, a symbol you trust at great risk to your life and your heart.

That’s what a good description does. It gives the reader the feel of the place in which the story is set, and therefore, the mood of the story itself. The description should convey emotion. If it’s flatly realistic, it’s probably not doing its job.

JENNIFER
I’m with you, Sydney. I love good description. Teachers of writing craft often say that description is boring. Don’t you dare add more than a sentence or two on setting, lest you lose your reader. I think this rule screams out to be broken. A convincing setting helps make any story memorable. But as a writer of Aussie rural fiction, a vivid sense of place is even more vital. Readers of this genre crave a relationship with this country. They’re asking the question :what is it that makes us Australian? And the simple answer is that we come from this place. That’s our identity―the continent itself. And especially that aspect of Australia that is completely different to other places. That doesn’t mean our cities. That means the regions. That means the bush.

In many novels, and particularly in rural novels, place (literally geographical place) functions like a character in the story. It’s one of the most powerful tools that a writer has. For me, setting stories in wild places allows me to strip away the civilised façade from my characters. In Currawong Creek, for example, my main character is a young professional woman caught up in the career rat race. She has time to examine what she fundamentally wants from life when she goes bush. In my new release Billabong Bend, a young man who’s been a drifter, comes home to the riverlands to confront his past and discover his roots. And by becoming grounded again he finds his future.

There must be balance of course. Don’t spend paragraphs describing how things look. Do what Sydney says. Describe how they feel. Use detail. Make it a sensory experience. Here’s an example from my own writing: a man is climbing a tree.

“That precious, familiar calm. Tree climbing. Different to rock-climbing. Trees lived. Even giant Pallawarra still gave with the wind. He moved. Matt moved too, away from the people and the cars and the ravaged earth. He moved into another dimension. For the first time in a long time, Matt focused on the moment. On his breath, his feet, his fingers. A meditation. There was no choice. Any slip was death.

The darkening forest lay in mysterious degrees of light and shade. The more Matt looked at the tree, the more he saw the tree. Its position, its size and form, its unique structure and balance. He saw through its bark-dangled camouflage. He saw its art. A shred of song popped into his head, even though, since Theo, music made him cringe.

‘If you plant ten million trees, none will grow like these.’

Now light rain began falling, deepening the colours. The auburns and browns, the greens and golds, the glistening, mottled curls of stringy-bark streamers. The birds of the upper canopy had long fled, leaving the forest silent. Except for the sound of a strengthening breeze, like the sea-shell psalm of a distant sea.”

And as Kath says, no matter how ordinary the place, assume that some of your readers will be unfamiliar with your setting. The smell of a South Melbourne dim sim that you take for granted, will be a revelation for readers who’ve never visited that market.

SYDNEY
That’s beautiful, Jenny. Place plus emotion plus atmosphere equals setting.

KATH
I take it back. I love lengthy descriptions if written by Jen Scoullar. Mind you, the above piece is also brimming with action and suspense, yes?

Pot-Holed Paths To Publication

Posted on July 15, 2014 by jenniferscoullar

Welcome to our monthly blog chat with writing guru Sydney Smith and fellow Penguin author Kathryn Ledson. This month we tell our how-we-got-published stories and welcome your questions and comments

SYDNEY
Some years ago, Griffith REVIEW accepted a short story of mine called “Flame Red” for its first fiction edition. After reading it, Text Publishing emailed me, asking if I had any book-length manuscripts they might be interested in. I pitched them a few ideas and went away to write a novel for them. Then it stalled at 45,000 words. My novels always stall at either that length or 30,000 words.

For several years, I had been trying to write about my fraught and turbulent relationship with my mother. I had been wrestling in particular with a strong internal prohibition against exposing her and myself. I had published two short memoirs with Griffith REVIEW that explored aspects of my relationship with my mother. I knew I wanted to write a long work about her but I couldn’t find the right way in. To me, writing a piece, whether short or long, is like trying to get into a house where all the doors are locked. You have to hunt around, rattling handles, testing windows, before you find the one that will open and let you in.

At the end of 2010, I applied for a weeklong workshop with Robin Hemley on writing nonfiction, hoping it would loosen one of those barred and padlocked doors. We were asked to submit fifteen pages and an outline. I had no pages and no outline. Also, I had applied the day after submissions had closed, getting down on my knees and begging the program officer who was administering the course. She let me in and I had only a day or two in which to send in my fifteen pages.

For some years, I had been trying off and on to write about Boxing Day when I was nine years old, a day when my difficult relationship with my mother reached a crisis and I decided the only way out was to kill myself. I knew some of the things the piece would contain, but I couldn’t find the door that would let me in. Now, on a tight deadline, I sat down at my computer and wrote those pages. They came to exactly fifteen. The workshop was okay. Robin Hemley is a brilliant teacher. But somehow, it turned out to be irrelevant. Those fifteen pages was my way into the book.

Over the next few weeks, I wrote another chapter and thought about how committed I was to this project. Finally, ready to give myself wholly to it, I emailed Text, saying I had 10,000 words of a memoir and asking if they would be interested in having a look at them. Publishing houses sometimes offer contracts for nonfiction books before they have been written. They asked me to send the pages to them, along with a book proposal. I wrote another 8,000 words, to show them I could do it and to prove to myself that I really was committed. They read them and called me in for a meeting.

This meeting was crucial. I knew they wanted me to prove I could produce the whole book, not just words but readable words. At the end of the meeting, they asked me to send them a chapter breakdown. I did that, and in mid-April, I got the contract. This included two things: a word limit of 75,000-80,000 words and a deadline. I had to send them the completed manuscript by 15 December. I also had another problem. My chapter breakdown outlined a book that was longer than the word limit. I decided I would deal with that once I had finished the draft.

I had never before written a book to a contract. Every morning I woke in a panic. I had to write this book AND I had to do my paid work as a mentor AND run two classes on plotting and structure. So I divvied up my week. I gave three days to mentoring, three days to writing, and had a floating day which could be used to take up any extra paid work or be used for writing. I cancelled all social engagements, telling my friends why. I knuckled down in a way I never thought I was capable of, writing a chapter a week. Along the way, I pared back my chapter breakdown so that the finished manuscript would come in on length. Don’t ask me how I could do that when I hadn’t written the whole draft yet. I just did.

On the last Thursday of August, four months ahead of the deadline, I sent in a 76,000-word manuscript titled The Lost Woman. It was an amazing experience.

Sydney Smith is a writing mentor, teacher and author of short stories, essays, and The Lost Woman, a memoir of survival. She is currently writing The Architecture of Narrative, a book about how to plot and structure fiction. She offers writing tips at www.threekookaburras.com. If you have a question on any aspect of writing, feel free to visit her blog.

KATHRYN
I wish I’d known at the time how intriguing and very unique each getting-published story is. If I’d known, I would have made careful notes so that when I shared my story, I’d remember the way it happened. Looking back, I realise I was very naïve, entering the grown-up world of publishing without a clue as to what might happen.

And so, the exhausting saga is, in brief, this. I finished a professional writing and editing course end-2008 and started writing Rough Diamond. Two years later, (I thought) it was ready to submit and I sent the manuscript to various competitions and publishers’ weekly submit-your-manuscript-and-we’ll-tell-you-if-we-like-it offerings. I made it to first base with Hachette’s program*, but heard nothing from the others.

When I eventually emailed Penguin my query letter, they replied almost immediately. “Yes please!” Exactly the sort of response you would hope for! They requested the full manuscript, and the waiting started. Meantime, I’d contacted a literary agent who also asked for the full manuscript. At the three-month marker, I sent them both an email asking if they were interested. The agent said that yes, she was. Nothing more than that. Penguin wanted more time. Two more weeks they promised, respectfully.

So, Penguin called. But not with the news I’d hoped for. They didn’t feel Rough Diamond quite made the cut (I found out why later – something about the plot and the fact that there wasn’t one), but they loved the voice of my lead character, Erica Jewell, and wanted to know if I had any other manuscripts that I’d thrown in disgust into some proverbial bottom drawer. I didn’t, but I had an idea for another series. They wanted to meet. On that basis, the agent offered me a contract.

In my meeting with Penguin, we chatted about my series idea. However when I mentioned that I’d since signed with an agent, the conversation came back to Rough Diamond. They’d give it another look, they said.

More waiting. What I hadn’t realised is that the commissioning editor does not have final say in whether or not a contract is offered. She can only champion the manuscript, “selling” it to the rest of the team at the weekly acquisitions meeting, which is attended by the head-honchos of all departments. And they ALL have to agree. This process can take forever. Finally, I was offered a contract. When I got the call, I was standing in my tiny, grotty, yet-to-be-renovated old lounge-room with my niece and her two children, baby Richie and five-year-old Molly. With Richie thrown over my shoulder, I danced in circles with Molly. Richie threw up. Molly fell over. I stubbed my toe. It was a moment to remember.

But there was more waiting to come. It was around July 2011, and Penguin wanted to publish in January 2013. OMG! Surely I’d drop dead of impatience before then? I didn’t, and Rough Diamond launched eventually, and suddenly Monkey Business is out there as well, with Grand Slam on the drawing board and a novella to be squeezed into the mix somewhere.

After all that, do I have any advice? Indeed I do:

For a start, I was lucky. Lucky because I’d written what today’s market would consider a saleable product. Commercial women’s fiction, with a romance at its heart. The reason a publisher will offer you a contract is because they think they can sell it.
Network. Join a writing group, surround yourself with supportive people (other writers). When you think you’ve written rubbish, you’ll need these people to tell you it’s not as awful as the rubbish they’ve written, and that lots of rubbish has been published. And let me say this, even with a publishing contract and a couple of books out there on the shelves, you will still think you’ve written rubbish.
Regarding above, you need to get over it. Put that rubbish-talking devil in a box and nail the lid shut.
More networking. It was through networking that I had an email address for the commissioning editor for women’s fiction at Penguin. And a personal introduction to a literary agent. And the reason half my Facebook friends are authors, all of whom share my successes, commiserate with my failures, offer brilliant advice and more encouragement than I deserve.
Take how-to-write courses. Read how-to-write books. I always learn something new. Always.
Read.
Before submitting your manuscript, research how a particular publisher wants to receive it. Read A Decent Proposal by Rhonda Whitton and Sheila Hollingworth. It will give you a thorough insight into effective pitching. Learn what the agent/publisher wants to know. For example: what your book is about, where it will sit on the shelves, why you think it will sell, why you’re the right person for the job of writing it. In other words, make it easy for a publisher to say “yes please!”
Show nice manners. When you submit your manuscript to an agent/publisher, let them know who else you’ve sent it to. If someone shows further interest in it, let the others know this.
Good writing and good luck!

Kathryn Ledson is the author of Rough Diamond and Monkey Business (Penguin), part of the Erica Jewell series of romantic adventures. You can visit her website and find her blog at www.kathrynledson.com

JENNIFER
I received my first contract with Penguin books via a conference pitch. It shows that, despite all the doom and gloom about the industry, it is still possible to be picked up unagented by a mainstream publisher, if good fortune and good writing coincide.

My first bit of good fortune was being in the same writing group as fellow rural writer, Margareta Osborn. She asked me to go with her to the national Romance Writers’ Conference, held in Melbourne in 2011. At first I wasn’t keen and told her I didn’t write category romance. ‘You don’t have to,’ said Margareta. ‘All sorts of writers go. It’ll be fun―and you get to pitch face-to-face to publishers. Not just any publishers, but key industry professionals like Beverley Cousins of Random House, Annette Barlow of Allen & Unwin and Belinda Byrne of Penguin.’

‘Really?’ I said, my ears pricking right up. ’Publishers?’ Now all I needed was a novel to knock their socks off. I already had two completed manuscripts, but maybe I needed something fresh, something that fused my passion for the land with an equally passionate love story. It was January, and the conference was in August―eight months. It was worth a try. I threw myself into it. When I wasn’t asleep or working I was writing, seven days a week. I wrote and wrote, revising as I went. After a great deal of hair-tearing, wine, chocolate and dreadful doubts, I had a polished first draft of Brumby’s Run just in time for the conference.

I scored two pitch sessions, one with Bernadette Foley of Hachette and another with Belinda Byrne, a commissioning editor of commercial women’s fiction with Penguin. For some unknown reason the five-minute pitches were reduced to three-minute pitches. Not much time to impress anybody. I agonised over my lines, practised ad nauseam and was sick with nerves. The moment finally arrived for that long walk into the room. A smiling publisher sat at a table. ‘What have you got for me?’ I drew a deep breath and launched into my memorised pitch.

‘Brumby’s Run is a 90,000-word rural fiction manuscript, with an environmental theme. A comparable title is The Cattleman’s Daughter by Rachael Treasure. It’s a novel about romance, identity and the fabled wild horses of Victoria’s high country.

Identical twin girls, separated at birth, Samantha and Charlie. Charlie remains with her teenage mother, Mary, in the small, upper Murray town of Currajong. Samantha grows up in all the wealth and privilege of Melbourne’s Toorak, with a smothering adoptive mother and a distant, emotionally unavailable father.

When the girls are eighteen, Charlie falls ill with leukaemia. Samantha is approached to donate stem cells, and discovers that not only is she adopted, but she has a sister. She also discovers they both share a love of horses; Charlie is a champion camp drafter, and Samantha is a contender for the national dressage squad.

The transplant is a success. However, Charlie faces months of recovery in Melbourne, and requires Mary to stay and care for her. Samantha offers to go up-country to their property and look after things. Townie Sam finds a rundown parcel of land, mongrel country on the edge of Balleroo National Park. She also finds herself in the middle of a conflict between the traditional alpine cattlemen and a new breed who want to exclude hard-hooved animals from Balleroo, including the brumbies.

Sam falls in love with Brumby’s Run, and with the town of Currajong. This new life, Charlie’s life, intrigues her. Bit by bit she takes on her sister’s horses, her friends, her work―and she finds romance with Drew Chandler, her sister’s ex-lover. Sam begins to wish that Charlie might never come home.’

Then came my second piece of good fortune―a manuscript that suited their wish lists. I like writing outback stories, and both publishers were interested in new rural fiction. Brumby’s Run just happened to fit the bill. They took my three chapters and synopsis.

After several encouraging emails from Belinda she asked to meet me and in October, eight weeks after the conference, I received an email headed Penguin Letter of Offer for Brumby’s Run. At last! I printed that letter out and carried it with me for weeks, looking at it occasionally to check it was real. I now have my fourth contract with Penguin, all because I went to that conference. There’s more than one way to skin a publisher!

Kathryn Ledson is the author of Rough Diamond and Monkey Business (Penguin), part of the Erica Jewell series of romantic adventures. You can visit her website and find her blog at www.kathrynledson.com
Sydney Smith is a writing mentor, teacher and author of short stories, essays, and The Lost Woman, a memoir of survival. She is currently writing The Architecture of Narrative, a book about how to plot and structure fiction. She offers writing tips at www.threekookaburras.com. If you have a question on any aspect of writing, feel free to visit her at The Story Whisperer.

Plot Triggers

Posted on April 15, 2014 by jenniferscoullar

Time for our monthly chat about writing, with fellow Penguin author Kathryn Ledson, and mentor extraordinaire Sydney Smith. This month we discuss plot triggers and try to define them.

What is a plot trigger?

Kath: A plot trigger (or inciting incident) launches the story. It’s the protagonist’s call to action – the thing that sets the story in motion and gives our protagonist a problem to solve. Anything before the plot trigger is scene setting, characterisation, back story, etc. A plot trigger can come in many forms. The discovery of a body, a letter in the mail, a desperate plea on the telephone, perhaps even a conversation or epiphany. For example, a husband suggests to his wife that they start a family. She realises in that moment that the last thing she wants is to be married with children! She packs her bags and leaves, and starts her search for the meaning of life.

Jennifer: A plot trigger is something beyond the control of the main character, which sparks off the story. A hurricane carries Dorothy’s house to the Land of Oz. Lucy discovers the wardrobe that leads to Narnia. A mysterious letter arrives at Harry Potter’s house. It changes the course of the hero’s everyday life and, as Kathryn says, usually results in some sort of a quest. It’s the reason why the author chose to begin the story on that particular day in the hero’s life.

Sydney: Sorry, Jenny, but we have to be really careful to distinguish between a plot trigger (an event that hands the protagonist a problem they have to solve during the course of the story, and which also activates an antagonist) and the event or situation that opens the story. The two can be the same thing – but aren’t always. The event that opens Pride and Prejudice is the news that a rich young bachelor has entered the neighbourhood. ‘What a fine thing for our girls!’ cries Mrs Bennet, starting her goal. Now she sets out to snare him for one of her penniless, unmarried daughters. But what is Elizabeth’s? It’s best to think of it coming in two parts. The first part is the realisation that her sister Jane is sincerely attached to Mr Bingley and vice versa, that their attraction is real and deep, and that she wants more than anything to see the pair married. This happens in Chapter 18, at the Netherfield ball. What is Mr Darcy’s plot trigger? It’s the appalling realisation, courtesy of Mrs Bennet’s boasting, that his friend Bingley has fallen for Jane, a nice girl in herself but a member of a shockingly vulgar family. He wants more than anything to prevent the match, thus keeping him free of lowly connections. That happens in Chapter 18, too, and constitutes the second part of the plot trigger. A plot trigger activates the antagonist as well as the protagonist who now has a goal to pursue. Mrs Bennet’s antagonist is circumstance – she has to plot and scheme to bring Jane and Bingley together. Hence the infamous episode where she sends her daughter on horseback to spend the day with the Bingley sisters. Jane is drenched to the skin, falls sick and must spend five days there. Elizabeth’s antagonist is Mr Darcy and she is his. Their opposition has been activated at the same time. He does everything he can to prevent the match while she does everything she can to promote it. Each creates an obstacle for the other; each stands in the way of the other as they seek to get what they want. This is a plot trigger. Or rather, it’s two plot triggers, those of Elizabeth and Darcy. They are vitally connected.

Why is it necessary?

Kath: Most novels are about a protagonist’s quest to get somewhere, find or achieve something. If it weren’t for the plot trigger, the quest would never come about. There would be no story. The recent animated film Frozen is about a girl’s mission to save her sister from herself. If the sister had stayed in her room and never exposed to the world her special yet dangerous magic talent, she wouldn’t have run away and the sister wouldn’t have had to go after her. In other words, we wouldn’t have a story.

Jennifer: Stories are about solving problems. A trigger is necessary to jump-start the plot and change the status quo. Without the arrival of a fairy godmother, Cinderella would still be sweeping the fireplace. If Jack wasn’t paid in beans instead of coins, he’d still be poor and living with his mother. Without that letter, Harry would never get to Hogwarts school for wizards.

Sydney: A plot trigger gives a narrative its aim and “point”. This is what the story is about. When a plot trigger doesn’t happen, or comes in too late, as is often the case in unpublished manuscripts, the reader feels confused and disconnected from the story. They don’t know what it’s about. They’re also bored because there’s no tension of a directed nature. This idea of directed tension is essential. A story can have loads of tension, but if it isn’t directed, the tension is wasted on the reader. A plot trigger focuses the protagonist and therefore the story and gives them purpose.

Do all novels have plot triggers?

Kath: I’m still thinking about it. Meantime …

Jennifer: They have to, don’t they? Something has to happen to set off a chain of events. Simply put, the protagonist then tries to solve a problem, and the antagonist tries to prevent him/her from succeeding. Every story I can think of works this way. Except maybe for stream of consciousness novels like Ulysses by James Joyce. It may have a plot trigger, but I was too confused while reading it to tell

Sydney: Yes, a novel must have a plot trigger to kick off the action. Even stream of consciousness narratives will have an external event that kicks off the internal journey – Mrs Dalloway plans to hold a party, for example. But since the journey here is of the consciousness, the plot trigger might not be dramatic – that is, bring two characters together on opposing sides of a problem. In stream of consciousness, the antagonist is part of the internal life of the character.
Kath, while we were discussing plot triggers before we started writing the blog, you wondered whether literary fiction uses plot triggers. I said they do. Jenny is on the button when she says why. But while genre fiction often has to stick to a convention in this regard, literary fiction can play fast and loose with its plot triggers. In crime fiction, the body has to appear in the first chapter, for example. In a romance, the hero and heroine have to meet in the first or second chapter. Science fiction has to do something sci-fi in its opening chapter, or feature sci-fi things like transponders or teleporters. Fantasy fiction must have fantastical features in its first chapter, like dragons or magical orbs or characters coping with a winter that is already ten years old. I call this stuff décor. Décor tells the reader what kind of story they are reading. Even though they have started reading it because the blurb has assured them it’s their kind of story, they want the reinforcement that décor provides.
Literary fiction has décor, too, but is harder to pin down because it’s doing other things. Likewise, literary fiction can play fast and loose with plot triggers, what they look like and where they happen. I talked about Elizabeth’s plot trigger in Pride and Prejudice, which happens a long way into the action, relatively speaking. There is a very good reason for that. If Jane Austen had set Elizabeth’s plot trigger in Chapter 1, she would have had a problem: how can she convince the reader that Jane is sincerely attached to Mr Bingley and vice versa? She’s got another problem: how can she convince the reader that Elizabeth’s hostility to Mr Darcy is real and believable, not merely a plot convention or device? Elizabeth’s hostility to Darcy is essential to the tension between them, and the tension surrounding their views on a match between her sister and his friend. If Jane Austen had put their plot triggers in Chapter 1, she would have lost the reader, who wouldn’t believe it. So she set up Mrs Bennet’s plot trigger to kick off the story and give it energy and focus until it was time for Elizabeth’s and Darcy’s to kick in. Notice that Mrs Bennet’s Machiavellian schemes re Jane and Bingley tail off after that. They are no longer necessary to keep the narrative ship on course. Jane Austen has to do a number of other things, too, before Elizabeth and Darcy can have their plot triggers, like bringing in Mr Wickham, whose plot trigger happens when he sees Darcy in Meryton and sets out to ruin his life socially in that neighbourhood. Everything Jane Austen puts in place before Elizabeth’s and Darcy’s plot triggers is essential to the machinery, if you like, of the novel, to make sure it all runs smoothly.
In Lolita, Humbert’s plot trigger happens when he sees the child he calls Lolita. This happens at the end of chapter 10, forty pages into the novel. Why didn’t Nabokov place it in the first chapter? Because without Humbert’s history of paedophilia and his justification for it, the plot trigger would have been meaningless. And yet the story needs to keep the reader interested before the plot trigger is pulled. And it has to be done in such a way that the plot trigger makes sense. So, Humbert describes his pursuit of sex with little girls, and his ignominious defeats, until he walks into a house in Middle America and sees Dolly Haze, the girl he plans to trample over like the Nazis trampling over Poland.

Kath: How clever of me to handball that to Sydney!

Sydney: Where would I be without your cleverness, Kath? Groping for something to say, that’s where!

Where are the plot triggers in your novels?

Kath: In my first novel, Rough Diamond, the plot trigger happens on the first page – the protagonist Erica Jewell arrives home to find a man bleeding to death in her front garden. There was a potential problem in starting this way because we didn’t yet know Erica well enough to understand her actions in this situation. Most readers were ok with it – my publisher certainly was – but if I were to do it again, I’d probably show Erica in her ordinary world first. That said, a high-octane scene to open is certainly a great hook for the reader.
In Monkey Business, we’re about 13,000 words into the story before the plot trigger (a telephone call) sends Erica on her mission to find Jack, who is missing in action. Because this is part of a series, and yet the novel must still be able to stand on its own, scene-setting and back story were important.
Likewise in Grand Slam (working title for no. 3 in the series). Again we’re over 10,000 words into the story before the trigger (an explosion on an oil rig). There are several sub-plots and it’s important to set those up before the action starts.

Jennifer: I believe in inserting plot triggers right up front, to capture the reader’s interest quickly. In my first novel, Wasp Season, the plot trigger occurs in the first paragraph with Zenandra, the European wasp queen, choosing a nesting site in Beth’s fallen tree. That’s when all the trouble begins.
In Brumby’s Run it’s in the prologue, when we learn that Mary had to give up one of her newborn twins for adoption.
In Currawong Creek it’s in the first chapter, when a four year old boy is left behind in Clare’s office.
In Billabong Bend it’s in the second chapter (late for me) when Nina meets a mysterious stranger at a masquerade ball. No, maybe it’s earlier. In the first chapter, when we learn that the rare wetlands along the Bunyip River are in danger, and that Nina is determined to protect them.
And in my current novel, Turtle Reef, it’s at the end of the first chapter, when Zoe gets a phone call offering her a job as a marine researcher.

Sydney: A plot trigger, if it’s to qualify as such, has to offer the protagonist a problem that gets in the way of their goal. After all, a plot is created by the protagonist working to solve a problem. That problem is embodied in the antagonist, or a group of antagonists. Elizabeth wants to see Jane married to Mr Bingley, but she must work on the problem created by Caroline Bingley and Darcy, who oppose the match. Humbert wants to get his hands on Dolly Haze, but must work against the problem caused by Charlotte, Dolly’s mother, who keeps edging herself between Humbert and the child. He also must work against the law: sex between adult and child is illegal.
If a plot trigger is to work, it must not only begin with an event, it must involve an antagonist. If those two things are not there, the event is not a plot trigger. It’s something else, which can also be important but is not the plot trigger. A standard example is a crime novel, which opens with a dead body. The corpse brings together the detective AND the killer, each of whom is working on opposing sides of a problem. The detective wants to find the killer, the killer wants to avoid detection. Thus, discovery of the body is a plot trigger. It isn’t a plot trigger if it doesn’t involve an antagonist.

Jennifer: I thought a plot trigger (an event) was different to an inciting incident ( the call to action that engages the hero). Although as you point out, Sydney, they are sometimes one and the same. Maybe I’ve got my definitions wrong.

Sydney: The term “inciting incident” comes from writing screenplays. There’s nothing wrong with borrowing terms from another form, as long as you keep in mind that it IS another form. In movies, the plot trigger comes in between eighteen and twenty-five minutes into the film. You can time it. Viewers come to expect this. It’s a convention of movies across the board, from genre to arthouse, from Hollywood to independent to European to Asian. Plot triggers in fiction are not so convention-bound, outside certain kinds of genre novels.

Kathryn Ledson is the author of Rough Diamond and Monkey Business (Penguin), part of the Erica Jewell series of romantic adventures. You can visit her website and find her blog at www.kathrynledson.com
Sydney Smith is a writing mentor, teacher and author of short stories, essays, and The Lost Woman, a memoir of survival. She is currently writing The Architecture of Narrative, a book about how to plot and structure fiction. She offers writing tips at www.threekookaburras.com. If you have a question on any aspect of writing, feel free to visit her at The Story Whisperer.

What Makes A Good Antagonist? – Plus Book Giveaway!

Posted on March 15, 2014 by jenniferscoullar

Welcome to our cross-blog, which offers tips on writing. Every month writing mentor Sydney Smith ‘interviews’ author Kathryn Ledson and me on some aspect of the writing craft. We welcome your questions and comments. To celebrate my nomination for the Australian Writer’s Centre Best Australian Blogs 2014 (and also for reaching 30,000 views on my website!) I’m giving away a signed copy each of Wasp Season, Brumby’s Run and Currawong Creek. To go in the draw, leave a comment telling us who is your favourite fictional bad guy! (Aust & NZ residents only)

This month’s question is: What makes a good antagonist?

According to Wikipedia, “An antagonist is a person or group of people who oppose the main character.” But the antagonist can also be non-human. It can be a dragon, a Martian, a volcano, a disease like Parkinson’s; anything that opposes the protagonist.

Sydney:
An antagonist is a broader and more complex idea than a villain. A villain acts for purely selfish reasons and does destructive things with no consideration for the effect they will have on others. A villain is wicked. A villain is unable to change and grow.

An antagonist, on the other hand, is a character who pursues a certain goal in the story. This goal opposes that of the protagonist. In Pride and Prejudice, Mr Darcy is Elizabeth’s main antagonist until after the first proposal scene. But it is Mr Wickham who is the villain, and he doesn’t emerge in that light until after Mr Darcy sets Elizabeth straight about what really happened between him and Wickham.

Villains have a role in fiction. Crime novels use villains. A serial killer is a villain. Any character who feels entitled to murder to get what they want is a villain. But then we get into a tricky area, because some crime fiction heroes, like Lucas Davenport in John Sandford’s Prey series, feel entitled to shoot dead the killer he has been pursuing.

Jennifer:
Great antagonists make great stories, don’t they? Thwarting our hero at every turn, keeping the reader turning those pages. A compelling antagonist needs to be built with the same care as any other character. Unfortunately, I often read books where the bad guy is underdeveloped, a cardboard cut-out who is simply evil for evil’s sake. For me, an antagonist needs strong motivation and has to have something at stake, ie: needs to be trying to avoid something or gain something. They must be intelligent and adaptable – worthy adversaries. A compelling antagonist must also be flawed in some way, perhaps having a weakness that readers can relate to and even causes readers to be a little torn at times as to where their sympathies lie. I also love them to have secrets. But of course the most important thing is for the antagonist to stand fairly and squarely in the path of our hero.

I’m fascinated by the concept of non-human things being antagonists. I’ve just read The Perfect Storm, a creative non-fiction book by Sebastian Junger, where the weather is a spectacular villain. Literary fiction and commercial women’s fiction often don’t have a clear wrong-doer, but even so they must have someone or something opposed to the hero, or else the narrative drive just falls away. You suggested to me, Sydney, that in my book Currawong Creek the troubled four-year-old boy Jack was the antagonist, because his presence and behaviour constantly gets in the way of my hero’s plans. Whatever or whoever your antagonist may be, it’s worth investing plenty of time on them.

Sydney:
I think part of the problem is that writers think antagonists have to be bad people. This is surely connected to the common fallacy that conflict is negative. A good antagonist, like conflict, feeds the narrative. As you say, Jenny, without a strong antagonist, the story falls away. That’s because there isn’t enough for the hero to do! But an antagonist must do more than give the hero something to do. They have to be focused on what they want. They have to be prepared to do ANYTHING to get it. Stories ramp up the tension and suspense as soon as the main players are prepared to do anything to get what they’re after.

Kathryn:
Like Jennifer, I’m especially fascinated by non-human antagonists because for me their elusive non-humanness makes them even more frightening than your average axe-wielding psycho. The scraping sound in the attic. The jungle and its slithering, crawling, scuttling inhabitants. The house whose walls bleed. Christine. But human or not, one thing that gives an antagonist depth of character is his/her/its own goal, and motivation for it. I’ve learned (thank you, Sydney) that it’s vital for the author to keep this in mind and, as Jen says, just as important as the goal and motivation of the protagonist. Your antagonist’s goal and motivation should be so strong that if the story were written from his point of view, we would be barracking for him!

Let’s look at JAWS as a timely example, where the obvious villain has an apparent goal to eat everyone in that peaceful seaside town, selfishly snatching away and ripping apart whoever dares stick a toe in that water. However, if the story of the terrifying monster shark – let’s call him Bruce – were written from Bruce’s point of view, we’d discover his motivation for that goal. It might be to avenge all the horrible atrocities committed against his family by humans. When he was a tiny sharkling, perhaps he watched his mother being definned and tossed, alive, back into the sea where she spent hours lying on the ocean floor with baby Brucie pleading as she drowned, “Please swim, Mummy!” And she in turn warning him off, “Save yourself, my son!” Perhaps even the Horrible Human that the now fully grown and vengeful Bruce seems hell-bent on devouring is the one who murdered his mother. (Actually, I’m trying to remember the story and something like this might in fact be the case.) Anyway, if Bruce’s story were written well, we’d be standing in the aisles cheering him on! We might even go swimming that summer, knowing Bruce’s friends would be satisfied with their hero’s fine work; that the shark population was now safe from the evil doings of That Terrifying Human.

So you can see that, as a writer, knowing your antagonist’s goal and motivation can really help build its character, even if it’s never openly stated in the writing. But it will surely emerge, and the reader will sense it but possibly not understand why your antagonist is a truly terrifying one.

Sydney:
I totally get where Bruce is coming from. I feel like cheering him on – except that I’m not sure I agree with someone using violence to resolve their conflicts!

Kath has made a good point, though. Whether the non-human antagonist is a shark or a tsunami, anthropomorphising it will allow the reader to identify with it. Whatever the reader may think of this practice, it is effective. Perhaps it also shows the limits of the human imagination that we find it so hard to imagine a being whose psychology is different to our own. Even when we get back to basics – what does this creature need to survive? what does it fear? – we tend to make them human-like in their responses to these needs and dreads. I recall watching District 8, a movie out of South Africa, which uses a colony of aliens to discuss issues of refugees and asylum-seekers (and any marginalised group, really). The film-maker, who also wrote the script, was unable to imagine what it was like to be one of the aliens. His human hero was terrific, but the film fell short when it came to making the alien a riveting and complex character. Which means that the issues the film discussed were let down and undermined by this shortcoming in the movie.

In fact, now I think of it, any one of us can have trouble imagining what it is like to be someone else, human or animal or alien or force of nature, when what is really required of us is to step into the shoes of another being. Surely this is one of the great services fiction offers us all, whether it’s literary or genre: the chance to feel what it’s like to be someone else.

I love anthropomorphising! And Kathryn, you almost made me cry with your image of baby Bruce urging his poor dying, mutilated mother to swim … Readers, don’t forget to tell us your favourite bad guy for your chance to win books! Winners announced 30th March.

Kathryn Ledson is the author of Rough Diamond and Monkey Business (Penguin), part of the Erica Jewell series of romantic adventures. You can visit her website and find her blog at www.kathrynledson.com
Sydney Smith is a writing mentor, teacher and author of short stories, essays, and The Lost Woman, a memoir of survival. She is currently writing The Architecture of Narrative, a book about how to plot and structure fiction. She offers writing tips at www.threekookaburras.com. If you have a question on any aspect of writing, feel free to visit her at The Story Whisperer.

The Importance Of Author Identity

Posted on February 15, 2014 by jenniferscoullar

Welcome to my first joint cross-blog, which offers tips on writing, with particular emphasis on the romance genre. Every month, authors Kathryn Ledson, Sydney Smith and I will get together to discuss some aspect of the writing craft. These posts will be concise, to allow room for discussion with our readers. We welcome your questions and comments; feel free to respond on this page.

This month’s topic for discussion is:

Romance is a huge genre. What do you advise writers to do to get their novel noticed by editors and readers?

Kathryn: VOICE gives an author’s work a unique flavour. Like a fingerprint, the writer’s voice, however similar it may sound to others, and however much others might mimic it, is pure and unique. But without the writer’s PASSION, voice alone may be weak and bland. Passion breaks through the monotony of stories built on formula and shines a spotlight on that author’s work. In novel writing, my passion for humour and action in stories emerges almost without my permission. As a young child I adored adventure stories, reading everything Enid Blyton and Elyne Mitchell could produce. Through television and film I discovered my sense of humour. Even as a child I understood that irony (for me) is the funniest form of humour. So it’s not really a surprise that adventure and irony feature in my romance stories. My character and her actions give them form, which in turn gives my voice its strength and individuality. And this ultimately gives me, the author, a distinctive identity.

Jennifer: I agree with Kathryn that a distinctive identity is important to any author, especially a genre author. There are two aspects to this – one is voice, and the other is branding. Developing a unique voice is an organic process. It’s more than style, or vocabulary choice, or the decision to write in first or third person. It’s the authentic expression of you on the page – your feelings, dreams, passions and fears showing through in the words that you write. It takes courage to write so honestly, and not hide behind a derivative mask. But it’s worth it, because a truly original voice will always attract attention.

Branding is more strategic, but it still evolves from who you are on the inside. An important aspect of my novels, for instance, is a passion for nature. This became my brand, my point of difference, as my editor calls it. We all have a personal brand; it’s just a matter of recognising it. Romance is a crowded marketplace. Your brand will make you stand out from the pack, help you market your writing and attract a readymade readership of people who identify with your particular sub-genre.

Sydney: It’s interesting that both of you identify passion as an essential ingredient. Passion for the story you are writing, passion for your characters, your themes, passion for the things you want to communicate to readers about your concerns as writers – Jennifer for nature, and Kathryn who loves humour and adventure, which is as legitimate a concern as anything. The writer’s passion speaks clearly to the reader and helps to get them involved in the story. Other things have to be there to hold the reader’s attention, but passion is as essential as technical skill.

What do readers think? Do you like reading about certain themes? Or a certain kind of romance (adventure, comic, mystery? They come in so many hybrids.) What attracts you to a particular novel in a genre?

The Writing Process Blog Hop: Writers Reveal Their Process

Posted on February 2, 2014 by jenniferscoullar

It’s great to be taking part in this blog hop on The Writing Process. Thanks to the lovely Pamela Cook for tagging me. If you missed Pamela’s post last week you can find it here. Pamela is the author of Blackwattle Lake and Essie’s Way, published by Hachette. Apart from writing, Pamela is a teacher and mother of three gorgeous daughters. She also manages a menagerie of dogs, rabbits, birds, fish and horses and her favourite pastime (after writing) is riding her handsome quarter horse, Morocco.

Pamela lives in the southern suburbs of Sydney and spends as much time as possible at her “other” home in Milton on the south coast of NSW. Being a country girl at heart and spending so much of her time around horses enticed Pamela to “write what you know” and she’s more than happy to now be a writer of Rural Fiction. Connect with Pamela via her Website, Twitter or Facebook.

And now for my own responses to The Writing Process questions:
1) What am I working on?
I’m finishing copyedits for Billabong Bend, a star-crossed love story set in the riverlands. It will be released by Penguin in May of this year. My current work-in-progress is a novel set in cane country, near the southern tip of the Great Barrier Reef. See my early attempt at a blurb below.

Unlucky-in-love zoologist Zoe King has given up on men. Moving from Sydney to the small sugar town of Kiawa means a fresh start and she is charmed by the region’s beauty – by its rivers and rainforests. By its vast cane fields, sweeping from the foothills down to the rocky coral coast. And by its people – its farmers and fishermen, unhurried and down to earth, proud of their traditions.

Her work at the Sea-Life Centre provides all the passion she needs and Zoe finds a friend in Bridget, the centre’s director. So the last thing she expects is to fall for her boss’s boyfriend, sugar cane king Quinn Cooper. When animals on the reef begin to sicken and die, Zoe’s personal and professional worlds collide. She faces a terrible choice. To protect the reef must she betray the man she loves?

2) How does my work differ from others of its genre?
Like Pamela Cook I write rural fiction, currently a very popular genre. The main point of difference with my novels is a passion for the plants, animals and birds of the bush. This shines through in authentic stories set in Australia’s magnificent wild places, with various environmental themes at their heart.

3) Why do I write what I do?
I’ve always enjoyed a deep affinity with nature, and I channel my passion for the environment into my books. The natural world is full of drama, risk and exquisite beauty – perfect fodder for a novelist! I also enjoy an old-fashioned love story. For me, a good romance is not just about two people falling for each other. The original, medieval concept of a romance always involved a quest, and I think a modern one should too – it is the heroine’s search for herself. For until a character discovers her authentic core, she can’t genuinely connect with another person. So I like to show a woman coming into her strength and fullness as a human being.

4) How does my writing process work?
I’ve written six novels now, and am beginning my seventh. My first manuscript took more than two years to write. Of course you don’t know quite what you’re doing with a first novel, but you learn a lot about the craft along the way. Once I was published I had to be more practical about my process in order to meet deadlines. Although I’m a pantster at heart, I now plan a lot more, using a loose, three act structure. This plan is flexible however, and doesn’t prevent the story from evolving organically. With my new novel I plan to write 1,000 words a day, five days a week. Let’s see how I go!

Next week three wonderful writers share their thoughts on the writing process:

Kate Belle is a multi-published author who writes dark, sensual contemporary women’s fiction. She lives, writes and loves in Melbourne, juggling her strange, secret affairs with her male characters with her much loved partner and daughter and a menagerie of neurotic pets. Her first book, The Yearning, was released in 2013 to rave reviews. Her second, Being Jade is due for release in June 2014 (Simon & Schuster Australia). She blogs regularly at The Ecstasy Files and as a guest to whoever will have her.
Blog/website: http://www.ecstasyfiles.com
Facebook: http://www.facebook.com/katebelle.x
Twitter: @ecstasyfiles https://twitter.com/ecstasyfiles
Goodreads: http://www.goodreads.com/author/show/6572571.Kate_Belle
The Reading Room: http://www.thereadingroom.com/kate-belle/ap/2394119

Kathryn Ledson has worked as a PA in the corporate world, for Hayman Island’s PR team, and as Peter Ustinov’s PA during his Australian tour. She has also been on the road with rock bands Dire Straits and AC/DC. She now works as a freelance editor, but her passion is writing popular fiction for Penguin. She is the author of Rough Diamond and the newly released Monkey Business. Connect with Kathryn via her Website , Facebook or Twitter

A.C. Flory is an Australian indie science fiction writer who is a master of world building. The questions she asks most are why and why not? I love that her writing is not human-centric. In her first published novel Vokhtah, the characters are entirely alien, deeply observed and intriguing. It is the first book of a trilogy and I look forward to the rest of the series. She has also published a fabulous collection of short stories set at the end of the 21st century called The Vintage Egg (Postcards From Tomorrow). Connect with A.C. Flory via her website, Facebook or Twitter.

Congratulations to Karen Stalker for winning a signed copy of Currawong Creek in the Australia Day prize draw, and thanks to everybody else for entering! Karen, I’ll send you an email shortly.

The New Romantics

Posted on August 11, 2013 by jenniferscoullar

L-R Kate Belle, Me, Jan Bull, Kathryn Ledson and Margareta Osborn

I’ve joined forces with authors Kate Belle, Kathryn Ledson and Margareta Osborn to form a panel called The New Romantics. Together we present a fresh and modern take on Aussie love stories. Though none of us write traditional ‘romance’, we all have strong romantic elements in our books.

Yesterday was our very first gig. It was in celebration of National Bookshop Day, and we were warmly welcomed and entertained by the gorgeous people of Foster and South Gippsland. Many thanks to Jan and Bob of Foster’s Little Bookshop, for organising and hosting the event!

I talked about how a modern romance may be all about passion, but it’s not just about the passion between two people falling in love. The medieval concept of romance always involved some sort of a quest, and so does a modern love story – it is a character’s search for herself. I also talked about how my passion for the environment is channelled into my stories.

Margareta (author of Bella’s Run and Hope’s Road) talked about her own, marvellous brand of rural fiction. As a fifth-generation farmer, her ties to the land are very strong and her books convey a sense of place, community and belonging. Kathryn (author of Rough Diamond) gave us her hilarious take on romantic comedy. Kate (author of The Yearning) discussed whether or not that happy-ever-after ending is an essential element of a modern romance novel, and much, much more.

All in all it was a fabulous day, and an encouraging beginning to our life together as an author panel. We are available for events and festivals! Contact the lovely Kate Belle (ecstasyfiles at gmail dot com), who has become our de facto organiser. I look forward to many more stimulating authorly discussions and would love for you all to join us sometime in the future!

Rough Diamond

Posted on December 23, 2012 by jenniferscoullar

Now for a real treat – a guest blog by author Kathryn Ledson, talking about Rough Diamond, her debut release with Penguin Books. Kath and I have been mates for years, so I’ve been privy to the development of this marvellous new series, starring reluctant heroine, Erica Jewell. Now it’s over to Kath.

“Thanks Jen. Rough Diamond came to me in a flood of romantic scenes starring Erica Jewell and Jack Jones. By the seat of my pants and on the edge of my seat I poured love onto the page. And that, I thought, was all I had to do. I finished my manuscript – almost 120,000 words – and submitted it. Only then did I discover that something called a PLOT wouldn’t go astray.

I’d already done a writing course; a pretty good one, in fact. But when I enrolled it hadn’t occurred to me that I might one day write a novel. I was a corporate gal. Surely I’d return to that world and carry on in a different career, one that involved writing?

At the end of 2008, when Erica Jewell announced herself and demanded my full attention, I felt I had no choice but to give her space to exist. That seems crazy – I understand that – but it’s true. Her desire to be was so powerful, so all-consuming, I rejected other writing opportunities in favour of getting this novel out of my head. The problem was that I hadn’t taken “How to Write a Novel” as part of that writing course. In other words, I had no idea what I was doing!

Rough Diamond was already a seed that had been planted back in the early ‘80s by a television show called Scarecrow and Mrs King starring Kate Jackson, fresh from Charlie’s Angels. Is anyone out there old enough to remember it? I recently bought Series One and started watching it again. It was really very corny as so many shows were in the ‘70s and ‘80s and I only watched one episode. But back then I’d loved it! It was my weekly escape. I’d imagine being (the widowed or divorced – can’t remember) Mrs King and having a dreamy looking (well, I thought so) tough guy whisk me into an exotic, sexy world of spies and espionage. Poor Mrs King was so daggy, turning up at black tie events in her cardy and sensible shoes, but the spy fell in love anyway and rescued Mrs King from the shelf by marrying her (which is what all women wanted). Of course, the wedding – the happily-ever-after – meant the death of the series, as it usually does.

Erica Jewell is a bit more fashionable than Mrs King, but no more competent in her efforts to assist Jack Jones and his team of vigilantes save Melbourne from terrorists. She does quite fancy Jack – he’s gorgeous of course – but she was put off men when her lying-cheating-bastard husband took off with some bimbo in a sports car (that’s Erica saying that, not me). And Jack himself is commitment phobic since he lost his wife and parents in New York on that fateful day in 2001. He is drawn to Erica – probably confused as to why – and there’s an ongoing dance of attraction between the two that I plan on drawing out for many books to come!

So far, so good. Emerald Island (no. 2) is well under way with Erica finding herself on dangerous turf in a war-ravaged land trying to find the missing-in-action Jones. He doesn’t want to be rescued by a woman, but she reckons she’s not leaving there without him. I’m not sure how it’ll all end up – surely there’ll be tears, spiders, some romance and … book 3?

NB: I’ve since had so many teachers – official and unofficial including great talents like Jen Scoullar – I finally kind of worked it out and managed to score a two-book deal with Penguin. I’m still learning today, though. I don’t think we should ever stop.”

ROUGH DIAMOND

“What I want in life makes a very short list: no debt, no surprises and definitely NO men. Except the ones at work and the mechanic and the ones who get the spiders out of your car.” Erica Jewell, Rough Diamond.

The shock ending to Erica Jewell’s marriage has left a huge hole in her bank balance and a bigger one in her heart. So now her life goals include no more men! That is, until she finds one bleeding to death in her Melbourne garden one stormy Friday night.

Jack Jones is a man whose emotional wounds are more life-threatening than the bullet in his shoulder. Under orders, he recruits Erica to his secret team of vigilantes, and Erica suspects her safe, predictable world is about to be turned upside down. And she’s absolutely right.

Funny, romantic, and action-packed, Rough Diamond introduces Australia’s own Stephanie Plum – the unforgettable Erica Jewell.

Well thank you Kath, for telling us about the process that led you to write Rough Diamond. I’m always fascinated to hear these stories. Thanks also for the shout-out, but you didn’t need help from me. You’re a natural at this romantic comedy stuff! Looking forward to the rest of the series. If you’re after an entertaining summer read, I highly recommend Kathryn’s books. e-Rough Diamond was released by Penguin on 20 December. The physical book will be in store on 30 January 2013. Feel free to contact Kathryn via her new website: www.kathrynledson.com.

Finally, I wish you all a very happy and peaceful Christmas, and thanks so much for the support you’ve shown me. See you in the New Year!

A Novel Idea

Posted on September 30, 2012 by jenniferscoullar

My recently finished manuscript is finally with my agent and publisher. Here is a brief blurb.

When Brisbane lawyer, Clare Mitchell, becomes the unlikely carer of Jack, a little autistic boy, her life is turned upside down. In desperation she turns her back on her job, and takes Jack to Bundara, her grandfather’s Clydesdale stud at Merriang, in the foothills of the beautiful Bunya Mountains. She arrives to find part of the property leased by local vet, Tom Lord, an advocate of equine therapy for traumatised children. Jack falls in love with Bundara’s animals, and Clare falls in love with Tom and the life of a country vet. But trouble is coming, trouble that threatens to not only destroy Clare’s new-found happiness, but the tiny town of Merriang itself.

My new novel is due out with Penguin in July next year, and I’m pleased to report that it has been well received by Belinda Byrne, my publisher. So while I wait for the inevitable grind of edits to begin, it’s time to plan my next novel. Some people seem to have multiple narratives swirling around in their minds at any given time. Unfortunately, I’m not one of them. It can take a long time for me to plot a new story. There are many ways to come up with fresh ideas.

The High-Concept Approach. This is a movie term, that works something like this. Pick a tried and true scenario and tweak it a little, or a lot, and/or combine two together. My friend and publishing buddy, Kathryn Ledson, used this concept to successfully write, and then sell her Erica Jewell series to Penguin (The first book, Rough Diamond, will be out with Penguin in January) It’s a cross between Bridget Jones and Indiana Jones.

Read Read everything you can, in and out of your chosen genre, fiction and non-fiction. Allow another imagination to cross-fertilise your own. There’s much truth in the old adage, show me a writer that’s not reading, and I’ll show you a writer that’s not writing.

Look Around You Keep a keen eye on what topics are in the news. What are your friends talking about? What concerns keep you awake at night? Eavesdropping is also a useful skill for writers. Listen in when other people talk. Mobile phone conversations on trains are good for this. Don’t let them annoy you – let them inspire you.

Hang out in bookstores. This is critical. Pay close attention to those New Releases. Get to know what’s new and hot in your area. Find out what’s selling, and to which publishers. Remember that you need an idea that other people (not just you!) can get excited about.

As I said last week, I have a vague idea for the new novel. My task for October is to develop a rough plan, with themes and characters that will sustain me over the next twelve months of writing.

Jennifer Scoullar – Bestselling Author of Australian Fiction

'A love affair with the wild …'

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