Monday, August 25, 2008

The house in my downstairs loo: £625,000

No, really. A year or two ago I painted a mural in the downstairs loo, at my mother's request, of Port Isaac harbour. This weekend I saw one of the houses depicted thereof on the Houses of the Week page of the Sunday Times Homes section. It's pretty pricey for a two bedroom cottage, but then a) the views are spectacular, and b) it's used in a primetime ITV drama as Doc Martin's house (we go to Port Isaac most years, often in June, and there's usually some film crew wandering about). I'd upload a picture, but I can't find one online and I've absolutely no idea where I filed the one I took when it was finished, and I'm far too lazy to go downstairs and take another one.

No, not quite lazy. This last week I've been suffering with labyrinthitis--again--which has symptoms somewhere between motion sickness and the sort of hangover where you're still quite drunk. To combat this I take a whole cocktail of tablets, which reduce the nausea to disorientation, but leave me rather sleepy. So I'm not terribly productive right now.

Although I did just draw a little sketch of Jack, asleep on the windowsill in the sunshine. Hard to draw a black cat without just crayoning black all over the place. Not sure how well it came out, really, so I shan't be scanning it in to show anybody.

Have been watching some Buffy and reading my Serenity scriptbook, and remembering why Joss Whedon is so clever. Making notes--I could do a damn workshop on it by now--and applying them to improving the Untied Kingdom. Which still needs improving. I'm also using the plot chart I made for Kett's book, and going through scene by scene this time (great fun when you have 115k words, at least 15 of which need to be cut). I've already cut a few scene4s which were just repeats of things I'd already said and done.

Last weekend I got the sewing machine out and made a pink butterfly version of a 1957 Vogue pattern. Still not finished; needs a petticoat to hold the skirts out. Still waiting on the fabrics (ordered from cheapfabrics.co.uk; about a quarter of the price I'd have got at John Lewis). Am thinking of making another dress too, if this one comes out okay.

Oh, and I picked a winner for my contest last week: Janet Worley has won the free download of Out Of This World. For those who didn't win (thanks for entering!), you can still buy it, or read a free sneaky peak (or two) at the Changeling chat loop. Be warned, it's spicy.

Stream of consciousness here. Told you I was a bit floopy this week. I guess it's official now: I'm just a dizzy blonde.

Haven't had a picture of Richard Armitage for a while. Here's one from my Richard Armitage picture file (I also have a James Marsters file, a David Tennant one and a Huge Ackman one).

Wednesday, August 20, 2008

Contestylicious!

Okey dokey. It only took me a week...actually it took me a week and some suggestions...but here is a contest for everybody. Want a free ebook of Out Of This World? Then enter my contest!

As I realised last week, Out Of This World is my 20th Changeling title. Twentieth. Seems like yesterday I was going giddy over the sale of She Who Dares (ah, snarky vampires, must write some more of those!).

Therefore, the contest entry requirement is simple. Can you name all twenty of my Changeling Press titles? Well, can you? Then email the list to me, and on Friday 23rd Aug I'll pick a winner from the correct answers.

(I'm trying to type this with Jack on my lap, purring like a madcat and batting at my elbows for attention with his claws. Love you too, baby).

On your marks, get set... go!

Wednesday, August 13, 2008

I've just realised

Out Of This World will be my 20th Changeling Press title! Wow! I've got to think of something to celebrate!

Monday, August 11, 2008

New cover!

Here's the cover for this month's release from Changeling Press, Out Of This World, by the talented and Doctor Who-loving Renee George. We love Renee!


Out Of This World is released on 28th Aug** and features a Yorkshire werewolf who herds his own sheep, an inter-dimensional traveller and a spaceship with built-in sex aids. Excerpt will be uploaded soon!

**Correction: Out Of This World has just been moved up the schedule and will now be released 22nd Aug!**

Thursday, August 07, 2008

I never really loved you anyway

The thing is, I'm not exactly new to the whole submission process. I've been (in many cases ill-advisedly) submitting books to publishers for, oh, maybe five years now. I know it can take forever and a day to get a response. I know things get lost. I know sometimes the Royal Mail just throws a hissy fit and decides that today, they're going to eat ice creams instead of delivering the post; but still. Sometimes you wait and you wait and you wait, and then a year after you put your baby in the mail you just think: well, fine. I didn't want to be published by you anyway.

Not even when several authors I like personally as well as professionally have published books with them. Recently. Submitted just before me and had the book published last month. See, a book being published in under a year--and mine hasn't even been read. And it's only three chapters. Maybe they're really chewy, hard-going chapters, and it's so hard to read it's taken the submissions editor a week to get through each paragraph. In which case, at the end of the first hour she should have put a form rejection in the mail.

And it's not as if several authors I know have singled me out to say, "You should definitely write for this line!" Oh no, wait, it is.

And I emailed in January to ask if they'd got it. So I can't blame the post office for not delivering it twelve months ago.

But like the Murphy's, I'm not bitter. I mean, I'm not the only one who's waited forever and ever to hear back on an unsolicited partial, am I?

Am I?

Ack, this is depressing. Let's look at a picture of Daisy being adorable instead.

Wednesday, August 06, 2008

Reread, rewrite, redo, undo

Ah, the self-editing process. Self-loathing, more like it. The part where you look at a manuscript that's just not selling, and conclude that it must indeed be absolute rubbish. So do you give up on it, or try and fix it?

Me, I can stubbornly hold onto a book for years before concluding it's not going to work. And even then, as with the Sophie books, sometimes they come off the shelf and sell eventually. But I, Spy? had to be rewritten, especially at the beginning, a gazillion times.

So, here I'm looking at the Untied Kingdom with a view to sending it out. Despite it once more getting rejected. Twice. Last week. I can't see anything especially wrong with the opening, but in looking at the next couple of chapters I've cut loads of rambling crap out and replaced it. With what might turn out to be more streamlined crap, but you never know. I certainly don't.

The thing is, I love this story. And I know I'm not the great arbiter of what's going to sell (boy howdy would I be rich if I was!), but I can't be that off. Can I?

Saturday, August 02, 2008

Scratches

You know how cats chase your feet under the duvet? Well, when it's hot and there's no duvet, just a sheet, it really, really hurts. Jack has lacerated one leg and foot--the other is bruised from trying to escape the Demon Puppy by climbing over the dog gate. Probably just as well the weather's turned cooler, eh?
It's a good job he's cute...

Wednesday, July 30, 2008

Beep beep, n'beep beep, yeah!

So yesterday I went with my dad and brother to the British International Motorshow (why the 'international'? Is it because otherwise people might think it's just for British cars? Are there any British cars any more? Didn't they all get bought by Ford, or sold to Russian oligarchs, or something?). Just as it was two years ago, the weather was blistering, but at least Excel seem to have got their air conditioning sorted out, and there was a breeze coming straight off the river for the outside bits.

Although, what the hell was up with the catering? A dozen or so fast food concessions, including three with the word 'posh' in the title, and the only veggie options were a cheese baguette or a cheese and onion pasty. Add a tuna baguette and fish'n'chips for those who eat fish...but it's still not a gigantic choice, is it? Maybe Clarkson's opinion of vegetarians has spread to the show's organisers?

Well, food ranting aside, I had a great time. It's always kind of funny to go to the Motorshow and see the ratio of men: women. It's probably about 4:1, and of those women present, at least half, maybe three quarters, fell into the wife/daughter/mother category, and not women who are there because they're actually interested in cars. Which is insane: I bet most of them drove cars. But then, men wear clothes and don't care about fashion.

I actually received what I'm taking as a high compliment from my dad: that I know as much, if not more, about cars than him. This might be his way of admitting he knows sod all, but that's not the way I choose to take it.

Anyway. Show highlights. I wanted to look at the new Fiesta, but it was kind of swamped, so I wandered over to the Land Rover stand. Here's my old favourite, and a car I still want, the Defender. Brilliantly functional, does what it says on the tin, and still looks damn good. This is what Sophie drives--although of course, Ted is bile green, about a million years old, and looks it.

The Land Rover concept, on obligatory revolving stand. Looks fantastic. Hope it makes it into production. Although whoever designed it does appear to have been moonlighting at Saab, too.

From the concept-for-concept's-sake department at Renault, the Megane concept. Those doors...very nice, but perhaps trying a little too hard to be different? You don't need to reinvent the wheel. A door that opens in one piece is enough, thank you.

The second-worst car company slogan I can think of belongs to Kia. "The power to surprise" is not a power I want from my car. They might be cheap, but that's part of the problem: buying a Kia tells everyone not just that you're cheap, but that you really don't care about cars (if you're that broke, buy a Fiat Panda). Kias just aren't cool (see Andre Agassi advertising them. Instead of his cool rubbing off on the cars, their naffness started to rub off on him). Putting gold wheels and bumpers on a car doesn't make it look cool...it just makes it look silly. And don't call it Diva. That's like you wanted to call it the Beyonce but couldn't get the licensing.

Incidentally, the absolute worst car slogan I saw yesterday was Ssangyong: "It works for me." But for everyone else, it just doesn't work at all.

The truly ugly Citroen C-Cactus. A terrifying melange of what-the-fuck-ness. It looks like a rhino snorting coke. Its name sounds like something spiky you find on ocean floors. It has lime-green felt on the inside. And yet, there is one thing I like about it: no dash on the passenger side means acres and acres of legroom. I mean, in a crash that diesel-hybrid engine is going to kneecap you, but up until then you'll be comfy.
Chevrolet's new Camaro. I don't know what it is about this thing that's just so...American. I mean, take the badges off every car in the place and ask someone to find the American one, and they'd point to this. That's not so say it's not good looking--it is, in a Tony the Tiger kind of way. It's grrreat. Makes a change from the ubiquitous silver and this year's concept colour, white.

Of the three Humvees on display, two were locked, and had blacked-out windows, so I'm not sure what their point was.The other one was full of young men in baggy jeans and very large t-shirts, and I've never been quite sure what their point is, either. But I absolutely loved the little soft yellow cuddly Hummer toy in the floor display case. Cute as all hell. Buy one for your kids: by the time they grow up, cars will probably have been outlawed.

Vauxhall's replacement for the Vectra (about time!), which of course is the invisible repmobile Luke drives in the Sophie Green books. Receiving its world premier at the Motorshow, although as this understated display shows, Vauxhall are being subtle about it.

Sarcasm aside, I think it looks like a decent vehicle, a whole lot better than the Vectra, and my God, it has a boot you could live in.

My brother remarked that the crappiest marques had the prettiest promo girls--he was right. After all, if their cars are rubbish they need another way of grabbing your interest, right? And see above re: ratio of men to women. No one is trying to sell anything to women at this place. In contrast, when you get to the prestige marques, the stands are being manned by middle-aged blokes in suits. The exception was Alfa Romeo, whose promo girls wore very stylish little black dresses, but then they're Italian, and they won't countenance ugliness.

This girl was on the Cadillac stand. I think this was the only stand, apart from Alfa, where I wouldn't be ashamed to be seen in public in the promo girls' outfits.

From the eco corner, the Nice (No Internal Combustion Engine). What's that you say? No, it's actually a real car.

In the same corner, the Nissan Cube. Clearly designed by someone who was only allowed a ruler and set square (and how exactly is this thing going to be fuel efficient when it has the aerodynamics of a, well, a cube?). Paint it red, add a bloke in a Royal Mail uniform, and you've got Postman Pat, am I right?

And back to the Now That's What I'm Talking About section. The Mazda Furai. How it can possibly have the same label of 'car' applied to it as the Nissan Cube I have no idea. Just look at it. Aerodynamics of an eel. Looks like Batman is going to dive into it. Sounds like a martial arts manoeuvre. This is why I love cars.

The Furai again. Because I love looking at it.

After lunch, we took a stroll down the side of Excel, past the river where, for those who find the whole car thing a bit boring, a bit cheap, a bit lacking in vision, there were some very expensive boats. This one came in at £2.8 million. You could buy three Bugatti Veyrons for that.


But if you have a lot of money and don't fancy a yacht, there's the Heritage Enclosure. This is where they put all the money-can't-buy-it classics. It's also where you find a lot of men with long-lens cameras and misted-up spectacles, quoting specifications at each other in hushed, adoring voices.

The sublimely pretty Alfa TZ1.

The wonderfully un-PC number plate on the Ford GT.

The completely bonkers Koeniggsegg CCX. This is the one that tried to kill the Stig.

The big, brutish Aston Martin Vanquish. This was the jumping-the-shark disappearing car in the last Pierce Brosnan Bond movie. Which is a shame, because I think it matches up with Daniel Craig's barely civilised Bond much better. This is the one Sophie blew up in Ugley Business. This is the one Docherty really wants some payback for.

It's so beautiful we'll have another picture.

From the sublime to the ridiculous: the AA had a small exhibition of heritage vehicles that had been used during the last 60 years. You know, the AA? Automobile Association? Comes to get you out of trouble when your car's broken down? Well, what I just loved was this. Most of the cars had drip trays underneath to catch the oil leaking out of them. Yeah, that's what I want to see--a rescue vehicle I'm going to have to tow.

Back inside to the Sunday Times You Couldn't Possibly Afford It area of the show. I was mildly disappointed that Aston Martin didn't have their own stand, and neither did Ferrari, but at least you could see them here. Shame there was no Veyron, however.

Yes, I do have a thing about Astons.

The Pagani Zonda. Looks like the white knight version of Batman, doesn't it?

And now to my favourite stand (well, since Aston didn't bother). Alfa Romeo, the last car manufacturers to prize style firmly over substance. God bless the Italians. The only manufacturer with nice cars who actually bothered to find their promo girls nice outfits to go with them. Also, one of a very small handful (the others are all Italian too) who should be allowed to paint cars red. Italian racing red. Any other red just doesn't work.

Here is the Brera, which my brother loves so much he'd marry it if he could.

Personally, I prefer the 8C Competizione. Mrrrow!

The only time you'll ever get my dad in an Alfa. ("But BMWs are much more reliable!" Yes, which is why yours has been back to the garage a bazillion times. At least when your Alfa breaks down, you still look good).

Toyota's new Pious concept. I mean Prius. Sorry.

From the Top Gear stand, Hammond's not-at-all-gay Vitara. Nice. The other two 'police' cars were there too, with several promo girls wearing t-shirts saying I Am The Stig. Sure you are, love, sure you are.

And that's it. Apart from the incident at the Suzuki stand, where I was checking out the Swift (still a very nice little car, even if it has absolutely no badge prestige) one of the promo girls came over and before I could say I didn't need any help, she said, "Excuse me. I just wanted to ask how you get your hair like that?"

This was basically my 'it's hot and I just want it out of my way' style. Because of the side fringe and the layers, etc, it doesn't pony up as well as it used to, especially if there's a breeze which there was, Excel being by the Thames and all. What the Suzuki girl wanted to know was how I got the plaits sitting on top of the hair, not tucked under. And I had to honestly say I have no idea: I'm just cack-handed about these things.

Tuesday, July 29, 2008

If I was going to San Francisco

I'd probably be on a plane now. Zombified.

Instead, I'm going to the Motorshow.

Pictures will follow, for any of you who care about cars. And those of you who don't...er, tough, the pictures are still going to follow.

Saturday, July 26, 2008

RNA conference notes--part five: Sunday afternoon

These appear to be the last set of conference notes I have! I actually found a lot of Julie's advice here really useful for revising Kett's book.

Julie Cohen: Pacing—it isn’t just what you do in Jimmy Choos while waiting for The Call.

It sure isn’t. I don’t own any Choos. I’ve only ever seen one pair in real life (Alysia, you know I’d nick them if they were in my size!).

Anyway. Pacing, as explained by the not-at-all-hungover Julie Cohen, is about being a Timelord (here we both regretted that she didn’t have a David Tennant picture to display) and controlling your reader’s experience of time. We’ve all experienced the OMG of sitting down to read a little of your book while dinner’s cooking, only to look up what seems to be minutes later, and find your kitchen filling with smoke. The book changed your experience of time, so you didn’t notice the minutes ticking by, or indeed the smoke alarm going off.

How to do this? It does depend on how long the book is. Julie writes short contemporaries for M&B Modern Heat (about 55k, I think) and longer books for Little Black Dress, which are nearly twice as long. In the LBDs, there’s more room for subplots, downtime and introspection, that there isn’t in a shorter book.There’s also space for more worldbuilding and the action can take place over a longer time period.

But all this can slow the pace of a book down. The basic thing you want to do is to make the slow, boring bits of life go faster, and the fast, exciting bits go slower. Lots of conflict slows down the pace, which is exactly what you want for the big dramatic moments in your book—you don’t want them to be over in a twinkling.

Similarly, there are certain bits of exposition that are necessary, but maybe not all that exciting. These could do with being speeded up or incorporated into another scene. You never, ever want your reader to have an excuse to put the book down, or worse, skim bits. You want your reader to burn her dinner (well, you don’t really, but you know what I mean).

Be efficient in your writing. Don’t waste time with things that aren’t relevant, and try to make each scene have two or more purposes. This isn’t about what happens in the scene, but about what it actually does for the story. Does it move the plot or subplot along? Are your characters being developed? Does the scene create environment/atmosphere/conflict? Does it impart information?

Revise for pace. Don’t try and cram it all in on your first draft. Julie often prints out her scenes and writes down what each one actually does in terms of the above. If you do this and discover that you have scenes doing nothing but imparting information, you might want to consider rewriting those scenes, as they’re going to be quite slow. Try to start, and end, each scene with a hook.

Vary the mood, topic, style and theme of your scenes. Julie gave us a breakdown of the first act of Romeo and Juliet with a bullet-point list of what happens. Shakespeare varies, in almost every scene, the tone and style of the language—the younger lovers, the older parents, the aristocracy, the servants. He alternates high drama with comedic moments or fanciful, romantic scenes. The combination is different in almost every scene, and thus a whole lot happens, the world is built and the characters introduced all in the first act, without the pace dropping for a moment.

If you have secrets to impart in your story, try to hand them out gradually. Reveals are dramastic, and they keep the reader coming back for more. Slow down these moments, make them full of emotion and drama. If they pass too quickly, they’ll just vanish and your secret-keeping will have been in vain.

Julie compared novels to comic books (her forthcoming LBD is about a comic book artist), where all the action takes place in the white space, call the gutter. Don’t be afraid of white spaces in your books—use them to break up scenes. They allow time to lapse without filling in pages of boring, “and then this happened, and then that”.

What should you speed up, or even skip altogether?

Coffee and shopping scenes. In films they’re always cut down to montages anyway. These scenes don’t actually do anything (unless the coffee meeting or shoe shopping is the backdrop for important revelations!).

Descriptions for the sake of it. You can tell me the minutest details about your heroine’s outfit, but unless those details are relevant in the scene—the over-tight corset that makes her faint, or the borrowed shoes that cause her to stumble—it’s all completely pointless. Ditto surroundings. This ties in with what Anna said in her workshop on settings, that there should be an emotional connection to the setting, and your characters need to interact with it. If there isn’t, and they don’t, then why are you telling me about it?

Things that are necessary in real life but not in fiction. Your character is driving--I don't need t0o know every gear change. I don't need to know about every meal they eat or how often they use the bathroom (I really don't). There’s a Jude Deveraux book (I can’t remember which one, and I’m not about to go through all twenty-twelve of my books to find out!) where the heroine is a cook, and she makes lots of jam. The reader is treated to page after page of nothing but checking temperatures and boiling sugar, or whatever it is you do in jam-making. I’d tell you, but I was so bored I skipped pages at a time, so I have no idea.

Naturalistic but unnecessary dialogue. I was reading a book the other day—and mercifully I’ve forgotten what it was—where every single word spoken by everyone in every conversation was recorded. You and I know that when you make a phonecall you start off with the pleasantries, but your reader knows this too, and doesn’t need to read, ‘Sarah picked up the phone and dialled Jane’s number. “Hello?” said Jane. “Hello, Jane, it’s me,” Sarah replied. “Sarah?” “Yes. How are you?” Sarah asked. “I’m fine, how are you?” Jane replied. “I’m very excited about the date I had last night,” Sarah said.’ See? Disaster. Your reader has skimmed most of that. If your narration just runs, ‘Sarah called her best friend and said, “Jane, I’m so excited about the date I had last night…”’ you’ve imparted the same amount of information without boring anyone.

Bits at the start and end of the scene. Start with a hook, and go straight in. Don’t re-cap anything.

Resist the Urge to Explain. Remember the jam story? Have R.U.E. painted on your keyboard. Remember about keeping secrets? Your readers are smart people. They’d like to think they’ve figured things out for themselves without being told in every scene what’s going to happen, what’s happening and what’s just happened. Don’t be afraid to cut anything that’s not useful or entertaining.

Analyse your pacing after the fact—especially if you're like me and Julie, and can’t plot in advance. Julie said that for Girl From Mars she made a quick summary of everything that happened in a chapter, then made a chart marking out who was in the chapter, and what was happening with them. Each character got a coloured dot—a small one if their presence didn’t make much of an impact, and a big one if something important was happening to them. This way, she can tell if there are different things happening in each chapter; if there’s a big dot in each chapter; if there’s something from each character thread in each chapter. It’s useful in seeing what the important thing in each chapter is. Can you cut the rest?

I bastardised a version of this for Kett’s book (which despite a list of potential titles running over two pages, still doesn’t bloody have one), which I know is over-long and has pacing problems. My version has columns for character and plot development, and then for the tone and content of the scene—one each for humour, love, lust, drama, and hate. I put in varying shades of each colour for varying degrees of content. Sounds complicated, but it enabled me to see where there were chapters with lots of plot development, but apparently no humour, love, lust, drama or hate. The characters didn’t develop much either.

See the highlighted box near the top? Skim along to the right, and you'll see only one colour there—plot development. But absolutely nothing else. That's the Hateful Chapter Five, which has since been fixed, to be funnier, sexier, and less hateful.


On the other hand, I could see where the Black Moment fell by the big dark colours in each column. The Drama and Hate columns had lots of colour there, but after that the Hate column got paler, while the Love one got darker.

It’s all about using what tools work for you. If you’re a better plotter than I am (and I can’t even write notes on my plots, or the creative bit of my brain just goes on strike) then you might not need all this. But if your book is plodding a bit, try using some of Julie’s advice to tighten it up a bit.

Wednesday, July 23, 2008

I really do want to write about superheroes

The thing is, I wrote about superheroes before, and it flopped. Badly. It was going to be a whole series (for the three or four of you who bought it, that's why the whole supervillain thing was never resolved) but after the first book failed so badly, no more were commissioned. That's the thing with series. The first one has really got to succeed.

Perhaps it was because Naked Eyes was an erotic romance, and supers don't do so well in the erotosphere? (new word, like it?) I was thinking of a new book more along the Sophie lines--non-erotic (although there may well be some sexx0ring) one central character, a couple of love interests, sequels, save the world, diet-to-fit-into-supersuit, etc.

Or maybe it's that superheroes do well in comic books, and on the big screen, but not in books.

Or maybe it just sucked.

Thoughts? Reactions?


Tuesday, July 22, 2008

Jungle cats

Jack and Daisy had their first trip outside yesterday. Neither of them understand the cat flap, and Daisy got stuck up a tree (a 15ft conifer...try leaning a ladder against one of those, swaying nicely, when you're terrified of heights!). But otherwise, things went well.

The pink rose there is one we planted for Tinker (we've always planted roses when our pets die). Twenty years ago, he was the same size Jack and Daisy are now!

Daisy, being intrepid. When we first got her through the cat flap, she hid under the sidings of the conservatory.

Daisy helping me work. She's a rotten typist. Even now she's trying to climb onto my desk.

Here they are making themselves comfortable on my bed. Left, Jack; centre, Daisy; right, Spike, remaining unimpressed.

Currently, Daisy is climbing all over the computer, and me, looking for attention. Three weeks ago she was terrified of me. Nice to see she's figured out who her mummy is.

Monday, July 21, 2008

Heat Stroke cover


Yes... isn't it hot? Props to Renee George who designed it! Fifteen Minutes from the Sun is a little short story snippet about two hot people on a shuttle facing meltdown. I'm flexing my sci-fi muscles here, people.