Author Spotlight - Trish Wylie

We're delighted here at the minxes today, to welcome minx favourite, Trish Wylie, who's here to answer minxy questions and tell us all about her new book. Trish would like to give a signed copy of her latest Riva, The Inconvenient Laws of Attraction to one lucky (non-minx) commenter, so do leave a comment below!

Right - let the questions begin...

What is your writing process?
It usually starts with a snippet of something; a line of dialogue or something I have watched which I thought should have a different ending or left me asking questions. Next up I'll 'cast' my hero and heroine with pretty pictures and create character profiles, thinking about the conflict which keeps them apart. With a few scenes in mind I wing it from there, keeping an eye on the word-count for turning points.

Everyone who writes knows it's not easy - what methods do you use to keep at it on days when it would be so much easier to go shoe shopping?
I find the need to eat a great motivator but on the really bad days I'll simply keep plugging away at it-even if I'm writing complete twaddle-and set myself a word-count goal. Once I'm over the 'hump' and get going again, I'll delete a lot of what it took to get me there.

Keeping fit: Do you have an exercise regime to counterbalance all those hours sitting at a computer?
I've tried pretty much everything from exercising with a Swiss Ball to WII Fit and have discovered a total lack of self-motivation until about a fortnight before I have to meet people in the writing world. The only thing I do regularly is walk my dogs and look after my horses.

Do you believe in writer's block?
Yes, but I believe there's always an underlying cause for it. In my case it started with burn-out after a particularly busy writing year combined with my first ever run of publicity. When real life decided to add to my woes with family problems I found it even more difficult to write happily-ever-afters. What I have learned is to pace myself, prioritize and allow space for down-time in my schedule. The creative process is all in the mind so I strongly believe taking care of your mental health is every bit as important as your physical well-being.

What have the changes to the current Harlequin lines and branding meant to you? Have they affected your writing process?
Personally I've found it liberating. Over the years I had ideas for stories I didn't feel quite 'fit' in either of the lines I was writing for and often found I was 'reining myself in', despite encouragement from my editor to think outside the box. With Riva I'm pitching the kind of stories I love best and am having an incredible amount of fun writing them. My process hasn't changed any more than it already had for me to get out of my writing 'funk', but I don't feel like I'm holding back now.

What do you think makes a Riva book Riva?
When I think Riva, I think of films like The Proposal, 27 Dresses, Two Weeks Notice and Failure To Launch. They're an incredibly fun read with stories which frequently catch me off-guard. I love that about Riva.

Have you ever used an incident from real life in a book? If so, did it get you into trouble?
Yes, but since it was a long, long time ago and no-one has figured it out, I reckon I've got away with it.

In what way is being a published writer different to how you thought it would be?
The thing I really wasn't prepared for was how much I've ended up doing online. Like most people I couldn't afford to pay someone to set up and run a website for me, so I found myself on a pretty steep learning curve. I'm still learning but at least now I have a better idea of what works for me and what doesn't so I can prioritize accordingly. On the plus side I had no idea how many new friends I would make across the world. I can honestly say my life has been enriched by the people I've met. I'll be forever grateful for that and for the support they gave me when things were tough.

Promotion is no longer a dirty word. In what ways do you strive to reach more readers?
In the early days I did everything people told me to do; sent out books for reviews, entered contests, took out ads on websites, blogged daily, did interviews and talks, was active on numerous loops, had a presence on MySpace and Facebook and Bebo and, and, and... Some of those things I definitely think helped to get my name out there but eventually it started to eat into my writing time and something had to give. These days I'm a huge fan of Twitter and it's word-count restrictions, am attempting to blog weekly and intend to keep up with a handful of review sites and contests. Anything else will be totally dependent on my writing schedule since I strongly believe the most effective promotion is the books and telling the best stories I possibly can.

What is your top promo tip for other authors?
The latter part of the last answer. I'd then add there's no point doing promotion if you have nothing to promote, and say if a reader enjoys a book by a particular author, they will go looking for more by them.

What did you learn while writing this book?
I discovered it was necessary to mix things up to get back on track. I used to write to music, I wrote the majority of this one in silence. I used to write without stopping to edit, this time I had to have every scene tight before I moved on to the next. I used to type everything into a Word doc, now I write a lot of scenes in long hand and type up my work a the end of the day. I should also add this book taught me that I can still write. On my darkest days I sincerely doubted I could.

What was the most fun part of writing this book?
When the characters were fully formed and took hold of the story. I love when that happens and frequently discover things I didn't know; Liv's NYPD brothers doing background checks on every guy they see her with being one of them...

And just for fun: what would your hero's honeymoon destination of choice be?
He wouldn't be fussy about the 'where' part so long as they were locked indoors with no interruptions.

Thanks so much for the author spotlight, Trish. Trish will pick a winner a week after the post goes live, and pass on their name to the minxes, who will put out a call for contact details for one lucky winner!

Here's a little about The Inconvenient Laws of Attraction...
Laying Down The Law
Lawyer Olivia Brannigan has faced down some cool customers in her time. But latest client Blake Clayton takes emotional control to a whole new level. The man didn't even bat an eyelid when he discovered he'd inherited a fortune from his estranged father!
Blake doesn't want guilt money - the only thing piquing his interest is the tough-talking, sweet-looking lawyer that comes with his new property portfolio.
Dating on the job isn't in Olivia's 'Guide to Good Client-Lawyer Relationships' and it certainly doesn't sit easily with her 'no strings' attitude... But aren't rules always made to be broken?

The Inconvenient Laws of Attraction is available all over the place, but most especially here:

Mills & Boon Website:
Amazon.co.uk - Paperback (also available in Kindle edition, search around for it!)
Amazon.com - Kindle
Itunes:

Words of wisdom from Trish Wylie - Part Three

This is the final part of our Friday series on how to start your romance novel, with Trish Wylie. It's been great fun having Trish here being Minxy-next Friday will be lonely without her!
I know everyone is dying to read what she has to say, so without any further ado, here's the final section.
Take it away, Trish!

8/ Back-Story.


The trick with back-story is to remember it is in the past. While relevant to the characters and containing the key to their emotional conflict, it is the ‘here and now’ the reader is most concerned with and for that reason the writer should focus the story on what is happening as it happens. Think of meeting someone for the first time and having them tell you their entire life story in one sitting and you’ll get an idea of how it would be for the reader to wade through a back-story dump at the beginning of the story. Instead, as it is in real life, the characters will get to know each other better as the journey continues, with hints of the past and the experiences that made them the way they are trickled through conversations, inner point of view (to assist the readers understanding) and their reactions to the things that happen.

9/ Theme.

Every story has a theme. Since more often than not this is used to help the publisher title the book and create appropriate cover art, the easiest way to get an idea of the themes used in a specific line within category romance may be to look at how they are marketed. For example, if there’s a baby or children on the cover or the mention of a father or mother in the title, there’s a good chance the theme is family. Put the word ‘Cinderella’ in the title and the theme may be self-image, self-acceptance or a character discovering the truth in the old adage that looks aren’t everything. Put the word marriage in the title and it’s pretty self-explanatory. Outside of category romance the theme may not be as obvious on the cover or in the title, but since every story ever told has themes based in mythology as far back as when the first stories were told around a campfire, I can guarantee there will be one.

10/ The Hook.

Quite simply the hook is a question that requires a reader to keep reading in order to discover the answer; curiosity driving them forward as it would for any of us in real life. The easiest way to create a hook is to start with something that profoundly changes the character’s world, the question becoming how they deal with it and what they will do next. If an external problem is solved too easily, the PLOT comes to a standstill, so every time something seems resolved, there must be something else to take its place so the story can continue and the characters have something to do. Think of it as a domino effect; the external problem leading to reaction and action which in turn leads to another action and another reaction and so forth until the internal problem comes to the surface in the black/all is lost moment and the characters are able to deal with it.

It may seem like a lot to pack into the beginning of a story, but pick up any book at random from your keeper shelf, read the opening chapters, and you will discover each of these points are there. Having said that, when starting out on a new story, many of us don’t get it right the first time, even when we’re supposed to know what we’re doing. But don’t panic if that happens! Beginnings continue to be a weak point for me, but theoretically, now that I know what I’m looking for I can go back and strengthen it with my trusty check-list at hand. Hopefully you’ll find it helpful too and if you do, my work here is done...

Trish’s long-awaited book, ‘The Inconvenient Laws Of Attraction’, will be out in the UK and Ireland in December 2011.

In the meantime, her third book, ‘Her Unexpected Baby’, is available for the first time in the USA and Canada direct from eHarlequin RIGHT NOW!
You can pick it up here.

You can find out more about Trish and her books at http://www.trishwylie.com/ or follow her between deadlines on Twitter @TrishWylie

Words of wisdom from Trish Wylie - Part Two

Last Friday, Trish started her series about how to start a romance novel. She covered: The inciting incident, introduction to the characters, the external problem and the internal problem.
Today, she's continuing with part two of three - this week examining the areas, foreshadowing, setting and tone.
Take it away, Ms Wylie!

5/ Foreshadowing.


In a Romance novel, just as a hint of the beginning of a new life for the characters is present in the end, there is the promise of a happy outcome to their problems at the beginning of the story. In a sense this is easy because there is already an expectation from the reader that the characters will end up together. The trick is to make them doubt the outcome by throwing obstacles in the characters’ paths (occasions that remind them of the thing they fear most).

6/ Setting.

The world the characters inhabit should be glimpsed in the opening so the reader is grounded in their reality. This includes anything that can be seen, heard or perceived by the characters in the same way we would be aware of our surroundings. Once again this should be brief, the emotional involvement in the story stemming from a connection with the characters rather than the place they inhabit. Think of a stage play and it is the characters and what is happening to them that hold our attention rather than the backdrop; the scenery merely adding a sense of place.

7/ Tone.

The tone must be both clear and consistent from the beginning. Characters will remain ‘in character’ from the moment they appear on the page, with all of their actions and reactions making sense to the reader based on what they are told from the beginning. By setting a clear tone, we establish the ‘rules’ of the story, including the narrative and most importantly, the writer’s VOICE. Quite simply, a writer’s voice is the way they tell the story. Think of a Scorsese, Spielberg or Tarantino movie and they are each instantly recognisable as ‘belonging’ to the respective director. It’s exactly the same for writers, so while there may be no such thing as a ‘new’ story, the way we each tell it is as individual to us as our handwriting or the way we speak. Setting the ‘mood’ is somewhat different. As the characters continue on their journey there will be shades of dark and light, just as there are in real life. So while there may be moments of sadness and deeply felt emotion, there will also be times when there is humour or a tempting glimpse of how happy the characters will be in the end.

Pop back next Friday for the concluding blog post of the series - covering back story, theme and the hook.
Thank you, Trish!
 
Trish’s long-awaited book, ‘The Inconvenient Laws Of Attraction’, will be out in the UK and Ireland in December 2011.
 

In the meantime, her third book, ‘Her Unexpected Baby’, is available for the first time in the USA and Canada direct from eHarlequin RIGHT NOW!
You can get it from here.


You can find out more about Trish and her books at http://www.trishwylie.com/ or follow her between deadlines on Twitter @TrishWylie

Words of wisdom from Trish Wylie - Part One

Over the next three fridays here at the minxes, we are joined by Mills and Boon/Harlequin author, Trish Wylie, who is visiting to impart some wisdom about how to start your romance novel. Her advice is fantastic. Do check in over the next few weeks to make sure you don't miss anything!
Thank you, Trish, for the blog posts.
Now, over to Trish...

For many writers, the best part of the creative process is before they even open a file on their computer. But once the adventure of a new project becomes the challenge of a blinking cursor, many of us can become bogged down with angst. Quite possibly because we know how important beginnings are in the world of writing.


With some experience under my belt (that I plan to put into practice any day soon) and thanks to some extensive research on the subject, I now know there are several common ingredients every story has regardless of where it falls within the vast range of fiction. Once I knew what was supposed to be there, it made me more aware of how those ingredients were present in the books I had enjoyed. It could be argued having them makes a story ‘formulaic’ but the simple fact is, there are certain things we expect to get for our time and money, especially in a century when we can get instant gratification at the push of a button.

So what are we looking for in a strong opening? First up:

1/ The Inciting Incident.

This is the moment when something happens to change things profoundly for the characters. Prior to this they have already lived their lives and formed their personalities in the same way anyone would when they reach the same age. Think of them as people living ordinary lives (though obviously if they live in a paranormal world their definition of ‘ordinary’ may differ from ours) who are launched into a new adventure or series of challenges by something ‘out of the ordinary’. It’s the same turning point any of us can experience in our lives, the decisions we make from that moment on allowing us to take a different path from the one we were on. In a Romance, this is typically the moment when the hero and heroine meet. Keeping in mind the demand for instant gratification and we know this should happen as soon as possible, which leads us neatly into...

2/ Introduction To The Characters.

The main protagonist/s of the story should be identified as soon as possible to the reader and it should be clear which point of view we are in at any given time. We don’t need to know the characters entire life story prior to the inciting incident but we should know the basics. Their names, a description of how they look and - if relevant at that point - their job, all allow us to form an initial first impression. Not only is this typical of real life, the first insight into a character’s point of view allows us to see how the things they do and say may differ from what they thinking and feeling, leaving the reader with a set of questions that will encourage them to continue reading so they may discover the answers (See point 10). It also allows us to see how they change as the story progresses. In order to help them make that change they will have two issues to deal with...

3/ The External Problem.

As a direct result of the inciting incident, the characters will be presented with a scenario that will throw them together on the new path they have taken. How the characters react along the way reveals more of their personality - allowing us to get to know them better without the need for long explanations. Naturally at the beginning – as is the case with many of us when life throws us a curve ball – they may be resistant to change, but this is where fictitious characters differ from people in real life. Instead of avoiding the problem or sticking their head in the sand, they will tackle it head-on in a proactive manner; moving the story forward. At this point, how the external problem is resolved may seem to be what the story is about, but this is the PLOT as opposed to the EMOTIONAL JOURNEY, which brings us to the second issue...

4/ The Internal Problem.

This is below the surface on a psychological and emotional level. Initially invisible to the other characters but hinted to the reader in the beginning, it eventually leads into the ‘black’ or ‘all is lost’ moment when the crux of the problem is revealed to the characters and a happy outcome seems impossible. In all Romance novels this is literally the heart and soul of the story. What the inciting incident does is bring this problem to the forefront of the characters minds, forcing them to confront it and deal with it as the story continues. Typically what will happen is the ‘opposing’ character will in some way represent what the ‘main’ character fears most and they will recognize this on a subliminal level. Perceiving them as a ‘threat’ they will resist with one of our most basic natural instincts; fight or flight. The challenge that drives the story forward will then be how they overcome this fear to gain the reward of their ‘happily ever after’ in the end. Naturally, this isn’t possible without a change of some kind, so what the beginning of the story does is hint at the emotional block holding them apart while at the same time hinting at the ending, which brings us neatly to...

...to be continued...
The next items covered in this ongoing series from Trish are:
Foreshadowing, Setting, Tone, Backstory, Theme and Hook.
 
Trish’s long-awaited book, ‘The Inconvenient Laws Of Attraction’, will be out in the UK and Ireland in December 2011.

In the meantime, her third book, ‘Her Unexpected Baby’, is available for the first time in the USA and Canada direct from eHarlequin RIGHT NOW!


Find it here.  
You can find out more about Trish and her books at http://www.trishwylie.com/ or follow her between deadlines on Twitter @TrishWylie