I'd like to welcome romance suspense author Susan Crandall to my blog this week. She graciously agreed to be interviewed about her writing techniques and her new release A KISS IN WINTER.
It's a timely event as I'm headed to school for my final residency and graduation and that's where I first had the pleasure of reading Susan's work. Every term at Seton Hill University we read a novel from a different genre and discuss it in class. When it came time to choose the romance novel, all the students voted and decided on Susan's RITA-winning novel, BACK ROADS.
When I first met Susan at a conference, I was excited to tell her about my experience at school. She was warm, approchable, and very astute about her craft. Her kindness and talent have made me a fan forever. Hope you enjoy the interview!
Although you're well-known for your excellent characterization and emotionally powerful stories, your settings really capture my imagination. They become a character in themselves. The small town feel is so accurately drawn, down to every last detail. How do create such vivid settings? Are you from a small town?
First of all, thank you, Kim, for allowing me this opportunity to share my love of writing and storytelling. Long before I was a writer, I was an avid reader. It's great to connect with others who share the love of the story.
As a matter of fact, I am from a small town in Indiana--well, it used to be small. Now Indianapolis is slopping over on us and the population is about four times what it was when I was growing up here. There are definitely advantages to both, so, since I really don't have any control over this growth, I've come to accept.
As for creating realistic settings, I feel it must come from the way I totally immerse myself into the scenes when I'm writing. Normally, I have fairly intimate knowledge about the places I use for settings. While I'm in the actual process of creating those places on paper, I mentally "go there." Not just for the visual aspect, but the true sense of the place, the "feel" of it. That way I can draw on my memories and emotions as well as all of my senses. Also, I think having experienced life in a certain place, you simply have a different perspective about it. I suppose it's a bit the same as a person with children will have a much different perspective about child rearing than a person who has never worn tracks in the carpet during nights with a colicky baby. It's not that you don't know the facts, it's the emotional connection that changes when you've lived it.
Now I'm probably in trouble with half the writers out there. I'm not saying you can't write about settings you haven't personally experienced. But I do think in order to truly anchor your reader to a setting unfamiliar to you, you have to search for the things inside that setting that evoke emotions within you and stir your own senses.
All of your novels offer a unique plot and well-constructed character arcs. In addition, I've uncovered a common theme of secrets. These undisclosed revelations in your plot are always explosive. Can you give us a few tips on how and when to detonate them for maximum impact?
Oh, now you're talking about the real fun of writing a story! I absolutely love laying the groundwork, sprinkling in and building up layer by layer the hints and details that will culminate in a dramatic and life-altering event for my characters. (see me gleefully rubbing my hands together here)
I believe one of the keys is the proper use of point of view throughout the book. It enables you to conceal certain things, without being obvious about it. If you're using first person narrative, it can be much more tricky. Just remember, you do not have to reveal each and every thought in your character's head. You as an author control what is revealed.
That said, you have to make it logical and rewarding to the reader. You don't want to withhold all of the goodies until the last moment. You have to lead and tantalize, let the reader see glimpses, but keep them unfocused until all of the pieces are in place. There is nothing more maddening than reading an entire book and getting to the end and the "secret" or the villain is something or someone entirely out of left field. You have to give your reader enough for them to look back and say, Ah-ha, that's why this or that happened. Also, you must keep in mind that the buildup and the explosive scene have to be consistent with the nature of your characters. It's all about satisfying your reader. To do that, you have to have your characters behave logically (and in accordance with their individual personalities and backgrounds), and deliver a climax that has been building up and is supported by the rest of the book. The timing of that revelation for maximum impact is completely determined by that particular book and those particular characters. I suppose that's why some of my books are 430 pages long and others only 380.
Romantic suspense is a challenging genre where writers need to weave two stories--the mystery and romance--into one novel. You do it seamlessly. Can you offer any suggestions for aspiring writers interested in following your lead and achieving this balance?
You're absolutely right, it is a delicate balancing act. I think the most essential ingredient to making it work is love of the genre. You have to enjoy the development of both elements, romance and suspense, or you end up cheating one or the other. I have to admit, each part of a book tends to lend itself more to romance, or to suspense, so you will have areas that are more heavily weighted in that direction. But in all of your scenes, whether romance or suspense focused, you need to sustain the underlying tone of the other element.
I want to caution aspiring writers here not to be easily discouraged here. I don't sit down and in a single draft accomplish these goals. I write, reread, sleep on it, reread again, rewrite...and it goes on until I reach a place where I feel like I've taken care of business. It's not always massive rewrites. Sometimes the trick is as simple as word selection to sustain the underlying mood.
Thanks for allowing me a sneak peak of A KISS IN WINTER. Caroline (a photographer) and Mick (a psychologist), are both complicated and fascinating characters with deep wounds. The juxtaposition of your characters' vocations is brilliant. Caroline portrays what we can see visually, while Mick captures what we feel emotionally. Looks like a great set-up for both internal and external conflict. Could you tell us a little about the conflicts between these powerful characters?
It's interesting to see my characters through another person's eyes. I'm glad to hear you see them much as I envisioned them. In real life, people are complicated. It's only natural for them to be so in satisfying fiction. In my books, just as in life, rarely is something clear cut black and white...I suppose if it was, books would be really, really short!
As in so many fictional characters, Caroline and Mick's conflicts and their differences don't just push them apart; those conflicts are also greatly responsible for drawing them together. In many senses, Mick and Caroline's strengths round out each other's weaknesses, making them stronger together than standing alone. This is evident in almost every aspect of their lives, family relationships, finding happiness in their careers, and of course, in thwarting the villain who has set his sights on Caroline.
Orphaned at eight, Caroline's life has been both saved and hindered by the love of her adoptive family. Tragedy in her life has always been family oriented. She's set her sights on a global career without family responsibility. Mick's dissatisfaction and grief have sprung from his career. He's looking to establish himself in a new life with a wife and children. It begins as simply--and as complicated--as that. When someone begins to vandalize the subjects of Caroline's photographs, she seeks out his professional opinion on who it might be, but Mick's confidence in his own abilities have been shaken. Still, Caroline is persistent...and in danger. It's his concern over her safety that terrifies him that he'll fail her, and yet that same concern propels him to overcome his self-doubt.
What projects do you have in the works for your fans?
I'm currently writing a romantic suspense that I think everyone will enjoy. As with all of my novels, it's an emotional journey as well as being suspenseful. It's untitled at the moment, I mentally refer to it as "something bad happened in the woods" or "boys on the mountain."
Four fourteen year old boys go on a weekend camping trip with an adult chaperone in the remote mountains of eastern Tennessee. When "something bad happens" (don't want to give away too much here), one of the boys is suspect, one is near catatonic with shock, and two keep changing their story. Only the suspect boy's single mother is looking for a villain other than her son, which allows the danger to spread.
Is there anything you can tell us about yourself that might surprise your readers?
Humm, I'm pretty ordinary. Most of my adventures lately have sprung from book research. As a result of my search and rescue dog research for an upcoming book, I did volunteer as a "victim" for Indiana Task Force 1. I climbed down into this little cavity in a bunch of concrete rubble and stayed there for four hours while a Blackhawk helicopter shuttled rescue teams in and out of the site. All of the crews found me except one. (In that case "I didn't make it.") During this exercise, I did discover how obedient I am. I was supposed to be the "unresponsive victim," but I had to really fight to keep myself from responding when the rescuers called, "Ma'am, can you hear me?"
Oh yeah, once while doing research, I was suspected of industrial espionage. Be careful where you choose to take photographs!
Susan, thanks again for stopping by and sharing your advice and knowledge with us. It was an entertaining interview. You're welcome back anytime!
It's a timely event as I'm headed to school for my final residency and graduation and that's where I first had the pleasure of reading Susan's work. Every term at Seton Hill University we read a novel from a different genre and discuss it in class. When it came time to choose the romance novel, all the students voted and decided on Susan's RITA-winning novel, BACK ROADS.
When I first met Susan at a conference, I was excited to tell her about my experience at school. She was warm, approchable, and very astute about her craft. Her kindness and talent have made me a fan forever. Hope you enjoy the interview!
Although you're well-known for your excellent characterization and emotionally powerful stories, your settings really capture my imagination. They become a character in themselves. The small town feel is so accurately drawn, down to every last detail. How do create such vivid settings? Are you from a small town?
First of all, thank you, Kim, for allowing me this opportunity to share my love of writing and storytelling. Long before I was a writer, I was an avid reader. It's great to connect with others who share the love of the story.
As a matter of fact, I am from a small town in Indiana--well, it used to be small. Now Indianapolis is slopping over on us and the population is about four times what it was when I was growing up here. There are definitely advantages to both, so, since I really don't have any control over this growth, I've come to accept.
As for creating realistic settings, I feel it must come from the way I totally immerse myself into the scenes when I'm writing. Normally, I have fairly intimate knowledge about the places I use for settings. While I'm in the actual process of creating those places on paper, I mentally "go there." Not just for the visual aspect, but the true sense of the place, the "feel" of it. That way I can draw on my memories and emotions as well as all of my senses. Also, I think having experienced life in a certain place, you simply have a different perspective about it. I suppose it's a bit the same as a person with children will have a much different perspective about child rearing than a person who has never worn tracks in the carpet during nights with a colicky baby. It's not that you don't know the facts, it's the emotional connection that changes when you've lived it.
Now I'm probably in trouble with half the writers out there. I'm not saying you can't write about settings you haven't personally experienced. But I do think in order to truly anchor your reader to a setting unfamiliar to you, you have to search for the things inside that setting that evoke emotions within you and stir your own senses.
All of your novels offer a unique plot and well-constructed character arcs. In addition, I've uncovered a common theme of secrets. These undisclosed revelations in your plot are always explosive. Can you give us a few tips on how and when to detonate them for maximum impact?
Oh, now you're talking about the real fun of writing a story! I absolutely love laying the groundwork, sprinkling in and building up layer by layer the hints and details that will culminate in a dramatic and life-altering event for my characters. (see me gleefully rubbing my hands together here)
I believe one of the keys is the proper use of point of view throughout the book. It enables you to conceal certain things, without being obvious about it. If you're using first person narrative, it can be much more tricky. Just remember, you do not have to reveal each and every thought in your character's head. You as an author control what is revealed.
That said, you have to make it logical and rewarding to the reader. You don't want to withhold all of the goodies until the last moment. You have to lead and tantalize, let the reader see glimpses, but keep them unfocused until all of the pieces are in place. There is nothing more maddening than reading an entire book and getting to the end and the "secret" or the villain is something or someone entirely out of left field. You have to give your reader enough for them to look back and say, Ah-ha, that's why this or that happened. Also, you must keep in mind that the buildup and the explosive scene have to be consistent with the nature of your characters. It's all about satisfying your reader. To do that, you have to have your characters behave logically (and in accordance with their individual personalities and backgrounds), and deliver a climax that has been building up and is supported by the rest of the book. The timing of that revelation for maximum impact is completely determined by that particular book and those particular characters. I suppose that's why some of my books are 430 pages long and others only 380.
Romantic suspense is a challenging genre where writers need to weave two stories--the mystery and romance--into one novel. You do it seamlessly. Can you offer any suggestions for aspiring writers interested in following your lead and achieving this balance?
You're absolutely right, it is a delicate balancing act. I think the most essential ingredient to making it work is love of the genre. You have to enjoy the development of both elements, romance and suspense, or you end up cheating one or the other. I have to admit, each part of a book tends to lend itself more to romance, or to suspense, so you will have areas that are more heavily weighted in that direction. But in all of your scenes, whether romance or suspense focused, you need to sustain the underlying tone of the other element.
I want to caution aspiring writers here not to be easily discouraged here. I don't sit down and in a single draft accomplish these goals. I write, reread, sleep on it, reread again, rewrite...and it goes on until I reach a place where I feel like I've taken care of business. It's not always massive rewrites. Sometimes the trick is as simple as word selection to sustain the underlying mood.
Thanks for allowing me a sneak peak of A KISS IN WINTER. Caroline (a photographer) and Mick (a psychologist), are both complicated and fascinating characters with deep wounds. The juxtaposition of your characters' vocations is brilliant. Caroline portrays what we can see visually, while Mick captures what we feel emotionally. Looks like a great set-up for both internal and external conflict. Could you tell us a little about the conflicts between these powerful characters?
It's interesting to see my characters through another person's eyes. I'm glad to hear you see them much as I envisioned them. In real life, people are complicated. It's only natural for them to be so in satisfying fiction. In my books, just as in life, rarely is something clear cut black and white...I suppose if it was, books would be really, really short!
As in so many fictional characters, Caroline and Mick's conflicts and their differences don't just push them apart; those conflicts are also greatly responsible for drawing them together. In many senses, Mick and Caroline's strengths round out each other's weaknesses, making them stronger together than standing alone. This is evident in almost every aspect of their lives, family relationships, finding happiness in their careers, and of course, in thwarting the villain who has set his sights on Caroline.
Orphaned at eight, Caroline's life has been both saved and hindered by the love of her adoptive family. Tragedy in her life has always been family oriented. She's set her sights on a global career without family responsibility. Mick's dissatisfaction and grief have sprung from his career. He's looking to establish himself in a new life with a wife and children. It begins as simply--and as complicated--as that. When someone begins to vandalize the subjects of Caroline's photographs, she seeks out his professional opinion on who it might be, but Mick's confidence in his own abilities have been shaken. Still, Caroline is persistent...and in danger. It's his concern over her safety that terrifies him that he'll fail her, and yet that same concern propels him to overcome his self-doubt.
What projects do you have in the works for your fans?
I'm currently writing a romantic suspense that I think everyone will enjoy. As with all of my novels, it's an emotional journey as well as being suspenseful. It's untitled at the moment, I mentally refer to it as "something bad happened in the woods" or "boys on the mountain."
Four fourteen year old boys go on a weekend camping trip with an adult chaperone in the remote mountains of eastern Tennessee. When "something bad happens" (don't want to give away too much here), one of the boys is suspect, one is near catatonic with shock, and two keep changing their story. Only the suspect boy's single mother is looking for a villain other than her son, which allows the danger to spread.
Is there anything you can tell us about yourself that might surprise your readers?
Humm, I'm pretty ordinary. Most of my adventures lately have sprung from book research. As a result of my search and rescue dog research for an upcoming book, I did volunteer as a "victim" for Indiana Task Force 1. I climbed down into this little cavity in a bunch of concrete rubble and stayed there for four hours while a Blackhawk helicopter shuttled rescue teams in and out of the site. All of the crews found me except one. (In that case "I didn't make it.") During this exercise, I did discover how obedient I am. I was supposed to be the "unresponsive victim," but I had to really fight to keep myself from responding when the rescuers called, "Ma'am, can you hear me?"
Oh yeah, once while doing research, I was suspected of industrial espionage. Be careful where you choose to take photographs!
Susan, thanks again for stopping by and sharing your advice and knowledge with us. It was an entertaining interview. You're welcome back anytime!
KJ
