KJ Howe

Meet Debut Author Anna Campbell!

2007-04-19T05:21:00.000-07:00

Please welcome Anna Campbell, a talented historical romance author from Down Under! Anna's new release CLAIMING THE COURTESAN is receiving rave reviews, so feel free to check out your copy today.

KH: First of all, I'd like to say how much I enjoyed reading CLAIMING THE COURTESAN; the plane ride to Barbados passed in a blur thanks to your talented writing. Given my love of thrillers and suspense, the novels I read are often plot driven. CTC was a refreshing change, as it was very much a character driven novel and I loved the push and pull of the relationship. Can you describe your writing process, developing an epic novel from characters rather than plot?

AC: Thanks, KJ, for saying those lovely things about CLAIMING THE COURTESAN and for inviting me to do this interview. Before I answer your question, congratulations on all your success! I can't wait to see what happens next in your writing career. It's almost as suspenseful as one of your books!

Also thank you for saying you found the story epic. It sure felt like an epic when I was writing it even though the palette I use is fairly small--only a couple of settings, only a couple of characters, no major subplots.

All my books are character driven--I really admire people who can construct a detailed plot like you can! My stories emerge very much from my subconscious. A character or two and perhaps a situation start up an annoying scratch at the back of my mind. Slowly stray ideas attach to the germ of a concept. So my idea with CTC was a duke from a dysfunctional family decides he wants to marry his mistress, London's most notorious courtesan, basically to thumb his nose at his appalling ancestors (and living relatives!). Having read the book, KJ, you know it moved a long way away from that! Those characters eventually take over my life and insist that I start writing their story. Then something weird happens in the process of putting the story down on paper. It never emerges as I think it will, even if I've got a reasonably good road map of character arcs, etc., in my mind.

KH: Your research for CTC was impeccable. Can you tell us a little about your research techniques or share your favorite sources? I'm especially interested in the role of Courtesans.

AC: Thank you! I tried really hard to be true to the period, although it's the little details where you come unstuck. The things you'd never even think to look up. I try to give my characters attitudes appropriate to their times--to me, that's the fascination in a historical. How did people navigate their way through the strictures of that particular society to find happiness?

I've always been a voracious reader--of anything, really--and I've read historical romance since I was a kid. Reading writers like Barbara Cartland or Georgette Heyer, you pick up a lot of historical detail accidentally. I also read stacks of nonfiction. I guess I'm saying I have a good historical general knowledge that works as a raft that I can build my story on. Once I come up with a specific story, I start reading specifically even as I'm writing. It keeps me in the world of the book.

The courtesans were amazingly interesting--partly because they were so varied. A book I would recommend highly is Katie Hickman's COURTESANS. It gives short biographies of famous courtesans and you get a real sense of what these women would have been like. That's what I wanted--their personalities and the fabric of their lives. Strangely, I came across a courtesan called Elizabeth Armistead who fell in love with one of her lovers and married him, very happily (although obviously she was never accepted in society). By that stage, I'd written the first draft of CTC but this woman had so much in common with my Verity that I thought the universe was giving me the green light!

KH: Justin was a wonderfully tortured hero, a throw-back to the gothic days. Rumor has it that his take-charge attitude in the bedroom has some readers gasping for air. You have touched on a fascinating and controversial issue regarding sexuality in novels. Why do you think so many readers enjoy the dominant sexual male?

AC: KJ, have I told you these are fantastic questions? They are!

Personally I think it's the taming the beast fantasy. Although I hate the thought of 'taming' anyone and I think Justin is far from a beast. There are reasons behind anything he does and he learns from his mistakes--seems to me he's pretty human! But going back to the fantasy, it's the Heathcliff thing, isn't it? Byron. Mr. Rochester. That love can redeem the least likely candidates and all that bad boy passion can be channeled into a loving focus on just one woman. So the rogue male turns into the warrior protector of the woman he loves and his children. I think romance is such a powerful form partly because it plumbs these archetypal depths. Most of my stories are Beauty and the Beast--this one definitely is.

KH: Australia is full of mystique and unique treasures--the perfect place to write romances. Can you share what the romance market is like Down Under? How many members belong to Romance Writers of Australia?

AC: KJ, I'm not sure how many members are in RWAustralia, but it would be in the many hundreds. We usually get between 200 and 300 to our conferences (which are great fun and worth a visit if any of you are passing).

The Australian romance market is dominated by Harlequin/Mills & Boon. Category books are an institution over here and we have a lot of great writers published with HM&B. Single title books have a big audience too--Avon is generally available everywhere (yay!) as are publishers like Bantam and Pocket, especially if you're talking about big name authors. Some mid-list authors are a bit harder to find although I think that's improving too as people become aware of the variety and quality of romance published in the US. There are five specialist bookshops in Australia(they're listed on the links page of my website) who get American releases concurrent with the US.

KH: Before you were published, you did very well in contests, including a double final in last year's Golden Heart. Do you feel that entering writing contests helped your career? What advice would you give unpublished writers about contests?

AC: Absolutely contests helped me. As many of you know, I was unpublished for an embarrassingly long time. One of the things that kept me writing was that I usually did pretty well in contests. It was that glimmer of hope that kept me plowing on. And the Golden Heart double final was a great calling card when my agent sent my manuscript to editors.

Actually, I've got quite a lot of advice about contests! Ask yourself why you're entering. Do you want some feedback on a story to see how it strikes a stranger? Or are you entering hoping to final and get your work on an editor's desk? If the second, make your work as polished as it can possibly be--the competition (no pun intended) is incredible. If one judge says something, it may or may not be true. If two or more judges say it, it's worth looking at. But remember it's your story and often judges are only seeing a small portion of a work and can't judge the whole story. So I think I'm saying hold onto your vision. Try and enter contests that allow for widely varying scores. CTC created love/hate reactions in judges. Fortunately more love than hate. But if there are only two judges and one gives you full marks and one gives you a bad mark, you have no chance of finaling. Lastly, I'd like to say that if you enter a lot of contests, it actually demonstrates that your work will receive a wide reaction out in the world and it makes you tougher. Having a bit of protective armor as a writer is a good thing as long as it doesn't shut you off from what inspires your stories.

KH: You have a fascinating work background, sampling many different jobs on the way to becoming a full-time romance writer. How did these experiences affect you as a person and as a writer?

AC: I think working in so many different jobs exposes you to a huge variety of human nature. And human nature, after all, is what we draw our stories from. I've worked in places I loved and places I hated and they all taught me something about how people react to different situations.

KH: After readers finish CLAIMING THE COURTESAN, I know they will be clamoring for more Anna Campbell books. What novels do you have in the works?

AC: Untouched, my second book for Avon, is tucked up and ready to go in New York and will be a December release. It's another Regency noir but the story isn't related to CTC. I think of it as a dark fairytale, sort of a combination of Beauty and the Beast (again!) and The Sleeping Beauty. I'm putting an excerpt and the back cover blurb on my website at the start of May but if you want a sneak peek, try:

http://redwyne.com/2007/03/excerpt-untouched-by-anna-campbell-dec-2007.html/

I'm currently working on book three which is another courtesan story.

KH: I'm picturing Glenn Close (a la Cruella de Ville) in the movie role as Justin's mother. Who would you cast in the lead roles of Verity and Justin?

AC: Hey, an excellent question. Glenn Close would be PERRRRFECT as the evil Dowager Duchess. That icy beauty! I usually have a 'type' in mind when I begin although the characters tend to change and become individuals as I write it. Justin was like a young Daniel Day Lewis, you know with that dark intensity and that beak of a nose and all that lean masculinity. Oh, mamma! Verity was like Olivia Hussey from Zeffirelli's 'Romeo and Juliet'. That perfect fall of silky black hair and the wide gray eyes. I think she was breathtakingly beautiful in that film.

KH: Daniel Day Lewis...yes, that's Justin all right! Thanks for taking the time to stop by to answer those questions. It's been a pleasure!

For everyone who is clamoring for more information about the lovely Anna Campbell, please stop by www.annacampbell.info. CLAIMING THE COURTESAN is a TOP PICK read!

Meet Natalie R. Collins! Natalie R. Collins is a...

2007-03-30T06:20:00.000-07:00

Meet Natalie R. Collins!

Natalie R. Collins is a master at different genres, writing mainstream fiction for St. Martin's and writing a hilarious series about a dance instructor under Natalie M. Roberts for Berkley. I'm thrilled that she agreed to join me today to chat about her novels and other interesting facets of her life.

KJ: WIVES AND SISTERS captured my attention from page one. The insightful view into the Mormon culture was enlightening. I understand that you touched on issues very close to readers' hearts. How did writing the book change you?

NRC: Well, it was definitely cathartic. I know that is SO cliched but it's really the only way to describe it. It's like picking up the pieces of your past and putting them together, puzzle form, and then looking at the end result and saying, "Wow, so that's how I got here. Now I get it." And that's what WIVES AND SISTERS was really all about. But it isn't just my story. It's the story of many, many people. I still get emails weekly from people who pick up a copy, and find something in the book to relate to, whether it's a religious background, or a traumatic childhood.

It's sad to me that so many people just saw this book as an indictment. It's not that, but rather a call to change. Does this happen? Yes? Should it happen? No. Anytime you are operating inside a closed, patriarchal society, there are going to be abuses. Unfortunately, people are people. And so it happens. As long as this society stays closed, it will continue to happen.

KH: Your book trailers are fantastic, especially the one for BEHIND CLOSED DOORS. Do you believe that visual media is the way of the future for promoting books?

Honestly, I don't know. I know that a lot of authors are doing them, and my Web guru, Justin at Stonecreek Media (www.stonecreekmedia.com) is FABULOUS at putting these together. I just don't know if they are the wave of future for authors.

I've seen a lot of authors doing them, and I think they probably HELP, like any form of promotion, but I doubt that ANYTHING is ever going to top word of mouth, or Oprah Winfrey's seal of approval. Someone saying to another person, "Wow, you have got to read this book," is going to win hands down every time. I still think visual media works best to promote other visual media (i.e. a film trailer promoting a film).

KJ: In your new release, TUTU DEADLY, you nail the setting perfectly, creating a world where moms push their daughters to become the next famous dancer. Are you using real life experiences, because it sure feels that you've lived this life?

NRC: Oh, absolutely. My youngest daughter is a dancer with pointe shoes in her eyes. LOL. She dances competitively with one of the best teams here in Utah (Don't get pissy people. I said ONE of the best. I didn't say the best.) and she competes in the professional and advanced divisions with solos.

I'm amazed at the talent that is out there, and it seems that Utah produces an extraordinary amount of it. The better you get, though, the more intense the competition. You would think some of these parents would realize that at this level, ALL of these girls are good, and so it's just going to be a judge's choice kind of thing. But they usually don't. And the better the child gets, the weirder the parents get (although not always). I have seen perfectly nice, balanced people turn into raving lunatics when their child becomes a little bit good.

It's hard for people to realize that, like with writing, judging of dance is subjective. What one person likes, another might not. I have seen fights at dance competitions, totally psychotic behavior in grown adults, said "grown adults" saying despicable things about children, etc. If you DON'T adopt a stance of humor, it will eat you alive. I've worked at our dance studio for about six years now, and so I see the good, the bad and the ugly, and am privy to a lot that others don't see. It's a good thing they don't see it!

KJ: You have an incredible talent with voice. The novels you write under Natalie R. Collins are very different from those under Natalie M. Roberts, but every lead character has a strong, unique voice. Can you expand on why you chose to write in first person (or did it choose you?) and whether you would consider writing a novel in third person.

NRC: My first novel, SISTERWIFE, was written in third. Oddly enough, it did not sell to a big publisher, although it has a very timely theme (polygamy in Utah). Is it the voice? (Incidentally, this book is now available as a free download from my Web site, www.nataliercollins.com) I don't know. I like third, because it is not as limiting as first. But when I wrote WIVES AND SISTERS, I was toying with writing my own story, until my parents had a nervous breakdown about the idea. At that point, I realized that it would be unfair to them to do it, so I put that aside, but I had written some pieces and parts of it and I discovered that I was VERY strong in first person.

After I wrote the first chapter of W&S, I knew that it really WORKED for the book. I would still like to write more novels in third, and I think I will in the future, but the reason I stick to first for my St. Martin's books is that I am telling these stories for these women. It makes it more personal, and the characters more believable and it gives the reader a connection that they need to get vested in a character from such an interesting and sometimes odd background. It also gives ME a connection that makes the stories more real. That's just my personal opinion, of course.

And Jenny T. Partridge, well, I seem to channel her. Maybe I was a dance teacher in another life. My daughter's dance teacher--who is a friend--read an ARC of TUTU DEADLY, and she said to me one day, "Uh, this isn't supposed to be ME, is it?" I was amused. It isn't her, but it's a combination of a lot of dance teachers I have met. They are creative, and flighty, and eccentric--and often pure genius. And Misty has a great sense of humor, so I wanted to portray that in Jenny, as well as give her characteristics of other dancers I have seen. It worked really well.

KJ: You have a fascinating background. One of the items in your bio that caught my eye is your editing role at the prestigious Sundance Festival. How did that experience influence your writing?

NRC: Well, I'm not sure it did influence my writing. How's that for an answer? What it DID do was introduce me to the film world, and that was a fascinating experience. I met a lot of great people, and spent a few weeks operating on lots of caffeine and very little sleep, and I saw the workings of making films from the inside. It was wonderful to be in this creative stew with people who were so different from the usual Utah mold, and I know I'll never forget it. But I've still never written a screenplay, and I'm not sure I ever will. It's a very different form of writing, and I love creating my worlds and my stories in novels.

KJ: Time for a little fun. What actress would you choose to play the Jenny T. Partridge role in TUTU DEADLY?

NRC: Hello? Like there's a choice! Reese Witherspoon, of course. She would be PERFECT. (She'd have to dye her hair red, though. Think she'd go for it?)

Definitely! The role would probably win her another Oscar! Thanks for taking the time to chat with me today.

If you'd like to learn more about Natalie, please stop by her website at www.nataliercollins.com TUTU DEADLY has just been released, so don't forget to pick up your copy today!

Meet author James O. Born, a Special Agent with th...

2007-02-11T15:13:00.000-08:00

Meet author James O. Born, a Special Agent with the Florida Department of Law Enforcement!

Leave a message on the blog for Jim and you'll automatically be entered into the draw for a signed copy of his new novel, FIELD OF FIRE.

I had the pleasure of meeting James O. Born AKA Jim Born at the inaugaral Thrillerfest in Phoenix. Don't let his easy-going personality and laid-back attitude fool you. This guy is the real deal! He has been in the U.S. Marshals service, the DEA, and has done undercover work in various areas, including organized crime, violent crimes, economic crimes, drug cartels, and public corruption. No wonder he turned to fiction writing...he has countless stories to tell. I hope you enjoy the interview as much as I did.

KJ: Dialogue is one of your strong points. You really capture the gritty essence of the daily life of a police officer. Do you spend a lot of time eavesdropping at your day job? How do you make your dialogue sound so realistic?

JB: I don't have to go out of my way to hear interesting dialogue. In my daily life as a cop, I hear all kinds of funny and stupid things. The benefit of living in Florida is hearing virtually every type of accent. They're just hard to write.

The key to making written dialogue realistic is to read it aloud. I read, then revise constantly. Then, once the book is complete, I set it aside for several weeks then read all the dialogue aloud again. I try to cut, cut, and cut some more.

KJ: Florida and its humidity drips from your novels, a welcome escape for this Canadian in the midst of winter. Can you talk a little about setting and how you go about describing it? Would you consider setting a novel outside of Florida?

JB: One little thing I try to do is stress that it's usually hot even in the winter but if you're a native you don't notice it. I've lived a number of places, but I was born in South Florida and live here now. I love the heat. Others don't. I think that's funny.

My next novel, FIELD OF FIRE, starts and ends in Florida, but the action unfolds across the country. The hero is a federal agent and as a result travels a little more than Bill Tasker, the State cop of ESCAPE CLAUSE. In next year's book, the entire story takes place in New Orleans, Panama, and Houston.

KJ: After reading the first chapter of FIELD OF FIRE, I know why I have an aversion to hoop earrings! You definitely jumpstart the novel with an action-packed scene while giving the reader excellent cues to characterization. Can you tell us a little about how you make this process so seamless?

JB: I try to think like the character. In the case of Alex Duarte, the ATF agent who is the hero of the story, he's a little callous and tough. He isn't upset when he has to hurt someone. He has a conscience but doesn't waste using it on bullies and thugs. If the character acts in ways that are true to their nature, the reader comes to know them without realizing it.

KJ: Thriller author David Morrell comments that every book changes him in some way. After all, when you spend several months researching a novel, you are immersed in a different world. How has FIELD OF FIRE changed you?

Unlike my earlier books, which were essentially comedies, or at least light-hearted, FIELD OF FIRE follows what someone has to do to escape mistakes made in the past. The effects of a child's death on the hero points him in the right direction of redemption, even if he doesn't realize it.

The book affected me after completion much more than one of my early novels. Just the scope and length was enough to fry some brain circuits. This book changed how I look at some details and how I write about them. The key is to tell the story, not document every detail of someone's life.

KJ: Studies show that people are more afraid of public speaking than death. Most writers are introverts who definitely understand this intense fear. I've been a member of the audience at conferences where you are speaking; there is standing room only, you delight the crowd with interesting facts and fabulous jokes. What advice would you give aspiring writers so they can successfully entertain their future audiences?

Don't sweat it. Someone once said to me before a speaking engagement where I was nervous, "What are they gonna do, eat you?" He was right. It would be difficult to say something so wrong that it would incite violence. People sense that I'm having fun so it gives them permission to have fun as well.

KJ: If you had to set up one of your characters on a blind date with my sniper heroine Kenya Alexikova, who would it be?

JB: Kenya would be a good date for hitman Mike Garetti. They both are killers with a sense of justice. He needs the break from setting bombs and tracking his last target. They would be a good, if dangerous, fit.

KJ: You once blogged about how much you like Canadians. Can you tell us how you came to such an insightful conclusion, eh?

JB: I was raised in South Florida. I thought Canada was just another county in the state where the kids talked funny and were really good at roller hockey. Their parents were always nice and had the best snacks. Then I learned it was an entirely different country. I was twenty-four or five and was blown away by it. A country north of Buffalo, New York! That's just crazy.

In reality, I did grow up with Canadians who were nice. Then, as a cop, I traveled to Toronto on a case and couldn't believe how helpful the Toronto police and Ontario Provincial Police were. They helped me on the case by day and took me to fantastic bars at night. I didn't want to leave.

Just a nice country with nice people. What else would you want? Except warmer winters.

KJ: You have that right! Winter in Toronto can be rather harsh. Thanks for joining us today, Jim. I can't wait to get my hands on a copy of FIELD OF FIRE.

If you would like to enter the draw for a signed copy, just leave a message on the blog saying hi to Jim. To learn more about this fascinating author, please visit www.jamesoborn.com

Be sure to stop by http://www.romantictimes.com/news_amtitle.php for the grande finale of the American Title III Contest from February 19 to March 4 to see if sniper Kenya made the cut!

I'd like to welcome romance suspense author Susan ...

2007-01-03T17:58:00.000-08:00

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!

What's Your Core Story?

2006-12-15T17:39:00.000-08:00

Deciding on a topic for my first blog prompted a trip down memory lane. In January, I'll graduate from the Master's Program in Writing Popular Fiction at Seton Hill University. I wanted to honor the school by sharing an insight that I learned during my two years of study. Choosing a single memory was a difficult choice--the in-depth program taught me a great deal.

Every residency features a guest speaker from a different genre. All our visitors offered valuable advice regarding the craft, marketing, and creative process of writing. However, the comment thriller author David Morrell made about the psychology of writing has stayed with me since that snowy day in January.

During his speech, he touched upon the theme of "fiction writing as self-psychoanalysis," suggesting that most writers are haunted by ghosts of their past. The memories could be recent, like a Gulf War veteran trying to come to grips with the experiences of combat. However, the "ghosts" often stem from childhood traumas and painful recollections hidden deep within our pysche. Mr. Morrell suggested that writers explore themes from our childhoods in novels. People who were abandoned often isolate their characters. Children who grow up as outsiders create heroes who don't fit in.

In his book about writing, Lessons From a Lifetime of Writing (a fascinating read!), Mr. Morrell uses Dickens as an example to demonstrate his theory. When Dickens' father was sent to jail for failing to pay his debts, young Dickens was forced to leave school for the harsh conditions of factory work. Later in life, when Dickens pursued writing, prisons, poverty, and mistreated children figured prominently in his work.

David Morrell's personal story is captivating and poignant. His father was killed in World War II and his mother couldn't afford to support him. At age four, he was left in an orphanage. Years later, his mother came back for him, yet never knowing his father left an indelible mark. When Mr. Morrell started writing, he found himself exploring the same core story (in different and very entertaining ways). Father-son relationships are a constant in his work, The Brotherhood of the Rose is a perfect example.

I found the topic fascinating. Although our stories are fiction, they are born in our psyche. Pieces of our past insinuate themselves in our novels as we subconsciously explore our childhoods. I enjoy analyzing my books and trying to pinpoint my core story.

My family traveled a great deal due to my father's work. When we lived in Saudi Arabia, I had to pursue my studies away from my parents. This circumstance forced me to learn how to fend for myself--and I learned a few difficult lessons along the way. A common theme in my novels is trust and betrayal. Let's face it, it's difficult to know who to trust, and sometimes it's easier to trust no one.

However, I believe that if you want to be truly successful in life, you need a support system. My protagonists have been burned in the past and tend to be hesitant to trust. To allow them to grow, I often put my heroines in a position where they must rely on others for help--they just have to decipher who is trustworthy.

One Shot, Two Kills is a perfect example. Former sniper Kenya Alexikova lost her entire family--except her sociopathic brother who is seeking revenge. To beat her brother at his own game, Kenya must rely on CIA psychologist Jack Travis, a man she has every reason not to trust.

Whether you're a writer or a reader, you may want to ask yourself what your core story is, and why. It can help define your career/interests and help you understand the underlying impact of your childhood.

I'd love to hear your thoughts on this topic. It would be interesting to learn how your unique background has created who you are as a reader/writer.

KJ

Please stop by the American Title III Contest and vote for ONE SHOT, TWO KILLS from December 18-31. I have given poor Kenya post-traumatic stress disorder and major trust issues--she definitely needs your help! Just send an e-mail to webmaster@romantictimes.com with ONE SHOT, TWO KILLS in the subject line.

COMING SOON: An interview with Warner author Susan Crandall including unique insights about her upcoming release, A KISS IN WINTER!