Taking control of the out-of-control

With a muffled "oof" sound, picture one pair of writer's hands (we can tell they're writer's hands because the nails are au naturel, tinged with ink and have trace amounts of cat hair held on with Bath and Bodyworks lotion (today's scent: pineapple.)) grappling over a ledge. More "oofs," and a head of long red hair held by a black scrunchie becomes visible. A mighty heft and the rest of the writer appears. The experienced reader can tell immediately what's been going on.

The writer's spectacles, perched on the end of the nose, bear more finger smudges than they ought, and sit slightly askew. The writer thumbs them back up into their proper position and the reader gives a knowing nod. That's how the smudges get there. The writer dusts herself off, brushing hands on her long denim skirt and adjusts her sandals. She looks around. Almost summer. Huh. So time does pass outside the pages. She reaches down below the ledge and tugs on the rope that lifts a bulky bag. Books, of course. Lots and lots of books. She spills them out onto the ground, casting a furtive look about her.

Not, of course, that she cares much what others might think of her treasure. If they don't want it, more for her. The scent of books long-loved wafts through the air. The viewer catches a whiff. Is that...pre-1995 romances? Arguably the dividing line between styles of historical romance. The reader inches closer, but takes a step back. There be adverbs there, the viewer reminds herself. Alpha jerks, too. Lots of room for them to lurk in all those pages.

Ah, the writer reminds her, but there is room for alpha heroines as well, and all the world to roam. All the time they need to acheive their goals in there as well. Years and years if that's what's needed.

Years? But what about the rest of the series? If the first hero is taking all that time to win his heroine, what about his friends/brothers/cousins? Surely they're not sitting idle.

The writer settles back on her haunches and takes two Diet Cokes out of the bag. She opens one and sets one at a safe distance between herself and the reader. She peers over the rims of her spectacles. There isn't always a series. Sometimes the book ends with only one hero and heroine's story.

But what, the reader asks, scratching her head with one hand and taking the offered beverage with the other, happens to everyone?

They live happily ever after, the writer says, as though that's the most natural thing in the world.

But, the reader asks, we never see them again?

The writer pauses to allow herself an amused chuckle. Anytime, she tells the reader, you want. Their future turns out exactly as you wish it to. That's the happily ever after part. That's what heroes -- and heroines-- do. It used to happen more often.

The reader takes a cautious sip. Do tell.

Oh yes. Sometimes, the writer says, pushing one book toward the reader, the same couple comes back for another adventure.

To help the new hero and heroine, right?

The writer presses her lips together and tilts her head back for a moment before answering. Sometimes, she says, and usually it's their children, but no, not always. Sometimes, she continues, her voice dropping, something bad happens and they have to regain their footing and rekindle their love. But, she's quick to assure the reader, it's always okay.

Happily ever after, the reader repeats on a whisper. She settles on the ground, close to the outside of the spread of books and peruses the covers. That doesn't look like England, she says, pointing to one illustration. Neither does that one, or that one. Oh, that one does, but what's the frilly thing around the hero's neck?

A ruff, the writer says, nudging the book closer to the reader. See how the shape is echoed in the heroine's farthingale? Quite lovely, isn't it?

The reader's eyes narrow for only a moment. That was a passive tense the writer used.

When needed, she answers, it isn't the end of the world. It's like the white crayon in the big box; one doesn't use it all the time, but when needed for the proper effect.

You can do that? The reader's voice has a prickle of doubt and a glimmer of hope.

Yes, the writer answers, I can. There's a whole bag of tricks in here, and it's fun to play with all of them. That, she says, is where the stories come from. Come and stay a while.

Phrases you do not want to hear your handyman say:

1. That's a very aggressive snake.
2. He's rattling.
3. He's only moving this slow because it's not warm enough for him. (from me: that was slow?)

All of those come from yesterday's session with the handyman at my dad's house while getting big icky things out of the garage. Realizing that the snake on the ground, he (she?) of the rattle and fangs *was* the "metal hook" on the hinge of the paint can I had just carried in thirty seconds ago does things for ye olde blood pressure, let me tell you.

In the end, handyman and assistant handyman were able to trap snake and rehome him on a different part of the property, but "our" snake may have relatives in the basement. In either event, going in with nice bright lightbulbs next time.

What does this have to do with romance writing? Not much on the surface but every session of clearing out the house does uncover things. My father was an artist all of his adult life, so when I find some of his neatokeen art supplies (thank you, Dad, for buying the good stuff) it gives me a little creative boost. Similarly, every trip over there means new discoveries, sometimes about the man himself, sometimes about previous generations, parts of my own life I'd only seen from a child or teen's perspective, or the creative process in general. One could call it a form of archeaology. There's always something to mull over or dust off and use in a new and different way.

Which is what writers do anyway, so it sort of counts as a creative endeavor. So does speculating over what I might be "missing" by using this time to work on the house when I had three, count them, three novels in my bag, in the car, all strongly calling my name. What were the characters doing while I was away? Sure, they'll be considerate and sit on idle until I can get back but in a *good* book, characters are people to me, and when I'm not with them, I miss them. We'll be having some special time after dinner tonight. The snake is not invited.

Reading (and writing) It Old School, part one

I came of age as a romance reader in the time of the big epic historicals that spanned years and continents and hero and heroine might even have to go through (at least) a spouse each before they were free to have their well earned HEA. I remember once thinking that I especially liked when the heroine had the couple's first child, because that meant we were in for the meat of the story with lots more still to come. It wasn't that uncommon to see the little sproglets grow through the book and have actual bearings on plot and character development. Neither were they automatically being set up for their own books.

These were the days of Small, Woodiwiss, Brandewyne, Busbee, McBain and Sherwood, to name only a few. Single titles rather than series were the norm, though there were exceptions. Jennifer Wilde's character, Marietta Danvers, was the heroine of three books, and not all with the same hero. Valerie Sherwood's Kells and Carolina swashed their buckle from colonial Virginia to the island of Tortuga through three big, thick books, and the same author's Imogene and VanRyker (not related to Kells and Carolina) had two and a half books, the other book and a half devoted to Imogene's presumed-dead-in-infancy daughter and her hero. Rosemary Rogers' Steve and Ginny had them all beat, with a whopping four books to their relationship before their daughter had a turn in the spotlight. Depending on how much one wants to quibble through a saga, Aola Vandergriff's Dan and Tamsen may well be the king and queen of the continuing stooooory, having lead or at least central roles in no less than six books of her Daughters series, following the tempestuous Tamsen and her sisters from late teens to old age and final days. Dan and Tamsen didn't have children, either.

Books of this era could often be termed heroine-centric, which suits me fine. A heroine might be beautiful, corageous and strong (none of those bad things) but by no means perfect in the Mary Sue sense. Shanna, from Kathleen Woodiwiss' novel of the same name, started out as a selfish spoiled brat, but there was room for change, and boy, did she. Plus she got Ruark. No bluebirds doing the hair of these gals, and I think it's high time they had a shot at the center stage once more. At least that's what I'm trying to do, and it's what comes most natural to me.

Resurfacing

My all purpose question these days is, "can I put gesso on it?" Usually, the answer is "yes." Seeing as how I only have white gesso right now, this may mean that as soon as I get black gesso I may not be seen again for another long time. Hopefully, though, I'm back. Writing, digital art, regular art, reading about ballroom dancing (the joys of research) and what I promised myself I wouldn't do -- start brewing the idea soup for a new historical before I've finished one of the current projects. Sometimes these things happen, and I really truly am not going to start actual writing on the new project until I finish the first full draft of Endless Summer. Seeing as how the half draft is done, saved and I'm rapidly approaching the midpoint of the first full draft ::ducking floundersmack from Vicki, who will tell me I am working on my second draft and the half draft is the first draft:: that shouldn't be too long. So I am okay with starting the idea soup.

Currently stuck on Blake Lewis' "Meet Me At the End of the World," which may have some influence on the new project. Still on a pretty good run of reading historicals; not every one is a gem, but keeping a steady stream of reading helps keep a steady stream of writing.

Did not see American Idol last night, as our cable was wonky and unless is was "Only make sound every other syllable" night, I don't have that kind of patience. Watched the real life hero tinker with tv and cable box for two hours while attempting to talk to a human being at the cable place and was thankful I had a book with me.

Doing good, feeling good, would say looking good but not yet ready to attempt self portraiture with digicam. Ask me again after shampoo and makeup, but the joy of new fitted tshirts means I can get rid of the schlubby old sizes too big ones that procreate in my tshirt drawer.

Conference coming in a month, huzzah. Time to mingle with other romance writers and beg agents/editors to recognize my genius. Making mini cds with promo stuff on them, so if you hear a voice that sounds like mine saying Very Bad Words, you know I'm trying to print something new.

The point of it all is, I am here, really I am. (edited to add appropriate icon I'd forgotten I made)

I'm in an arty phase at the moment, hence the icon base over yonder. Alexandra Vandernoot as Tessa from Highlander, and part of the inspiration for Trista, my heroine in my historical MS, The Wild Rover. Which I have neglected for the past six weeks while working feverishly on the time travel, Endless Summer. Which paid off, as I now have a nifty certificate boasting my being in the four top page counts of all who participated. Sense of accomplisment, I has one. Definetly gives me the impetus to keep on plugging and I'm close to having a workable first draft on that one. I may have to keep up some of the disciplines as a regular matter of course.

As for other matters, I need a really good historical romance read. This said by the woman who could build a small bungalow out of her TBR pile, and a small garage out of her keepers. You readers know what I mean, though. It has to be the right read at the right time. I think my Karen Ranney glom spoiled me. I did break down and rebuy the first of her Highland Lords series, so may delve into that, only it will mean rebuying the rest of the series, four more books, and I'm not in a series mood at the moment. Le sigh. May have to brave the attic and rummage for the other Ranneys I know are in there somewhere. Or I can reread her Tapestry. Yep, that desperate. Or devoted. Or something.

There's a certain sort of extra zing when the right art and the right reading come together to feul the writing. I like the zing. Need the zing. Getting the zing. Also some gummi bears.