Happy Anniversary, James and Sarah: Her Dear and Loving Husband is Five Years Old

I love the covers for all of the Loving Husband books. They do a great job capturing the vampire/gothic feel of the novels. I can hardly believe this as I write it, but last week marked the fifth anniversary of the publication of Her Dear & Loving Husband. As of this writing, more than 200,000 copies of Her Dear & Loving Husband have been bought or downloaded (mostly downloaded since the novel has been perma-free most of its life). Thanks to some Very Nice People at wattpad.com, Her Dear & Loving Husband was recently added to their Featured List in Vampire Fiction. Prior to being added to the Featured List, HDLH had about 5,000 reads, which by itself is not too shabby. In the past three weeks, 21,5000 new readers have found James and Sarah’s story of eternal love, making a total of 26,500 readers on Wattpad, and that number is growing every day. It makes my heart glad to know that James and Sarah are finding new fans even after five years.

I’ve just finished revisiting HDLH as a way to celebrate the story’s anniversary. As funny as this might sound, I had forgotten how much I love James and Sarah. While I reread Her Dear & Loving Husband, I made a few editing changes, but not as many as I would have expected. I wouldn’t say my writing has changed drastically in the past five years, but there are a few things I’ve improved along the way. I’ve never been a fan of dialogue tags, and I’ve always tried to use them as little as possible. I think it’s more effective to set up the conversations so the reader can follow without having to point out who’s talking. I’m planning a series of posts about writing dialogue for May, but for now I’ll say the fewer dialogue tags the better. Even though I didn’t use a lot of dialogue tags in the earlier version of HDLH, I used them more than I do now so I deleted a number of he saids and she saids. I tightened up a few sentences because I’ve become better at adhering to my “no extra words” rule. I think even James and Sarah superfans will have a hard time spotting the changes, but I felt like, well, I’m rereading the book anyway, I might as well make whatever edits I think are necessary.

Happy fifth anniversary, James and Sarah Wentworth.

 

 

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Do You Have Any Tips for Writing the Second Novel in a Series?

As of yesterday, I officially survived my first term as a doctoral student. One term down, only seven to go! I have a few weeks to replenish my brain cells with some much needed rest, and then in the middle of January it’s back to it. For now, here are some thoughts I had while writing the second book in the Loving Husband Trilogy, Her Loving Husband’s Curse.

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Whenever I have a new writing task ahead of me, something I haven’t done before, the first thing I do is seek information from writers who have traveled that road before. There’s a benefit to searching out tips and hints since others have already been there, done that, whatever that is you’re doing at the moment. It’s important to learn from others, sit at their feet and listen to what they have to say about their experiences, their mistakes, and their successes, like Luke Skywalker learning from the wisdom of  Yoda (I’m not implying that writers are small, green, and heavily wrinkled—though I can think of a few that fit that description). I learned how to open myself up and not become stifled when writing a first draft by reading Natalie Goldberg and Anne Lamott. There is a ton of information—countless articles and books—about how to write a novel. But what do these experts have to say about writing the second novel in a series?

There’s a fair amount of information about how to write a second novel that is just a second novel—in other words, unrelated in any way to the first novel. An unrelated second novel can and should be written in a different style, with different characters, different situations. For myself, I found an unrelated next novel easier to write than the second novel in a series. Her Dear & Loving Husband wasn’t my first novel, you see. Victory Garden, Woman of Stones, and My Brother’s Battle were all written before Her Dear & Loving Husband was published. Since each novel was completely different (different historical periods, different situations, different voices), I could approach it in a fresh way and not feel tied down by expectations created by the previous story.

A second novel in a series, on the other hand, is a completely different animal. It should have the same style, the same theme, and a related plot. Often, though not always, it has the same characters. How do you give readers what they loved about the first book while keeping them guessing so they’re surprised by characters they’ve already come to know and hopefully love? That’s the million dollar question when it comes to writing the second book in a series.

Part of the reason I struggled when I began writing Her Loving Husband’s Curse was because I couldn’t find much information about the problems specific to writing a second novel in a series. With a lack of any hard evidence about what works and what doesn’t, I felt like I was largely on my own. Still, I pressed on and struggled through, missing the sage advice I’ve relied on whenever I encountered a new writing challenge. From the few sources I found, one common theme that echoed throughout was how the second novel needs to be “the same but different.” I agree. But how do I accomplish that?

A while back Joanna Penn’s excellent website The Creative Penn featured an interview with Pip Ballantine and Tee Morris, authors of the London steampunk novel Phoenix Rising: A Ministry of Peculiar Occurrences. I’m paraphrasing here, but one of the aspects of writing a series they talked about was that each book should have its own story yet there should be an over-arching theme that ties the pieces together. They also mention having a dangling plot thread which shows readers that there’s a larger plot throughout the books. As I wrote Her Loving Husband’s Curse, I found this to be true. It helped me to think of the books in my trilogy as being part of one larger story. This way the theme is evident throughout, and the plot feels connected because it follows through each subsequent book. If you’d like to read or listen to the interview, click here.

I also looked to see what other writers have done with their second books. This tip is obvious, though it didn’t occur to me right away. I’m a little slow sometimes. Try reading the second book in several series from different authors to see how the authors handled the transition from book to book. I chose to read the first and second books if I hadn’t read the series before since I wanted to see how the author moved from book one to book two. How much information from the first book does the author use? How does the plot flow from book one to book two, or were they seemingly unrelated or only loosely related? How do the characters change and grow? What is the common thread that binds the stories together? For myself, I only looked at novels that featured the same characters in each book since in my series you’ll see the same cast throughout the trilogy. If the plot in book two seemed unrelated to the plot in book one, I tended not to like book two as much, but that’s simply my personal taste.

Okay, so in this case—writing the second novel in a series—there might not be a ton of information, but we can always look to see how other authors have handled the problem with their own series. If you find a great resource on writing the second novel in a series, or if you have some tips for other writers because you’ve written a series yourself, then share by all means. One of the things I love about being a writer is how we all learn from each other.

A Trail of Breadcrumbs…Otherwise Known as Foreshadowing

gilcrease orchard

I managed to take some time to see Gilcrease Orchard, a real-live farm right here in the desert in Las Vegas.

I’m very nearly finished with my first semester as a doc student. While I seem to have survived relatively unscathed, I wonder if I’ll have as much luck next term when I’ll be taking a research statistics class. Let me put this in proper perspective–I haven’t taken a math class (that’s maths for my British friends) in 25 years. That’s not an exaggeration. I counted. You Doctor Who fans out there will know what I mean when I refer to the Ood–some space alien thingamajigs that carry their (what is it they carry? I can’t remember…was it their hearts? Their voices?) around in their hands. Well, I’ll be carrying my brain around in my hands next term while I look around, perplexed, saying, “I don’t know what happened. It just fell out…”

On a lighter note, I’ve come across some interesting studies about how our identities as writers are formed and how teachers play a big role in shaping those identities. For those of you out there who are writers (and you know who you are), how much of your self-identity as a writer was shaped by your teachers? Have an answer? Good. Remember it because I may need you for research purposes.

For now, here’s an oldie but goodie with some thoughts about one of my favorite aspects of writing fiction–the breadcrumbs, also known as foreshadowing. I wrote this while I was writing Her Loving Husband’s Curse, Book Two of the Loving Husband Trilogy.

Foreshadowing

HLHC_300x450What is foreshadowing? Foreshadowing plants clues for the reader. It drops hints about events to come. It creates suspense. It tells the reader to stay tuned. I like to describe foreshadowing as the writer leaving a trail of breadcrumbs for the reader to follow. Readers aren’t sure where the trail leads, but the crumbs sure are tasty so they’re willing to follow along. Then, when they get to their final destination, there’s an “Aha!” moment where they realize that the journey, every step of it, makes sense. They can see how the turns and detours were connected all along.

Foreshadowing shouldn’t be obvious. Sometimes the detail the author is pointing out may seem unimportant in the moment and it’s not until later that we realize that that empty bottle of whiskey on the kitchen floor or those keys left in the ignition in a car in a garage were clues. Sometimes authors like to drop false hints, known as as red herrings, to deliberately mislead readers. This is especially true in mystery and suspense novels.

They way I incorporate foreshadowing into my fiction is fairly simple. Whenever I begin a novel I create a blueprint, a rough outline of what I think will happen in the story. And, as I said before, I must know the ending so I know where I’m heading. Once I begin the first draft I try to work in a few scenes that I know will act as hints about what’s to come. But I don’t worry too much about foreshadowing in the first draft since I’m still feeling out the story and a lot of what I write will change as I understand more about the characters and the plot.

The revising stage is where I go heavy on the foreshadowing. Now I understand the story, the plot is set, so I go back into earlier chapters and find places where I can drop those tasty breadcrumbs I want readers to follow. For example, in Her Dear & Loving Husband there’s the opening scene with Sarah and her landlady where the landlady warns Sarah about the ghosts from the Salem Witch Trials that still haunt Salem. Ghosts in Salem? Sarah dismisses the irrational concern, saying she doesn’t believe in ghosts. What at first seems like an odd conversation between Sarah and her elderly landlady becomes important because this is Sarah’s first hint of the supernatural world she has unknowingly entered in Salem. Sarah has more to do with ghosts than she knows.

And there’s the scene in The Witches Lair where Sarah receives the psychic reading from Olivia, the motherly Wiccan who is also a powerful seer. I wanted the reader to sense that something big is coming for Sarah, and since Salem, Massachusetts really is a center for Wiccans and psychics, I thought Olivia’s prophecy was the way to do it.

In this scene I used dialogue to create the foreshadowing. Here are Olivia’s cryptic words to Sarah: “I can see that he will find you. He is here and he will find you.” When Sarah asks who, Olivia responds, “He will. The one who has been waiting for you. He has been waiting for you for oh so very long.” The phrase “oh so very long” isn’t remarkable in itself until another character says something similar later on. Is there a connection between Olivia’s “oh so very long” and this other character? You’ll need to keep reading to find out.

Keep in mind that if you promise something through foreshadowing, deliver it. If you hint at a connection between characters, then develop that connection. If you bring that empty bottle of whiskey to the reader’s attention, then show why that bottle was important—someone is hiding alcoholism, for example. Otherwise the breadcrumbs become a wasted opportunity on a dead end trail. It’s true that sometimes a cigar is just a cigar, but if you’re going to make a point of showing that cigar to your readers it should have some purpose. Some writers refer to this plot device as “Chekhov’s Gun.” The playwright Chekhov said that if you put a gun on stage in the first act, then it should be fired in the second act. If you’re not going to fire the gun, then don’t bother with it. Leave it for your next story where one of your characters will have a reason to shoot someone. If you show the gun, the cigar, the bottle of whiskey, whatever it is, and you don’t do anything with it then you’re setting your readers up to be disappointed.

If you’re writing a series then you can carry your foreshadowing through your next books. Does the fact that Olivia is a powerful seer play an important role in books two and three of the Loving Husband Trilogy? You betcha. Will Sarah continue learning about the supernatural world? You know it. Then there’s that nosy reporter determined to reveal James’s secret. Will he cause more problems for our favorite preternatural professor? That’s the beginning of a new trail of breadcrumbs I hope readers will follow through the journey of Her Loving Husband’s Curse and Her Loving Husband’s Return.

I love foreshadowing. I love the connectedness it brings to a story. It’s an important part of fiction writing, and it’s a great tool to bind a stand-alone story or the books in a series together.