Selling Stories to Editors

An interesting question came up on a newsgroup I was reading. Of course all writers write for themselves, to some extent. But what if you discover you have the gift of writing stories a particular editor likes and will buy? How does that affect your output? Do you keep writing that sort of story until the editor will no longer buy it? Or until you get tired? Would you preferentially write the stories you knew would sell?

I’ve done this, written towards an editor’s taste, and it has resulted in sales. Once the sale happened the same day. But at the same time, I use that taste as a kind of springboard to give me ideas; I’m not a natural writer of short stories (few are, I think) and having some idea of where the story’s headed makes me more inclined to write a short story in the first place.

Here’s a real-life example: I wrote a story for me, and sold it. Then I wrote a sequel, and sold it to the same editor; still writing for me, but knowing I had a good chance of selling it. Then for the next year’s anthology, I tried something completely different both from what I knew of the editor’s taste and from what had been previously published in that anthology. It didn’t sell. The next submission I sent in was another sequel, in the same style as the two previous stories; still for me, since I wanted to know what happened next to those characters, but also striving to match the editor’s taste. That one didn’t sell, either.

I don’t think writing to an editor’s taste is bad at all. I think it’s sound marketing strategy. But one should have joy in of the writing as well, or what’s the point?

Tomorrow, a guest post from writer Minx Malone.

Posted in business of writing, short fiction, writing | 2 Comments

Siegfried Sassoon, "The Effect"

The Effect

‘The effect of our bombardment was terrific.
One man told me he had never seen so many dead before.’
–War Correspondent.

‘He’d never seen so many dead before.’
They sprawled in yellow daylight while he swore
And gasped and lugged his everlasting load
Of bombs along what once had been a road.
‘How peaceful are the dead.’
Who put that silly gag in some one’s head?

‘He’d never seen so many dead before.’
The lilting words danced up and down his brain,
While corpses jumped and capered in the rain.
No, no; he wouldn’t count them any more…
The dead have done with pain:
They’ve choked; they can’t come back to life again.

When Dick was killed last week he looked like that,
Flapping along the fire-step like a fish,
After the blazing crump had knocked him flat…
‘How many dead? As many as ever you wish.
Don’t count ’em; they’re too many.
Who’ll buy my nice fresh corpses, two a penny?’

–Siegfried Sassoon, Counter-Attack and Other Poems, 1918

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The Duchess, Her Maid, The Groom and Their Lover Outtake Excerpt

This is an outtake from The Duchess, Her Maid, The Groom and Their Lover. It’s the beginning of a substantial menage scene which was cut mostly for pacing reasons; it involved the Duchess Camille, Henri, and Lord Maxime. I later auctioned a single, signed printout of the scene to benefit marriage equality in the United States.

This version has been altered to fit your television set, ummm, the age rating on my blog.

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After Camille’s bath and meal, one of the blue-garbed manservants escorted her into the depths of the castle, to a door carved with sea creatures who writhed across panels and wrapped around the handle. The door had no lock or bar, and when Camille pushed it open, it swung heavily but silently, revealing a tableau out of sybaritic fantasy.

Steam rose in lazy coils from the pools, blurring the outlines of the two men who sprawled naked on the hot floor. Maxime’s head was cushioned by a crumpled towel. Henri’s rested on Maxime’s hairy thigh. His lean muscularity seemed slender and youthful next to Maxime’s heavier, more massive build. He was idly stroking himself, his eyes half-lidded, his skin rosy in the heat.

Maxime had seduced Henri. Camille pondered this fact as she gazed silently at Henri and what he was doing. She flicked her gaze to his face and met his eyes. He’d been waiting for her to look at him. He wanted her, not Maxime. Maxime had seduced Henri, but had not won him.

Henri licked his other hand, slowly, and lowered it to grasp himself. He glanced down, back at her, then down again, until her eyes followed his hands.

Maxime stirred, and Camille held up her hand. He subsided, except for reaching down to flutter his fingers through Henri’s hair.

She would draw this, when next she had the chance to sit down with her sketchbook. She could see the charcoal shadings in her mind, the hard outlines of male bodies in the indirect light of colored lamps, the whole softened by steam. Henri rested one hand on his belly now. The other hand teased himself. His chest rose and fell as he sucked in a quick breath. Droplets of water on his skin caught the light.

There was a bench near them, holding a stack of towels. Camille sat and leaned over Henri, close enough to see fine details. He met her eyes, his gaze so open she almost had to look away. She clenched her fingers in her skirt’s folds. She could hear the heavy silk crush, and remembered Henri’s hands snagging on another skirt, at another time. He’d smelled of horses, and she’d wanted to bury her nose in his clothing just for the memories of freedom and love that scent brought her.

Henri asked, “Would you like to join me?”

“Or us?” Maxime said. He thumped his fingers lightly against Henri’s skull. “Though I think you and Henri, here, have taken all I have to give for now. I don’t think I could get it up even for a roomful of scarf dancers.”

Perhaps it took a roomful of scarf dancers to wear him out, Camille thought. Where had he found the energy for Henri, after the afternoon they’d had together?

Henri sat up and said to Maxime, “You may join us if Her Grace wishes. Isn’t that right?”

Camille straightened, furling her skirts across her lap. “Absolutely. Though this is his home, I hold the highest rank. When Maxime is restored to his position, of course, he will be my equal. But for now, I can do whatever I like. And I think I should. Don’t you?”

“If it would please you, I would be glad to do as you command,” Henri said.

“Maxime?”

He smiled and ran his hand over himself, stroking lazily. “Tithing to you will be such a pleasure,” he said. “Please, direct me as you will. Shall I lick Henri? You’d like that, wouldn’t you? There are delicate places I could lick. It might be interesting to see him feel my tongue in places he’s kept hidden. I didn’t get that far earlier.”

Camille looked to Henri with a question on her face. He said, “I’d like to touch you, but before that, I remember how you enjoyed what Sylvie and I did for you.”

“You are experienced with men?” Camille asked, trying not to show her surprise. Of course, Henri was a man himself, and it looked as if he’d been successful with Maxime earlier.

Henri’s face went red. “I had hoped you would tell me what to do.”

Maxime chortled. “What a mind he has, Camille!”

He sounded intrigued, and she knew him well enough to catch a hint of arousal in his voice, as well. She caught his eye and crooked a finger for him to sit up. “Then you are willing to help provide him with experience?”

Maxime’s grin widened. “I don’t mind in the least. It would be a waste to discard so many years of practice without passing it on to such a fine pupil.”

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c. Victoria Janssen 2009

Buy The Duchess, Her Maid, The Groom & Their Lover.

More excerpts.

Read more outtakes by following authors:

Cynthia Eden.
Lauren Dane.
Leah Braemel.
McKenna Jeffries.
Moira Rogers.
Sylvia Day.
Vivian Arend.
Mark Henry.
Shelley Munro.
Jaci Burton.
Mandy Roth.
Eliza Gayle.

Posted in free read, promo, the duchess, writing process | 2 Comments

Andrea Barra Guest Post: Romance, Academia, and Me

Please welcome my guest Andrea Barra, PhD candidate in Sociology.

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Romance, Academia, and Me by Andrea Barra

I would be lying if I said I went into graduate school with any sort of idea of what I wanted to study, let alone what I wanted to write a dissertation about. As fate would have it, however, I hit upon a topic fairly early in the process. (This may seem like a benign statement, but as anyone who has ever pursued a PhD will tell you, it’s a huge deal.) I took a class on the Sociology of Culture and was left with the ever-plaguing, open-ended research paper to complete by the end of the semester. I whined and moaned about it for most of the semester, not sure which of my many popular culture obsessions I should write about. One afternoon, in the middle of procrastinating by reading a romance novel, I finally thought…well, there you go! Problem solved. I was reading my topic.

Through that paper, I was first introduced to the famous (infamous?) study by Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Culture. As I read it, all I could think was, she is not talking about the romances I know and love. When I delved deeper, I realized that in Sociology romance novels and reading were poorly neglected subjects. It’s as though after Radway and others of her time (most notably Tania Modleski and Ann Barr Snitow), the discipline said, ‘yup, that’s it…case closed’. But, as nearly twenty-five years have passed since the publication of Reading the Romance, I am working on showing that there’s another case to be tried and more to be debated about the place of romance in society and the women (and men) who read it.

Fast forward nearly four years from that first revelation about the scholarly lack on romance novels to a dissertation in progress. Again, I would be lying if I told you that proposing to write a dissertation on the romance novel industry was the easiest thing I’ve ever done. I am (and have been) extremely lucky in my advisors for the amount of support I’ve received to pursue this line of research. There are many (and certainly some within my own department) who would poo-poo such inquiry as less than sociological or less than important. The easy answer I’ve learned to this is… “Romance is the largest market share of paperbacks in this country. Millions of people read it. How is that NOT sociologically important?”

The first academic conference at which I presented some of my early findings, people snickered. Yup, they snickered that I was researching romance novels. I’ve gotten the ‘bodice-ripper’ comments, the Fabio comments, the ‘my mom reads that trash’ comments. In that way, I can sympathize wholeheartedly with you romance authors out there. It is a difficult and exhausting process to defend the ‘worthiness’ of such a maligned piece of popular culture. I joke that sometimes it might be easier to tell other academics that I kick puppies for fun rather than tell them my dissertation is about romance novels.

But, what I’ve learned is that there can never really be ENOUGH research about romance novels and what they mean to our lives. And yes, I say “our” because of course romance has played a huge part in my own life and journey. While it may sometimes be difficult to reconcile the romance lover and the academic in myself (especially as I discover some aspects of the romance industry and culture that I wish were different or more progressive), I no longer feel those two parts of myself have to be mutually exclusive.

I learned that valuable lesson through my interviews. The most fantastic part of embarking on this project has been the interaction with authors and readers. Listening to romance lovers talk about reading, authors they love, the writing process, the problems and pitfalls of the genre, and their own passionate defenses of romance has been both intriguing and inspiring. It has helped me keep going when I was certain I could not think or process another darn thing about this industry. The dissertation process is long and arduous and often without a lot of reward. Knowing that I’m attempting to not only tell, but to understand the (excuse the pun) love affair with romance has encouraged me to keep moving forward. I research and write about romance because it’s where my heart is. If I manage to bring some academic legitimacy to it at the end of the day, that’s nothing but an added bonus.

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Thanks, Andrea!

Tomorrow, as part of Snippet Saturday, I’ll have an outtake from The Duchess, Her Maid, The Groom, and Their Lover.

Posted in guest, research, romance novels | 2 Comments

Harper Lee Has a Backlist of One

Whenever I begin to worry too much about goals, and success, and output, and all that, I remind myself: Harper Lee.

Harper Lee wrote a novel.

It was her first novel.

She was past thirty years old when To Kill A Mockingbird was published in 1960. It won the Pulitzer Prize in 1961. In 1999, it was voted “Best Novel of the Century” in a Library Journal poll.

She began another novel, but never finished it.

She published some essays, but never published any more fiction at all.

Yet I defy anyone to say Harper Lee is not a writer.

Tune in tomorrow for a guest post from Andrea Barra, PhD candidate in Sociology: “Romance, Academia, and Me.” She’s researching and writing about romance and the romance community.

Related post: The Desire to Publish.

Posted in business of writing, writing | 3 Comments

Reading and Writing Erotica as a Feminist Act

Recently, I followed a link to a fascinating-sounding blog post on erotica only to find that I had already read the post almost a year ago, and had in fact commented on it. I still stand by my comment, and decided I should post it in my blog.

I’m about to be all high-falutin’ about what I affectionately refer to as smut.

I think that demonstrating women’s sexuality in erotica, erotic romance, whatever, to a public audience verifies the existence of female sexuality (woman as actor rather than than object–think how many advertisements show a passive woman sexually displayed) and helps bring female sexuality into public discourse. Better dissed as “chick porn” than ignored and suppressed.

I also hope the mere existence of erotica aimed at women encourages women to think or write or talk about their own sexuality, thus validating that they have sexual identities to themselves, to their partners, and to society. And I hope stories about varying sexualities can subtly lead to more acceptance of difference in general.

At the same time, I think erotica should be fun and not preachy, and not grim. My route to that is genre; I’m happiest when reading erotica/erotic romance that’s been flavored with something else, like spaceships or crazy archaeological adventures or car chases. It shouldn’t be ashamed of itself. And we shouldn’t be ashamed of ourselves for reading it and liking it.

Related Posts: Why Writing Romance and Erotica Is Like Being Good in Bed, by Cecilia Tan.
Female/Female Romance.
Making It Good and Preliminary Thoughts on Two Types of Erotic Novels.
Erotic Journeys and Bodice Rippers.
Carol Queen quotes. Simon Sheppard quotes.

Posted in erotica, reading, romance novels, writing | 4 Comments

The Desire to Publish

What makes people want to have their fiction published?

I’ve thought about this often: how some people burn for publication and others don’t; how for some, feedback from readers is a requirement, while for others simpy to write is enough; how a (paid) published writer will often get less feedback than the average fanfiction story; how a writer can fall in love with the semicolon.

There’s something about the paper, for me. I handle cotton rag paper and feel like it’s the biggest luxury in the world. My favorite pens can inspire a feeling like lust in my fingers. Seeing my words on a page, all clean and black and physical, gives me a frisson. My words in print, the feel of a stack of pages I’ve written–all these things are a thrill. A friend of mine sums the feeling up as, I made this.

The excitement from the actual physical process and results of writing is a little less these days. My stories have appeared in anthologies, and I get my copies in the mail, but I have little interest in opening the book to find myself. I usually read my author bio instead, to make sure there are no typos or other egregious errors. I don’t always do even that. Then, sometimes, I will read the other stories in the volume, especially those by writers whom I’ve come to know. But my own story? The excitement came with the sale, with that first notification that someone wanted to give me money for art. Sending in the contract, getting the check, the books, giving a reading–not the same buzz as “Congratulations! Your story XY has been accepted!” Receiving the contributor copies just means I have to find somewhere to store them.

It’s true, I was overwhelmed with excitement when I held my first published novel in my hands. I felt as if I was about to bubble over, and made embarassing high-pitched squealing noises. Perhaps because, unlike an anthology, the book was mine and mine alone? Or because I’d invested so much more time and effort in the book, because of the longer length?

But back to the urge for publication. It must be the validation I crave above all. I wouldn’t write if it didn’t make me deeply happy and fulfilled to do so, and I love it when people tell me they like what I’ve written (though sometimes praise embarrasses me a little, why?) and I love mentally spending my paycheck many times over, but the best thing, the thing I seem to need most, is the assurance that my story has some kind of objective value. Comments don’t always give me this feeling. I don’t have enough self-confidence to always take praise at face value. Yet at the same time, I know my writing has a certain level of objective value. I was paid money for it. In our capitalist society, money often is equated with value.

Of course, there is no such thing as totally objective value. Selling a story has to do with writing skill, of course, but also with following submissions guidelines but not too slavishly, the editor’s taste, the mix of stories needed for the anthology or magazine or whatever, random luck, etc., etc.. A little halo does not ascend from on high and surround a story with a glowing aura if it’s worthy, or even if it merely sells. I know this. But to whatever crocodile brain part of me it is that squeals with delight or merely sighs with relief, none of that is at issue.

I still wonder why I need this particular validation and others don’t.

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Jeannie Lin Guest Post: Feminism in the Tang Dynasty

Please welcome my guest Jeannie Lin, Golden Heart finalist for her historical romance novel Butterfly Swords, which has, as of 7/15/09, sold to Harlequin Mills and Boon!


My muses — four extraordinary women of the Tang dynasty. The characters at the top of each panel mean roughly: literacy, beauty, domination, heroism.

Feminism in the Tang Dynasty: The Footbinding Dilemma

I write historical romances set in Tang dynasty China. The period has always fascinated me: court intrigue, sensual silk costumes and dashing swordplay. But readers want historical accuracy and because this period is not well known to romance, I have received this one question so many times in contests and critiques: How can these strong, independent women exist in a society that dictated women’s feet were bound at an early age so they could barely walk?

The answer is easy historically, but not so easy on the written page when a reader doesn’t have the benefit of Google at their fingertips. Footbinding was not adopted until more than a hundred years after my story takes place and was only then practiced by a small portion of society. But how do I convey that within the context of the story? Because it hasn’t happened yet, I can’t even drop in some convenient infodumping to take care of it.

Each historical time period has its own challenges, its own “footbinding dilemma.” The challenge that every historical romance author has to face when writing for today’s women is the question of how believable are these feisty, headstrong heroines who seem to fly in the face of convention for their time? Many popular historical periods are male-dominated eras when women were allowed less freedom in society. Of course there are icons of feminine empowerment throughout all periods and across all cultures, but these are held up as exceptional women who defied convention and broke the mold. But I contend that the strong historical female is less of the exception than people believe.

It’s actually very easy to make that argument for the time period that I write in. The Tang Dynasty (618 A.D. – 907 A.D.) spanned three hundred years and is not only considered a Golden Age of Chinese civilization, but also a period of uncommon liberation for women.

Written records indicate that women not only were involved in business transactions, but held the highest offices in the empire. The most notable being Empress Wu Zetian, who eventually took on the title of Emperor and founded her own dynasty. Under her rule, her personal secretary, Shangguan Wan’er gained fame as a talented poet and writer and served as one of the most powerful ministers in the court. After Wu Zetian’s death, her daughter, Princess Tai Ping, and her scheming daughter in-law battled for power in the imperial court. Early Chinese history has women like Hua Mulan, Li Xiu and Liu Jinding fighting battles and leading armies. Notice how there’s much more than the one “Mulan” that we’ve heard about in Western culture, courtesy of Disney.

The interesting thing is that the Chinese heroine was already an icon during ancient times. She wasn’t romanticized by future, more liberated historians. There’s a reason you see so many females in movies as kick butt, kung fu hotties. Because they really were out there, appearing in legends and historical accounts from as early as 500 BC. The Chinese invented paper — they wrote all this down.

With so many fiery women to serve as role models for my heroines, it’s no wonder the Tang dynasty is such a muse for me! Considering the tradition and historical details, I find it very believable that my heroine Ai Li could forge her own path through the empire armed with a pair of butterfly swords. It’s one of my deepest wishes to share a piece of the glory that was. It wasn’t all about subjugation and footbinding. Historical research provides a richer, much more exciting picture of women through the ages.

But all the research in the world doesn’t matter if the writing can’t convince readers.

Writers need to deal with the commonly held view that women were marginalized throughout history. Knowing the facts does not exclude us from having to craft authentic characters and believability comes down to the very intimate relationship between the reader and the words. Which brings me back full circle. How did I solve the footbinding dilemma?

I didn’t.

I concentrated on improving my writing until, hopefully, this one roadblock wouldn’t stop a reader from being sucked into the story. In the end that’s all we can do. Write a compelling story that convinces people these characters are flesh and blood and real. Isn’t that what history is anyway? The accepted version of the story that got written down. And don’t tell me that recorded history, the serious textbook stuff, doesn’t always have a touch of romance.

Jeannie Lin’s website.

Posted in guest, historical fiction, research, romance novels | 17 Comments

Doing What Interests You


“If you always do what interests you, at least one person is pleased.”

–Katherine Hepburn

Tune in tomorrow for Jeannie Lin’s guest post “Feminism in the Tang Dynasty: The Footbinding Dilemma.”

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Edward Thomas, "The Owl"


The Owl

Downhill I came, hungry, and yet not starved;
Cold, yet had heat within me that was proof
Against the North wind; tired, yet so that rest
Had seemed the sweetest thing under a roof.

Then at the inn I had food, fire, and rest,
Knowing how hungry, cold, and tired was I.
All of the night was quite barred out except
An owl’s cry, a most melancholy cry

Shaken out long and clear upon the hill,
No merry note, nor cause of merriment,
But one telling me plain what I escaped
And others could not, that night, as in I went.

And salted was my food, and my repose,
Salted and sobered, too, by the bird’s voice
Speaking for all who lay under the stars,
Soldiers and poor, unable to rejoice.

–Edward Thomas (1878-1917)

Posted in thomas, wwi poetry | 2 Comments