Tag Archives: Writing

The Practice of Inspiration

A woman searches for inspiration, in this 1898...

Professional artists, whatever their medium, say with good reason that ‘inspiration is for amateurs’. Deadlines, word counts, record companies or editors don’t care if you’re having a good week or not. They just need your product delivered when you promised it.

Nevertheless, even the most organized, disciplined artist (which excludes me!) needs and looks for inspiration to stimulate their process or refresh their brains. If a long-term goal is equivalent to reaching a mountain-top, and motivation is what keeps us on the trail, inspiration is the impulse that started us on the hike to begin with. It could have been something as simple wondering what the view from that particular peak looks like. It’s also the moment when an unexpected vista opens in front of us as we make our way upward. It’s something to savor and take a picture of. You catch your breath and rest, and then get back on your way. Inspiration makes you eager to see what you’ll discover next.

What refreshes you and gives that little zap of energy may not do a thing for your neighbor. Just check out all the different boards on Pinterest if you don’t believe me. What we love is as individual as we are. It could be visiting a botanical garden or window shopping at the local mall. The main thing is to find out what you love and take the time to indulge it. As long as you don’t wait for your Muse to drift down on a golden cloud and sprinkle fairy dust on your head before getting back to work, you should be fine. Maybe something wonderful that you can use right now will come to you. Maybe you’ll get a cool idea that you can’t use at the moment — make a note of it somehow so you don’t lose it. Or you might not see anything that really inspires you. That’s okay, you’ve still got your long-term goal to keep you on track.

One nice thing about looking for inspiration on a scheduled basis is that it opens your heart and mind. It can come from anywhere: spiritual readings, the rock you kept since you found it on the beach at age seven, a science journal. Like anything else, finding inspiration becomes easier with practice. And you find out what things inspire you for different tasks.

Lately, I’ve been looking at a lot of Georgian houses and listening to movie soundtracks. What gets your brain cells off and running? If you don’t know, take a few minutes and see what strikes your fancy!

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Cross-Training for Writers

I was asked in an interview once what I’d write if I couldn’t write romance. I didn’t have to think twice; the answer is fantasy. As in Old Skool, Middle Earth, build-up-your-alternate-universe-from-the-Void fantasy. I devoured the works of Tolkien, C. J. Cherryh, Orson Scott Card, and Marion Zimmer Bradley, and Isaac Asimov, among many others, years before I attempted writing a word of my own books. I loved the chance to escape into another world while I read those books. The best of the romances I gobbled up by the pageful provided the same effect. My entirely unscientific theory is that good writers care passionately about their own creations, whether it’s a planet or a pair of feuding lovers.

I write romance because I enjoy offering hope in the form of happy-ever-afters. I love writing smart heroines and the hunks they deserve. (And okay, this is the only genre that allows me to look at man candy and say with a straight face, “It’s research.”) But I do engage in a form of world-building. Mine is different from speculative fiction writing because I am constrained by the laws, customs, technologies and events of actual past eras. I can tweak the rules and bend them, but if I break them, the reader will be jerked right out of the story and might not be able get back into it.

Fantasy readers are familiar with maps, spaceship diagrams and/or genealogical charts in the front or back of books. I use those tools too, as do most other writers serious about their craft. Maps are a sticky issue for me. The posh area of London isn’t large now, and it was smaller in the 19th century. If we had to squeeze in every London mansion, gaming hell, bordello and alley devised by historical romance writers, the metropolis might have taken up as much space as it does in 2012. On the other hand, I do write fiction. It’s kind of my job to make stuff up. While scholars may howl if I place someone’s home where a tobacconist’s shop existed according to the census of EighteenWhatever, if I make the rest of the street historically accurate, and the furnishings and design of the house, most readers will be okay with that.

Along with hunting for man candy, I do research actual maps, and furnishings, and when people stopped using quills and started using pens, and the beginnings of railway travel in England. Most of the time, I enjoy research, but when I can’t find a crucial piece of information, I wish I could make up my own rules!

I do get to make up my own genealogy charts at least, and that’ s another part of writing prep I enjoy. Speculative writers have to come up with naming systems, and I don’t envy them the task. It’s hard enough to find the exact match of first, middle and last names that scans well and conveys the character’s status as hero or supporting character. Throwing in issues like spaceship allegiance or Elvish naming customs would make my brain explode. Genealogy tells us a lot about family culture and values, personal traits that may be encouraged or not and even diseases that can affect a character. Take a page from fantasy writers and make a family tree or two for your manuscript.

I learned about the importance of creating a historical background for one’s books from the Appendices at the end of The Lord of the Rings. They fascinated me; I would go back and forth from them to favorite passages. I realized that such a deep background gave Middle Earth its breath-taking vision. My history is based in fact, not speculation, but it’s crucial for writers to understand the places and times in which they place their stories. Timelines and calendars are an essential tool of all writers, either to track fictional events or intertwine fictional with real events.

So, writers and readers out there…what do you enjoy about your second favorite genres?

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Filed under Character development, Great Britain, History, Research, Romance, Writing, Writing Aids

It’s All About the Hall…

Apethorpe Hall, Northamptonshire

…or the manor, castle or house. I live in suburbia, but I learned my love of old houses early thanks to aunts who lived in homes built in the early part of the 20th century. My aunts’ houses had features like huge screened in porches, high ceilings, socket doors and sleeping porches, all terribly exotic to my youthful mind. The kleenex-box sized bathroom on Aunt Bert’s first floor that had no insulation and was always freezing cold in winter and the old fittings in Aunt Helen’s kitchen struck me as insignificant. Mind you, Aunt Bert and Aunt Helen, and their families, probably felt differently since they actually had to live with these inconveniences. But I loved those houses. I can still recall the layout of each of them.

Apethorpe Hall interior

One of the most important parts of my process is figuring out where my characters live. I could never be an architect, as my math skills stop at basic geometry; nor do I have a great eye for interior decoration, but I study floor plans and hunt down drawings and descriptions of historic houses, furniture and textiles. Here is a Jacobean interior, similar to some you’ll find in To be Seduced.

When a house was built influences its exterior, but how it’s furnished and decorated inside is a matter of the owner’s taste. I had great fun in Her Scottish Groom comparing the tastes of Diantha’s family with their new money and Kieran’s much older house. I used photos from visits to England, Scotland, and France to get ideas for details of the Rossburn seat. To emphasize the ‘old money vs. new’, I also looked for ways to make the Scottish house sound older than the book’s 1875 setting. Their antiques, for example, would date from 1775 to 1825. And they did not, to the heroine’s dismay, have indoor plumbing. (I don’t have plans for a sequel to HSG, but if I ever do, I will find a way to mention that one of the first improvements made with Quinn money was the addition of bathrooms. Lack of modern bathrooms would be a huge drawback to time travel.)

Marble House, Newport, Rhode Island

For the Quinns, I studied mansions in Newport to see how ultra-rich Americans of an earlier era spent their money. Opulent, dripping with gold leaf or frivolous fake oriental details, they provided an idea of the mind-set of people who could buy whatever they wanted, including an aristocratic bloodline for their descendants.

For my current WIP, I’ve gone online to explore English Heritage houses, London townhouses and the homes of the working poor. As always, I am fascinated by the different designs and styles, each lovely in its own way. I am quite happy in my suburban house, since it contains my family, but the pleasure of creating dream houses for my characters never fades.

What about your dream home? Is it a modern loft or an 1800s Queen Anne mansion or a 16th century farmhouse? If you need inspiration, visit http://www.english-heritage.org.uk to find more house like Apethorpe Hall, pictured at the top of this post.

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Filed under Great Britain, History, Research, Romance, Writing, Writing Aids

The Cheapskate Writer

In a perfect world, I would write in an entirely separate wing of my house, which would include sound-proofing and a stocked fridge. My housekeeper and personal chef would eliminate the need to deal with interruptions like vacuuming and assuaging my family’s ridiculous desire for regular meals. My vast personal library of information would sit on shelves lining every wall.

Aaaand then there’s real life. And my real budget. Since getting published, my goal is to keep writing expenses out of our household income. One, that’s how I can justify to the Internal Revenue Service that I am a professional writer. Two, it makes me feel like, well, a professional writer. But since most authors only know what their income is when the advance or royalty check arrives, or when the month’s sales hits the Paypal account, this means I squeeze my writing pennies until they’re crumpled on the floor begging for mercy. Like Pseudolus, the protagonist of A Funny Thing Happened on the way to the Forum, my favorite word is ‘free’.

Here are a few things I do to save a buck (or more):

1. Free anti-virus software: I know, this sounds like the Worst Idea Ever, but hear me out. I have used the free version of AVG Anti-Virus for at least the last three years. It blocks viruses, warns of unsafe sites, scans my laptop daily and gives me summaries, and alerts me to problems. They offer yearly updates, FREE, and I have not had any problem with malware. And now that I’ve reached a point where I can pay for a security program, guess who’s going to get my business?

2. Free online backup service: One of the smartest things I ever did was to sign up for the free version of Mozy. I don’t know if the free version is still available for new customers, but here is a list of alternatives. Just be sure to get one! When my computer conked out last summer, I lost only a few hours work instead of a full day’s. Or — horrors! What if I’d lost an entire WIP? Yes, you can and should back up your work on an external drive daily, but with automatic backups twice a day, it’s that much more peace of mind.

3. The Library: Until I make the kind of money that gives me unlimited funds to spend on research, I fall back on my local library. I am looking at a biography of Louis XIV, a history of marriage, a book on gardening that I picked up for the gorgeous pictures, and a book about Ellis Peters’ Cadfael mysteries. And those are just the ones I can see right this second. On my Nook I have more.

So, would any of these suggestions work for you? I have more. Better yet, do you have any ideas for tightwad writers to save money? Tell us about them!!

And since tomorrow is St. Patrick’s Day, which in my part of the U.S. is an unofficial civic holiday even for those of us with hardly any Irish blood, I added a link about one of my favorite Irish instruments, the bodhran, followed by a few more links. Enjoy!

How to Play a Bodhran

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Filed under Cheapskate Writing, Research, Writing Aids

Type Faster

“If my doctor told me I had only six minutes to live, I wouldn’t brood. I’d type faster.” — Isaac Asimov

Someday, I am going to needlepoint Isaac’s words and frame them to hang somewhere at eye level to keep me from slacking off. To me, Asimov’s words are a kick in the butt to remind me that 1. I’m lucky to have a calling that allows me to make (some) money from the voice in my head and 2. someday, one way or another, it’s all going to come to an end.

Sometimes the words flow, sometimes they don’t, but a writer schedules set times to sit down at the keyboard or with pen and paper and write. There’s no way to know how easily the words will come. Or how good or bad they will be. But writers are also wives, husbands, parents, friends, critique partners, employees, and volunteers. Writing time is precious, so we must use every moment. If we produce crap that day, next day we’ll either edit it till it’s not crap or write new crap that we can fix.

Athletes and dancers warm up their bodies. Our minds have to be warmed up as well. It helps to start a session editing the last few pages of the previous day’s work. (Thank you Lew Hunter via Sally Walker for that tip!) And I began journaling about midway through last year. At the time, I couldn’t have told you why, because I stopped keeping a diary decades ago. I did not want to spend 30 precious minutes of my day writing something unrelated to my WIP. Finally, in November, I realized that the time spent scribbling in my journal really did help my process. But I journal first thing in the morning, not during a writing session.

This doesn’t work for everyone, but when I spend at least 30 minutes each day writing by hand, it cleans out and primes my creative pump, even if I can’t write till later. Checking emails and social networking distract me.  Keeping in touch is an important task that needs its own block of time. I don’t even like to plot during the time set aside for writing, unless a character makes a really sharp veer from what I thought would be the story. I hate it when they do that, but it’s part of the process, and like kids, sometimes you have to let hero and heroine go where they want to.

Asimov died youngish, age 72. (At least that’s young in the view of someone whose relatives routinely live past 85 and often past 90.) It’s said that he authored or c0-authored over 500 books. Besides the science fiction he is best known for, he wrote mysteries, non-fiction, guides to the Bible and Shakespeare, and limericks. He edited anthologies and had his name on his own science fiction magazine.

I think I have some typing to do.

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At a Loss for Words

Every writer runs out of words – at least good words – at some point. I’ve come to the conclusion that this is both normal and inevitable. Nature goes in cycles, from the seasons to the life, death and rebirth cycles of everything from stars to mayflies. From writers to dancers to architects, everybody hits points where our creativity and energy go dormant. Stars and mayflies, however, do not have to meet deadlines, performance schedules and project completion dates.

What do I do when words and energy run out? I remind myself of the opening to Ecclesiastes, Chapter 3: “To every thing there is a season, and a time to every purpose under the heaven…”. So the first thing to do is not panic. The words are gone now, but they’ll come back.

The first thing I don’t do is not write. It’s frighteningly easy to say “The words aren’t coming, so I’m not going to try today.” Next thing you know, you haven’t written anything new for a week, or a month. Or longer. For me, not writing is never an option. Even if you can’t do more than journal and brainstorm, write something every day. I also edit previous scenes. They get me back into the story and (hopefully) remind me of why I wanted to write it in the first place.

Or maybe you don’t have to write out a full scene. When I’m really desperate, suffering from severe ‘page fright’ – the conviction that everyone down to chimpanzees could write the story better – I resort to my fallback habit: lists. In this case, it’s what I, as the author, need to have happen in a scene, and with whom. Mine often look like this:

  • Introduce Imogen and mother
  • Morgan panic
  • Alix lie to save him
  • Morgan disgusted at lie
  • Reaction of servants? How can A. be guest and employee?
  • Study or entry????

Far, far, far from a full scene. Not even the bare bones of a scene. But at least there are a few building blocks of life swimming around in the primordial broth. I can see the major players and necessary action, which gives me something to work with.

And I know from personal experience that the thing with the most question marks behind it is where I need to start. Sometimes I’m stumped for the location, as above. Sometimes it’s whose point of view to write a scene in. Whatever it is, the question marks tell me what is not nailed down that needs to be.

It helps to leave a scene that’s not working. Is there another scene you can imagine more clearly? Write that one instead. You might discover that the problem scene might not need to be in the book, or it could work better in another character’s point of view.

An excellent way to avoid blockages like this altogether is to allot time in your schedule for stuff that you like, but which has nothing to do with writing. Physical activity is crucial for good health. We don’t all have the time or money to join health clubs (I sure don’t), but we can take daily walks most of the year. Take a few minutes to put on a good song when you’re alone and boogie around the room. Seriously. If all you can do is chair dance, do that! The music alone gives you a mental break.

People do a lot of things when they’re stuck. I also find cooking and needlepoint soothing. What do you suggest to refresh yourself?

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Make Something of Yourself

Razvan Ionut / FreeDigitalPhotos.net

People often ask, “Where do you come up with your ideas?” and “How do you make time to write?” before telling me, “I could never be that creative.” The answers to #1 and #2 are blog posts of their own, but I always feel terrible when I hear the last comment.

I am convinced that all of us were put on this earth to make something of ourselves. Not in the usual meaning of the phrase, which means a person establishes her- or himself in a prestigious job, or becomes a celebrity or earns a big income. Say ‘make something of yourself’ aloud, but emphasize the last word.

‘To make something of yourself‘ implies that you put your heart and soul into creating something you love. For me, it’s making up stories. If I weren’t published, you know what? I’d still think of characters and plots. My stories happen to take the form of books. Other people make stories in the form of movies via screenplays, or acting. Some people love to tell stories to their grandchildren.

My mom always says she’s not creative. This from the woman who took a shoebox of broken rhinestone jewelry, cleaned it up, and glued the pieces onto colored felt in the shape of marvelous, sparkly Christmas trees to give to her friends as gifts one year. I would never have thought of finding such a cool use for junk jewelry! And she does stuff like this all the time.

As in the worldly meaning of the phrase, it’s not easy to make something of yourself. Society approves of some goals more than others. For example, Warren Buffett is usually admired for doing what he loves, namely making sound investments. The rest of us aren’t so lucky. If you like making up characters and stories about them, people say you’re a daydreamer. If you like to paint, people tell you to stop fooling around with watercolors and get a job. Even if you already have one.

To make something of yourself, here are some things you’ll need:

1.  Something you love to do or have always wanted to try.

2. Teachers or mentors: Instinct only goes so far. You’re not going to know how to compose a picture, dry flowers or develop a character right off the bat. If you can’t find someone in person, look online for help, or in the library. Julia Child still inspires budding chefs thanks to her cookbooks, for example.

3. Time alone to explore what you love: This one is a bear, especially if you’ve always tried to be there for others. That makes you a wonderful person, and means you’re entitled to schedule a bit of time once a week or so for *you*. Schedule your time, and fight for it. You’re allowed to be less wonderful for that hour or two.

5. Permission to Fail: We all suck the first time we try something. This is normal. If you’re feeling terribly ashamed of how much you suck at whatever it is you tried (which you shouldn’t because you’re still a wonderful person, right?), you don’t have to show it to anyone. It was just an idea that didn’t work. You will get better next time.

6. Permission to Succeed: Use part of your creative time to think about your definition of success. Work backwards from there to where you are now. This way, you’ll know what you need to do next. Then, when a painting is accepted for the show, or a manuscript is requested, you’ll know what you want to happen, where you are on your road to *your* success. Other people will have a hard time talking you into what they think you should want. Don’t forget to give yourself credit for every stepping stone you land on, even if others say, “Are you sure you should waste time doing this?” If it’s still fun and you can put your heart into it, the answer is ‘yes’.

For more photos from Razvan Ionut at FreeDigitalPhotos.net, click here.

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Everybody’s a Critic!

My mother, bless her heart, is under the impression that writers just scribble or type out the words and poof! — we’re all done.  I wish!  I’ve never, ever heard of a book being accepted as is by a reputable publisher, and that is a very good thing.  As a writer, I am too close to the work to judge it objectively, never mind the spelling and grammar errors that come out when you’re focused on just getting the story written down.  One of the best pieces of advice I can give to new writers is to seek out supportive, respectful criticism from other writers.

The key words there are supportive and respectful. I have heard a number of horror stories about critique groups.  My own weekly group is a huge blessing.  It includes writers at all levels of experience and in a range of genres from romance to science fiction to thrillers to horror.  Some of us write books, some write poetry and some write plays or screenplays.  The main thing is that we all demand well-written stories with vivid characters that draw us in and keep us begging for more.  Without this group’s encouragement, I would never have had the nerve to enter the contest that led to my first sale.

Equally important are rules of conduct that limit criticism to the writing.  Our primary goal as a group is to help each other become better writers.  If you join a critique group that praises or dismisses anyone’s writing based on how well or poorly they conform to a set of religious or political views, move on!  The same goes if they treat you differently based on your genre.  Or if they think there is something wrong with you because you want to write a book that people can buy in grocery stores.  (This is one of my goals as a writer, so I will admit to some bias here.)

I’ve also heard stories where new writers are condescended to by those who have been in a group longer.  This is not okay.  Most published authors I have been in contact with, either personally or through correspondence, have answered questions and provided advice when I asked, and even when I didn’t.  Those who were unable to help still took the time out of their schedules to offer encouragement and good wishes.  If these women (and men) can treat strangers nicely, so can Madame Poobah of the Local Community Writers Circle.

Of course, supportive and respectful apply to the ‘critique-ee’ as well.  If you are submitting your work to other people so they can exclaim that it is the most innovative piece of fiction since Western Civilization crawled out of the Dark Ages, probably you’re not going to have a positive experience.  (Yeah, we have folks show up with that attitude from time to time.  They don’t last long.)  ‘Critique’ and ‘criticize’ are related.  You’re asking people to tell you where the weak spots are in your WIP.  Don’t be surprised or offended when they actually do that.  If you get comments from five different people complaining about the same paragraph, that’s a pretty good indication that you should reconsider it, but it’s unlikely that they’re conspiring to drive you away.

Be patient if someone suggests you take your story in a direction that you don’t want to go.  There is no law that says you have to follow every piece of criticism you get.  Ultimately, you are responsible for what you write.  Smile, say thank you and move on.

And yes, you should thank someone who has taken time to listen to or read your work and given you their advice.  Even if you don’t agree with them.  Even if someone has given all negative comments, or you think they’re being nit-picky over teeny tiny details.  I’ve slept on criticism I’ve disagreed with and found it valid the next day.  When something isn’t working my weekly group lets me know.  They’re not brutal, but once you’ve been there long enough for your skin to thicken, they’re blunt.  And I love it when people nit-pick — it means there are no major problems that week!

As long as I’m discussing critiques, what are some of the best or worst scenes you’ve read in a book?  Or what kind of scenes do you love or loathe?  As writers have any of you ever found some embarrassing mistakes in your manuscript — or worse, in your book?  (Like the two paragraphs where I use the word ‘wrist’ four or five times.  Or one of my first readings where everything was ‘scandalous’.  Luckily for all of you, I abandoned that story!)

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Description

Recco, Giuseppe - Still-life with the Five Sen...

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I love descriptive scenes.  They set time and place, character appearance, their favorite kind of clothes, their homes and their other possessions.  Believe me, this stuff is important. I’ve read books light on description, and it’s like groping my way through fog to get an idea where the scenes take place, and when.

Description is anything that tells the reader what characters experience through the five physical senses. When it’s necessary to give the reader some mental breathing space, say after an intense action scene, describing the aftermath or what surrounds the characters in a lull is like providing oxygen before the readers submerge themselves in the next fast-moving sequence. Still, even I will admit that too much description becomes downright annoying.

When a writer stops and provides every detail (as I tend to do in my first drafts), they sloooooow their pace to a crawl.  The mind lingers over descriptive passages in order to process what the characters see, hear and feel.  When a reader wants to move on to the next action sequence, they often (consciously or not) skip over long descriptive passages to get to the exciting bits.  Description is like the chocolate swirls in fudge ripple ice cream: ideally it should appear evenly throughout a book, but not in big gooey globs.

Good description layers all five senses throughout the book, without sounding like “Miss Girlygirl eyed the petit four, admiring its pick icing.  She picked it up, inhaling chocolate and fondant icing.  When she bit into it, hearing the delicate crunch of its layers, the coffee flavoring coursed over her taste buds.”  That chunk was heavy-handed and awkward.  Description is the art of adding details to a scene without overpowering it.

What about you? Do you read every word of a description or do you tend to skip over them?

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Exposition: Your Reader’s Need to Know File

I can’t speak for other writers, but I’ve found that placing exposition into my stories is either a pleasure or a giant pain. ‘Exposition’ is related to ‘expose’, and thus refers to unveiling information the reader must know in order to make sense of the story. One must have exposition, just not too much of it at one time.

The most common example of this kind of information is back story, or past events which influence the characters or plot of a book, but which do not take place during the length of time the book covers. In Nicole Jordan’s To Desire a Wicked Duke, the heroine’s loss of her fiancé in battle occurred well before the book opens, but it affects her decisions and her relationship with the hero. Her fiancé’s death is part of the back story.

Most new writers, including yours truly, often open their first manuscript with pages and pages explaining the hero or heroine’s home, or family of twelve, or college days, or…it really doesn’t matter, because your reader wants to know about the main characters, not their 500-year-old family pedigree, no matter how distinguished it is. These reams of exposition are the dreaded ‘info-dump’, guaranteed to put off agents, editors and readers alike.

For film it’s said that for every foot of film used in the final cut, there are two feet on the cutting room floor. I’ve come to think of exposition the same way. Yes, it is necessary to come up with detailed character biographies that do include birth year, birth place, family history (and probably their dates as well), education, favorite colors, the character’s particular talents and his or her greatest flaws, etc., etc. — even though this information may never appear in the actual book.

Some of you are probably throwing up your hands and asking, “Then why go to so much trouble?” Considering the research and effort that goes into creating this kind of detail, that is an excellent question!

The answer is that when we writers set down that much information about a character, it nails him or her down in our heads. This kind of detail helps us understand how characters respond to each other as well as to challenges, failures or successes. The writer knows how their hero or heroine will go about reaching their goals. And on a purely practical level, if all of this is written down beforehand, the writer has a reference any time a question about a character’s past comes up. That saves a lot of time all by itself.

As a historical romance writer, I also use exposition to explain aspects of life in past eras that modern readers wouldn’t necessarily be familiar with. For example, in Her Scottish Groom I used it to include details about life in Scotland during the late Victorian era. Trains, cruise ships, and telegrams had been around for years by then. The heroine is accustomed to indoor plumbing.

My debut, To be Seduced, presented even more of a challenge because it takes place during the Restoration. Even something as straightforward as attending the theater needed a little explanation. The experience differed significantly from seeing plays during the nineteenth century, which is heavily represented in historical romances. The trick in both cases was to create vivid scenes for readers to enjoy, not give them a history lesson!

Clues to characters and period or universe (in the case of fantasy or paranormal romance) are imperative to an authentic, well-rounded story. But exposition, like everything else in a well-written book, should be layered in carefully, and nothing should appear on the page that does not advance or enhance the story.

What are some of the most interesting or unexpected bits of information revealed about a character in a book you’ve read?

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