Thursday, January 31, 2013

A Boomer's Lament: The Fonz and Archie Bunker, the California raisins, the Bouffant & the Beehive.


A BOOMER’S LAMENT
I remember the Fonz and Archie Bunker.
I remember when LBJ meant the President (Lyndon B Johnson) and not a basketball player (LeBron James).
I remember the California Raisins, Louis the Lizard and the Budweiser Frogs.
I remember when the NY football Giants moved to the NJ Meadowlands.
I remember pin curls and garter belts, answering machines and floppy disks.
I remember Dick & Pat, Jack & Jackie, Ronnie & Nancy, Jimmy & Roslyn, Bonnie & Clyde, McCabe & Mrs. Miller, Ken & Barbie.
I remember when you had to get up & cross the room to change the channel.
I remember gas station attendants.
I remember when Amazon was a river in South America, not a store on the internet.

I remember streakers, est and transcendental meditation.
I remember consciousness raising, encounter groups and the Manson Family.
I remember Bullitt, The Godfather, and The French Connection.
I remember Led Zepplin, Pink Floyd and Marvin Gaye.
I remember Sergeant Pepper, Tricky Dick and Flower Power.
I remember the Bouffant, the Beehive, the Shag, the D.A, The Wet Look, The Dry Look and Greasy Kid Stuff. 
I remember Joy, "the most expensive perfume in the world" and  "Modess...because"
I remember the Atkins Diet, the Scarsdale diet and the Beverly Hills diet.
I remember Pan Am and TWA.
I remember disco and Donna Summer, hula hoops and Rubik's cubes.
I remember lots but I can't remember what I had for dinner last night, where I put my glasses and why I went into the kitchen & what I meant to do there. 
So, my Boomer friends, what do you remember? And what kinds of things do you forget?
Coming Attraction: On Sunday, Anne R Allen opines on Googling yourself. Vanity? Or just plain smart?


Thursday, January 24, 2013

8 Tips For Turning “Real Life” Into Fiction—Make-overs, personality transplants, plots, plot twists & a search for meaning


One of the questions writers hear most often is: Where do you get your ideas? We—certainly I—don’t always know but in the case of Decades, the story of a scandalous love affair, the idea came from real life.

Writing a novel based on a real life situation is a lot more than just regurgitating a story you happen to know—even if it’s a whizz-bang, humdinger of a story. The challenge is turning real people, real events and the messy confusion of real life into fiction.
Having no guidelines at the time I wrote Decades, I had to figure it out for myself. I made plenty of mistakes along the way but had several advantages I wasn’t aware of.
1) Know your craft—and how to use it.
It’s absolutely basic but bears repeating: compelling fiction needs conflict, structure, resolution. Decades, originally published in hard cover by Simon & Schuster, was my first “big book,” but prior to writing it, I had been writing professionally for over ten years—weekly articles for men’s and male adventure magazines and original paperbacks, mostly Gothic romances and romantic suspense, under a variety of pseudonyms.
In the process—and hardly intending to—I learned how to write action, conflict, character, emotion, and sex; how to grab a reader from the first sentence and how to create cliffhangers that would compel the reader to continue. That knowledge of the nuts and bolts of craft, inadvertently learned, would be the invaluable underpinning of the novel.
2) Be a good listener—and don’t gossip.
Coincidence—and real life—provided the inspiration for Decades. The coincidence was that I happened, quite by accident, to know each of the three main characters, two much better than the third. The three were:  a successful but restless husband at the Is-this-all-there-is? stage of life; his wife, the insecure, inexperienced rich girl he marries on his way up; and “the other woman,” younger and quite glam.
At the time the events in real life took place, I never thought to write about them. After all, a married man cheating on his wife is not exactly stop-the-presses news (unless the married man is a politician in which case all h*ll breaks loose!). Two of the people involved in the triangle confided details of “their” version because they knew they could trust me not to gossip. They didn’t know—nor did I—that years later, haunted by their stories, I would turn their drama into fiction.
3) Just because “it really happened” doesn’t mean it’s good fiction.
In writing a novel based on real life, I faced the same challenges a writer does with any novel—the need to create believable characters and a dramatic plot—with the added twist of having to structure the formlessness, confusion, and messiness of everyday life into the demands of a novel. Knowing the “real story” turned out to be both a blessing and a hurdle.
4) Protect the privacy of your “real life” characters.
Of course I changed names but, as I wrote, I realized it wasn’t enough to change John Doe into Jack Delaney. A radical name change—to Anthony McMartin, for example—helped guarantee JD’s privacy but, from a writer’s point of view, had the secondary effect of freeing me from unwanted reminders of the “real” John Doe.
In addition to the name change, I spent a lot of time and thought changing physical descriptions, biographical details, personality traits, and back story. 
5)  Help your reader relate to your story.
IRL the “other woman” was a stylish, never-married single girl with a high-profile job and social life to match. In the novel, I wanted a character more representative of wider experience so I left out the glitzy fashion-world details.
Instead, I portrayed a woman more characteristic of the era who marries young, has two kids, then, immersed in diapers and domesticity, questions her earlier decisions. She divorces the husband who was her college boy friend & learns (the hard way) how to conduct herself in a challenging and competitive business world newly-open to women.
Each of the other characters received a similar makeover. I made the husband handsomer and more successful than he really was. I gave the fictional wife a talent even she didn’t recognize—a talent that, in the end, rescues her.
6) Give your characters room to roam.
IRL the story took place mainly in Manhattan but, as I wrote, I found the setting too confining. In the novel, the characters do live in New York, but I added completely imaginary scenes in Florida, Nantucket and the Caribbean. Using different settings helped me show how the characters behaved in different geographies and in different social milieu.
Trust me, a week in the Caribbean with a wife is much different from a week in the Caribbean with a girlfriend in the middle of a steamy affair!  For the novelist, pure gold!
7) Expand the scope of your story.
Almost any “real life” story by its nature, tends to be limited to the people involved. (Unless your story is about someone who happens to be President of the United States and has the worries of the world on his/her shoulders.) As I drafted the novel and its plot and characters gradually took shape, I wanted to explore how the unintended consequences of an illicit love affair affected people not directly involved.
I ultimately created a teen-aged daughter torn three ways—between her charming, straying father, her loyal, devastated mother, and the come-hither lure of contemporary culture, in this case, the go-go Sixties.
8)  Look for the larger significance of your story.
I don’t mean you should hit your reader over the head with The Meaning Of Life. The final element that transformed real life into fiction came to me as I was halfway through the draft and realized that the age differences between the married couple, the younger “other woman” and the teen-aged daughter led naturally to portraits of three transformational, mid-20th Century decades—and to the title.
By the time I was finished with name and personality changes, biographical transformations, plot twists, and historical research, the characters had taken on their own, fictional lives. The plot moved with its own energy to a far different conclusion from the one in real life, and I was able to portray massive personal, cultural and social transformations in an way critics would call “absolutely perfect,” "powerful" and “gripping.”
The rewards were beyond anything I’d imagined but, trust me, it did not come quickly or easily.
Decades—which I have revised and edited for today’s reader—is available in Kindle and Nook editions. 
So, readers, did this help answer your question about where writers get their ideas? And, writers, have you ever used real life experiences in fiction and what tips can you share?
Coming Attractions:  
On Saturday, January 26, I’ll be at WG2E with a new report on Formatters and Formatting—important info for writers and essential for our readers who deserve an elegant, high-quality presentation.
On Sunday, January 27, you’ll find me at Anne R. Allen’s. My subject? Danger: Writer At Work. Meanwhile, right now Anne is dispensing her usual excellent advice, this week on blogging: 5 Blogging Rules Authors Can Ignore…and 5 You Can’t






Wednesday, January 16, 2013

Another successful author goes indie.

I tried to post this comment on Huffington's Post story about successful writers like Barbara Freethy who've gone indie but HP's log in doesn't recognize me so here it is:


I'm another successful TradPubbed author gone indie.  My books (DECADES, HUSBANDS AND LOVERS, LOVE AND MONEY, MODERN WOMEN and THE LAST ROMANTICS) were million-copy New York Times bestsellers, translated into 19 languages and published in 30 countries. My U.S. publishers include Random House, Simon & Schuster and St. Martin's Press. Over the years, I reverted the rights because my publishers weren't interested in them. I had no idea what I would do with those rights but felt strongly that I wanted to control them.

Then two things happened: The first was that I couldn't sell a new book (a romantic comedy-mystery featuring a Baby Boomer couple). Although editors "loved" it, they didn't "see a market for it." I was known for my women's fiction and a romantic comedy was out of my genre. The second event was the advent of ebook publishing. The rights I had reverted suddenly had a place to go.

I've indie published my backlist and am about to publish my Baby Boomer romantic comedy-mystery, THE CHANEL CAPER. In addition, I've written and published two thrillers, HOOKED and BRAINWASHED, both written with my husband, Michael. We've also indie published Michael's two national print bestsellers, THE ATOMIC TIMES, a memoir about his experiences as a young soldier sent to "observe" the US H-Bomb tests in the Pacific Proving Ground, and ALWAYS ON SUNDAY: An Inside View of Ed Sullivan, the Beatles, Elvis, Sinatra & Ed's Other Guests, his memoir of his years working on the Ed Sullivan show.

Once authors experience the freedom to write in various genres, the ability to create their own covers, control their own brand and the infinite shelf life of their books, they will not return to the strictures of publishing-like-it-used-to-be.  —Ruth Harris

Monday, January 7, 2013

The Songs We Sang, The Clothes We Wore, The Way We Made Love—And The Books We Write


I'm up on Romance University today with ideas about how writers can use social, political and cultural history to give readers more to relate to—and to add dimension and conflict to their books. Think early Elvis, garter belts and Spanx, Mad Men, Homeland and Downton Abbey. Do stop by, visit & comment. Things get fun & lively at RomanceU!