A Bed of Brambles teaser…

A Bed of Brambles teaser…

In case I haven’t teased you for long enough, here’s a sneaky extract from the new novel (no spoilers, I promise).

The rural lanes were familiar now, white painted signposts to places she knew, remembered landmarks. They crested the hill, the scenic approach, and their journey took them onto the Cotswolds Romantic Road, the route that didn’t pass the industrial estate or the council houses to the east of the village. Driving it after an absence, Hettie could see what the tourists saw, the contrast of chocolate-box houses and lush, picturesque landscape. She was lucky to call this place home.

Ahead to her right the village still slept in a leafy green hollow of clotted cream cottages and pantile roofs, with punchy chimney pots rising above their ridges. And off to the left, Draymere Estate, its dry-stone wall curving alongside the road, softened by the years and the tall grasses clustered at its base. The Hall wasn’t visible yet, as it would be if they drove on through the village. Alexander swung the car off the road at a break in the wall, the back entrance to the estate.

They passed her old cottage and the stable block. Hettie looked at the clock on the dashboard. It would be another hour before early stables and horses wanting their breakfasts. The thought made her smile, a reminder of snuggling down in her bed in that cottage, with time in hand before she had to get up.

‘What are you thinking?’

‘I’m thinking it’s good to be back.’

You might get another one next week,  but then I’ll be stymied for passages that don’t reveal too much of the plot (or need an adult rating) winking-emoji

I’m faffing with formatting this week…

I’m faffing with formatting this week…

I know I shouldn’t do it, not until the ultimate proofread is in the bag. The reason I know that is because I did the same thing with the last book: Formatted everything neatly, and then did it all again after I’d made changes to the manuscript.

The trouble is, every format (epub, mobi, pdf) has a different trick up its sleeve. And Word is the devil incarnate when it comes to mischief making. My opening lines have popped up in bold, in italics and several font sizes larger than the rest of the text. Blowed if I can work out why. I solved it by deleting the page and adding it back in again. (A new take on turning it off and turning it on again.)

My PDF is immaculate. Immaculate, but reversed.

formatting-brambles

What the hell is that about? Everything in the right place, but on the wrong page. So my extra-wide margins for binding have become extra-wide thumb rests, and the page numbers should be on the outside edge of the page. Back to the drawing board (heavy sigh).

My PC won’t save the downloads, according to my Kindle reader I’ve already got a copy. (‘Search Documents’ doesn’t agree.) And I’ve shot myself in the foot by writing two books with very similar names. After hours of this brain exercise, I’m not even sure I’ve uploaded the manuscripts which tally with their covers. I mean, A Bed of… Barley? Or Brambles? Who’s daft idea was that?

Luckily, it’s only a trial run. I’m honing my skills so that the real thing will be perfect.

But my brain cells are knackered now, so I’m off for a frosty walk and some blue sky thinking.

Looking for holiday romance…

Looking for holiday romance…

img-20161119-wa0008I was in Lanzarote last week. That near-barren island of glinting black sand, volcanoes and fields of charred lava. Sheer rock faces that plummet into the deep blue Atlantic and waves that explode on the shore with flumes of white spray.

 

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There is nothing gentle about the landscape in Lanzarote, it is awe inspiring. Powerful and dramatic. It turned my head to the idea of romance.

I’m waxing lyrical, and I’m talking fiction, of course. I can’t help myself. As a writer every new place, vista and experience holds (as yet) untold potential.

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A hero forged from molten rock, a narrative spun over sharp peaks and yawning craters. A heroine trapped by the ocean.

 
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A passionate love story rising out of the sun-baked land.

Ah, for the inspiration of a setting so poetic that the plot (almost) writes itself.


Road Trip!

Road Trip!

A quick one this week, because we’re off on a mini UK tour, and I really ought to be packing, or editing, or cleaning the house. Because you have to leave the house extra-clean when you’re not going to be in it, don’t you?

I’ve just spoken to the mates who are coming with us, and we’ve sorted our packing lists: Wellies, waterproofs, sun-cream and sandals. So, pack for all weather, basically. I’m glad the car doesn’t have a baggage allowance.

A pre-harvest jolly to Yorkshire, Scotland and the Royal Highland Show (which I’m weirdly excited about). Home via the lake district, by boat if necessary, seeing as nature is filling those lakes up as I write. I’d quite like to bring a Highland cow back with me, but only one that can swim.

I’m taking the editing with me (who am I kidding?) because I’m about to bust my latest self-imposed deadline, (final re-writes back to the editor before I go away, oh dear).  And I’m stressing about the ancient terriers, or stressing about the poor souls who I’m leaving in charge of them, actually. They’re standing outside in the rain at the moment (the terriers, not the carers), looking ancient and mighty bedraggled (I won’t humiliate them by sharing a picture here). But, for some reason which I really can’t fathom, they do come back in to pee. I might lay a shavings bed in the boot room , then the carers can just muck them out.

Here’s wishing for some sunshine, (and an England win tonight). COME ON ENGLAND/SUMMER (delete as required) – let’s be having you!

Mood setting – painting a picture in words #amwriting #amediting

Mood setting – painting a picture in words #amwriting #amediting

As writers, we have a rich selection of words we can use to set a mood; an emotion; a moment. The art of good writing (and the joy of good reading) takes us right in to a time and and a place – and sets the mood of the moment – without telling us.

There’s a scene in the novel I’m editing (A Bed of Brambles – the sequel to A Bed of Barley Straw) where the hero (Alexander) is sitting above cliffs, recovering from the hurt of an emotional upset, and being soothed by the landscape around him. So, that’s me telling you what’s happening.

Amidst her pleas of “Show us!” My editor queried my choice of words in this scene – “would he be calmed by the waves crashing against the rocks?”

Good point; crashing and rocks are hard, angry words. How about “calmed by the waves washing across the pebbles on the beach?”

Here’s one picture of the landscape, similar to that which I’m seeing when I’m writing the scene:

Angry Anglesey coast

It is angry isn’t it? The waves are crashing against the rocks. It’s moody, and melancholy; in turmoil. Blacks and greys and an unsettled sea – all very Poldark! Passionate, oh Lord, there’s all sorts of angsty words I could use (and a risk of becoming clichéd)

Here it is in sunnier mood:

Sunny Anglesey-coast

Now I’m uplifted. The sun warming the cliff-face, ripples on the grey-green water… and I could talk about the clouds, but I mustn’t overdo it. I’m falling into that cliché trap again (frothy and fluffy, the ocean tumbling over the rocks).

The same coastline, different angle – let’s do serene:

serene Anglesey coast

I’ll let you chose your own words, I’m not sure Alexander is ever quite this peaceful, still, enticing. Oh, hang on, he is enticing, just not in such a clean way 😉

It’s a maze and a labyrinth, feeling your way to the right words. And that’s before I’ve even told you how he’s sitting on the bench… Is he leaning forward with his head in his hands? Is he lounging back against the salt-bleached wood with his long legs stretched out in front of him…

It’s a mood, a moment in the novel. It’s why editing fries your brain.

 

Changing hats and waiting for sunshine

Changing hats and waiting for sunshine

Mercy, it’s a while since I’ve been on here. So long that my rustic romance link has dropped right off of my ‘frequently visited sites’. It’s been replaced by pages from my other, less interesting life; HMRC, bank accounts and office supplies. How I love the end of the tax year.

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I’m still a frequent visitor to Pinterest though; this year (and next, and probably the one after that…) we’re converting a barn on the farm. My input so far has been looking at pretty pictures. I’m good at that. This is what our house-to-be looks like at the moment:

February 2016

Oodles of rustic romance, the inside isn’t so pleasing to the eye – yet.

Ditch clearing on the farm this week, and stocking up the woodstore. I’m beyond happy that my new hip lets me walk far enough to check up on progress…

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And still editing of course, lots of red pen marks on the final draft and I really need to get it finished before the sun comes out, those chairs on the decking are calling.

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Happy April guys.

Writing romantic bad boys

Writing romantic bad boys

Rogues and scoundrels, womanisers, damaged souls. Tall, dark and brooding… there are almost as many clichés to describe our romantic bad boys as there are bad boys in fiction.

And it’s a conundrum isn’t it? That characters in stories can get away with murder (literally, or should that be literarily) and yet still win our love.

heathcliff

From Heathcliff to Rochester, Rupert Campbell-Black to Christian Grey; romantic bad boys have drawn us in since stories began. Personal tolerances vary, but if you have loved fiction, film or theatre I’d be willing to bet that you have loved a bad boy too.

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“Mad, bad and dangerous to know” these guys are not always easy to love. They’re not easy to master as characters either. Writing a bastard is simple, asking readers to fall in love with him…not so much. Clearly it can be done, and when done well the lovable bad boy is a wondrous thing. The fictional scoundrel can be gloriously addictive, and its an addiction which you don’t even need to feel guilty about.

RCB

There are degrees of badness; from the endearing Lothario through to the downright criminal badass. If the writing is good enough there are few  ‘crimes’ that cannot be forgiven.  But therein lies the rub of characterisation; a badly written bad-boy can easily become just a nasty bastard. No one loves a nasty bastard.

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There aren’t any rules, but I’ve got some thoughts on writing that most elusive of creatures – that frustrating, unattainable but heart-breakingly desirable hero, the romantic rogue who will carry us away on a carpet of magical fantasy.

  • The scale of the sins or crimes: It would be a brave (or foolish) writer who asked their hero to commit the unforgivable. There are acts which shouldn’t be forgiven lightly, and they don’t belong in romance.
  • Physical beauty:  With romance it’s all about the desire, and if you’re already dealing with emotional flaws a flawed appearance would add a layer of challenge to the writing. I’d read it though. If you’re up to this please write it.
  • Why are they bad? Be it history, trauma, betrayal or misfortune, do make the reasons for their behaviour believable, and adequate excuse for their misdemeanours. I recently read (part of) a series where it was revealed late on (after much hinting and allusion that our hero was justified in behaving like a royal wanker) that his sins were due to a virus he’d caught or somesuch nonsense. I’m still miffed about that.
  • The good, the bad and the ugly; There must be redeeming characteristics – sufficient to match the ‘bad’. And the reader has to know about them. We’ll forgive his dark brooding if we know in our hearts that he’d jump in a freezing lake to save our drowning puppy.
  • Can he be saved? Well as writers we must have hope! And mainly we hope that despite our rogue’s bad behaviour, our readers will really want to save him. He may be bad, but he’s got to be good enough to deserve his happy ever after.

I’d love to hear about your favourite fictional bad boys, or if you’re writing one yourself let me know how you go about developing their character.