Quote of the Day for the Writer

“Better to write for yourself and have no public, than to write for the public and have no self.”

- Cyril Connolly

The Bumpy Road of Writers -- Michele Bardsley

Click for Michele Bardsley's Website

I wrote my first book in college computer labs and at work after hours. It took me two years to finish it. I started sending it out to agents and editors, but the form-letter rejections poured in. The next book I wrote only took two months. It won first place in four romance-novel contests, but it, too, gathered more rejections. Then I won the Silhouette Yours Truly Hook, Line, and Sinker Contest with a one-page synopsis, only to have my finished novel rejected by the editor. Five years after I started writing and trying to sell, Hard Shell Word Factory published my second novel. It took another six years, and winning the Writer's Digest annual writing competition, to get a literary agent and to sell to New American Library.

The Bumpy Road of Writers -- Maya Banks

Click for Maya Banks Website

My best friend in the world, who is also a writer, once told me that the secret to selling was to hit rock bottom first. I didn’t necessarily believe it at the time, though it had certainly been true for her and a few other writers I knew. I had somehow hoped that maybe my path would be a little less rocky. That wasn’t to be.

My writing journey began in earnest when Amy Knupp and I made a pact. We’d met in an online expecting group for mothers due in Jan/Feb 2000. In 2002, we got to talking about our mutual love for romance novels and gradually the conversation shifted to our love of writing. I’d written stories since I was a very young child, all for my own enjoyment. I’m still not sure what prompted me to lay down the challenge, but there it was. I told her we should go for it. Try to become published authors. I think she thought I was a little nuts, but I doubt she took much convincing of that fact.

We had no idea what publication entailed. We just knew we loved to read and write. We knew what we wanted to write, just not how to sell it. We joined the RWA, weeded through countless internet informationals about publication, joined critique groups, yahoo groups, basically we dove in head first.

My first love was historicals and so this was my focus. My first, horrid as it was, garnered few requests. But I learned a lot in writing that novel. My second netted significantly more requests and a lengthy conversation with an agent who loved the book but wanted me to revise it. When it came time to write that third novel, I really wanted to create something different. It paid off when I got an offer from two agents in April of 2004.

The agent I chose shopped the historical. We got a few rejections and then she emailed me to say an editor really loved it but wanted to talk about revisions. I contacted the editor and we brainstormed solutions. I rewrote the book and sent it back to my agent.

During this time, I began having doubts about my relationship with the agent. I knew in my gut that this wasn’t a good fit for me, but it was really hard to act on that knowledge. When I finally severed the relationship, I emailed the editor who had my manuscript only for her to tell me she was leaving the publisher. She passed my manuscript on to another editor, who, you guessed it, also left.

This was a very difficult time for me. I’d fired my agent, came close with an editor only to have that opportunity completely disappear. Suddenly I was faced with having to start over. Completely over. I was so burned out on historicals that I couldn’t face writing another. It had taken six, agonizingly long months just to finish the last one and every word was spilled painfully onto the page. I was so ready to give up and throw in the towel.

I took a little time off, nursed my wounds. It was during this time that Amy sold and I was ecstatically happy for her even amidst my gloom and doom. I knew I wanted to do something different and that I wasn’t ready to jump back in the agent search again. I wanted to have fun again. I knew it wasn’t going to happen for me with historical. Not right this moment, so if I had any hope of publishing, I was going to have to reinvent myself.

I loved ebooks and erotic romance and read the genre voraciously. I began writing contemporary erotic romance with the intent of submitting to an epublisher. Once I took the pressure off myself, I began to enjoy writing again. Still, I wasn’t doing much in the way of building a career and was writing when I wanted or not at all if I didn’t feel like it.

I got an idea for a novella, and I’d never even attempted one. All of my work leaned toward ludicrously long. So I wasn’t even sure I could pull it off. When I finished it, I had every intention of submitting it to my editor at the epublisher who had bought my first erotic romance. I sent it to Amy because I thought it was good, but my perception was so skewed by my own funk that I had little confidence in my opinions. She read it then told me that this was the one. She told me to send it to agents and if I didn’t she was going to hurt me.

At this point, I figured I had nothing to lose, but still, I wasn’t really ready to go back to an exhaustive agent search. So I made a list of six agents who I knew were selling in the genre and I queried them. I got four rejections, never heard from the fifth and the sixth wanted to see the full. I wasn’t confident of my chances.

I sent off the full, and during this short period of time, EVERYONE around me started selling. And I do mean everyone. It was surreal. This was when I hit rock bottom. Everyone around me was moving forward and I was stuck in the mud. I was so very happy for authors I considered dear friends, but it only heightened my despair. When would it be me? Would it EVER be me?

I began seriously researching job options. My plan was to stick out the summer when the kids were home but in the fall when they went back to school, I was going to hang up writing, at least full time, and get a job that at least offered a paycheck.

If that wasn’t enough, I had a string of really horrible luck, health wise. I got a kidney stone. Had a procedure to remove it and then was hospitalized with complications. Found out during the course of the treatment for the kidney stone that I needed my gall bladder removed. I literally spent the entire summer in the hospital.

In between medical procedures, I went on vacation with the family. I brought my laptop but didn’t have internet. I had to drive to an art gallery that had wireless and sit out in the parking lot to check my email. The Tuesday after Memorial Day, I got an email from the agent who’d requested my manuscript asking if we could set up a time on the following Friday to talk on the phone. Still, I wasn’t expecting much.

Fast forward to Friday, she called, loved the story and wanted to represent me. I had a very frank conversation with her about what had not worked with my first agent. She allayed a lot of my fears, and we rang off with the agreement to work together. She said she’d see what interest she could drum up. I was a bit in shock and resigned myself to another long wait that may or may not result in a sale.

Two hours later, I went back up to the art gallery to send a few emails and I had an email from my new agent saying that Cindy Hwang was taking my manuscript home with her over the weekend and we might have an answer on Monday. MONDAY. Good grief. I was still in denial over signing with another agent. I couldn’t even wrap my brain around what this might mean.

Monday afternoon, my agent called with an offer from Berkley. Two book deal. I was stunned. In the space of two days, I’d gone from having no agent, no options, to a two book deal. And all I could think of was how right Amy had been, that the sale had come at my lowest point. In two days, things had completely and utterly turned around for me.

Old Interview of Nora Roberts from 1998

The year is 1979. A blizzard is raging outside. Kindergarten has been canceled, the house is bereft of chocolate and two bored boys are driving their young mother nearly to distraction. After days of board games, she gets an idea -- she picks up her pencil and some paper and begins jotting down ideas for a story. She likes to read Harlequin romances and thinks she has an idea that might work. So she scribbles the story on various sheets of paper - whatever is
handy - as she chases the boys around during the enforced time indoors. After several years of writing and several rejection letters, she sold her first manuscript to Silhouette. Now, almost 20 years later, Nora Roberts is one of the world's most successful authors, both critically and financially. She has over 42 million copies of her books in print and by the end of 1998 will have published 126 books. Six of her titles were New York Times bestsellers in 1997 alone. All the major critics have raved over her books as do her legions of loyal fans who line up to buy her latest novel.The winner of the Lifetime Achievement Award from the Romance Writers of America, she is one of romance's most prolific authors. But what sets her apart is the originality and versatility of her writing. She writes mainstream romantic suspense e.g., Homeport (Putnam, 1998) and Sanctuary (Jove, 1998), category romance e.g., The MacGregor Brides (Silhouette, 1997), and futuristic mystery novels under the pseudonym J.D. Robb, e.g., Holiday in Death (Berkley, 1998). Her talent for creating vivid settings is unmatched as is her ability to draw the reader almost immediately into the lives of her characters.

The youngest of five children, she was born in Silver Spring, Maryland. She now lives in Keedysville, Maryland with her husband. When she is not drafting or revising her latest novel at her computer in her home office, she can be found sipping an espresso at the family bookstore, traveling to promote her books, spending time with her family, gardening or catching the latest episode of the X-Files. She is a sought-after speaker at writers' conferences where she has inspired countless fledgling writers with her message: make time for your writing -- don't make excuses, if you ever want to be a successful author. When asked how she deals with writer's block, she truly seems to find the concept baffling -- she has more ideas for stories in her head than she could ever write in one lifetime.

Nora spoke to us about her latest bestsellers: Homeport and Holiday in Death, how she gets her ideas and how she survived the worst episode of her professional life: last summer's scandal when romance superstar Janet Daily admitted that she deliberately plagiarized Roberts' work.

What led up to the publication of your first novel in 1981, Irish Thoroughbred? What made you write your first book?

The Blizzard of '79, two small children, no morning kindergarten, endless games of Candyland and short supply of chocolate. All of these things and events led up to me writing my first book. I live in the country and was snowed in with my then three and six year old sons. Going crazy. I'd always loved to read -- and come from a family of readers -- but I never thought about writing as a career. I thought everyone made up stories in their heads. During the blizzard, as the radio announced day after day there would be no morning kindergarten, and my horde of Oreos was depleting, I was desperate. To entertain myself I decided to take one of the stories out of my head and write it down.

The minute I started, I was hooked. I loved the process of writing. I decided to write category romance as I'd recently discovered them, and enjoyed them. At that time, there were only Harlequins, and they were primarily written by British authors in the British style. For over a year I continued to submit mss, and have them rejected -- the last few with rejection letters indicated the story was pretty good, but I was American. (laugh) Then in 1980, Silhouette opened up looking for new, American writers to put an American spin on the Harlequin framework. It was, for me, wonderful timing. In the summer of '80, Silhouette bought my first book.



Take us through a typical day in the life of Nora Roberts.

Typical? I long for typical days, but rarely get them any more. However, the best of the best is when I can get up -- between 7:30 and 8:00, work out for 30-50 minutes, then go straight to work. Usually now, I'd run through my e-mail first, then dive in. On a shining day, the phone wouldn't ring until afternoon. I don't get many shining days. (laugh) I'll usually work until about four or five -- take a short break mid day to run through the email that's come in or read and post on the boards. Then I'll think about starting dinner, deal with that. Play on the boards or do more mail. If a book's moving well, or I was interrupted over six million times through the day, I'll usually go back and write for another hour or two. Otherwise, I zone out with TV or read for a bit in the evening.

How do you approach writing scenes of passion?

Exactly the same way I approach writing any other scene. Action, reaction, motivation, emotion, all have to come from the characters. Writing a love scene requires the same elements from the writer as any other.

Does your husband read your love scenes?

If you mean does he preview them, absolutely not! (laugh) He doesn't read any of my work before it comes out. Then he reads the whole book.

How much do you use the Internet?

I find I use the Internet more and more. It's just an invaluable tool. I do most of my research on the Net now -- and certainly do the bulk of my communicating through email. I'm able to keep in touch with friends I rarely see. It's wonderful. And for research it allows me to find out just about anything I need to know without leaving my office. I don't know how I managed without it. As much as I value my microwave, if it came down to a choice between that and the Internet -- the mike would go.

Do you believe it is important for authors to be online?

I think it depends on the author and what they want to do, what they enjoy. I really enjoy being on line. I would certainly say that any author should try it. For the research without question. For communicating with readers, I find it simply marvelous. And it gives me a lot of laughs. I've gotten to know a number of readers from being online, and really treasure the time I've spent with them.

How much interaction do you have with your fans? Quite a bit. Through the Net on just about a daily basis. Then as I've met readers through the Net, I've been able to meet many IRL. A lot of readers have come to our store for signings or just to visit. When I travel on book tours and business, I've been able to meet several others. I post on the boards often, and try to answer all reader e-mail within a week or two at the most. For me, it's enormously satisfying to know there are people out there who enjoy my work enough to want to tell me so. I appreciate that tremendously.

Do you have time to read other authors? Whose work do you like to read?

I don't think you can write -- at least not well -- if you don't love stories, love the written word. One of my greatest pleasures is falling into a story someone else has written. I read a lot -- and I read a variety of genres. I really enjoy my pal Patricia Gaffney's work, and was delighted to be able to do an anthology with three other pals, Ruth Ryan Langan, Marianne Willman and Jill Gregory, whose work I enjoy. I also love John Sandford's Prey series, Sue Grafton, Linda Barnes. I think Elizabeth Berg is incredible. Mary Stewart will always be my goddess. I can pick up one of her early books -- one I've read a dozen times -- and still slide right into the story.

You started your career writing category romances, which have strict parameters about the subject matter, how passionate the romance can be etc. Have you ever felt the parameters of a certain subgenre to be too confining for you? Do you ever find it difficult to write within those strict guidelines and yet stay true to your creative vision?

I've never felt category is restrictive. If you write in category, you write knowing there's a framework, there are reader expectations. If this doesn't suit you, you shouldn't write it. I don't believe for one moment you can write well what you wouldn't read for pleasure. For myself, I've always felt that if you remember those expectations, if you focus on the ongoing relationship between the hero and heroine, category can be amazingly flexible. You can add mystery, paranormal, science fiction, meladrama, comedy. Category has offered me a wonderful canvas on which to paint -- they might be quick, charcoal sketches rather than the more detailed or sweeping oils I do outside of category. But art is still art.

For aspiring romance writers, how important is it to take writing classes or read writing books?

I think this is completely a personal and individual decision. I believe strongly in writing groups such as Romance Writers Of America that offer support, information and networking. I think writing classes can certainly help a new writer with the nuts and bolts if they're rusty. I know some writers who've found certain books on writing to be helpful. Now, I'll say this. I've never taking a course on writing. I've never read a book on writing. This isn't something that would work for me. Every writer has to figure out what works best -- and often has to select and discard different tools before they find the one that fits.

What is the greatest change in romance publishing that you have seen since you began writing?

I suppose the opening up of the market -- the fluidity of it. The fact that, as I mentioned earlier, romance will absorb and incorporate so many elements from so many other genres and still remain true to its form. Also, certainly, the more balanced presentation of the hero. By giving him a point of view, by knocking him off the richest man in the free world pedestal and putting, most often, him and the heroine on equal ground. At the same time, the heroine has become stronger and more independent. I think you can credit Americanization with this. When American writers embraced the category form and began to make it theirs, our women became sharper, stronger and more accessible to the reader.

Last summer, you had to endure a nasty episode where another author plagiarized your work. Have you managed to put that episode behind you? Has it affected your outlook permanently in any way?

The suit I filed against Janet Dailey has been settled. The four books, Notorious, Aspen Gold,Tangled Vines and Scrooge Wore Spurs were named in the suit as well as the more than a dozen of mine which were copied from. Part of the settlement includes having a team compare several more books to ascertain the extent of copying. Once that's done I can put the entire matter behind me. At this point, I'm very relieved to have the suit settled. I hope it hasn't affected my outlook negatively. I wouldn't want to have to go through this again, which is only one of the many reasons I filed the suit. I feel strongly that plagiarism is the line no writer can cross, and if it is crossed, must be dealt with firmly. I had to stand for my work.

You do a lot of traveling with book tours, speaking engagements etc. How do you find the time to write -- do you write on the road?

You don't find time to write. You make time. It's my job. What I do. I do indeed write on the road. My laptop goes with me everywhere.

What is the greatest challenge you have faced in your career as an author? Every single book is a challenge.

No matter how many you've written, you've never written this one before. And each book has to receive your best effort every single time. No slacking. But that's the job. I'm lucky to love my job. Certainly the plagiarism, and dealing with the fallout of it, was the most difficult thing I've ever faced since I started writing.

Edited to fit blog, the full interview is at Writer'sWrite.com