by Cherish Reid, author of The Write Escape
Not unlike the Nike motto “Just Do It,” my writing mantra has always been “JUST FINISH IT.”
I have no problem with the doing or the starting; it’s the follow-through that eludes me. I can’t tell you how many exciting writing projects I’ve started with the hopes of holding a complete novel in my hands. There was the one about a woman lost in the jungles of Costa Rica, the tale of a journalist getting back to work after a traumatic incident in Tunisia, and the book of bus poems… They all seemed like brilliant ideas when I started them, but somewhere at the midpoint of each project, I lost the Inspiration.
No one told me that this happens to all writers. That the brilliance of something new is the most alluring part of the writing process. No one told me about the actual labor of writing a book. I was young and arrogant, I believed that a stroke of genius would lead to a finished product. During the many times I lost interest and dumped a manuscript, I would blame it on this esoteric thing called Inspiration. I’d tell friends, “I’ve lost Inspiration,” and they’d look on in pity. “Oh, that’s terrible! Where has Inspiration gone?” I’d shrug blamelessly before seeking out the next soon-to-be ex-project.
Inspiration is a fair-weather friend who won’t stick around when a writer needs them the most. Sure, they might pop in for a visit somewhere around the third act, but they will flit away when things get tough. The hardest lesson I’ve had to learn as a writer is: Accountability, Humility, and Sheer Will are actually my friends.
I figured this out when I pushed myself to write my novel in one month. When I participated in National November Writing Month (NANOWRIMO) a couple years back, I was nervous I would quit yet another novel. But I was participating with a friend and we were accountable to one another. If I gave up on this project, I’d have to answer to her. We didn’t make a blood pact or anything like that, but I felt bound to her, and my work, in a way I’d never felt before. Like many writers, I’d worked alone and consulted no one. After all, these were my ideas; only I truly understood them. Only I could mold them. That is true to an extent, but community and accountability can help those like myself. Those who quit quickly. When I was in a tight spot, I could talk to my friend and move forward.
Humility and Sheer Will found me at the midway point of The Write Escape. Yes, I was still accountable to my friend, but that wasn’t enough when I was alone, sitting before my blinking cursor. Humility showed up when I slumped over my writing desk, mourning all of the witty ideas I’d had in the first act. Back then, things were going great, I was on track with my plot plan, and I was so saucy with my banter. I was tempted to go back those early pages and reread how wonderful I was, but Humility said: “That was then, this is now.” Sheer Will threatened to beat me up if I didn’t move forward and just type something, anything.
That “something, anything” was a mishmash of plot holes, bland characterizations and using the word “just” 78 more times than necessary. Humility reminded me that my first draft was never going to be as brilliant as I thought it would be. Just get the words on the page. Just Finish It. The first draft was always going to be tears and sweat on a page, an exhausting act of finishing. When I thought the last five pages were terrible, Humility was there to confirm my suspicions while Sheer Will shouted, “We know that, keep going!” This insane conversation played out for 78,000 words. Accountability, Humility and Sheer Will drove the car while Inspiration quietly hung out in the periphery.
Finishing the first book is really the key. Once you’ve cleared that first hurdle, the next one comes a little easier. Put your butt in the chair and keep crying if you want, but cry and write. You can do it if you remember that your labor will be the only thing pushing you forward. Talk to someone, labor on and know that it will not be perfect. Perfection, if it exists at all, happens in the edits. Even then, Inspiration might still be suspiciously absent.
About The Write Escape:
Take one heartbroken Chicago girl
Literary editor Antonia Harper had it all—the career, the man, the future. That was then. Now Antonia is jobless, alone and at a crossroads. What better time to travel the world? A solo honeymoon on the Emerald Isle will be like hitting the reset button. No distractions, no drama.
Add some luck o’ the Irish
Aiden Byrnes may be a literature professor, but words fail him when he meets the woman staying in the cottage next door. Tully Cross is meant to be a sleepy little village, and he’s meant to be on a working holiday—not a vacation, and most definitely not with his beautiful neighbor.
And you get some mighty good craic
They say laughter is the best medicine—and as it turns out, superhot sex isn’t so bad either. Antonia and Aiden’s spark quickly grows into what could be something special, if they’re willing to take the leap. Ending up an ocean apart is unthinkable, and when real life comes calling, there’s no ignoring that leap anymore…
Just months before our daughter was born in 2004, I moved from Lower Manhattan to Brooklyn with my husband. Since then, I’ve come to love every quirky corner of this vast, diverse borough. When I started brainstorming the Romano Sisters series, I knew it would be set in New York. But I also wanted the sisters to be from a family with deep roots in their community, and Brooklyn is full of ethnic enclaves, some new, some going back a century or more. From the still-bustling Chinatown in Sunset Park to the Russian community in Brighton Beach to the last vestiges of the Italian-American community based in Carroll Gardens, Brooklyn has long been home to immigrants looking to build a future in this vibrant city. I didn’t make the Romano sisters Italian and then decide where they’d live; the Romano sisters are Italian because I set the books in Brooklyn.
Carroll Gardens, the Brooklyn neighborhood where the fictional Romano clan lives, was a predominately Italian-American community for much of the 20th century. In the 1920s as recent Italian immigrants, many of whom worked the docks in Red Hook, gained financial security, they moved into the nearby middle-class neighborhood, which was then called South Brooklyn. In the 1960s gentrification began to change the face of the neighborhood as well as its name, which became Carroll Gardens, but it still bears a strong imprint of its Italian roots. Even today, although many of the original Italian-American families have scattered across the tri-state area, the population of Carroll Gardens is still nearly a quarter Italian-American.
Reminders of its Italian-American heritage are everywhere in Carroll Gardens. Shrines to the Virgin Mary (which Jessica Romano called “bathtub Madonnas in The One I Love to Hate) still abound in the atypically deep front gardens the neighborhood is known for. Several old-school private Italian social clubs are still hubs for the Italian residents of the neighborhood. Twice a year, the Procession of Our Lady of Sorrows winds though the neighborhood, bearing an icon of the Virgin Mary brought from Italy by early immigrants. There are still people playing bocce ball in Carroll Park, and many older residents still speak Italian to one another.
Many of the Italian restaurants, bakeries and butchers in the neighborhood have been in operation along Court Street for decades. Several served as inspiration for the community of businesses Gemma relies on in the upcoming Love Around the Corner. Caputo’s Bake Shop became DiPaola’s Bakery, G. Esposito & Sons Pork Store became Vinelli’s Meats and Sal’s Pizzeria became Russo’s Pizza (where Nick DeSantis, the hero of Love and the Laws of Motion, still holds the high score on their Ms. Pacman game, even though the real Sal’s doesn’t have a Ms. Pacman). D’Amico Coffee didn’t get a mention in the books, but they’ve been roasting their own beans since 1948 and my husband is absolutely addicted to their espresso!
Romano’s Bar itself, however, was based on a real bar a little closer to home. Farrell’s Bar and Grill has been a fixture of my neighborhood, Windsor Terrace, since the early 1930s. They haven’t actually served food for decades, but the sign is so iconic around here that no one would dare change it. Farrell’s is an Irish bar, not Italian, but as I started writing the books and describing the fictional Romano’s Bar, what came out on the page was Farrell’s. From the neon beer lights in the window to the pressed-tin ceiling to the white tile floor (Farrell’s finally replaced theirs with wood several years ago) to the big mirror behind the bar, Romano’s Bar owes a great debt to Farrell’s.
One of the most important things I wanted to convey in the Romano Sisters series is that these smart, strong, passionate women gain their strength, their sense of self, from their family and from a community with roots going back generations. They’re modern women tackling modern problems, but they come from a world deeply entrenched in tradition. I wanted to create a distinct sense of place and a neighborhood that felt like family. And it was important that they be descended from immigrants, people who built, and continue to build, this city. Carroll Gardens, with its deep Italian-American roots and constantly changing face, became the obvious choice, a perfect mix of Old World and New, just like the Romano sisters themselves. I hope readers find themselves falling in love with this special part of Brooklyn as much as I have.
About Love and the Laws of Motion:
Together they’ll unravel the secrets of the universe
Astrophysicist Olivia Romano has always preferred to stay close to her family in Brooklyn—even at the expense of her academic career. But with her advisor missing in action and an unscrupulous professor undermining her work, she’s forced to rely on the reformed-hacker-turned-elite-computer-genius whose sexy smile she can’t get out of her head.
Nicholas DeSantis cut ties with his family at eighteen, running away from his old-school Italian American neighborhood to make it big in Silicon Valley. When Livie comes to him for help, he can’t resist the project or the quirky woman behind it. Moving into the Romano house in his old neighborhood seems like the perfect short-term solution, if he can just continue to avoid his own family.
But while living together makes working with Livie easier, fighting his growing attraction to her becomes a whole lot harder.
When Livie’s research is sabotaged, Nick takes a huge risk to get her the proof she needs to salvage her career. Moving forward means leaving Brooklyn and spreading her wings at last—just when Nick might finally be ready to put down some roots.
We’re pleased to announce we’re once again accepting submissions for first-page critiques. This is a feedback opportunity in which authors submit their first pages and a Carina Press editor writes a critique, then posts it publicly on our blog.
This critique sweepstakes is a chance for you to receive honest and constructive feedback from a Carina Press editor. Feedback that we promise won’t be mean—we’re not looking to be witty or harsh, we’re just looking to give insight into the editorial thought process while giving you what solid feedback we can at the same time. Send us your first page, and we’ll randomly select submissions to critique on our blog. If you’ve never had your work critiqued before (or even if you have), don’t worry! Our goal is to help you, not only by pointing out what might not be working, but also by letting you know what you’ve gotten right and how to bring that out and really make it shine. In other words, we’re friendly!
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by May Peterson, author of Lord of the Last Heartbeat
Fantasy romance feels like home to me. It’s been a mainstay genre of mine since childhood, partly for its sense of wonder and possibility. However, fiction in general has not been a place to find transgender and/or non-binary people like myself until very recently. Many people I know, both writers and readers, wonder how well high and epic fantasy, in particular, can serve as a home for trans and non-binary characters, because these genres tend to rely on non-modern, secondary world settings.
In order to talk about this, we have to ask ourselves what we mean by someone being transgender and why that seems to require a modern setting. “Transgender” is one way of talking about a broad category of people that existed before the word itself did.
“Trans” itself seems to derive from the notion of transition, of transformation. This understanding is very informed by modern industrial society, by Western philosophy that prefers to define nature and humanity in scientific, chemical and digital ways. We may come to imagine that the alteration of the body (or at least the desire for it) is what fundamentally makes someone trans.
Yet so many trans people end up at odds with this narrative, both the dependence on medicine and the emphasis on transition. I, myself, have been in a state of transition for over ten years, and this doesn’t mean I am only partly trans, or that I was less trans ten years ago.
Underneath the language of transition, we’re discussing what I often call gender non-duality. Cisgender norms describe a dualistic concept of the sexes: that there is the female with a certain biology, and the male with a certain biology. Many people do not fit into this duality or its definitions of the body, including intersex people. Although medicine to alter the body isn’t new, the framing of transness as defined by it is both modern and Western-inflected, and can’t fit all non-dualistic relationships to gender. Ages have passed in which indigenous cultures have had their own ways of thinking and talking about gender, including gender non-duality. It’s reductive to try to fit them into a technological narrative that relies on transition, modern society, or only changing from one binary sex to another.
Exploring trans, non-binary, and other gender non-dual people in fantasy (or any genre) requires us to meet those people and ideas where they are, on their own terms, even if it means shedding the modern or technology-oriented ideas we may be used to.
One of the main characters of my upcoming debut novel, Lord of the Last Heartbeat, is non-binary, and he expresses difficulty coming up with precise language to describe his gender. He lives in a setting in which there is a way of talking about gender non-duality and identities we might compare to trans and non-binary people, but even then he doesn’t have a clear-cut definition to fall back on.
He might have an easier time in the modern world. He’d probably opt for a descriptor like gender-fluid or agender, and may use pronouns like they and them instead of he and him.
It’s also true that he may not, and that this is not so unusual even today. I am a non-binary person living in the modern world who uses she/her pronouns, and I also often struggle with exactly how to express my identity even with a plethora of emerging vocabulary.
This is because gender non-duality, like any variation from the norm, can mean an ambiguity that is itself the point. Ambiguity that isn’t in itself a problem to be solved, because it flows from the elusive wordlessness of personal experience that can’t always be tamed and defined, and doesn’t necessarily have to be. The experience unfolds even without any words to name it. This is part of what I was expressing with this character, because I go through this, too.
I encourage focusing on the lives and hearts we are depicting, not merely on the language used. It’s more vital to concern ourselves with what’s responsible and resonant to our audience. This is a broadly important principle in art in general—we’re not only trying to describe the world, but make our stories a home. A home for imaginations, and for the parts of ourselves that may not seem to have one. The power of stories is not only in the bare facts, but the connection to one another they bring. Trans and gender non-dual people deserve that as much as anyone else.
About Lord of the Last Heartbeat:
Stop me. Please.
Three words scrawled in bloodred wine. A note furtively passed into the hand of a handsome stranger. Only death can free Mio from his mother’s political schemes. He’s put his trust in the enigmatic Rhodry—an immortal moon soul with the power of the bear spirit—to put an end to it all.
But Rhodry cannot bring himself to kill Mio, whose spellbinding voice has the power to expose secrets from the darkest recesses of the heart and mind. Nor can he deny his attraction to the fair young sorcerer. So he spirits Mio away to his home, the only place he can keep him safe—if the curse that besieges the estate doesn’t destroy them both first.
In a world teeming with mages, ghosts and dark secrets, love blooms between the unlikely pair. But if they are to be strong enough to overcome the evil that draws ever nearer, Mio and Rhodry must first accept a happiness neither ever expected to find.
by Holley Trent, author of Three Part Harmony
I field a lot of questions about how I develop my intricate storylines—especially the ones with polyamorous themes.
They’re tough to answer.
For me, blending a trio is more like cooking by gut feeling than following a prescribed recipe. Recipes may deliver a finished product that will satisfy most palates, but sometimes they’re not sophisticated enough. Sometimes they don’t account well enough for variations in ingredients or unexpected deviations in cooking conditions, and so the finished product doesn’t hold together.
Basically—I have to be very flexible and not be too married to the plot I thought I was going to have. The ingredients—the characters—are the important part.
When forming character personalities for my polyamorous trios, I try not to fall into that prescriptive 1+1+1=3 mindset where characters fit too neatly into each other like puzzle pieces. Real life doesn’t work that way. As much as we romance lovers would like to believe it, there’s no such thing as a perfect mate. There’s always going to be gaps in a partnership. And anyone who’s ever tried to bake a cake at high elevation can tell you that the same recipe won’t work the same way as it does at sea level. You may need more of one thing and less of another and to tweak the temperature and cooking time.
When I was in the very early stages of figuring out what kind of character mix would make the most sense for Three Part Harmony, I had to toss out every other recipe for trios I’d used in the past because I was doing the writing equivalent of baking at high elevation. The story circumstances were just too different for me to try to make magic happen in the same exact way twice. In the previous book in the series, Writing Her In, I had a reclusive author named Stacia find companionship with an already married couple. They had a unique sort of relationship wherein adding a permanent third made sense. I couldn’t follow that recipe again in Three Part Harmony and have it work for the story I wanted to tell. That being said, I did start with one incredibly powerful ingredient that is so often the backbone of the books I bake up: loneliness.
Here’s what I teased out about these characters during the drafting process:
Everley is the presumptive heir of a publishing legacy and she’s never felt like she could deviate from what’s expected of her. She has high standards but low expectations because people tend to judge her before she can get a word out.
Raleigh is the son of a controversial senator. He’s got a tough hide and doesn’t generally care what people think of him, but he’s self-aware enough to know that he needs regular affection. With him being related to who he is, he just can’t trust people’s motives.
And then there’s Bruce. The former rock star is no stranger to the spotlight and, because he’s an approval-seeker, he’s become accustomed to giving people what he thinks they expect from him. But more critically, he doesn’t see himself as a keeper, because no one else has.
A lot of that, I didn’t figure out until the second draft when I had to dig deeper and keep asking myself, “But why? But why?” This is who they had to be for them to grow toward each other. And this was one of those figurative baking experiments where I had to rotate the pan 10 minutes in and twiddle with the temperature.
I couldn’t dump all three characters into an early scene and expect them to gel. I had to, in a manner of speaking, cook them a bit separately at first. In a romance that features two people, there’ll usually be two conflicts—sometimes three if there’s some external drama happening in the background. Once the characters have resolved their inner conflicts, they’re ready to commit. With triads, the number of obstacles could easily exceed six:
In Three Part Harmony:
I had to start cooling conflicts in parts, pairing the lovers off separately and forging bonds that would link up in time. It’s like cooking a pan of brownies: the corners get nice and crusty before the center congeals. In this case, Everley and Bruce come to terms with what they mean to each other, and then Everley and Raleigh. Connecting Raleigh and Bruce and then having the three sort out that they get more of what they want as a committed trio than as three overlapping couples were the center-pan conflicts.
My goal in writing romances that feature polyamorous people is to show that there’s no one right way for a consensual relationship to look. There’s no recipe, just alchemy. And I think it’s very brave for people to realize that they deserve to have their emotional needs fed and then seek out arrangements where everyone involved is so much happier and more optimistic than they were before.
About Three Part Harmony:
Sometimes three is deliciously better than two
Raleigh McKean has borne witness to every conceivable way one person can take advantage of another. He sees it all the time in his job as a book publicist, especially working alongside his boss’s daughter. Everley Shannon would be amazing if she wasn’t such a pain in his ass.
All Raleigh wants is something real. But when the captivating stranger he agrees to go home with turns out to be Bruce Engle, the elusive rock star, it’s a harsh reminder that users are everywhere. Raleigh’s his route to a book deal, nothing more.
What Raleigh doesn’t realize is that the brooding musician is also searching for something real—and it’s possible he’s already found it in Everley’s arms. But is there room in those arms for one more?
With Everley’s own dream of getting out from under her father’s shadow crumbling into chaos, it feels like the perfect time to embrace something new. But when Raleigh’s insatiable attraction to bothEverley and Bruce makes it impossible to keep his distance, there’s only one obvious solution…assuming they can learn how to share.