A while back, I shamelessly asked for blogging ideas, and Sarah Tormey (I believe?) suggested I blog about how my writing process has changed since I began writing romance.

Gee, what an interesting question! Honestly, I am not sure. Let’s see. I’m currently writing my 6th romance novel (not counting the novella).

Things that have not changed: My pace of writing. Compared to many, I am a relatively slow writer. If I get 1500 words in a day, I’m thrilled. With deadlines every 5-6 months, this has meant I must be very disciplined and write almost every day. Of course, I inevitably fall behind–and I’m able to push myself to write 4 or 5,000 words in a day occasionally, when I need to. But that’s rare.

I still use the same method of plotting (or lack thereof). I tend to sketch out a fairly loose plot, basically strung around a series of “moments” I’m building toward (turning points, I suppose you might call them). But the connecting scenes between points A, B, C, etc. usually develop and evolve as I’m writing.

I like to think I’m a little better at identifying plot or characterization problems as they arise, and taking steps to correct them earlier rather later. Not perfectly prescient, of course, but to some degree I think I’ve internalized the voices of my trusted CPs and editor and can “hear” what they’d say before they say it. 🙂

Which leads me to another difference–I don’t exchange writing with critique … Read More »

It’s been ages since I added an entry to this “How I Write a Book” series. I really have been writing a book in the meantime. I just started to get a little superstitious about blogging about it before the book was actually sold. But now that it is (yay again!), I’m gonna back up a few steps and pick up where I left off.

Which was with outlining. I write a long, rambling narrative outline that will not fit into squares.

The next step would be (drumroll, please)….to start writing the book.

By the time I sit down to write chapter one, I’ve been thinking about it for months. I have this elaborate vision of the setting and set-up, and whole chunks of dialogue planned. I sit down to my keyboard, knowing that this opening scene is just going to flow onto the page, and it will be perfect.

Two pages in, I know I’m screwed. It’s not coming out the way I’d thought it would. Characters are saying things on the page they never said before, in all our many pre-writing conversations. Or they may refuse to behave in ways we’ve worked out well in advance. When I express my irritation with them, and tell them that they are being uncooperative and ruining my Perfect Opening Scene, they give me a diffident shrug and say, “Not my problem.”

Thanks, guys. I thought we were friends.

And then there’s the backstory. It’s like a mammoth logic pretzel, figuring … Read More »

Okay, so getting back to this whole “How I write a book” series.

Lessee, I’ve blogged about the thinking and the “moments” and the research and the imaginary casting call for my characters.  Once I’ve let all that ferment for a while, I usually sit down and outline.

Well, sort of.  This would not be a formal-looking outline, with neat indents and A’s and IV’s and etc.  This would not even be a scene-by-scene outline.  It’s more like, I sit down with my laptop and just spew out all the notes and scenes and dialog that have been coalescing in my brain, in somewhat sequential fashion.  Some bits will be very fleshed out, with whole chunks of inner motivations and dialogue.  In other parts, I’ll have something like “they encounter difficulties”–meaning, the difficulty will be mine when I reach that section and must figure out what the heck should happen.

I begin at the beginning, and I work to the end. The end result is messy and uneven, but this is the stage where it starts to all come together as a story.  And to swipe the motto of one of my soon-to-be publishers, “It’s all about the story.”

I have writer friends who swear by storyboards, post-its, index cards, spreadsheets, and the like.  I’ve tried them all.  I’ve learned this: I am allergic to squares.  Trying to fit a story into a series of boxes…erg, it makes me break out in hives.  To me, a story is linear.  It … Read More »

So, moving right along with the writing process…

I’ve got characters, a vague plot built around these “moments”, and I’ve started my research.  As part of the research, I collect pictures.  I find it helpful to imagine my settings and characters’ physical traits from the foundation of a painting or photograph of an actual place or person.  Or horse.

For example, for the book I’m working on right now (working title The Desire of a Duke, since it includes the essential Tessa Dare titling element: the word “of”, LOL), I’m loosely basing the hero’s estate on an actual estate in Cambridgeshire: Wimpole Hall.  Pretty impressive, no?

And there’s a very important racehorse in the book, who I am making the fictional “great-grandchild” of the famous stallion Eclipse.

Lastly, I also pick celebrity models for my hero and heroine.  I know different authors have mixed feelings about this – I don’t know why I find it so helpful, but I do.  It’s important that it not be just a photo of a model, but someone I can watch in action, on TV or in movies.  Somehow this helps me develop a visual image of how my character moves, reacts, stands, sits, relaxes, and so forth.  Seldom does the character in my mind match up exactly with his/her inspiration, but it’s just a helpful starting place.

If you’re one of those readers who prefers her own imagination, I’ll put the pictures of my Spencer and Amelia inspirations below the … Read More »

This would be the third installment in my little “How I write a book” series; click the tag below for all of them.  It’s my continuing effort to understand myself and have a cogent answer for people when they ask me that dreaded “are you a plotter/pantser/pepper” question.

Warning:  Overextended analogies ahead.

At this point in my process, I have characters.  I have this constellation of “moments” that I believe I can string a plot around.  My next step is to take all these wild ideas I have–like, “Ooh, what if she gets on a ship for the West Indies!” or “Ooh, what if he runs for Parliament!” and let historical reality crush them.  Mua ha ha.

No, not really.

For a writer of historical romance–okay, at least for this writer of historical romance–research is a chicken-and-egg thing.  Meaning, I eat a lot while I do it.

No, okay, seriously.  It usually starts out as, “Here’s the story I want to tell.  How can I make it historically plausible?”  (Note, I am relatively unconcerned about it being historically probable. It’s more than okay with me if I have my characters doing highly unlikely things–that makes for good story, IMO.  I just try to avoid having them do chronologically impossible things.)

So I crack open that egg and start the research, and discover all the defects in that perfect, fluffy adorable little chick of a plot I’d been dreaming about.  I have the inevitable moments like these:  … Read More »

So, last week I blogged about how my novel-writing process starts with months of thinking, and that usually the thinking starts with the main characters.

Once I have these two protagonists in my mind, even in very vague, shadowy form, what I start thinking of next are “moments”.  I’m not sure why, but this seems to be how I plot a book.  I don’t get big story trajectories coming to me in during all those long walks and hot showers, I get (what I’ve taken to calling) “moments”.  Little scenes with the potential for great humor, drama, angst, suspense….or heat. 8)  Some might call them the book’s turning points.

Anyway, these evolve in different ways.  Sometimes I just have a vague idea for a situation, and other times whole swaths of dialog just pop into my mind.  But they give me that “ooh, that would be soooo funny/sad/hot” feeling.   My gut tells me, I just HAVE to put that scene in the book.

I start to mentally refer to these “moments” by little one- or two-word tags.  For Goddess of the Hunt, for example, they might have been things like: orchard, wardrobe, letter, dinners, tears.  Right now, for this new book, I’m working with moments like: hay, party, piano, symmetry.  The moments are like a constellation of stars, and then the rest of the plot is a line connecting them.  By the time I finish the book, that line may change a dozen times–but the stars are pretty permanent.… Read More »

Hey, it’s a new month.  I’m starting a new book.  And I thought it might be an interesting experiment, this time, to blog about my writing process (such as it is) as I go.  I’ll tag them all “How I Write a Book.”

I know many of you who read this blog are writers, and you each have your own process.  I certainly don’t mean to suggest anyone should follow mine!  It’s messy, as you’ll see, and continually evolving.  But there are some people who follow this blog who may be wondering, “Just what it is Tessa’s doing when she should be [returning my phone calls/addressing my Christmas card/making my dinner]?”  This is mainly for them. 🙂

Right now, I’m getting ready to start writing this book.  Which means, I’m wrapping up the work involved in preparing to write the book.  Which brings me to

My Messy Process, Step One:  Thinking.

Lots of thinking.  Lots and lots of thinking.  In the case of this book, my fourth, I’ve been mulling over these characters and their story for at least 8 or 9 months now, since I was in the middle of writing book two.  And beyond Spencer and Amelia (the hero and heroine’s names), I currently have three other couples – wait, four – whose stories are spreading roots in my gray matter.

The thinking part of this process is the longest step, obviously.  It’s also the one most often mistaken by bystanders for daydreaming, inattention, child neglect, etc.  … Read More »