Author Spotlight - Michele Hauf

For those readers who like to walk on the dark side, we have paranormal romance author Michele Hauf in the spotlight today. Michele's latest release, This Glamorous Evil, is out this month through Harlequin's Nocturnal Cravings.

What is your writing process?

It's pretty much the same daily. I write in the mornings and early afternoons because that's when my brain is still fresh, and I come to the computer with ideas I may have sorted through my dreams the night previous.

Everyone who writes knows it's not easy - what methods do you use to keep at it on days when it would be so much easier to go shoe shopping?

Well, I go shoe shopping. ;-) Usually, I'll make myself write a scene that needs to be done, then reward myself with the shopping. I know that if there are days I feel compelled to be anywhere other than behind the keyboard, that it's best to honor that feeling and just go with it. My muse loves me for that.

Keeping fit: Do you have an exercise regime to counterbalance all those hours sitting at a computer?

I wish! I do sit on one of those big exercise balls, and once in a while, when I think of it, I'll bounce. Which is like a minute total every day. I do not like to exercise, but have the yoga mat sitting in the other room in case the urge strikes. Which rarely happens. I do force myself to get up at least every hour, walk to the kitchen, maybe make some tea. Just to move a bit.

Do you believe in writer's block?

Not really. I don't think the muse works a regular 9-to-5 shift, so when she's really feeding you the ideas, take advantage of it, and when not, then don't freak about it. Really, just let it come when it wants to come. And if you feel blocked, at least for me, then I know I'm forcing it, or have too much on my plate to deal with. That's when shoe shopping comes in handy. ;-)

Have you ever used an incident from real life in a book? If so, did it get you into trouble?

I use real life incidents often, and no, I've never gotten in trouble. I always think readers are least likely to believe the true stuff, and more likely to believe the made up stuff. I would never reveal what is based on truth and what is not, though.

In what way is being a published writer different to how you thought it would be?

The business work involved is immense. Lots of self-promotion marketing, talking about yourself (I hate that!), and generally being a public figure to represent your book when really, I'm very shy and all that stuff freaks me out.

Promotion is no longer a dirty word. In what ways do you strive to reach more readers?

I am everywhere online, with a website, blog (a few blogs actually), Facebook, Twitter, Goodreads, Tumblr, a group blog. Are you sick of me yet? ;-)

What is your top promo tip for other authors?

Just be available online to answer reader emails and keep the cyber conversation going.

What did you learn while writing this book?

I actually gained another story while writing This Glamorous Evil. I knew the hero, Thoroughly Jones had a twin brother, Certainly Jones. As I was writing this, Certainly's story came to me in bits and pieces, and I'm working on that as I write this.

What was the most fun part of writing this book?

The heroine is a cat-shifting familiar whose job is having sex to summon demons to this realm. Do you see where some interesting and fun scenarios could develop because of that? But also, the fact she wanted to have 'real' sex with a man instead of 'work' sex made for a fun story.

And just for fun: what would your hero’s honeymoon destination of choice be?

Uh, he's originally from London, so he might take Star there and show her around his old haunts.

What does the closure of Nocturne Bites and the advent of Nocturne Cravings mean for you, and has the change affected your writing process or the stories themselves in any way?

Doesn't affect my writing. Both lines are novella-length, so if I would contract with the Cravings it would be for a short story. Cravings are about 5K longer than the Bites were, and a little more sexy, but it's all good. ;-)

About the book:

Throughly Jones (T.J.) is a witch who practices dark magic and is desperate to rescue his brother from Daemonia. He needs to circumvent the usual methods to conduct demons because he's after a big catch. But will cat-shifting familiar, Star, agree to cut out the middle man and work exclusively with T.J.? That would involve them having sex to conduct a demon. But she wants a real relationship, without 'work sex' getting in the way. Can the two share the most intimate of connections to get the rescue job done, or will love toss a kink into their plans?

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Thanks, Michele!

This Glamorous Evil is available on Amazon, Amazon UK and Harlequin (as well as all your other usual Harlequin suppliers).

Michele also has a Christmas-themed Vampire story in Harlequin's A Vampire for Christmas anthology, and her novel Kiss Me Deadly is available as a free read from Try Harlequin. Go on, give it a try. You might just get hooked!

To view Michele's impressive full back list, click here.

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Check back here on Friday, same time, same place, as we have a fantastic surprise guest appearing on the blog.

Creating multi-dimensional characters

I've been dipping back into one of my favorite writing craft books - Story by Robert McKee, to explore once again the elements of building character. If a character isn't developed fully, they are flat and uninteresting. But by following carefully Mr McKee's advice, a character can become three-dimensional and truely fascinating.
Mr McKee's excellent book is geared toward screen-writing, but the principles espoused in it, are also of huge relevance to writers of fiction, and every time I dip back in, I find my interest sparked, and my knowledge enhanced.
Firstly, he talks about the difference between Characterization and True Character. Characterization is what we observe of the character. Their age, physical appearance, job, traits, style of speech, personality, attitudes, and the world in which they live.
True Character is deeper, it is what lies beneath the mask of Characterization. What is this character really like, and how can we portray it on the page?
Mr McKee says:
'True Character can only be expressed through choice in dilemma. How the person chooses to act under pressure is who he is-the greater the pressure, the truer and deeper the choice to character.'
Even when Characterization and True Character are fully explored, the character is not multi-dimensional. In order to create a fully rounded character, more elements must be present. Mr McKee defines it thus:
Dimension means contradiction: either within deep character (guilt-ridden ambition) or between characterization and deep character (a charming thief). These contradictions must be consistent. It doesn't add dimension to portray a guy as nice throughout a film, then in one scene have him kick a cat.
Okay, I'm beginning to get it. Now, to investigate further, I'm going to think about a character that I find fascinating in a TV show, to see if they are truly multi-dimensional. I've decided to use the character of Kalinda in The Good Wife.
Characterization: Young, good looking and street smart, intelligent, works for law firm, bi-sexual.
True character: Caring, thorough in discovering information.
Dimension: A friend to Alicia Florrick, yet secretive. Gentle, yet tough. Loyal to her job, yet prepared to compromise her principles and jump ship. Seductive but manipulative.
So immediately I've noticed four contradictions in the way that Kalinda is. She isn't designed as the protagonist in The Good Wife, but instead as a secondary character. But  her multi-dimensional character builds fascination into her every appearance.
Mr McKee explains that every character in a story has a job to do. The protagonist is the central character, and every other character within the story is there to highlight an aspect of the layers of dimension within the protagonist. Observing this formula with the character of Kalinda, we see through her reactions to situations and people throughout the series. Each person she interacts with reveals another aspect of her character. Makes the contradictions within her personality clear.
If a story contains too many characters who are multi-dimensional, then the reader doesn't know who should hold their interest. So by necessity, 'bit-players' should be less complex, and should be in the story to reveal more to the reader about the central character/characters. Or perhaps just be there to act as a foil for the central characters, one that they can open up to in conversation or over the telephone.
'Story' is a great resource for writers!

In Remembrance

Here in South Africa we're approaching 11am, on the 11th of November 2011. 11-11-11-11.

As a child I still remember wearing a poppy on Remembrance Day. That tradition has long since fallen out of  fashion, and slowly out of memory too. I find this sad, as I think we need more days where we're urged to think of peace in our world, rather than less.

Why this day?

On 11th November 1918, at 11am, the armistice agreement was signed, ending the first (and what many hoped was the last) world war. Sadly, we now know better. War is still all around us, perhaps even more than ever, and certainly we're more aware of it thanks to media and the diminishing size of our world.

Why the poppy?

In the surprisingly evocative words of Wikipedia: "These poppies bloomed across some of the worst battlefields of Flanders in World War I, their brilliant red colour an appropriate symbol for the blood spilled in the war." As far back as the Egyptians, the poppy signified life and fertility, and for its sedative medicinal qualities it's also the flower of sleep. Life and death all rolled into one simple flower.

So today, I'd like to ask our blog readers to consider the significance of this day and to suggest ways in which we might each be able to bring a little more peace and a little less war into our world.

My suggestion, to get the ball rolling: teach the next generation to revere life.

Author Spotlight - Heidi Rice

Today the Minxes are super pleased to welcome back Minx special friend, best selling author and all around media darling, Heidi Rice.


What is your writing process?

Unfortunately completely haphazard. I wish it wasn’t quite so unpredictable. I’m a total panster (or seat of your pants) writer in that I don’t tend to write stuff down. That said I spend a lot of time imaging scenes and conversations not just between my characters but also in their pasts, in their childhoods, etc, before I start writing (and when I’m writing a story in any downtime I have), so it’s not totally unplanned. I would not recommend this method to anyone though, as it tends to lead you up blind alleys without a paddle a lot and also has your kids telling you that you’re completely mad on occasion.

Everyone who writes knows it's not easy—what methods do you use to keep at it on days when it would be so much easier to go shoe shopping? 

Honestly, once I start writing I rarely have a problem keeping at it—because I enjoy being with my characters so much (unless of course they are not cooperating). For me the biggest hurdle is stopping all the procrastination I get up to before I start writing. You know, the endless checking of emails, or your Amazon ranking, or aimless Tweetage. I know I’m essentially a person who is not particularly focussed or driven or hard-working – I’d much rather prat about. (Sheesh, I hope my editor isn’t reading this!) So I have to force myself to stop pratting about and get on with it. But once I have I can write lots very quickly (if the muse is with me it might actually be useable). And on those occasions when I am really stuck—and that has happened—I might just try and write a different scene, or stop and figure out where I’ve gone wrong, because if there’s a blockage, that’s usually the reason why.

Keeping fit: Do you have an exercise regime to counterbalance all those hours sitting at a computer?

I live in London and cycle pretty much everywhere. I’m also a member of a fabulously cheap and cheerful local women’s gym so I try and do 40 mins on the crosstrainer there a couple of days a week. And I also play on a netball team every Monday night (I’m crap at netball, consequently we lose quite a lot!). I find the kick of endorphins is great for my mental as well as my physical health. But I do still hate that fricking crosstrainer with a passion.

Do you believe in writer's block?

Being the daughter of an Irishman, I’m not about to tempt fate and say ‘No’. And there have been a few times, usually when a deadline is looming and something has gone wrong with my story, that I have gone into panic mode, and then it’s terribly hard to write. And what I do write is invariably crap. And of course the harder it is, and the more crap it is, the more panicked I become. But having said that, I do believe that if that happens the one thing you must not do is stop. And saying you have writer’s block to yourself, is an excuse to take that easy way out.

Have you ever used an incident from real life in a book? If so, did it get you into trouble?

I’ve used a lot of inspiration from real life, but they’re usually just snippets that have sparked ideas. Like the time my sister and I were sitting on a Cornish beach in the rain and watched a lifeguard rescue, which gave me the idea for the opening scene in Surf, Sea and a Sexy Stranger. Or when I was cut up driving down Holloway Road by a gorgeous looking guy in a sports car and I envisioned the opening scene for Cupcakes and Killer Heels (while cursing at him profusely). But I’ve never used a whole real incident, simply because it’s the characters ultimately that drive the plot and so they have to determine what happens. If you tried to shoehorn them into a ready-made scenario, it wouldn’t work.

In what way is being a published writer different to how you thought it would be?

Well, I’m nowhere near as rich as I thought I’d be… You know, everyone assumes they’ll get published one day and the next they’ll be earning as much as JK Rowling. Um, not quite! It’s also really hard work keeping your career going. You have to keep producing books, keep getting those sparks of inspiration, keep falling in love with new characters, keep re-inventing the wheel basically. Getting published isn’t the end, it’s just the beginning of loads more hard work. That said, I seriously believe that the more you’ve had to work and the more you’ve learned to achieve publication the better prepared you are to make a viable career out of it afterwards. So when you’re racking up those rejections, it’s good to remember that.

Promotion is no longer a dirty word. In what ways do you strive to reach more readers?

I have a blog, a Facebook page and I’m on Twitter (at @HeidiRomRice) and I’ve just recently invested in having a proper professional website designed (because before that it was a bit naff). I also love to do guest blogs, Library Workshops and any media opportunities I’m offered. But really I do all of those things because I enjoy them (and I’m a bit of a media tart). Personally I would say if you don’t enjoy it, though, don’t do it… And frankly I think I enjoy it a bit too much, because it can be a total timesuck if I’m not careful (see answer to second question!).

What is your top promo tip for other authors?

Write the best stories you can and keep writing them. I know it sounds a bit corny, but that really is the best way to reach readers and keep them interested. If you enjoy doing promo then go ahead, but don’t let it interfere with your writing, because that’s the real gold as far as your readers are concerned. Put it this way, I’d much rather Nora Roberts wrote four books a year, than spent her time blogging and tweeting, because I want to read her books much more than I want to read her blogs or tweets.

What did you learn while writing this book?

That sometimes the conflict can be much subtler than you expect. This was really the first book I’ve written where during so much of the story the hero and heroine were getting on really well… They connected pretty much instantly and despite a few ripples early on I did worry at first that there wasn’t really enough of a conflict, but actually it was there all along, just hidden underneath all the fun and ‘really amazing sex’ these two were having.

What was the most fun part of writing this book?

What, apart from writing about all ‘the really amazing sex’ you mean? LOL. Actually probably the most fun, apart from watching my characters grow and their relationship evolve, which is the thing I enjoy the most about every book I write, was getting to set the story in London at Christmastime – and write about all the marvellous things there are to do in the city at my favourite time of year. Like going for a skating session at the rink in Somerset House, or swallowing your own tongue on the Power Tower at the Winter Wonderland funfair in Hyde Park or even just hibernating in a luxury hotel suite or looking at the window displays in the department stores along Oxford Street. The city’s at it’s most romantic at Christmastime and I enjoyed reflecting that.


What have the changes to the current Harlequin lines and branding meant to you? Have they affected your writing process?

I love the new branding for Riva books, and especially the move away from those fairly ridiculous titles, which were all about pigeon-holing the books according to themes and not selling them as individual stories. That said though, it hasn’t affected my writing process though, because the branding of a book, even the title is an afterthought for me. I’m quite happy to let Harlequin/M&B brand the stories however they like, as long as it get lots of people to pick up the books and read them. Then their job is done and mine begins…

What do you think makes a Riva book Riva? 

It’s all about that sassy, sparky attitude that is part and parcel of the Riva experience. To deliver that an author has to have a strong, vivid and captivating voice that is unique to them. All the Riva books are sold on the basis of that ‘voice’ which is why writing for the line is both immensely challenging and also very exciting. I think we’re all striving to provide something a little bit different, a little bit new with every book we write – we’re pushing against M&B’s traditional boundaries and having fun with our characters, while at the same time providing strong sexy alpha heroes, strikingly contemporary heroines, and the compelling conflict driven romance that is part of the M&B promise. It’s a bloody tough job, but I love it!


And just for fun: what would your hero’s honeymoon destination of choice be?

Hmm, well I think Jace is definitely an urbanite, so I think he’d choose somewhere metropolitan. And as he lives in New York… And he’s just spent Christmas in London, so my guess would be somewhere like Paris or Barcelona, in a luxury hotel penthouse suite of course, where Cassie and he could lock themselves away from the world if they wanted too, but also enjoy all the cosmopolitan delights of city living right on their doorstep.

On The First Night of Christmas

Cassie’s tips for the Perfect Christmas Fling!

1. ’Tis the season to be daring: Find the perfect Mr Right Now (extra points for a bad-boy-turned-billionaire) and be brave about getting him – even if that means jumping straight into sexy Jace Ryan’s car!

2. Enjoy the ride: Once you’ve chosen your flingee, get swept away by the moment! For once, Cassie’s determined to stop worrying about the future. But she must remember one thing…

3. This fling is just for Christmas: Jace Ryan’s a seasonal special. Do not start falling for him, Cassie. No matter how perfect the package or how much you’ve enjoyed unwrapping it…

Amazon US
Amazon UK
Mills & Boon

Give me the same thing ... only different

The Minxes would like to congratulate Natalie Charles, winner of New Voices 2011. Even if you don’t normally read romantic suspense, read this one. The story will grab you.

If you’ve followed the New Voices contest (as I have - devotedly!) you’ll have heard the editors’ advice to avoid cliché. This is just a re-statement of what the editors have been saying at conferences for the last few years. 2010’s buzz words were ‘innovate, don’t imitate’ and this year it was ‘unpredictability’. But really these are all just different ways of saying the same thing: avoid cliché.

In the immortal words of Blake Snyder in Save the Cat: “You can be near the cliché, you can dance around it, you can run right up to it, and almost embrace it. But at the last second you must turn away.”

I was extremely fortunate to get feedback on my NV entry (see here) and one of the comments the editors made was that my set-up has been used often before and I need to be careful that it doesn’t slip into cliché.
Clearly the use of cliché isn’t an issue for them, since they praised my very clichéd opening (Once upon a time in a land far, far away, there lived a princess.) but it’s what you do with the cliché that’s important. My next lines show that I’m going to turn the cliché on its head: She wasn’t like any of the princesses in other stories. She didn’t sweep floors, or wash dishes, or sing with the birds.

The day after the editors posted the feedback, I re-read Blake Snyder’s chapter of Save the Cat, entitled ‘Give me the same thing ... only different’, an entire chapter devoted to avoiding cliché, and he sums it up with these words:
“In every aspect of creation - from the idea, to the way characters speak, to the scenes themselves - putting a fresh spin on it (whatever “it” is) is what we do every day. But to know how to avoid the cliché, to know what tradition you are pushing forward, begins with knowing what that tradition is.”

Yes, it really is that easy. Once you’ve studied your genre, when you’ve read enough books that are similar to what you want to write, when you’ve examined the movies in that genre, you’ll start to spot the clichés: secret babies, marriages of convenience, certain type of hero or heroine, certain turns of phrase. That doesn’t mean you can’t use these elements, just that you need to tread carefully when you use them.

“When it feels like a cliché - give it a twist. When you think it’s familiar - it probably is, so you’ve got to find a new way. But at least understand why you’re tempted to use the cliché and the familiar story. .... True originality can’t begin until you know what you’re breaking away from.” - Blake Snyder