Kristal Lee

Last week, Deb Sanders @ NKotWB wrote about "Rules? Where we're going there are no rules!". And she goes on to explain that to break the rules, one must learn the rules.

Generally, our first exposure to "the rules" is grammar class. We learn vocabulary, noun, verbs, pronouns, adverbs, adjectives, etc, into ad nauseum. We learn how to write the proper way. This is good, for without the basics, there is nothing to weave your words into coherent sentences. The proper way can also be bad when it restricts creativity and stifles voice.

But, knowing good grammar is the cornerstone in becoming an excellent writer. Notice I typed "excellent writer." Anyone who has a basic understanding of written language can write. The ability to become an "excellent writer" depends on the writing tools you have in your toolbox.

Rules = Tools. (But they aren't always the sharpest tools. In fact, they can be quite dull.)

Consider adding online writing workshops, enrichment classes, college courses, lectures, books, books, and more books to vary your tools.

[Beeeep~ This is a Writer's Public Service Announcement: Be mindful of the workshops and classes you choose. I took a class in college that was all about diagramming sentences. For me, diagramming sentences = writer's hell. Lesson learned? Know what you're taking before you sign up for it and investigate the instructor's credentials. Some have less experience writing than you do. Now, back to the regularly scheduled post about those workshops and classes and books that are essential to your toolbox.]

In our busy lives, it's unrealistic to attempt to attend workshops and classes that aren't in our generally vicinity. Thank god for the internet. Many RWA chapters host monthly writing workshops via Yahoo and Google loops. Other online classes are independent of RWA affiliations, such as Margie Lawson's workshops. Margie is uber psychologist by day and super uber writing guru by night. At least in my estimations. I've learned so much from her intensive online classes because she gets into the psychology of writing. Her classes include Defeat Self-Defeating Behaviors, Empowering Character Emotions, Deep Editing, Writing Body Language, and Digging Deep into the EDITS System. I love her workshops because she not only shows you the tools, she teaches you how to use them.

If online classes don't work for you, and even if they do, I also recommend that you attend your local RWA chapter meetings. Oftentimes they will host guest lecturers on the craft of writing. And, if you can, attend the RWA National Conference. They have beaucoup workshops on writing. If you can't make it to the annual wingding, don't worry. The workshops are recorded on CD's and available for purchase. Check out the RWA website for details. You can also ask your local RWA chapter if they purchased a set for their members to peruse.

On to books, books, and more books. Another key to unlocking the secrets to becoming an excellent writer is to read, read, read. My to be read pile is at least 75 books high and climbing. I aim to read 2-3 books a week. I don't always hit that goal, but I try. Some books I'm reading are for reviews at The Season or here at It's KRISTAL kLEEr. Others are craft books or books I'm reading for personal interests.

Whether I'm reading for enjoyment, enrichment, or education I always have an agenda. I'm studying voice. I'm studying POV switches. I'm studying what holds my attention and what parts having me skimming. I dissect the plot. I take copius notes about what I like and what I don't and why. I meditate upon what I'm reading, not the story but how it's written. I keep my favorites close by. I do the same with the ones I dislike. I am a student of the craft. You should be too. Read the genre you write. Study your competition. Read outside your genre. You may discover a hidden gem.

To become an excellent writer, you must, you must, you must read and study your craft. Here are a few books I believe that every writer should own. My list is by no means exhaustive, but it can be a starting point if you haven't begun stocking your toolbox.

Everyone, and I mean everyone, should own a copy of Strunk and White's The Elements of Style. If you don't, your writing skills are greatly disadvantaged. Originally published around 1935, this master tool is a timeless and a priceless resource for all writers.


Number two on my list is GMC: Goal, Motivation & Conflict by Debra Dixon. She delves into the critical elements of creating a plot by ferreting out what it is that your characters want or need and the obstacles hindering them from obtaining their goal. Plot is essential. Without a plot, all you have is a random series of events that no one cares two hoots to holler about. Again, I say, this book is a must for every fiction writer.

Another treasure for the chest is Donald Maass'  Writing the Breakout Novel. For those who may not have heard of Mr. Maass, he is a highly-sought after literary agent and author in his own right. Writers, pay close attention to him. He not only knows how to write, but how to write what sells.

Also worth mentioning is Brandilyn Collins'  Getting Into Character: Seven Secrets a Novelist Can Learn From Actors. She demonstrates how to use Method-acting techniques to deepen characters' emotional and behavioral presence on the page.

Though my list goes on and on, I must make mention of the RWR (Romance Writer's Report). This is a free publication available to all RWA members. Inside each issue are numerous articles on the craft of writing. I've read and kept each issue I've received since becoming a member. If you aren't a member of RWA: Romance Writers of America, I seriously encourage that you become one. Their goal is to educate writers on how to become excellent writers.

There's an old adage that "Practice Makes Perfect," but that is misleading. Only perfect practice leads to perfection.  Okay, so we all know that perfection is a myth, but what we can relate to is that excellence in practice leads to excellent performance. Learn from those who've gone before you. Fill your writer's toolbox and practice, practice, practice your writing. Once you master a tool, experiment and create your own method of utilizing that tool outside the norm.

I've given you a glimpse into my writer's toolbox, tell me, what's in yours?


Happy Tales,
~kristal lee

I'm excited to have Camryn Rhys, erotic romance author and Golden Claddagh winner blogging about erotic romance and the quest for recognition of this up and coming genre.

A big welcome to Camryn:

When I sat in the Golden Heart/RITA Ceremony at RWA Nationals this year in Orlando, I found myself imagining what it had been like ten years ago, fifteen or twenty years ago, to be nominated for a RITA. Well, it turns out, they didn't even have "RITA"s twenty years ago.

Well, twenty-one years ago, anyway.

In 1989, the top award in Romance Fiction was called "The Gold Medallion", and there were only eight categories (as opposed to today's twelve). The romance genre looked very different in 1989, and I should know, I was reading it, even at my tender age of ---- don't you wish I'd tell you?

You may wonder why, in the midst of such a beautiful and touching ceremony, I was musing about how different the RITAs looked. It's because of a conversation I had with a bunch of Erotic Romance authors at the Passionate Ink party a few days prior. It went something like this:

"Why isn't there a RITA or a Golden Heart for Erotic Romance?"
"I think they voted on that last year, with the epubs stuff."
"Yeah, I heard it's not a real genre."
"I heard that, too. Someone said 'erotic romances are welcome in any category, just like any other heat level of romance.'"
"But erotic romance isn't a heat level."
"You're right. It's a genre."
Being new to the genre, I asked, "What makes it a genre and not a heat level?"
"Think about it. Most 'sensual' romances, you could make non-explicit, and most sweet romances, you could make more explicit, and they'd essentially be the same story. No matter what the heat level. In erotic romance, the explicit language isn't a trapping, it's part of the love story. Their erotic love story *is* the story. If you take it out, there's no more story."

So I sat at the RITA ceremony thinking about the past because I was wondering about the future. I wondered when RWA would choose to validate a quickly growing genre that does herald itself as a genre, and not a heat level.

As an erotic romance author who also writes in other genres, I know when a story idea is an erotic idea and when it's not. It has nothing to do with how much sex is in the book. Putting more sex scenes in doesn't make a book erotic. If you think that, you need to read some erotic romance. I read a fantastic erotic romance novella, once, by Leigh Court, where there is essentially no sex until the last 20 pages (which is almost straight sex, but still... it was a long buildup). And it really was fantastic. Why?

Because the love story of the hero and heroine was an erotic one. Their sexual awakening was part of their  love story, and it was integral to the story (to their story) that the book be structured the way it was. Take away all the sex, and their relationship could never have happened. That's not true of non-erotic romances, even the super steamy ones.

Erotic romance novels have plot structures deeply rooted in the physical relationship between an h/h. A man who has dishonored his wife and vows to seduce her back. A woman who faces marriage to a man she hates decides to seduce the man she's loved for ten years in the hopes that she can have one good sexual experience before she's consigned to a loveless marriage. A man who so loves a woman that he offers to have a threesome with her and her husband, just to be in her bed. A woman who would become a werewolf, but needs to release her sexual energy in order to change for the first time. A man who regrounds his magic by having sex with an enchanted woman.

The sex is not just a trapping to books like these. It is integral to the very structure of the book. Without the sex, the plot completely disintegrates. While non-erotic books might not be quite as emotionally engaging without sex, they should still at least make sense without it. Erotic romance needs sex.

Preferrably lots of sex. Multiple ways. Maybe with multiple partners. And we're not averse to a little bondage, kink, or play. That's what erotic romance is all about. The sexual journey.

So I do hope that someday, RWA will acknowledge that erotic romance is not a heat level, it's a genre. And as a genre, it deserves to be honored as such. I also hope that I can be the first recipient of an Erotic Romance RITA. Let's say 2015. Yeah, that can be my goal.

Of course, in order to win a RITA, I need to get published first.

Better get on that. ;-)
Camryn

Visit Camryn at Camryn Rhys ~ Putting the H-O-T in History  and at New Kids on the Writer's Block.

I survived RWA’s 30th Anniversary conference.

Thousands of chickens did not.

I’m not talking about individuals afraid of taking risks. I’m talking poultry.


Chicken is my favorite food, next to pizza. It’s versatile, easy to prepare, and goes with anything. To my dismay, Disney’s lack of culinary creativity would have Chef Ramsay dropping the “F”-bomb because the delectable bird was cut and cooked and served without any variety for two luncheons and the awards dinner. Don’t mistake my intent. There was nothing wrong with how the chicken tasted. But, I expected more finesse and flair and variety from the magnate Mouse of magickal moments. To say I was disappointed, barely scratches the surface of the sentiment.

In pondering the many ways that the chicken could’ve been prepared, I began thinking about books and story-telling. {What can I say? I’m a writer. My brain is wired to that path and all roads of thought will eventually end up there.}

As writers, we must not fall into the trap of disappointing readers by dishing out plain chicken reads.

We must take every opportunity to stock our writer’s rack with savory words, ripened plots, and satisfying world building. Marinate characters with the mesquite of the wild west. Add a bit of cinnamon or cardamon for outer-space spice. Simmer plots like robust stew or turn up the heat for fast-fried scenes.

If we don’t, our stories will be as bland and unappealing as an unseasoned chicken.

That’s why I’m grateful for the RWA’s ongoing efforts to provide authors, aspiring and established, with tools to sharpen and hone our skills. The workshops at Nationals were fun, challenging, and oriented to helping writers learn about the craft of writing.

I had a fabulous time meeting interesting people from all over the world, developing friendships that I hope will be long and fruitful, and gleaning from those who have created their own recipes for success.

I’ve expanded my writer’s rack with fighting tips from Angela Knight, witticisms for career planning from Cherry Adair, admonishments to write without whining because it wasn’t any easier then than it is now from Nora Roberts, and Jayne Ann Krentz’s advice on how not to kill your career.

I learned about publishers and publishing, agents and editors, query letters and synopses, hooks and high concept pitches.

But, the boring poultry, thrice served, that could’ve been much more appealing and satisfying if a little creative effort had been put into making it, will be what I remember the most. Because I never want a reader to feel that I didn’t care enough to season my “dish” to perfection.

~Kristal Lee

I hadn’t planned to attend the Romance Writers of America’s annual conference in Nashville, Tennessee this year. Mostly because travel is difficult due to family circumstances and then, there was the flight, hotel, meals, transportation, and the conference fee. Cha-ching, cha-ching, cha-ching.

However, due to the recent flooding of the Nashville area, the conference was relocated to Kissimmee, Florida. With most of the travel expenses eliminated, it became more affordable for me to attend and it’s practically in my own back yard. So, I’m headed to the conference of all conferences this week.

I’m a little apprehensive, to say the least. Large crowds are the last place I want to be. All I can think of is being caught like a rabbit in a buffalo stampede. Yikes!

Although I’m a friendly conversationalist when I have to be, I’m more introverted than I appear and big social events tend to spike my anxiety. I’ve heard from veteran conference attendees that many writers share this phenomenon. Great. We’ll all stroke out together.

Just kidding.

Most of my stress is the build up before I get there. Why? I don’t know. Maybe it has something to do with stepping outside my comfort zone. Or outside my routine…but even that seems weird because I don’t really have a set routine. But, I do like to fill every spare moment with writing. And anything that takes away from those precious time slots fills me with angst.

There’s not much that I’d rather be doing other than writing. Oh, wait. Reading and napping are close seconds, but I usually do those when I’m stuck on a plot point that isn’t developing and my brain needs a break.

On the up side, (and so you know I’m not a complete social phobe) I am excited about meeting new people and hearing about their journeys. Also, the workshops and publisher spotlights scheduled look fabulous and I’m all about gleaning as much as I can from those who’ve gone before me.

So, my goal for this conference is simply to listen and learn, make friends and network. I’m foregoing the pressure of pitching since my current WIP is still in development and my completed manuscript needs significant revisions. At least my business cards came in on time, so I can get my name out there. Hopefully someone will remember me fondly when they see my query letters in the not so distant future.

So, tell me…will you be there too?