Knight Errant

Car chases blog

2012-02-09T08:49:00.004-05:00

Dear ladies from Savy Authors -Yes, I realize that I was supposed to post my car chase blog, and I do intend to do it. I will interview my husband and post the answers tonight. I just haven't had a chance to get to it before now. I am sorry. Look for it tonight.

The First Chapter of Master of Darkness

2011-09-06T12:14:00.003-05:00

Here's Chapter One of my new novel, MASTER OF DARKNESS, which will be out May, 2012. Please let me know what you think, folks. :)

Chapter One

Normally, William Justice found gardening about as exciting as watching paint peel. He got a hell of a lot more interested when the gardener was Miranda.

Lovely Miranda Drake, wearing a pair of snug jeans that made the most of her long, strong legs and heart-shaped ass, a Black Eyed Peas T-shirt cuddling round, delightful breasts in soft cotton…

Ohhhh, baby. Plant one on me.

Besides, it wasn’t every day you got to watch a werewolf garden. Especially when she was also a witch.

Miranda sent another wave of magic rolling across the lawn like summer fireflies, cool blue sparks drifting down to sink into the soil. Everywhere the sparks touched, violets and peonies thrust eagerly up into the air, vivid petals unfurling in the space of seconds.

There was something hypnotic about the way magic illuminated the striking curves and hollows of Miranda’s clever face and the elegant, narrow line of her nose. Her eyes glowed soft amber as she cast her spells, and her full lips parted as if for the kiss he'd ached to give her for weeks.

The soft blue-white sparks of werewolf magic faded. Miranda cocked her head as she looked across the sweep of lawn, considering the effect of her new flower beds in their sweeping curves of color. "What do you think, Justice?"

He shook his head. "Randi, I'm a cop and a werewolf. Ask me who killed who with what, that I can tell you. But when it comes to gardening, I don't know carnations from kudzu."

Miranda eyed him over her shoulder, gleaming curls sliding around her shoulders with the movement of her head. "Could you get any more male?"

“Hey, if you’re gonna do it, do it right.” His gaze drifted down to her butt in wicked appreciation. Want to find out how right I can do it?

He managed not to ask. That would really be pushing it.

Apparently deciding to ignore both Justice and his growing obsession with her ass, Miranda returned her attention to her garden. "I think it needs some rose bushes." An offhand flick of her fingers brought them bursting from the earth in shades of yellow and red and soft peach, surrounding the two-story cream stone cottage in pretty blooms. “And … there. Finished.”

“Nice job,” Justice told her, letting the sincere admiration show in his voice.

The little house looked snug and homey with its rosewood shutters and peaked roof. The sturdy door was carved with an image of a wolf peering through leaves, and curving front steps led up to the wide porch supported by wooden rosewood posts. Stained glass windows glowed bright with the house’s interior lights, depicting yet more wolves running through moonlit forests or serenading the full moon.

Yet lovely as it was, the house was dwarfed by the elaborate castles, chateaus and villas that surrounded it, towering walls of marble and granite shimmering with magic in the moonlight.

Avalon. Enchanted city in the magical universe that existed alongside dull mortal Earth, invisible and unknown to humanity. Here magic was a natural force, like gravity or electro-magnetism. A power you could use to build a house – or turn into a werewolf.

God, my life is getting weird, Justice thought. And it was pretty damned weird to begin with.

Miranda had spent the last week building her new home with all that energy, condensing magic into cream stone walls and stained glass. The furniture had come next: imaginative creations in exotic Mageverse woods, carved in Celtic designs, upholstered in impossibly soft fabrics. Rugs covered the shining hardwood floors, and piles of pillows lay here and there, all in jewel-bright shades of red and green and blue that seemed to shimmer as brightly as the stained glass.

Justice had watched her conjure every bit of it, shaping raw energy with the power of her will, intellect and talent. She’d gloried in the act of creation, her smile wondering, her eyes lit from within by flashes of magic.

That sheer sensual pleasure grabbed him right by the balls, awakening his Wolf to growl in possessive need. Not that his animal nature was ever that deeply buried to begin with.

Never mind that Miranda Drake had no interest in belonging to anybody. Particularly not a certain werewolf she seemed to view mainly as a pain in the ass.

So he wasn’t the least surprised when Miranda turned her attention from her new house to look at him with narrow, determined eyes. As if he was the next thing on her mental checklist of things she planned to fix. She headed for him with a long-legged stride, determination in every step.

Here it comes.

She’d probably been planning this for a while now, but she’d been either too busy or flat on her ass with exhaustion.

Now she was neither. He got ready to fight.

Miranda stopped just inside kissing range and looked up to meet his eyes, her amber gaze flat with cool challenge.

He rocked back on his heels and folded his arms, silently telling her he was ready for whatever she wanted to dish out. “You have something to say?”

“This isn’t working.”

“What’s not working?”

“You know perfectly well. You. Here. With me.”

He lifted a brow. “That’s not what you said when I was waiting on you hand and foot.”

She’d been immobilized with exhaustion after creating enough potion to vaccinate the Magekind against werewolf Bites.

Something about the magic in those bites triggered an anaphylactic reaction that was invariably fatal, since the Magekind’s healing magic had no effect on it.

However, Miranda discovered her own werewolf magic could treat the Bites. She’d then created a vaccine to prevent the reaction altogether.

Unfortunately, the magical drain of brewing enough potion to treat the entire city had kicked her ass so thoroughly, she’d barely been able to move. Since Belle was off on a mission, Justice had taken care of Miranda himself, cooking for her, making sure she ate, even helping her to and from the bathroom.

Being who and what she was, she felt she owed him a debt. And she hated that.

Now Miranda glanced away, flushing, despite the stubborn jut of her jaw. “I didn’t ask you to do any of that.”

“No, but you needed it. You needed me. And you need me now.”

Her eyes flicked back to his, and she bared those pretty white teeth. “No. I don’t.”

“You do. Or have you forgotten that Warlock wants you dead?”

“This is Avalon, Justice. There’s a magical shield around this place you couldn’t blow a hole in with a nuclear bomb. Warlock can’t get to me.”

“No, he can’t.” She looked a bit surprised at his easy agreement. “Assuming you never leave.” He lifted a brow. “This city makes a really pretty prison, doesn’t it?”

“Dammit, Bill, I can take care of myself!”

“Like you did when Tanner tried to gut you like a rabbit?”

“At the time,” she gritted, “I was a little busy saving Guinevere’s life!”

“Good thing I was there to save yours.”

“And believe me, I’m grateful.” Her red brows drew down, and she took a challenging step forward until they were nose to nose. “But I don’t need a bodyguard anymore, Justice.”

“Too bad.” He gave her a deliberately pleasant smile. “You’ve got one.”

“If you think you’re moving in with me…”

“You want me to pitch a tent among the azaleas?”

She bared her teeth. “I want you to go home.”

He bared his teeth right back. They were starting to feel a little sharp, a sign he was just a bit too close to Changing. He tightened his control over his inner werewolf. “I don’t have a home anymore, sweetheart. Not since I saved your ass. Warlock and the Council of Clans have declared me a traitor.”

“Then you can stay with Tristan and Belle, just the way we’ve been doing. She won’t care.”

“Oh, hell yes, she will. She’ll be too polite to say so, but she’ll care. She and Tristan are Truebonded now, remember? Living with those too is like being trapped in an episode of Knights of the Round Table gone Wild.”

Even as pissed as she was, Miranda’s lips twitched in an aborted smile. It really had gotten damned uncomfortable staying with the couple, whose psychic bond made them newlyweds in all but name. “Yeah, well, Avalon is a big city, Justice. Find somewhere else. Hell, ask Belle. She’ll find somebody to put you up.”

“No. I’m your bodyguard, Miranda. I’m not leaving you until Warlock’s dead. Or I am.” Protecting people was what he did. It was what he was. Even becoming a werewolf hadn’t changed that.

He damned well wouldn’t let it.

“I. Don’t. Need. A. Bodyguard!” Her soft upper lip curled into a lupine snarl, and her eyes sparked with temper.

Justice looked at that pretty mouth – and his temper Shifted, transforming like a werewolf into raw, hot lust. God, he burned to know how that mouth tasted. Just keep snarling, baby, and we’ll find out.

Miranda wished to hell Bill Justice wasn't so damned hot.

There he stood, long-legs braced wide in faded jeans and worn black boots, brawny arms folded in a way that made his biceps look the size of grapefruit. His hair was black and glossy in the moonlight, just long enough to curl, and sparks of werewolf magic flickered in his black eyes when he angled his head to snarl at her.

She liked to tell herself he had a thug's face, what with the broad cheekbones, square jaw and Roman nose, his brows thick slashes over his narrow, deep-set eyes. Cop's eyes, watchful, accessing, more than a little paranoid.

Miranda could resist all that. Really. She'd be just fine if it wasn't for his mouth. Wide, curled in a wicked grin more often than not, with a full lower lip she really wanted to bite. Just hard enough to make those ebony eyes go all hot.

The trick was to keep him the hell out of her house. If she was dumb enough to let him move in, he'd be in her bed the next time she turned around. That was just the way Alpha Males were. Pushy bastards, each and every one. And God knew Justice was as Alpha as they came.

Just like my psycho father.

Only Justice was nothing like Warlock. She knew that. But he was still a dominant son of a bitch, and eventually, he’d want to prove just how dominant he really was.

Just like Warlock. Just like the stepfather she’d had to kill because he’d finally murdered her mother after years of abuse. Miranda didn’t need another dominant son of a bitch in her life, good guy ex-cop or not.

I don’t want to have to kill him too, a tiny voice whispered in the back of her mind.

She told it to shut up. I’m not going to kill Justice. But he’s still not moving in.

His eyes fixed on hers in a hot predator stare that made her nipples harden, and his wide mouth flattened in a determined line. "I'm not leaving, Miranda. Deal with it."

"You're not staying, either." She braced her hands on her hips and tried to ignore the nipples. It wasn't like she was in her Burning Moon, dammit. This stupid attraction would be understandable then, a natural product of magical werewolf hormones driving her to mate. Anything male would do.

But she wasn't in her Burning Moon. This was all Justice. And she had no idea how he was doing it to her. If she didn't know better, she'd think it was a spell.

"What happens the next time Warlock sends one of his killers, Miranda?" He was tall enough to look down at her at just the perfect masculine angle. Bastard.

Miranda glowered up into those seductive eyes. "I can handle anything he throws at me." A bald-faced lie, but never mind. She just needed to get Justice out of her hair. She's figure out the assassin thing later.

"I don't want your death on my conscience."

“I’m not going to die, dammit. And either way, it’s not your problem.”

Temper flared in those midnight eyes as he spoke through gritted teeth. “By God, it is. I’ve made you my responsibility, so you’re my responsibility.”

“Why?” she growled back, so damned frustrated she wanted to pull her hair. Or his. “What the hell difference does my life make to you?”

“This!” Big hands closed over her shoulders and snatched her right off her feet as if she was a three-year-old. His mouth covered hers in a kiss that flooded her brain with pure need.

Oh, my God, Miranda thought, his lips are as soft as they look.

And then she couldn’t think anything at all.

His body crushed into hers, broad firm muscle under soft cotton, arms wrapping around her in a powerful grip that dragged her close and drowned her in his hot male animal strength. His tongue stroked between her lips, drugging her with the taste of masculine hunger and Direwolf magic. The blend of wild wolf heat and pure male desire hit her brain like a shot of Kentucky bourbon in strong black coffee. It jolted and dizzied, making the world swim and stealing her will to resist.

As if sensing that weakness, he dropped one hand from her waist, found the curve of her ass with a warm, possessive grip. Tightened and lifted as if she weighed no more than a child. Her feet left the ground and the world spun as he carried her toward the cottage. Still kissing her.

The door banged open and he swept her inside like something out of a fairy tale.

Except Miranda had quit believing in fairy tales when she was four years old -- the day she’d realized her magical daddy was more devil dog than Prince Charming.
But God, there was a different kind of magic in Justice’s skillful mouth and strong, steady grip, and Miranda let herself believe.

For the moment.

Justice lost himself in the sheer sensual feast that was Miranda’s mouth – the velvety warmth of her lips, the curl and flick of her wet little tongue, her teeth tugging his lip in hungry demand. Her body felt warm in the cradle of his arms. Deliciously soft in all the perfect places, firm and strong in others. Her scent flooded his head, sensual musk and the fresh green tang of deep forest. All of it spelled Direkind female to his growling libido.

His sexual need had grown stronger, darker, since he’d become a werewolf three years ago, and Miranda brought that hunger to quivering attention. But then, she could arouse a plaster saint in a church niche with those soft, soft lips…

Justice tore himself away from her mouth just long enough to scan the house for a place to make love to her. He knew damned well if he paused too long, she’d start thinking about all the reasons this was a bad idea. He needed his hands and mouth on her now if he meant to keep them there.

Off to the left of the foyer lay the living room, with its fireplace and the semi-circular conversation pit that curved around it. He carried her into the room and down the steps into the pit, where jewel-tone pillows lay in a tempting pile.

Justice looked down into her vivid eyes as he lowered her into the inviting little nest. “God, I want you.” He ached to see that pretty body spread for him in long-legged, exquisite nudity.

But as he reached for the hem of her T-shirt, he froze.

She watched him as she lay sprawled across the pillows, her copper hair spilling in bright curls around her head. Her chest rose and fell in the quick rhythms of arousal, but cynicism had begun to cool the heat in her eyes.

Justice rose to his feet, grabbed the hem of his black polo shirt and dragged it off over his head. Her eyes widened, the cynicism drowning in surprised arousal. The tip of her pink tongue flicked over her lips.

He concealed a smile of satisfaction. During his human days, he’d logged a lot of hours running and lifting weights, but not out of the usual gym-rat vanity. For a cop, building strength and muscle was a survival strategy. If you got into a chase or a fight with some asshole, you wanted to make damn sure you won. Becoming a werewolf had only added to the size and density of the muscle he’d worked for years to build.

Judging from her dilating eyes, Miranda approved of the results.

His cock bucked against the fly of his jeans. Justice reached down to free it. His zipper whispered, erotically loud to his wolf senses.

Toeing off his running shoes, he caught the waistbands of both jeans and cotton boxers, dragging them down his thighs in one ruthless motion. Stepping free of the tangle of fabric, he kicked them away and straightened. His cock jutted from his groin, his balls heavy and tight below it.

Then he just stood there, letting her look. A bead of sweat ran down his spine.

By stripping first, he’d put all the power in her hands. Justice had come to read Miranda pretty damned well over the past month, and he knew if he didn’t give her this moment of control, she’d never trust him.

Jesus, the men she knew before me must have been real bastards.

Miranda stared at him in helpless, aroused amazement. Alphas didn’t do things like that: display themselves to a woman, let her make the choice. They seduced, they demanded, they overwhelmed with sheer erotic skill. Just as Justice had been doing to her from the minute he’d grabbed her shoulders.

When he’d put her down on the pillows, she’d figured she was in for a dominance fuck – hot, arousing as hell, but still designed to put her in her place: that of a female who knew who her master was, and obeyed accordingly.

But now he just stood there, magnificent in his nudity, and waited. Waited to find out if she wanted him.

As if she could do anything else. Justice was armored in delicious male muscle from wide shoulders to tight waist, down long runner’s legs to the big feet he’d planted wide. Yet the brawn wasn’t beefy or overdone, like that of some steroid-shooting professional gorilla. His was a knife-fighter’s body, the perfect balance between mass, agility and speed. It was a musculature that shouted of aggression, yet his powerful hands hung open and easy, not balled in threatening fists. And his cock…

Sweet Mother Mary.

It jutted at her, rosy and thick from the heart-shaped head to the broad base and heavy balls. She felt a rush of heat deep in her belly as she imagined him pumping it in and out of her with the all power of that muscular ass.

Miranda licked her lips and lifted her eyes from that meat shaft. And got caught in his hungry black gaze. He stared at her as if she was everything he’d ever wanted in a woman.

Nothing like the Alpha Warlock had sent to breed her. That one’s stare had reduced her to the hole between her thighs. If she hadn’t killed him, he’d have raped her. Warlock had wanted her pregnant rather than dead then, and Harold Worthington had meant to do the job.

Worthington had been old enough to be her father, and she’d been a virgin. He’d threatened to beat her mother if she didn’t submit.

Instead Miranda conjured a blade and drove it into his brain. Not to save herself, but because Joelle Drake had been beaten enough.

Barely a week later, her mother was dead, murdered by her abusive husband. Miranda burned down her stepfather’s beloved mansion around his corpse and fled.

Two nights later in some one-stoplight town, she’d picked up a twenty-year-old human in a bar, just to make sure her first time wasn’t rape at the hands of another of Warlock’s thugs. The boy had been sweet and surprisingly tender despite his clumsy inexperience, and Miranda had decided on the spot to stick to human lovers.

She’d sworn then that no werewolf would ever occupy her bed.

But here was Justice, looking at her with those dark, hot, patient eyes. And waiting.
Miranda caught the hem of her T-shirt and pulled it off over her head.

As she tossed the shirt aside, he seemed to quit breathing. Freezing like a predator, he stared at the round curves of her breasts cupped in the black lace of her bra.

She’d have expected the eager wolf heat in Justice’s gaze to make her feel vulnerable. Instead she felt powerful – and more profoundly female than she’d ever been in her life.

The front clasp sprang open under her fingers, and Miranda shrugged the bra off with a roll of her shoulders.

His tongue flicked over his full lower lip.

She dragged her boots off and threw them one by one across the room. The thump and skidding clatter as they landed on the hardwood floor sounded loud to her sensitized hearing.

Justice’s gaze didn’t falter.

Miranda tugged off her socks and sent them flying over the semi-circular couch. Her heart hammered.

Her zipper hissed. His powerful shoulders coiled.

She took her time pulling off her jeans, adding some gratuitous hip wiggle just to make a muscle twitch in his square jaw. The jeans sailed off after the socks.

Miranda rolled to her feet with the easy strength of her Direwolf blood. She watched him watch her as she slowly slid the thin black silk panties down her thighs. Spinning it out, making them both wait.

Until she straightened, toed the panties aside, and stepped up to him, as naked as he was. Justice still didn’t move, though those big hands had coiled into fists, as if he was fighting the need to grab and take.

He must be six-three or four, tall enough that she had to tilt her head to meet his gaze. The wolf inside him flickered deep in his eyes, its feral hunger caged by Justice’s iron control.

That control gave her the courage to touch his chest, run her fingers over the curves and hollows of firm muscle under warm, tanned skin. His dark chest hair felt as soft and fine as fur. His heart thumped against her fingertips in a drumbeat of sexual need.

God, he was big. Even bigger than her stepfather...

The flashback hit.

Miranda started to snatch her mother’s limp body into her arms, only to freeze, afraid to touch her and hurt her even more. “Call 911!” she yelled at her stepfather.

“It’s too late.” Gerald Drake sounded utterly indifferent for a man who’d just murdered his wife with one blow of his fist. Easy enough to do, since he was in Direwolf form, and Joelle had not even dared to transform. “She broke her neck. She’s dead.”

He bared his teeth, stalking toward Miranda on clawed feet. Grabbing her by a fistful of mane, he hauled her up away from Joelle’s body, drawing back for another open-handed swipe of his claws. “And I’m not done with you.”

He didn’t notice the short sword shimmering into her hand, but he did when she rammed it into his chest. Miranda’s lips peeled off her teeth. “Well, I’m done with you!”

The memory disappeared back into the depths of her mind like a hit-and-run eighteen wheeler, leaving Miranda dazed in its wake. What the fuck am I doing? Justice is an Alpha Direwolf, just like Gerald, just like Worthington. He…

Justice lowered his head. Before she could obey a howling instinct to jerk away, his mouth touched hers, tender, soft, a bare brush of lip on lip. He didn’t grab her, didn’t shove himself against her to make her aware of how he dwarfed her with all that muscle. Only his lips touched hers, the contact tender, questioning, reassuring.

Hunger carefully tamped down, though she could smell it in his scent, a dark male perfume growing stronger with each second.

Inside her soul, her werewolf nature stilled, protective rage draining. Sensing Justice meant her no harm.

A thought flashed through her mind, hard and sharp as a blade. I can let Warlock and his bastards make a sexual cripple out of me, or I can prove I’m not a victim.

She opened her mouth and let Justice in. Besides, I’m a werewolf. I can heal anything he does to me. I’ve done it before.

His tongue swirled around hers in sweet temptation, silently inviting her to play. She pursued it back into his mouth, letting his mint-and-male taste flood her brain and drown her ghosts.

Passion began to heat her blood like a pot slowly coming to a boil.

Warm fingers found the stiff peak of one breast and traced a slow, tempting circle over the sensitive nipple. Pleasure curled through her, lazy as sun-warmed honey. And just as sweet.

Miranda leaned into Justice with a soft, helpless little moan. And tried not to think about all the reasons this was a really bad idea.

Hope you liked that little taste. I will post more latter.

Angela Knight
www.angelasknights.com

A sample of Chain of Kisses

2011-07-21T16:17:00.004-05:00

My new e-book, book, Chain of Kisses, is out now from Changeling. It's available in Kindle and Nook format, among others. I just wanted to share a little sample of it.

You will find it here:
Chain of Kisses

Be aware, though-- this is short, but it's really, really kinky. There's a wide streak of BDSM in it, so if you don't like that, you won't like this book. In fact, I had to hunt some to find a section of it clean enough to post. As it is, don't read any further if you are under 18. I MEAN IT!!! I'm a momma, so don't make me come over there....

Twenty members of Arles’s crew sat around the octagonal serving tables in the Mjölnir’s mess. As we walked in, their voices filled the room with a cheerful babble of jokes, tech talk, and the usual playful taunts, reminding me of happier days aboard the Valkyrie.

But as they spotted Arles leading me toward the officer’s table, all conversation died away. Men and women alike turned to stare.

No wonder. A length of gold chain led from my jeweled collar to the prince’s big hand, and manacles bound my wrists. My bonds were as finely crafted and gem-studded as any jewelry I’d ever worn, but no one would mistake them for anything but symbols of my sexual captivity.

I lifted my chin and met the curious gazes, freezing my expression into one of cool disdain. I might wear chains, but I was still a royal princess of Swanhilde.

Still, the walk to the captain’s table stung. Women smirked in satisfaction at seeing an enemy so shamed. Men leered at the nipples visible through my filmy thrall tunic. One spacer made a comment that triggered barks of crude laughter.

My hands curled into fists. I wanted to rage at them, but I muzzled my fury and reminded myself of my bargain with Arles. A little shame was a small price to pay for the lives of my crew.

Even as I drew my shoulders back and stiffened my spine, eyes widened all across the room. Everyone promptly found something else to look at. The snap of heads turning to gaze elsewhere looked almost synchronized. What the hell…

Which was when I noticed the tension in Arles’s broad shoulders and his white-knuckled grip on my leash. I couldn’t see his expression -- I walked at his heels -- yet I could almost feel the radiating heat of his anger -- directed, for once, at someone other than me.

I stared at his stiff spine in speculation. Perhaps he was simply a jealous man, yet some naïve part of me hoped he’d felt my shame and silently defended me with a glare.

Ridiculous thought. Why would he care? Especially given that shaming me was obviously the intention behind the sex-thrall tunic and chains.

But as I trailed him across the gleaming faux marble floor to the table reserved for senior officers, I remembered the boy I’d loved. Arles had been an idealist then, devoted to his father’s vision of imperial honor and responsibility.

I’d been five years old the summer my mother had hand-fasted me to Prince Arles. Even then, the tall, handsome fifteen-year-old had fascinated me. He’d been kind, showing me the model starcraft he’d built, even teaching me to fly the little toy around the palace.

I’d proceeded to break one of my mother’s priceless Elderkind vases with a particularly ill-aimed dive. To my astonishment, Arles told our parents he was to blame. Though he suffered his mortified father’s thundering wrath, he didn’t reveal I was the true culprit. And I was deeply grateful.

Queen Zerelda expected her daughters to be worthy representatives of our royal House. Had Arles not claimed responsibility, Mother would have ordered the captain of the Royal Guard to flog me with his sword belt.

It would not have been the first time, nor the last.

From then on I’d worshipped my prince. And that was how I thought of him, My Prince, as though he were a hero from some ancient tale.

We spent hours together in the years that followed, arguing ancient battles and plotting wild strategies to defeat the Fafnar. I came to adore Arles with all the passion in my young heart. Not even Galon had been able to dislodge him.

But Arles was no longer that boy, as I was no longer the foolish girl trembling before her mother’s anger. It was past time I took responsibility for my actions.

I had indeed shamed the royal House of Vanda and voided the treaty that had been in place since our parents had hand-fasted us. It was a good thing Emperor Ragnar had not abandoned Swanhilde to its fate, or the Fafnar would have enslaved my people and wiped out my royal House. They’d done as much on the other worlds they’d preyed upon.

We wouldn’t have had any hope of defending ourselves. Swanhilde’s people were artisans and poets, farmers and philosophers. The Torreans, on the other hand, were the finest warriors in human space, which was why my mother had sought the treaty with Emperor Ragnar to begin with.

My stomach clenched as I considered the fate I’d almost brought down on my world. I deserve anything Arles wants to do to me.

The prince sat down at the server and waved me to the high-backed seat next to his. I settled into the chair, feeling its warm, dark blue padding shift and move around me until it cuddled my body like a living thing. I glanced over the room, lifting my brows. Every seat in the mess was of the same expensive type. “You pamper your crew, Captain.”

He shrugged. “Small comforts are the brick and mortar of crew loyalty. My people are well paid, and I treat them with respect. In return, they never hesitate to follow me wherever I lead.” Arles grimaced. “Including more than one hand-to-hand brawl with the lizards.”

“That couldn’t have been much fun.” Fafnarian warriors are built like biped tanks, more than two and a half meters tall, with armored black hides and claws like daggers. “I’ve had a scuffle or two with them myself. I killed one, but I damned near bled to death doing it.”

That particular lizard had slain Galon, which was why I went after the reptilian fucker with a quark-splitter’s axe. I’d been so blind with rage and grief, it was a wonder I lived through the fight at all.

Galon had been dead two years now, but I still missed him.

Blue brows lifted. Arles eyed me as if he saw far more than I wanted him to. With his sensor implants, he probably did. Finally he nodded shortly and turned his attention to the tabletop menu display.

I watched his clever fingers tap meal choices for both of us. I was not surprised he didn’t ask my preferences. I was his thrall, not a guest, and he wanted to make sure I knew it.

While we waited for the server to produce our plates, the prince propped his elbows on the table and studied me. I decided it was time to own up to my mistakes.

“I was a stupid girl ten years ago, Arles.” I had to force my gaze not to drop. “I know you may not believe me, but I’ve rued my flight every day since. It was cowardly, and I was not raised to be a coward. I have spent the last decade trying to become a woman who could meet her own eyes in the mirror.”

Arles bared even white teeth, not sympathetic in the least. “While my House endured the shit-storm of rumor you left behind -- rumors my enemies used against me to erode my reputation and stain my honor.”

I swallowed. “Yes, I’ve seen the news vids.” The galactic news coverage had been vicious. Reporters brought up my jilting him in every story about his victories.

“And we won’t even mention your sister’s antics once she became my brother’s wife.” The prince grimaced. “Had I not redeemed myself in the Fafnar war, our nobility would have refused to acknowledge me as my father’s heir. You damned near wrecked my career before it even began.”

“I know.”

“Meals are served,” the table announced before I could say any more. Panels in its gleaming surface opened, and the server lifted our food into place.

I picked up my fork, only to put it down again, unable to eat for the tension knotting my belly. “I wish there was a way to make up for my actions.”

“There is.” Arles studied me with a gambler’s cool calculation. “My tour of duty here is done. I’m returning to Tor. If you truly mean to make up for your transgressions, serve as my thrall until I find a wife.”

I gaped at him. It was one thing to parade around his ship on a leash, playing sex games. To do so on Tor, where the news services would beam every juicy detail to Swanhilde… ”But my mother…”

“Yes, I imagine it will be quite the scandal. A Swanhilde princess in bondage to her former betrothed.”

Another woman might have mistaken the nasty curve of his mouth for a smile. “Fortunately, you’ve seen to it that I’m inured to scandal. You, however, will experience the same depths of shame I knew when you jilted me before the whole of my father’s empire.”

I hope you'll enjoy "Chain of Kisses" as much as I did writing it. Thanks for reading!

Best,

Angela Knight

The First Chapter of Hope's Kiss

2011-07-15T07:08:00.003-05:00

My new e-book, "Hope's Kiss," is now available from Red Sage. Here's the first chapter. If you're interested in buying the book you'll find it here: Hope's Kiss.

In the meantime, enjoy the sample...

He was naked, covered in blood, and lying in the floor of a steel cage.

She’d still know Mark Wilder anywhere.

Detective Hope Barton scanned the room from the bottom step, eyes flicking from the cage to the bloody wooden table beside it, to the shackles that hung from blood-splattered cement walls.

The big, dimly lit basement reeked of murder: body fluids, rotting gore, and helpless suffering. Her stomach heaved, but Hope had been a violent crimes detective for two years, and she’d stood over her share of slaughter. Swallowing hard, she forced her dinner back where it belonged and did her job.

“Mark.” Hope strode toward the cage, ignoring the sticky puddles drying on the cement underfoot. She was too busy scanning the room for the key to his cell. There was no sign of one, dammit. “What the hell happened to you?” When he didn’t move, she raised her voice in a cop’s bark. “Mark!”

He stirred and lifted his head from the cage’s dirty floor. One dazed green eye met hers under a shock of matted blond hair. Blood and filth streaked his face, his lips were cut and bruised, and his left eye was swollen shut.

Somebody had beaten the crap out of him. And judging from his bloody knuckles, he’d fought back hard. Which was no surprise. Mark never took anything lying down.

Her gut twisted. How was she going to get him out of here? She grabbed the thick iron bars in both hands. “Mark…” “Mark, it’s Hope.”

For a suspended instant, he stared at her without any recognition at all.

Until he roared with a tortured animal howl and leaped at her in an impossible eight-foot bound. Pure reflex had her jolting back, barely dodging his hand as it shot through the bars.
How did he do that? Nobody could jump like that!

Mark’s lips peeled off snapping teeth, his powerful body straining to reach her with fingers curled into claws. His bare, bloody feet thudded on the bars as he kicked them savagely, trying to bend the steel. His one good eye glittered in frenzy.

He has fangs. She froze, staring at his sharply pointed canine teeth. Sweet God, Mark has fangs!

He sure as hell hadn’t had them in high school. She’d put her tongue in his mouth often enough to know.

As he bellowed and clawed, Hope damn near drew down on him. She managed to drag her hand away from the grip of her shoulder-holstered 9mil. Glock, but it took an effort. I’m not going to shoot Mark Wilder.

God, she ached to call for backup, but she no longer trusted anyone in the department.

Mark finally stopped howling. Clinging to the bars, he stared at her, his good eye feral and desperate, like a wolf’s with one leg in a bear trap. Recognition flickered in his gaze. “Hope?”

His voice sounded broken, raspy, as if he’d been screaming. Screaming for a very long time.

Pity raked at her heart, along with a certain tense relief. At least he’d recognized her. “Yeah, it’s me.” She gave him a twisted smile. “Guess you were right. There is a vampire in Reede County.”

“Told you.” He closed his eyes and gritted his teeth as if fighting some powerful urge. “I warned you…what he was.”

Yeah, but she’d thought he’d lost his mind. The story he’d told her last week had certainly sounded crazy.

* * * *

They’d been working their way through a pizza in his den as Blade Trinity roared away on the big flat-screen television, Wesley Snipes killing vampires with a fanged snarl and flashing arcs of his sword.

It was a DVD choice Hope later realized was deliberate.

She’d folded a slice of the pizza and was about to take a healthy bite when Mark said, “I know who killed Joy.”

Hope dropped the slice back on her plate. He’d said he had something to tell her when he’d invited her over, but she’d had no idea he’d meant anything like this. He looked tense, as if he dreaded telling her whatever he had in mind, his green eyes narrow and wary. “I’m listening.”

“Patrick Stone came to my folks’ house the night after Joy died.”

“The tent revival preacher? You think he killed your sister?” Sexual predators often assumed religious covers that gave them access to victims, and they moved around a lot to keep from getting caught.

“Yeah. We thought Stone was going to offer to pray with us or something, like my folks’ pastor had.” Mark braced his elbows on his knees. A muscle in his jaw flexed as he bit off the next words. “Instead, the fucker told us all to forget about her, that she was nothing but a little slut.”

“Oh, my God. He said that to your parents? So how hard did you kick his ass? And how many punches did your daddy get in?” She grinned, imagining Ted Wilder’s reaction to anybody saying something like that about his little girl. Preacher or no, Ted would have taken the guy apart.

“None. Dad believed the bastard. They both did.” Mark’s big hands flexed between his knees.

“What? That makes no sense. What did you do?”

“Invited Stone outside and tried to knock his teeth down his throat. He blocked every punch, tossed me on my ass…” Mark stopped and took a deep breath. “And then he told me he was a vampire. Showed me his fangs and told me exactly what he did to Joy. In sickening detail.”

“He actually had false teeth made to look like fangs?” That would explain the puncture marks in the victims’ bite wounds.

“No, Hope. He really is a vampire. He said that’s how he made my parents believe him -- he’s got psychic abilities no human can resist.”

A chill raced over her skin, and Hope had to work to keep her face expressionless. On the screen, Wesley showed his fangs in a flash of white against his dark skin. “Let me get this straight. You believe your sister was murdered by a vampire?”

He didn’t look away. “I know how crazy it sounds, but yeah, that’s exactly what I believe.”

* * * *

It had to be Post Traumatic Stress. Mark had just left the Marines after ten years in Afghanistan and Iraq as a demolition specialist. A decade of that would give anybody PTSD.

Except it hadn't been the trauma talking. Every word of his wild story had been true.

“Talk to me, Hope,” Mark begged in a ragged voice, leaning against the bars as if all his furious energy had abandoned him. “Help me hang on, or I’m going to lose it again.”

She studied him, frowning. His face was white and bloodless, his lips pale.
“What do you want me to say?”

“Anything. Just talk to me.” He closed his good eye and pressed his forehead against the bars. “How did you find me?”

“Your parents came by the Sheriff’s Office yesterday.” The Wilders had known Hope for years, so they asked for her whenever they needed a cop. “They told me they hadn’t seen you in a week. At first they’d thought you’d just forgotten to call, but when your father kept checking your house and you never came home, they got worried.”

He grimaced. “I’ll bet they’re going out of their minds, after what happened to Joy.”

“Pretty much. Which is when I decided to question Stone after last night’s revival, something I damn well should have done when you said he killed Joy.”

“Hell, I wouldn’t have believed me either.”

Hope turned and began to pace, trying to work off her outraged energy. “You know, Stone actually ordered me to forget those women, as if he expected me to obey him.”

“He did. And you would have, if you’d been an ordinary human.”

She decided not to ask what the hell he meant by that. She wasn’t sure she wanted to know. “So I started asking questions. One of the women from the church hosting the revival told me she’d loaned Stone her mother’s house. The mother’s been dead a year or so, and this lady hasn’t been able to sell the place.”

“And she never will when word gets out about this.” He gestured at the blood-smeared cement.

“Then this morning, Sheriff Williams called me into his office. Said to quit wasting my time with animal kills and get back to work on my caseload. But animals don’t leave finger shaped bruises, and those were human bites, no matter what the coroner said.” Hope turned to face Mark, her hands curling into fists. “Thing is, I’d discussed the cases with the sheriff just the day before, and he’d agreed they were homicides. It was just like you said -- Stone had done something to his mind.”

“Bastard’s got a lot of power.” Mark straightened abruptly, as if someone had goosed him with a Taser. His good eye widened in panic. “What time is it? Is Stone here? You’ve got to get the hell out, Hope, or he’ll…”

“Relax, tonight’s service just started. Which is why I decided to drop by and check out the house, even though I didn’t have a warrant.” She curled a lip at the blood splatter that painted the cinderblock walls. “I smelled the stench of this dungeon of his all the way out on the porch. Instant probable cause. I kicked in the door and followed the reek.”

“For all the good it does either of us.” Mark wrapped his bruised hands around the bars and stared at her with desperate intensity. At least he seemed to be tracking now. “Hope, you can’t touch Stone. Even if you managed to arrest him, all he has to do is use his powers on the sheriff and he’s out the door. Given his strength, I doubt you could bring him in at all. And I don’t want him to get his claws into you too.”

She moved back over to the cage, staying just out of reach in case he tried to grab her again. “How did you end up like this?”

“I was dumb enough to challenge him at my folks’ house.” A bitter grimace twisted Mark’s mouth, and the knuckles of his fists went white from his grip on the bars. “He told me later that’s how he knew I’m Kith. He almost grabbed me that night, but he decided to wait, think it over. Then like a moron, I showed up here and got myself caught.”

“Wait.” Hope frowned. “What the hell’s a Kith?”

“That’s what vamps call people with the psychic strength to survive becoming a vampire.” Mark leaned his forehead against the bars and closed his eyes. The hollows beneath his striking cheekbones looked deeper, as if he was growing gaunter before her eyes. “The same strength makes us immune to a vampire’s orders, so that’s how they recognize us. Which is how I became a monster.” His good eye opened, meeting her gaze in a blaze of urgent green. “And that’s why you need to stay the hell away from him.”

“And let him go on killing?” She snorted. “Not very damned likely.”

“Hope, Stone thinks you’re Kith too because you refused to back off the case. He’s thinking of turning you. And you don’t want to become that bastard’s toy.”

“Fuck.”

“Yeah.”

Hope reached for the cell phone clipped to her belt. No matter what, Mark needed medical attention. He was in shock, suffering from blood loss and God knew what else.

He straightened in alarm. “What are you doing?”

“Calling dispatch for an ambulance.” She started thumbing buttons. “You need treatment. The Rescue Squad carries equipment that can cut into a car. They can slice open those bars.”

“I’d kill them, Hope. I’d kill them all. And you too.” His gaze haunted and urgent, Mark stared desperately into her eyes. Even his tongue looked dry as he licked his lips. “Stone hasn’t given me enough blood. I’m starving. I wouldn’t be able to control myself.”

Hope froze with the phone halfway to her mouth as she stared at him. And finally started to think through the implications. Even if the team managed to subdue Mark -- maybe by drugging him -- what then? He was a fucking vampire. Half an hour after he went to the hospital, he’d be on CNN.

Somebody would shoot cell phone video of his fangs and a few choice shots of this chamber of horrors. And he’d be screwed.

Meanwhile Stone would return from his tent revival, where he was probably choosing a sixth blonde from among the worshipers. Another woman to rape and murder.

That bastard needs to die. It wasn’t the first time in Hope’s law enforcement career she’d had that thought, but it was the first time she intended to carry it out.

She clipped the phone back on her belt with a hand that shook. It had been too damn long since she’d slept, or had anything to eat beyond stale cop coffee and candy bars. Being the lead investigator on five serial murder cases would do that to you. Especially when the killer’s a fucking vampire.
“All right. What do you think I should do?”

His good eye lit with hope, and he stepped closer to the bars. “Go to my house. Look in the garage, under the blue tarp. There are eight pipe bombs and a detonator I built to look like a ball point pen…”

“Wait -- bombs? Pipe bombs?” She stared at him, incredulous. “Do I look like a suicide bomber to you?”

“I’m not talking about blowing yourself up. I sure as hell don’t want you dead. Just Stone.” Mark’s bruised hands wrapped around the bars, and he stared at her with desperate intensity, as if willing her to listen. “I’ve already built everything you need. All you have to do is position the devices, get the hell away, and press the detonator.”

“What if somebody sees me, Mark? They’d think I was some kind of psycho, killing a preacher for giggles. They’d never believe he was a vampire. I’d go to jail for the rest of my life.”

“I know, I thought of all that too. Thing is, it’s the only way to be sure of killing him.”

“What about a stake through the heart? It’d be a hell of a lot less complicated.”

“And a lot more risky.” Mark released the bars and started to pace in long, urgent strides. “What if he woke up before you finished? Hell, we don’t know whether a stake would even work. It could be a myth, like the one about crosses. Holy objects obviously don’t bother him, or he couldn’t be hanging out in churches, waving a Bible.”

Hope grimaced. “Good point.”

“But I’m damned sure those bombs would do the job. That’s why I took the risk of telling you what he was. I knew you wouldn’t believe me, but I wanted you to know why I’d blown the house. Unfortunately, I made the dumbass mistake of casing the house at night, and Stone caught me.” He stopped pacing to rest his forehead against the steel and closed his good eye. His normally healthy tan had leached away, leaving him pale beneath the bruises that spotted his broad shoulders. “Next thing I knew, I was in this cage, slowly starving to death. You and those bombs are the only hope we have of stopping him now.”

Well, at least it was a plan. A crazy plan, but a plan. Hope scrubbed her hands over her face. They were trembling hard now. “So what do I do?”

FROM MILD TO WILD: CREATING SEX SCENES THAT ARE MORE THAN THE SAME OLD BUMP AND GRIND

2010-12-30T05:40:00.002-05:00

Here's a sample lesson from my class on writing love scenes
Introduction:

By Angela Knight

If there’s one aspect of romance that we as a genre have trouble with, it’s love scenes. After all, many of us grew up being told that when it comes to sex, “Good Girls Don’t.” Or if they do, they’re not supposed to like it.

In reality, I think we’d all agree that a sexless marriage would be arid and dysfunctional. Not to mention doomed; what man is going to put up with a wife who doesn’t like sex? Yes, he may love her, but if she hates his body and hers to that extent, somebody’s in desperate need of some serious therapy. And what kind of husband would force his wife to do something she hated? I think the technical term for that is “rapist.”

We don’t publish that sort of thing anymore.

Of course, you could create a heroine who is sexually screwed up to that extent, but readers would expect her to have her head on straight by the end of the book. Otherwise, your couple is not going to get that promised “Happily Ever After.”

Thus we have to assume our heroines like sex with their handsome heroes, no matter how virginal they may be, even in sweet romances where the bedroom door remains firmly closed.

So our heroines do enjoy sex.

It’s romance novelists who don’t.

Or at least, many of us don’t like writing about it. All together now: “It’s just Tab A in Slot B!”
I’ll grant you, the mechanics of sliding Tab A into Slot B may be the same, but only if you leave out characterization, emotion and the development of the romance.

My husband and I have been married for 26 years now, and I have no idea how many times we’ve made love. But every single time is different, depending on what happened that day, what mood we’re in, and what we decide to do to spice things up.

Strawberries, anyone? Whipped cream? No chocolate, though: it gave me a rash last time....

THE CRAFT OF LOVE

As a writer, I pride myself on writing love scenes that are vivid and emotionally intense. Readers read romance because they want to experience – or re-experience – the humming thrill of falling in love with an incredible, sensual man.

In fact, romance novelists who expect to find success must pay more attention to love scenes now than ever before. The newest generation of readers were raised on MTV and Sex in the City, and they do not expect us to primly hold back because we’re afraid of being called sluts. They want us to show them what amazing lovers our heroes are, not just tell them that everybody had a really good time. What’s more, editors know that, and they’re looking for writers who are not afraid to deliver.

But selling books is not the only reason to write good sex. Love scenes provide writers with a way to depict emotional intimacy and romantic intensity with a power that can’t be achieved in any other way.

What’s the first law of writing good fiction? “Show, don’t tell.” There is no better place to show the sweet flowering of a romance than in bed. That’s where our characters are most naked – and not just physically.

Think about it. Why do sex scandals grab headlines? It’s because we all know that a person’s core character is revealed by what he does in bed – or in a men’s room. He can make speeches about family values all he wants, but if he says he’s hiking the Appalachian Trail when he's not, we know what’s really going on in his head.

The way our heroes and heroines make love tells us volumes about what they think of themselves and the opposite sex. If they’re tender and concerned for the other person’s pleasure, that says something. If, on the other hand, all your hero is interested in is his next orgasm, that says something too.

Even more revealing is the way in which his lovemaking changes throughout the course of the book. Yes, he may know how to make a woman’s toes curl from page one, but how does making love to this particular heroine effect him? Does his concern for her pleasure increase until his focus is solely on her joy rather than his own? That says volumes about his evolution as a hero. And it also tells you a great deal about how the romance has grown.

GROWING THE ROMANCE

Every scene in a romance must do one of three things: develop the characters, develop the internal or external conflicts, or develop the romance. Otherwise it should be cut.

That definitely includes the love scenes. You can write the most sizzling scene ever put on paper, but if all it does is give the reader a thrill, it should be either rewritten or cut.
If there’s one mistake I see erotic romance writers make, that’s it: love scenes that don’t do anything. Sex scenes that are only there to give the reader a buzz may be fine in porn, but that’s not what we’re writing.

The focus in a romance is always the romance: the growth of love between two people, with all its rocky missteps and luscious pleasures.

Which is why traditional romances with three-page generic love scenes are every bit as bad as pointless erotica. If you’re including a love scene solely because your editor demands it, you’re doing something wrong. And you’re missing a golden opportunity to advance your story.

It’s my intention with this class to demonstrate how to craft love scenes that make your romance truly romantic.

Over the next month, I will post a total of fourteen lessons, one each Monday, Wednesday and Friday. You are welcome to ask questions whenever you like, and I will do my best to answer.

Lessons will include:

The three functions of love scenes in romance
Character development
Heroes
Heroines
Mapping the romance with love scenes
The First encounter
Middle encounters
Last love scene of the book
Conflict
Creating appropriate levels of sensuality, whether for erotic romance or traditional
Sensual detail
C, F and P words – what language should a romance writer use?
Conclusion

I hope you find the class useful, as well as good fun.

Now, if you'd like to sign up for the class, it will cost $20 for non-members of Colorado Romance Writers, which is hosting the class. Members will pay $15. Class lessons will be posted in a special online forum, where you can also ask questions. You can have the lessons mailed to you too.

If you want to sign up, you can do that here:
http://www.coloradoromancewriters.org/

Click the workshop tab, which will take you to the sign-up area.

Thanks so much for your interest in my class!

Angela Knight

I'm teaching a class on writing erotic romance!

2010-04-24T11:49:00.003-05:00

Hi, guys! A lot of people have asked about my class on writing erotic romance. I'm going to be teaching a new class in May. Here's information from Passionate Ink, the RWA chapter on erotic romance, which I'm teaching the class for. You don't have to be a Passionate Ink member to join.

Special workshop to fund the Passionate Ink Perseverance Fund* – WRITING EROTIC ROMANCE with Angela Knight May 3, 2010 – May 31, 2010 $25
In this class, New York Times bestselling author Angela Knight will discuss the techniques of writing erotic romance she used to make the leap to New York publication. She’ll cover creating heroes heroines and villains for erotic romance, as well as how to structure a plot that combines sexuality, sensuality and conflict to create a story readers can’t put down. She will discuss creating intense internal, external and romantic plots for erotic romance, as well as how to write multiple love scenes in such a way that each one is different and advances the plot.

About the presenter : Angela Knight is the New York Times bestselling author of books for Berkley, Red Sage, Changeling Press, and Loose Id. Her first book was written in pencil and illustrated in crayon; she was nine years old at the time. A few years later, she read The Wolf and the Dove and fell in love with romance. Besides her fiction work, Angela’s publishing career includes a stint as a comic book writer and ten years as a newspaper reporter. Several of her stories won South Carolina Press Association awards under her real name.

In 1996, she discovered the small press publisher Red Sage, and realized her dream of romance publication in the company’s Secrets 2 anthology. She went on to publish several more novellas in Secrets before editor Cindy Hwang discovered her work there and asked her if she’d be interested in writing for Berkley. Not being an idiot, Angela said yes.

Whatever success she has enjoyed, she attributes to the marvelous editors she’s had over the years. David Anthony Kraft and Dwight Zimmerman at Comics Interview taught her the nuts and bolts of fiction writing. Alexandria Kendall of Red Sage discovered her talent for romance writing and encouraged her to believe in herself. And she will be forever grateful to Berkley editor Cindy Hwang, who has been unfailingly supportive.

Angela lives in South Carolina with her husband, Michael, a polygraph examiner and hostage negotiator for the county’s Sheriff’s Office. The couple have a grown son, Anthony.

You can find out more about Angela at her website – http://www.angelasknights.com/

For more information: workshopchair@passionateink.org

To Pay Online : Using PayPal (PayPal), send payment to perseverance@passionateink.org with “WORKSHOP – Perseverance” as the subject. In the “message” section, include Your Name and Email Address.
Cost: $25 To pay by check, print this page and send with a check to Passionate Ink Workshops – Perseverance c/o Robin L. Rotham P.O. Box 2412 Norfolk, NE 68701

*100% of all entry fees from this workshop will go to fund the Passionate Ink Perseverance Fund. The purpose of the fund is to assist those RWA members who may be facing difficulties paying their Passionate Ink chapter dues. Payments from the fund will be governed by the chapter’s bylaws, and policies and procedures manual. All funding will come from directed donations.

Thanks!

Angela Knight

HOT FOR THE HOLIDAYS

2009-09-20T10:20:00.003-05:00

On Sept. 29, the anthology HOT FOR THE HOLIDAYS will be out. It features novellas by me, Lora Leigh, Anya Bast and Allyson James. My story, "Vampire's Ball," should be interesting for people who like the Mageverse series, since it kicks off the next Mageverse story arc.

The story also features Grace and Lancelot, from previous stories. I'm pretty excited about it. Here's a little blurb:

Kat Danilo’s childhood turned tragic when her sister become the victim of a serial killer. Years later, she gets a chance at justice when she discovers she’d the daughter of Lancelot, vampire knight of the Round Table. But first, she’s got to convince a handsome vampire warrior that she’s worthy to gain the magical powers that are her birthright – powers that might help her find her sister’s killer.

If the murderer doesn’t find her first....

****
And an excerpt:

She rose on her tiptoes, caught the back of his neck, and drew his head down until she could reach his mouth. It was a surprisingly tender kiss, less an act of passion than an offer of comfort.

Her lips felt exquisitely soft as they brushed over his, a delicate seduction. She started to draw back.

Ridge caught her nape, felt the cool silk of her short hair against his fingers, impossibly soft. Opening his lips, he deepened the kiss, drinking in her taste, savoring the sweet comfort she offered.

Kat responded with a tiny moan, a whimper of breath against his mouth. She leaned into him, the silk of her gown warm from her body, her breasts lush and full against his chest. Her long legs moved restlessly, brushing his thighs.

Her scent filled his head, some delicate perfume tinged with jasmine. And beneath that, the heady musk of female arousal. He hardened in a hot, sweet rush, his balls going tight.

Vampire hearing picked up the rush of her pulse, the sea tide of her blood. His fangs slid from their housing in his jaw. He bent his head, nuzzling, and she tilted her chin, giving him access to the big, pulsing vein . . .

What the hell am I doing? The thought blew through the smoky heat of his arousal, chill as a sudden draft. Ridge blinked.

Oh, hell, he was losing it. If he didn’t stop this, he’d be balls-deep in her and coming before he knew what hit him.

And that was a really bad idea. Tempting, yes—Merlin’s Cup, he was tempted—but there was no way he could maintain his objectivity if he banged the girl.

No, not banged, a voice whispered from the back of his brain. Nothing with this woman would be as simple as a bang. Kat Danilo wasn’t the kind of woman a man used for meaningless physical release. She might draw you in with that pretty body, but she’d snare you tight with her intelligence, with her questing mind and dry wit. Not to mention the subtler temptations of shared grief.

That might be the most dangerous snare of all.

SKYKEEPERS

2009-08-13T16:28:00.001-05:00

My buddy Jessica Andersen has a new book out this week, and I'd like to encourage y'all to take a look. I love Jess's work, and I think you will too.

Hey gang! Today we’re talking about a new release and recommended read, Jessica Andersen’s SKYKEEPERS.

Check out the video trailer: www.youtube.com/user/DocJess1

The word from the back cover …

Ancient prophecy holds that 12/21/2012 will bring a global cataclysm. Mankind’s only hope lies with the Nightkeepers, modern magic-wielding warriors who must find their destined mates and fulfill the legends to defeat the rise of terrible Mayan demons.

In Skykeepers, Michael Stone is a man with a dark secret that has skewed his magical abilities dangerously toward the underworld. Seeking redemption, he sets out on a perilous mission to save the daughter of Ambrose Ledbetter, a renowned Mayanist who died before he could reveal the location of a hidden library. The Nightkeepers must find the library before their enemies gain access to its valuable cache of spells and prophecies.

Sasha Ledbetter grew up hearing heroic tales of an ancient group of powerful magi who were destined to save the world from destruction. She never expected that her bedtime stories would come to life in the form of Nightkeeper Michael Stone, or that she’d hold the key to the warrior’s survival. As Sasha and Michael join forces to prevent the imminent battle, sparks of attraction ignite between them, and they’re forced to confront the unexpected passion that brings them together … and also tears them apart.

And an excerpt!

He’d thought he’d steeled himself for the familiar kick of attraction, the lust that hadn’t faded with their becoming lovers. But need hit him hard the moment he saw her stretched on her tiptoes to return a bowl to a high shelf, her midriff-cropped tee riding up, yoga pants riding down, the two exposing a strip of her taut, strong abdomen, with the soft lines of muscle on either side of her navel, where a trio of freckles drew his eye.

She turned slowly, and when she met his eyes, he saw a reflection of the burning heat that churned in his gut. “Well?” she said softly.

His body moved almost without conscious volition around the pass-through and into the kitchen, where he stopped close enough to catch her light scent over the cooking smells, close enough to distinguish the heat of her body from that of the stove. “What’s cooking?”

She handed over the mug she’d been sipping from. “It’s something I’ve been playing with.”

He knew she had magic in the kitchen, knew she wielded flavors with the deftness of a trained chef and the inspiration of a mage, but still he was unprepared for what hit his taste buds the moment he took a sip. Sensations exploded across his neurons in a blaze of heat, texture, and taste that had him sucking in a breath. There was chocolate, yes, but it was more savory than sweet, taken away from the realm of dessert by a mix of peppers and salt, and things he wouldn’t even begin to match with chocolate, but that somehow matched perfectly. He sucked in a breath. “Holy crap.” Took another sip and rolled it around in his mouth, closing his eyes briefly as the flavors changed subtly, the peppers mellowing to something else. “Nice,” he said, and this time his tone was one of reverence. “Very nice.”

“That,” she said with evident satisfaction, “was exactly what I was going for.”

Eyes still closed, he felt her trying to take the mug back, and tightened his fingers on it. “Leave it,” he said. “I’m at your mercy. Anything you want. Just ask.”

He’d said it partly in play, but also because he remembered what she’d told him back in the beginning, on her first day at Skywatch. I cook when I’m happy or sad, when I’m celebrating with friends or all alone with my thoughts. Which of those things applied now?

He felt the air shift, felt her indrawn breath as his own, but instead of “we need to talk” or any of the female warning signs experience had taught him to expect, she surprised him by leaning in and touching her lips to his.

The kiss was as unexpected as the hint of pepper and spice he tasted amidst the chocolate on her lips, in her mouth. Setting aside his mug, he deepened the kiss, relieved to let it be easy even though a small part of him said it shouldn’t be so easy, that he was skimming the surface of something he needed to be diving into. But then she shifted her hands, sliding them up his chest to link behind his neck and tug him closer, pressing her body to his, and the vibe went true, singing inside his skull with the warm sparkle of red-gold magic.

“Come back to bed,” he said against her mouth. “We’ve got a few more hours to burn.”

***

What reviewers are saying about SKYKEEPERS:

“… intricate and compelling … I can hear their voices, feel their thoughts, and yes, music plays. Seriously, there is a soundtrack going on in my mind and I see her world in Technicolor.” Romance Novel TV

“An exciting, romantic and imaginative tale … guaranteed to keep readers entertained
and turning the pages.” Romance Reviews Today

“… a compelling and passionate lovestory.” (4 1/2 stars) Romantic Times Magazine

In stores everywhere! FMI, check out www.JessicaAndersen.com

AK

My Dad

2009-07-08T08:16:00.003-05:00

Hi, y'all. I hope you'll forgive me for some shameless Dad Promotion. He's a builder in South Carolina, and he's been building gorgeous houses for 40 years. Unfortunately, the market sucks dead frogs. He's not really computer savvy, so my sister and I coaxed him into hiring Creations by Kendra to design a new website. Here it is -- What do you think?

http://www.paulkleebuilder.com/

My new Mageverse novel!

2009-04-10T17:22:00.003-05:00

I've been getting a lot of questions from people wondering if I'm going to continue the Mageverse series. As a matter of fact, I'm currently hard at work on MASTER OF FIRE, which features the Logan MacRoy, the son of King Arthur and Guinevere.

I really like this guy. He was inspired by a real person, Lt. Ashely Harris, forensic chemist with the Spartanburg County Sheriff's Office. Ashley is a good friend of my husband, and he's also a really cool human being. Most forensic chemists for Southern departments just test drugs, but Ashley is also a member of the bomb squad and an arson investigator. He also helps out on my husband's hostage negotiation cases by driving the department's 400-pound robot. (Which is operated by remote control.) He uses the robot to deliver phones to hostage takers or handle bombs.)

At one hostage case, the hostage taker was threatening to shoot the robot. Ashley, using the robot's PA system, said, "Man, let me get my robot out of here! Don't shoot me! I'm just the robot driver!" The guy let the robot go, and they got him to surrender.

Ashley's birthday was last week. One of his friends had a banner made with the words, "I'm just the robot driver!" There was also another sentence: "19 second man." I need to find out what that means.

Anyway, Ashely let me spend a week following him around on his job. He showed me the robot and the huge green bomb suit, (designed to be worn while disabling bombs.) He showed me how to test cocaine and crack and meth samples, and spent hours helping me design death traps for my hero and heroine to face. Yesterday we came up with a truly horrible situation which should have readers on the edge of their seats.

And when he's not doing all that, he builds Habitat For Humanity houses with his church youth group. And runs with his wife, who is a marathon runner.

What a cool guy, huh?

Oh, by the way -- my next book will be coming out on May 5. It's the second book of the TIME HUNTERS series, and I think you'll really like it. More about that later.

Best,
Angela Knight

Angela Knight teaches an Action Sequences Workshop!

2009-03-27T09:13:00.003-05:00

Hey, guys! I will be teaching an online workshop on writing action sequences in April. If you'd like to sign up, it's here:

http://www.carolinaromancewriters.com/

Hope you'll join me. Should be a good class. I've never taught this one before, so it will be new material.

Angela Knight

Making a living wage as an e-book author

2009-01-18T13:14:00.000-05:00

By Angela Knight

One of the hardest problems for writers is the question of how to support yourself. I am going to be blunt, based on my experience as a writer over the past 12 years.

First off, writing is not a way to get rich quick. Some really lucky people – like me – are able to support themselves really, really well as writers, but the majority are not that fortunate.

I have been writing erotic romance professionally for 12 years. Of those 12 years, I have only been able to support the family on my income for the past three. The other nine was spent getting to this point. Then there were the eight years prior to that when I was working intensively on learning how to write romance and erotic romance and getting my work rejected.

Yeah, you’re right. That’s 20 years of work.

Now, the point of this blog is not to tell you that your dreams are a waste of time, or that you won’t be a success for 20 years, because I do not believe that. What I want to do is tell you what I discovered by trial and error that worked for me, so you can do these things NOW and make your dreams come true a little faster.

So here goes.

First, learning to write takes time. People look at your average category romance and think, “Boy, this is a piece of crap. I could do this. Hey, romances are just a formula, right? Just plug in a girl and a boy, and sex, and at the end they get married and live happily ever after. I write that and boom-ya – I’ll make a ton of money.”

Yeah, people say that. But people are IDIOTS. As they quickly discover when they write that simple formula and it gets rejected by every editor in New York. A good story involves writing smooth, clean, clear prose that is lyrical enough to be interesting; heroes and heroines with internal, external and romantic conflicts just serious enough to be resolved in the story’s length; minor characters who complicate the heroes’ lives; a villain who appears too powerful to be defeated, and yet who IS defeated believably; and a romance that inspires the reader and causes her to dream.

That’s a lot of stuff to do in 400 pages. Doing it well is even harder. So you need to practice shorter pieces that are simpler to do. My first published work was a three-book comic book mini-series, which is about as stripped down as prose gets.

Write a series of 20-page love scenes, then stories about a character solving a particular problem in 20 pages. That will teach you a lot, because once you can do a 20-page story that works emotionally, you have jumped the first hurdle. Then SAVE those stories, because you can use them later.

Then write longer stories – 50 pages, 100 pages, 200, 400. Learn how to construct a plot for longer lengths.

Join a critique group online. In my case, I did this in 1990, which was before the widespread Internet. I found a bulletin board for erotica writers called Cat 9. I submitted my stories and read other people’s stories, and I listened to the reaction I got. I paid attention to the criticism and worked on making my stories more erotic. I read and critiqued other people’s stories and learned from THEIR mistakes.

I wrote about 20 or so short stories for Cat 9, and I had a ball doing it.

Then in 1995, I saw a flyer at a convention for a little company called Red Sage, which was acquiring erotic romance novellas for a collection called SECRETS. I had just had a crushing rejection from a Harlequin editor, so I was really depressed. But I thought, “Hey, I know I can write erotica! Why not give it a shot?” So I did. Within a week, I got a delighted call from the publisher, Alexandria Kendall, who bought the novella. I proceeded to sell her several more novellas and a novel. This started building the core of my fan base.

Then in 2001, I started a very, very small Yahoo group (only 25 people at first). I took all those kinky short stories for Cat 9 and posted them on my yahoo group. All the sudden, people started joining my group in droves. Today there are almost 2000 people on that group. Give people free erotica, and they will come. The addy is: http://groups.yahoo.com/group/angelaknight/

I had to take the stories down eventually, because I sold them to Berkley in a two-book deal that will eventually be published under another name. Not bad for a bunch of smut I wrote as a learning exercise.

Now, that little yahoo group helped me in another way. When I stared publishing e-books, I’d announce that a book was coming out, and every soul on my Yahoo group would flood the site and buy the book. This was really early in e-pubbing, so at that time, 100 sales in a day was a serious triumph. In fact, my group has been known to break shopping carts. I am proud of that.

My first e-book was called BODICE RIPPERS, published by Renaissance E-books. It was, by the way, my three favorite Cat 9 stories, rewritten. My publisher e-mailed me the day the book came out, astonished, because my group pounced on Renaissance and bought the hell out of it. I was very pleased.

I didn’t make a lot of money off it, but packaging those stories was the smartest thing I ever did.

A month later, my publisher e-mailed me again. “Hey, somebody from Penguin Putnam just bought your book.” It turned out to be Cindy Hwang, who had read my Secrets books from Red Sage. She was looking somebody who could write romance in a hot, erotic way, and BODICE RIPPERS convinced her I could do that. She later said something to the effect of, “If you could make those pieces of smut romantic, you can write erotic romance.”

She e-mailed me and asked if I’d like to write for Berkley. I, of course, said yes. I submitted two story ideas I wrote THAT WEEKEND, and she bought them. (All that practice writing stories paid off in allowing me to brainstorm the ideas really fast.) Those ideas became the Mageverse series and the Warlord series, and now I’m making a hell of a lot of money off both of them.

My point is that none of the short stories I wrote was a waste of time. I learned from writing those stories, building my writing skill. Then I used those stories and the Internet to build my fan base, which was one of the things that attracted Cindy Hwang. She figured if I could build a good fan base with the small exposure I had, I could build an even bigger one with the big print runs of New York.

You can do the same thing. You just have to be willing to work.

Take your short erotic fiction to publishers like Changeling Press, which specializes in works of 12,000 words or about 50 pages. http://www.changelingpress.com/ Buy a couple of their e-books, see what they publish and if your work fits. Follow their submission guidelines here: http://www.changelingpress.com/submissions.php

I like Changeling because they publish short works, they have good editors, and they won’t screw you. This is a key point, because a lot of authors have been screwed by publishers (including me.) You want an honest one.

Next, you need to concentrate on getting a lot of books written. Write five pages a day every day, and write as many books as you can back to back. Writing is like everything else: you get better with practice.

If you would like detailed advice on writing, there are a lot of books out there. One of them is by me: PASSIONATE INK: A GUIDE TO WRITING EROTIC ROMANCE, here:
http://www.amazon.com/Passionate-Ink-Writing-Erotic-Romance/dp/1596323906/ref=sr_1_41?ie=UTF8&s=books&qid=1232300373&sr=8-41.

The more books you write, the faster you write them (as long as you don’t sacrifice quality for speed) – the more chances you give readers to discover your books. Then once they read one of your books, they’ll go out and buy more.

The first month an e-book is out is when you make the most money. Back several years ago, I’d make about $800 that first month a book was out. (Most e-publishers pay monthly, instead of every six months, like print pubs.)

After that, I found I’d make about $100 a month per book. So to support myself, I figured I’d need about 20 e-books out to make $2000 a month.

Back before she became a New York author Lora Leigh was the Nora Roberts of e-publishing. She had a lot of books and a huge fan base, and she made serious money as an e-book author. That’s really the key.

So work your ass off. Find a publisher like Changeling or Loose Id at http://www.loose-id.net/ (They’re great for longer fiction.) Get yourself a yahoo group, give away stories to build your readership, then write a lot of books. And use the internet, which is the best low-cost advertising means possible to promote your books.

You’ll probably need a day job to support yourself, but eventually, you will find yourself with a very nice second source of income. I can’t tell you whether you’ll be able to support yourself solely off your writing, because that’s up to you. It’s certainly possible.

Best of luck!

Angela Knight

Piracy

2008-12-21T12:38:00.002-05:00

Recently, I've read the discussion that says downloading pirated e-books is no different from taking a book to a used bookstore, or checking out a book from the library.

This is faulty reasoning.

The difference between USBs and Libraries and Pirate sites is that libraries and whoever took the book to the USB bought the book. It's ONE COPY. That $7 was paid, regardless of whether it sits on the original buyer's shelf or in the hands of library or USB patrons.

When somebody pirates a book, the book can be copied ENDLESSLY on thousands and thousands of computers. It's more like making photocopies and giving them away. The authors get no money for any of those pirated copies.

You have to remember: somebody like me makes damn good money, and piracy really doesn't hurt me that much.

But when you start talking about pirating some poor author who gets paid $100 a month in royalties, she's taking it up the ass. And make no mistake: that's all most e-book authors make a month. A few make good money, but most don't, particularly new authors.

Fuck me over if you want to. But DON'T fuck over that poor little author, because she's not making any money to begin with.

And these little e-pubs are now struggling desperately in the current rotten economy. Piracy can sink these little pubs very easily.

So if you download pirated books, you are contributing to the destruction of the very thing you love -- the ability of creators to create fine fiction. Yes, anybody can write a story and put it on a website, but it's not going to get edited by a professional, it will suffer in quality, and creators will not have the chance to learn from the process of working with a professional editor. Do NOT discount the value of editors to writers. The ultimate difference professional input makes in quality is like comparing something somebody puts on You Tube to GONE WITH THE WIND.

Another thing: let's say everybody gets pirated books, and ALL the pubs go under. People like me would have to find full time jobs doing something else, and all you would get out of my ass is short stories I write at night when I'm not working at Walmart.

Currently, I give money to CARE, to various other charities, and every fricking relative I have, from my son to my paralyzed brother in law. All that goes away. The classes I teach when I go to writer's chapters go away, because I could not afford to travel.

This is not idle speculation, because piracy has done serious damage to the music industry. Record stores have gone out of business; the CD selection in stores like BEST BUY is shrinking. I make a point of buying music. I REFUSE to go to pirate sites because eventually, you can make it impossible for these companies to make any money at all. They will go under. I do buy music at iTunes, and I often buy entire albums. It's a way to make sure artists can keep producing.

So don't steal from artists, whether it's downloading pirated books, music or movies. It's stealing, and eventually you will destroy the very artists whose work you enjoy.

AK tries a new writing technique.

2008-11-05T07:01:00.002-05:00

Hi, gang. I found a fantastic book at Barnes and Noble called "First Draft in 30 Days" by Karen Wiesner.

http://www.amazon.com/First-Draft-Days-Karen-Wiesner/dp/1582972966/ref=sr_1_1?ie=UTF8&s=books&qid=1225885819&sr=8-1

is the link for Amazon.

The reason I bought this book is that I'm a plotter. I normally write one sentence for every scene that I plan for a book. In my last book, GUARDIAN, which I just turned in (Yay, me!) The plot did help, but then when I hit several of the scene, the book came to a screeching halt for a day or two while I brainstormed my way out of it.

So I started reading this book, hoping for a way to improve my productivity. I'm convinced that writing more books, better and faster, is the key to success. It seems that the authors that are really popular are productive as well as skilled.

(Many of them seem to be pantsers, too, but I simply can't pants. I've tried, and my muse doesn't work that way.)

The premise of this book is how to create a really detailed plot in a month. It's not a book in a month kind of thing. I've never been able to do book in a month. But this book gives you a schedule and technique to create characters, do a rough plot, then research, then add more and more detail to your plot until you know the details. You can then read and evaluate the plot and find any weaknesses that would keep the book from working.

In the end, you have a long plot about a fourth the length of your full manuscript. By plotting this way, you work out many of the missing details so you can blow through the book. I'm currently plotting a novella this way as an experiment, and it seems to be going well.

One of the techniques it suggests is to look for photos of settings, such as your characters' bedrooms, living rooms, etc. This is appealing to me, because I've always found it difficult to come up with good descriptions of locations that don't sound like what I've used before. I'm even rendering pics and storyboards of characters and scenes. The hope there is to help me solidify the story in my mind.

One of the new tricks I discovered was I did some long drives to Charlotte, which is 90 minutes from my town. That long drive gave my muse time to come up with all kinds of juicy details. The conflict I've come up with feels really strong. Too, one of the ideas I've come up with is the core of a new Mageverse arc for the next several books of the series.

Yesterday I finished character sketches for my hero, heroine and primary villain. I like the romantic conflict I've developed, and the interpersonal conflicts feel good.

I'll continue to blog on my progress and tell you how it goes. Thanks!

Oh, this novella will be in a Christmas anthology for 2009. I don't even know the title or release date yet. But I can tell you the story is currently called "Vampire's Ball." The core idea is that during the Dragon War (which we saw in MASTER OF DRAGONS), many of the Magekind were killed. So Arthur has decided to do a recruiting drive. The Magekind is holding a ball, to which they've invited a large number of Latents they believe can survive the transition. The latents are also expected to face a series of challenges. This will give me a chance for appearances by heroes from previous books, such as Kel and Reece Champion. The hero of the book is a Ridge Champion, a descendant of Reece's. His job is to work with heroine Katherine Danilo, a latent who is a fitness instructor.

Katherine has very good reason to become a latent, but at first Ridge thinks she's one of those who just wants to become an immortal witch. He soon discovers her motives are far more powerful -- and dark -- than that.

Anyway, I will keep you posted on the progress on my book!

Angela Knight

Angela Knight

Angela Knight tours Michigan!

2008-09-17T19:55:00.004-05:00

I'm going to be participating in a bus tour of Michigan's Wal-Marts. If you live in the area, you're more than welcome to come meet me. And there will be lots more authors there too, including Cherry Adair, among many others. It's going to be lots of fun!

DETROIT, MI
Friday, September 19

10:30 AM to 11:30 AM
Signing MEIJER #21 Kalamazoo
5800 Gull Road
Kalamazoo, MI 49001

3:00 PM to 4:00 PM
Signing MEIJER #50 Cascade
5531 28th Street SE
Grand Rapids, MI 49512

5:00 PM to 6:30 PM
Signing MEIJER #158 Knapps Corner
1997 E. Beltline NE
Grand Rapids, MI 49525

LANSING, MI
Saturday, September 20

10:30 AM to 12:00 PM
Signing MEIJER #25 Lansing
2055 W. Grand River Avenue
Okemos, MI 48864

3:00 PM to 4:30 PM
Signing MEIJER #173 Ann Arbor
5645 Jackson Rd.
Ann Arbor, MI 48103

4:30-4:55 PM
MEIJER #32 Canton
45001 Ford Road
Canton, MI 48187

DETROIT, MI
Sunday, September 21

10:00 AM to 11:30 AM
Signing MEIJER #57 Rochester Hills
3175 Rochester Road
Rochester, MI 48307

12:15 PM to 1:45 PM
Signing MEIJER #34 Royal Oak
5150 Coolidge Highway
Royal Oak, MI 48073

3:30 PM to 5:00 PM
Signing MEIJER #67 Monroe
1700 Telegraph Road
Monroe, MI 48162

AUTHOR ROSTER FOR 2008 BUS TOUR

Cherry Adair
C.T. Adams
Jessica Andersen
Allison Brennan
Kathryn Caskie
Cathy Clamp
Colleen Coble
Kresley Cole
Jordan Dane
Deeanne Gist
Tom Grace
Kristan Higgins
Elizabeth Hoyt
Angela Knight
Leslie Langtry
Jade Lee
Robert Liparulo
Susan Mallery
Monica McInerney
Sophia Nash
Brenda Novak
Deborah Raleigh
Victoria Rowell
Gena Showalter
Chip St. Clair
Roxanne St. Claire
Sherry Thomas

The deadline is approaching for Angela Knight's August onlline writing class

2008-07-23T07:35:00.003-05:00

If you're interested, I'm teaching my next online class beginning in August for the Kiss of Death chapter of RWA. It costs $30 for non-members of the chapter. You don't need to be a member of RWA or Kiss of Death, though KOD members only have to pay $15. You need to sign up by July 27, 2008 to get in. You pay via paypal. There will be thirteen lessons, presented on Mondays, Wednesdays and Fridays. You can find the class here:

http://rwamysterysuspense.org/2008killerinstinctsaug.html

To participate, you'll be sent a link to the class's yahoo group after you give your paypal payment. There is no set time or chatroom involved. You read the lessons and ask questions via e-mail, which I also answer via e-mail. You will also be able to download the lessons to your computer from the files section of the group and keep them.

Please note that I have presented "Dangerously Sexy: Putting Heat As Well As Danger in Your Romantic Suspense" before. However, I'm going to do a rewrite on it, and probably add some material to boot. And I will answer questions, which can be asked anytime, not just on days I'm giving the lesson.

Here's the Introduction of the class as a sample:

Dangerously Sexy: An Introduction

First, I'd like to thank you for signing up for my Kiss of Death class, "Dangerously Sexy: Putting Heat as Well as Danger in your Romantic Suspense." I hope you find it as useful and informative as the KOD classes I've taken since myself.

Putting sizzle in your romantic suspense is a topic I'm definitely familiar with. I'm the author of eight novels and more then twenty novellas that incorporate a blend of erotic romance and suspense. The combination has been an effective one for me. My books have hit a number of bestseller lists, including USA Today and Publisher's Weekly. My last novel, Warrior, is a New York Times bestseller.

This, however, is not a class on writing erotic romance. My intent here is to help you learn to use sensuality and sexuality - which are not the same thing - to give your romantic suspense more realism and power.

Sex is enormously powerful in human relationships, but it's often dismissed by romance writers as annoying and boring to write.

There are a couple of reasons for this. One is that we've all heard our genre dismissed as soft core porn for women. There's a temptation to say "But our books are not really about sex." Actually, it would be more accurate to say that they're about a lot more than sex. Sex is an inextricable part of romance, because like it or not, all romantic relationships are at their core sexual. If you ignore that dimension of your characters' relationship, you deny yourself and the reader key scenes of character interaction and development that are integral to the romance.

Another factor is that writers sometimes dislike writing sex because they're not comfortable with it. They've been taught that "good girls DON'T." But to pull off a good sex scene, you have to be totally honest in portraying the act of love in all its passion. That means revealing that you and your heroine DO like sex, and that can be really frightening. After all, you're talking about something very private, which you may have been taught not to discuss at all. What if people think you're kinky? What if – Oh, GOD – your mother, kids or preacher reads your book?

Thus it's often emotionally safer for writers to write one really mechanical love scene where the characters have sex in the missionary position for three pages with as little sexual detail as possible. No wonder people hate writing scenes like that.

The key is, don't worry about what this scene says about you. Hard as this might be to believe, it's not about you – it's about the COUPLE. How do THEY experience making love? Be honest. Do you really think this passionate, gorgeous, heroic young couple is going to thrust at each other three times in the dark, climax, and then roll over and go to sleep? A scene like that cheats the readers, the romance – and YOU, as an artist.

So tell it like it REALLY is.

Real artists take risks, folks. Great artists are brutally honest about what their characters feel, whether or not it's politically correct, whether or not Mother and the kids like it. If you're worried about it, do what I did: make a deal with Mother and the kids. "My books have scenes that are sexually explicit. I don't feel comfortable with you reading them." I pretty much guarantee that neither your mother or your kids WANT to read any sex scene you've written. Mine don't.

If you're really paranoid, use a pen name and refuse to tell anybody what it is. I did that too for a while.

But no matter what solution you arrive at, have the guts to show your characters' passion in all its emotional intensity. It's not easy, but if you really want to write a book that blows away readers and editors alike, that's what you have to do.

Which is why the porn accusation never fails to irritate me. As I've said more than once, "If it was nothing but porn, I wouldn't have to work so hard at it."

My objective in these classes is to demonstrate the techniques of writing deliciously romantic sexual encounters that also advance plot and characterization.

In our next three classes I will discuss the creation and motivation of heroes, heroines and villains and their respective attitudes toward sexuality. How can you construct these characters to maximize conflict?

Next we'll talk about creating a strong romantic suspense plot while simultaneously motivating sex and romance believably. After all, thinking about sex when someone's shooting at you is a little dumb.

In week three, we'll talk about the nuts and bolts of writing a highly sensual love scene. We'll explore ways to build romantic conflict during love scenes, and we'll dissect a love scene to see what makes it work.

In week four, we'll discuss language - just what do we call all these body parts anyway? We'll also talk about violence and sex - how far is too far? And finally, we'll look at building a believable Happily Ever After ending that pays off everything that went before.

Feel free to ask questions. I will be more than happy to answer, or at the very least, find an answer for you.

Best,
Angela Knight

TIME HUNTERS: GUARDIAN

2008-07-13T00:10:00.002-05:00

Thought I'd share a little about how things have changed on the TIME HUNTERS series. I had originally intended to do five books, but I developed a killer case of writer's block, and realized it was because I couldn't figure out how to plot that many books. So now it's going to be a three book series instead.

If you've read WARRIOR, you know that I included the first chapter of a new book called ENFORCER. As it happens, I couldn't get that book off the ground no matter what I did. Just wasn't working. And I was pulling my hair out.

About the same time I was struggling with that, my gallbladder went south. It's a side effect of gastric bypass, basically. The gallbladder stores gall for use when you eat fatty foods. If you don't eat much fat, the gall hangs out and turns into stones. Which then get shot out when you eat something like a hamburger. This is excruciating. First time it happened, I honest to God thought I was having a heart attack. My surgeon told me I was going to have to have the gallbladder out. I didn't much want to do that, but after five or six attacks in the course of a month, I decided pain sux. So out it came.

Now, I had to go on hydrocodone, (AKA Vicodin or Loratab.) First because of the pain of those damn stones, then because of the surgery, which HURT, then because my back went out because I was favoring my abdominal muscles.

(By the way, I developed a thankfully brief addiction to that shit, which I kicked by going cold turkey as soon as I realized I was hooked. Jesus, that was scary. DO NOT TAKE THAT CRAP one second longer than you have to. It's evil. Getting off it was no fun, either. The first three days I was miserable, because I craved the damn stuff so BAD. But I refused to get the prescription refilled, and now the craving is, thank God, gone.)

But while I was floating in my fluffy pink hydrocodone fog, Nick Wyatt came to call. Nick is absolutely the sexiest freaking hero I think I've ever created. He's half Xeran (Yes, the evil bad guys in the series) and he has cool psychic powers. To be honest, he was inspired more than a little by Jim Butcher's Harry Dresden, except sexier. HA!

Thing was, I knew he wasn't the hero of ENFORCER. I also knew that if I put him in ENFORCER -- and I tried -- he would take the book right over. He was that hot. So I talked to Cindy Hwang, my editor goddess. Somewhat to my surprise, she told me to drop ENFORCER and do Nick's book next. ENFORCER will be the third book; Dona and Alerio will get their story, just not the way I originally planned it.

So now I'm writing GUARDIAN, which stars Nick and Riane Arvid, Jane and Baran's daughter. (Jane and Baran being the couple from JANE'S WARLORD.) I am really stoked about this book, and I think the fans are going to love Nick. I'm already in love with him.

In other news -- WARRIOR made the New York Times list! I am SO excited. Oh, yeah! Doing the dance of joy!

Anyway, wish me luck on GUARDIAN. Thanks!

Angela Knight

The function of Love Scenes

2008-05-31T11:42:00.000-05:00

By Angela Knight

There seems to be a perception among some that titillation is the main purpose of love scenes in romance novels. In reality, such scenes are a powerful means to explore and deepen the emotional relationship between the hero and heroine, to intensify the romantic conflict, and to develop both characters.

In order to take advantage of that innate power, a writer should make sure she has a good sense of the internal and external goals, motivations and conflicts that drive her characters, and that she understands how those goals, motivations and conflicts interact to intensify the romantic conflict between them. It should not be possible for both characters to get exactly what they need and want; if one character “wins,” the other must lose. If both characters can get what they want without a major adjustment in the thinking of one of them, the conflict just isn’t strong enough.

For example, your vampire hunting hero can’t achieve his goal of killing the vampire heroine. Instead, the course of the romance should change that goal so that he wants to love the heroine instead of killing her.

The love scenes should pay a key role in changing those objectives. As they make love, he discovers she’s not the vicious killer he imagined.

Of course, you have to motivate his going to bed with her in the first place. If he doesn’t have a good reason to risk his life making love to what he believes is a vicious killer, the reader is going to think he’s stupid. Is he trying to use himself as bait? Why does he think he can get away with this without ending up dead? Obviously, he needs to have some believable plan to keep himself safe, or we’re going to think he’s Too Stupid To Live.

You also have to address her motives for making love to a man who thinks she’s a killer. Does she know what he believes? Does it bother her? What about her hunger for blood? She needs to drink blood to live. Does sleeping with him trigger her hunger? How does that make her feel? Does she feel guilt, or is it something natural to her? Is she irritated with his fear of her? How does that play out in their love scenes?

Think about ways to demonstrate the personalities of these two characters. How do they view making love?

Does the risk of making love to her add to his arousal? She could kill him. For some people, that kind of risk is the ultimate high. If he’s an adrenalin junky like a SEAL or something, that could play a role in his motivation.

Does she view making love as a necessity, or as a joyful act of mutual pleasure?

Try to come up with a scene that would best demonstrate or intensify this conflict. How does it play out when they make love?

What does it say that the passion between them is strong enough to bring them together despite this conflict?

To make it more believable that they would fall in love despite all these forces, you have to make the love scenes themselves as intense as possible. Each scene should deepen the attraction and passion between the couple so the reader can literally watch their love grow.

You do that by using sensory detail. Each love scene should make mention of some kind of sensory detail in every paragraph, whether it’s taste, smell, hearing, or touch. How does it feel when he licks her nipples or clit? How does she taste to him? How do those sensations make him feel? What’s the texture of his skin, or the smell of his hair?

Concentrate on the emotional impact of those sensations. Make those reactions as intense as possible.

Give thought to the setting of the love scene. Location has a strong emotional effect. Hurried, hot love making in public is far different than slow, languorous passion in the bedroom. Use locations which intensify the emotional effect you’re going for, and vary them. Creativity is the key to eroticism in fiction as in life.

Think what kind of props you can use to intensify their emotions. If he’s still afraid of what she’ll do, what if she ties him up? Imagine his combination of fear and intense, kinky desire. And how will he feel when she does nothing except give him fantastic pleasure? He was at her mercy, and she didn’t hurt him. She has proven she can be trusted.

Maybe the bondage scene is the turning point in the relationship – the point where what began in fear and deception starts becoming trust and love.

You MUST have a turning point in the romantic conflict, and it must be as dramatic as possible. When you’re doing a huge 180 in attitude like that, the hardest part is making it believable. The reader has to understand WHY this incident would make the characters view each other in a different light. She also needs to understand why it would shake everybody up.

As a reader, I have read books in which the characters suddenly go from “I hate him,” to “I want to have his baby,” without any explanation at all. Nothing will make me slam a book into a wall faster. You have to motivate these changes in attitude for them to be believable.

The ingredients to one of these huge turning points are: A.) A dramatic incident where the characters confront their fear. (The vampire heroine gets tired of putting up with his paranoia and ties him up and screws his brains out.) B.) The reaction of the character to that scene. “Oh, my GOD! She didn’t kill me! And it was...wonderful. She’s not who I thought she was. She’s HUMAN in all the ways that count. I WAS WRONG ABOUT HER.” C.) A scene that follows that demonstrates the change in his attitude – maybe the next time they make love, he’s tender with her, not just hot and horny.

In the scenes that follow this turning point, their love becomes more intense, the tenderness in their actions grows, their kisses become more passionate.

That scene changes everything. And because it has changed everything, their attitudes toward each other changes, and they find the strength to confront the Big Evil Bad Guy and beat him. They couldn’t beat him separately, but together, in love, they have the strength to defeat him.

Then, in the final love scene, you pay off the novel. I usually make this the last scene in the book. The characters are deeply in love, and they trust each other without question. There’s humor, because humor demonstrates trust. We don’t have gentle, teasing sexual humor with someone we’re not completely comfortable with.

It’s also a very passionate scene, with lots of soft touches and gentle kisses as well as hot sex. And the hero should – possibly for the first time -- say something really romantic to her in the afterglow. Men don’t make declarations of love – and mean them – easily. As readers, we know when this hard-edged vampire hunter tells the vampire she’s the center of his life, he means it. And we just melt.

Deliver that scene with all the emotional intensity you can, and the reader will search for every book you’ve ever written and buy it. And as for the editor – she’ll snap your book up and pay you a nice advance, because you’re the writer she’s been looking for.

Sincerely,

Angela Knight

Point of View

2008-05-23T13:18:00.002-05:00

I wrote this lesson for my class on writing love scenes. I like the way it turned out so much, I thought I'd share.

By Angela Knight

Point of view is one of those concepts that gives newbies fits. One reason for this is that the effect of POV can be very subtle – so much so that most readers don’t notice it at all, so new writers don’t understand its importance.

There’s an easy illustration of POV that should clarify the issue. It’s a gimmick often used in television mysteries where they don’t want to show the identity of the killer, so the camera is positioned as if it’s looking out of his eyes. You can see the knife in his hand, you can see the victim, but you can’t see the killer’s face, any more than you can see your own when you’re not in front of a mirror.

That’s point of view. You’re in the character’s head, experiencing the scene as if you were that character. You think his thoughts, you feel the sensations he feels, you hear what he hears.

Most writing teachers will tell you not to switch point of view in the same scene. That’s called head hopping, and it’s considered a deadly sin. Why?

Let’s go back to our knife-wielding television killer for a moment. Imagine that the bad guy is in a fight with other bad guys, all armed with knives. Now imagine that every shot, the camera switches to the point of view of a different person. One minute you’re swinging the knife, the next it’s coming at your chest. Or you’re in someone else’s head completely, and you’re in a different fight.

In all my years of watching television, I have never seen that done. Why? Because it would confuse the hell out of the viewer. He’d have no idea who was doing what.

The reader has the same problem when you head hop. It throws her completely out of the scene as she tries to figure out whose head you’re in. Any time she has to stop reading and go back and reread to figure out what’s going on, you’ve thrown her out of the story. Confuse her too much, and she’ll just stop reading.

So head hopping is bad. Yet Nora Roberts, the highest paid romance novelist of all time and my personal goddess, switches POV constantly. I’m reading her latest right now, and I couldn’t help but notice how she does it.

First, Nora only switches POV when she’s got a good reason. In most cases, one POV per scene is a really good rule, and I suggest you stick to it. It jars the reader less. But there is one kind of scene where being in the heads of both characters is a benefit, and that’s the love scene. And the only way you can show how making love affects both characters in one scene is with a POV switch.

So how do you pull off a switch without confusing the reader? Well, there’s the line break – skipping a line to indicate a switch. Then you start the first sentence of the new POV with something like, “John bit back a moan as Mary ran her tongue over his nipple. God, she was good at that.” By using John’s name first thing, we clearly tell the reader whose POV we’re in, so there’s no confusion. (Note: I don’t use, “God, she was so good at that, John thought.” “John thought” is redundant, since it’s obvious we’re in John’s POV.)

Really, you don’t even need the skipped line. Making the switch with a new paragraph is fine. But in both cases, you absolutely have to start with the character’s name, and a sensation that plainly shows we’re now thinking his thoughts.

If the line was simply, “John moaned,” the reader will probably assume we’re still in Mary’s POV and Mary heard John moan. But by adding a sensation and then a thought, we establish that we’ve done a POV switch. “John moaned at the feeling of Mary’s wet, hot little tongue flicking over his nipple. God, she’s good at that.”

Now, there are little niggling things about POV you need to keep in mind.

Let’s get back to John and his sensitive nipples. “John moaned at the feeling of Mary’s wet, hot little tongue flicking over his nipple. God, she’s good at that. John’s brawny pectorals flexed and his blue eyes darkened in reaction.”

If you’re deep in John’s point of view, he can’t see his own blue eyes darken. Nor can he see himself blush, or a hard frown cross his mouth. You’ve just jumped cameras again, changing POV in the same paragraph. Now your verbal “camera” is located outside John’s body, as if you’re watching John instead of being John. This is BAD, and is considered the mark of an amateur.

What you can do is show what John feels when he experiences, say, a blush. “John felt his cheeks heat. Oh, great – now he was blushing like a sixteen-year-old girl.” That tells the reader he blushed without jumping POVs.

Also, watch the tone of John’s POV. You don’t want him to sound like a woman. That line, “John’s brawny pectorals flexed” was definitely not in John’s POV. It’s an out-of-character line, because John probably doesn’t think of his pecs as “brawny.”

When you’re in deep point of view, you have to stick to the language and thoughts the character would use. Thus, John is not going to think about the heroine’s “lovely brocade mauve curtains,” unless John is an interior designer. Most men wouldn’t know mauve if it bit them on the butt. And “lovely” is a word men just don’t use unless they’re talking about a woman.

You want John to sound like the butch Alpha Male marine he is, right down to the frequent “motherfuckers” strewn through his thoughts. (Though if he’s a banker or something, I’d probably go easy on the “motherfuckers.”) By using the technique of being deeply in the character’s head, you can create a very strong sense of him as a character. Readers feel he’s real.

And that’s what you want.

By the way – when switching POVs during a love scene, I still wouldn’t do it more than once. It’s too jarring. We want to experience how each character feels during that scene, but we don’t want to give the reader psychic whiplash.

--Angela Knight

A preview of my May class on writing romance

2008-04-27T06:27:00.005-05:00

Hi, guys. This may, I'm teaching an online class on writing love scenes for my RWA Chapter, Carolina Romance Writers. Here's an excerpt that should give you some idea of what to expect if you'd like to take the class.

Introduction:
FROM MILD TO WILD: CREATING SEX SCENES THAT ARE MORE THAN THE SAME OLD BUMP AND GRIND

By Angela Knight

If there’s one aspect of romance that we as a genre have trouble with, it’s love scenes. After all, many of us grew up being told that when it comes to sex, “Good Girls Don’t.” Or if they do, they’re not supposed to like it.

In reality, I think we’d all agree that a sexless marriage would be arid and dysfunctional. Not to mention doomed; what man is going to put up with a wife who doesn’t like sex? Yes, he may love her, but if she hates his body and hers to that extent, somebody’s in desperate need of some serious therapy. And what kind of husband would force his wife to do something she hated? I think the technical term for that is “rapist.”

We don’t publish that sort of thing anymore.

Of course, you could create a heroine who is sexually screwed up to that extent, but readers would expect her to have her head on straight by the end of the book. Otherwise, your couple is not going to get that promised “Happily Ever After.”

Thus we have to assume our heroines like sex with their handsome heroes, no matter how virginal they may be, even in sweet romances where the bedroom door remains firmly closed. So our heroines do enjoy sex.

It’s romance novelists who don’t.

Or at least, many of us don’t like writing about it. All together now: “It’s just Tab A in Slot B!”

I’ll grant you, the mechanics of sliding Tab A into Slot B may be the same, but only if you leave out characterization, emotion and the development of the romance.

My husband and I have been married for 24 years now, and I have no idea how many times we’ve made love. But every single time is different, depending on what happened that day, what mood we’re in, and what we decide to do to spice things up.

Strawberries, anyone? Whipped cream? No chocolate, though: it gave me a rash last time....

THE CRAFT OF LOVE

As a writer, I pride myself on writing love scenes that are vivid and emotionally intense. Readers read romance because they want to experience – or re-experience – the humming thrill of falling in love with an incredible, sensual man.

In fact, romance novelists who expect to find success must pay more attention to love scenes now than ever before. The newest generation of readers were raised on MTV and Sex in the City, and they do not expect us to primly hold back because we’re afraid of being called sluts.

They want us to show them what amazing lovers our heroes are, not just tell them that everybody had a really good time. What’s more, editors know that, and they’re looking for writers who are not afraid to deliver.

But selling books is not the only reason to write good sex. Love scenes provide writers with a way to depict emotional intimacy and romantic intensity with a power that can’t be achieved in any other way.

What’s the first law of writing good fiction? “Show, don’t tell.” There is no better place to show the sweet flowering of a romance than in bed. That’s where our characters are most naked – and not just physically.

Think about it. Why do sex scandals grab headlines? It’s because we all know that a person’s core character is revealed by what he does in bed – or in a men’s room. He can make speeches about family values all he wants, but if he’s assuming a wide stance somewhere, we know what’s really going on in his head.

The way our heroes and heroines make love tells us volumes about what they think of themselves and the opposite sex. If they’re tender and concerned for the other person’s pleasure, that says something. If, on the other hand, all your hero is interested in is his next orgasm, that says something too.

Even more revealing is the way in which his lovemaking changes throughout the course of the book. Yes, he may know how to make a woman’s toes curl from page one, but how does making love to this particular heroine effect him? Does his concern for her pleasure increase until his focus is solely on her joy rather than his own? That says volumes about his evolution as a hero.

And it also tells you a great deal about how the romance has grown.

GROWING THE ROMANCE

Every scene in a romance must do one of three things: develop the characters, develop the internal or external conflicts, or develop the romance. Otherwise it should be cut.

That definitely includes the love scenes. You can write the most sizzling scene ever put on paper, but if all it does is give the reader a thrill, it should be either rewritten or cut.

If there’s one mistake I see erotic romance writers make, that’s it: love scenes that don’t do anything. Sex scenes that are only there to give the reader a buzz may be fine in porn, but that’s not what we’re writing.

The focus in a romance is always the romance: the growth of love between two people, with all its rocky missteps and luscious pleasures.

Which is why traditional romances with three-page generic love scenes are every bit as bad as pointless erotica. If you’re including a love scene solely because your editor demands it, you’re doing something wrong. And you’re missing a golden opportunity to advance your story.

It’s my intention with this class to demonstrate how to craft love scenes that make your romance truly romantic.

Over the month of May, 2008, I will post a total of fourteen lessons, on the CRW Yahoo Group for the class. There will be one each Monday, Wednesday and Friday. You are welcome to ask questions whenever you like, and I will do my best to answer.

Lessons will include:
The three functions of love scenes in romance
Character development
Heroes
Heroines
Mapping the romance with love scenes
The First encounter
Middle encounters
Last love scene of the book
Conflict
Creating appropriate levels of sensuality, whether for erotic romance or traditional
Sensual detail
C, F and P words – what language should a romance writer use?
Conclusion

I hope you find the class useful, as well as good fun.

***

If you'd like to take the class, you can sign up here:

http://www.carolinaromancewriters.com/may08.htm

Thanks!

Angela Knight

Half of Me

2008-03-12T16:14:00.006-05:00

As of today, I have officially lost 150 pounds. Dayam. Yep, both of those pictures are me. Actually, I've lost weight since the one in the green suit -- another twenty pounds or so. I'd take a more recent picture, but you'd see my red nose and haggard face from bronchitis, and I frankly don't think either of us needs that. And yes, I did lose that last stubborn six pounds from being sick as a dog the last week. Heck, I'll take what I can get. So anyway, I thought I'd discuss the things I've learned about myself and about weight loss the last 19 months.

1.) Gastric bypass surgery is not a magic wand. I thought it was. I thought I'd just plunk down my $26,000 (ACK!!!!) and viola!! Instant skinny woman.

Uh, no. A lot of people think it is that easy. They think it's the easy way out, that Weight Watchers or Jenny Craig is so much harder. Well, yeah, in some ways, it is easier. In all the hanging-over-the-toilet-throwing-up ways, no. In all the I-look-like-I-survived-a-knife-fight ways, no.

(That's my husband's standard line, by the way: I'm his knife-fighting kitty. Right after I had the laproscopic surgery, I was left with five small horizontal cuts at different points on my stomach. Mike, who is a cop, said, "You know, I've seen people who've been in knife fights that had injuries like that." That's when he threatened to punch the first person who said I took the easy way out. He spent a month sniffing bandages and watching me for signs of infection, so he's entitled.)

WILLPOWER, MY BUTT

Let's be clear here: I would never have lost the weight without the surgery. Period. Partly because I didn't believe I could do it. I'd watched my Mom struggle with obesity for my entire life, lose 80 pounds, TWICE, and gain it back both times. I knew I just didn't have my mother's ferocious willpower. I was screwed before I even started.

But you know what? I have a LOT more willpower than I thought I did. I realized that the first week after I had the surgery. I was staggering around the kitchen, sick as hell, hungry. And my husband had made himself and my son toasted garlic bread with butter. I was DYING to eat a piece of that bread, but I knew it would kill my butt if I did. So I didn't. And I thought, Damn, I have more willpower than I thought.

It was never about willpower. It is about consequences. For me, overeating never had immediate consequences. The consequences come later, quietly, in additional pounds, not in ways that you really feel as instantly painful. Gastric bypass gives food instant consequences that are highly unpleasant RIGHT NOW, and that makes it easy to say no. When you know that if I eat this chocolate cake, I'm going to be sick as a dog for the next ninety minutes, you freaking don't eat the chocolate cake, because it ain't worth it. Nothing tastes that good.

So I have plenty of willpower. I always did. I just never wanted it badly enough. Now I do. I have experienced what it's like to walk around without 150 extra pounds on my body, and let me tell you, it's a HELL of a lot easier. I am a devout lazy person. I don't like carrying around 150 extra pounds. It sucks. It hurts. Getting off the toilet hurts. Walking around the block hurts. Not being able to breathe sucks. Now I stride everywhere I go, and I like it.

I was thinking about this today. If you asked me to pick up 150 pounds and carry it right now, there is no way on God's green earth I could do it. And I've been working out. I've got biceps now and everything. I'm a lot stronger. But I couldn't do it.

I always thought I was lazy. People always think that fat people are sooo lazy, they don't want to work out. Well, think about this. Strap 150 pounds on your body and get on that treadmill and carry it for a mile and a half for thirty minutes. I defy you.

No wonder obese people don't want to work out.

Yet I used to do that three times a week, every week. That took a hell of a lot of willpower and determination I never gave myself credit for.

I think a lot of obese people sell themselves short because everybody else sells them short. They just look at the weight and think, "Ah, you're lazy, and that's why you're fat." But we're not. We can do it.

We just don't think we can.

Secrets of the Roux-en-Y Sisterhood

I learned a few things over the past 19 months about losing weight. First off, I learned that protein is key to weight loss. They tell you it's all about cutting calories, but let me tell you, if you ain't getting enough protein, you can't loose weight no matter how you try. Gastric patients only get about 300-600 calories a day those first few weeks, so cutting calories is NOT a problem. And yet sometimes we get stuck. That's because we're not getting enough protein. Without protein, your body doesn't have what it needs to metabolize the fat.

So for us, all the focus is on getting in the 68 grams of protein you have to have every day to live. That's more complicated than you'd think, because your body can only absorb about 25 grams at a time. So you can't just eat one big bar or something. You have to make sure you get it in usable chunks. I found a nifty protein drink I loved here: http://www.bariatriceating.com/achievone.html

It's called Achieve One Cappuccino drink, and it's the only protein drink I was ever able to stomach at 20 grams a bottle. It can be hard to get, but it's worth it.

EXERCISE IS GOOD FOR MORE THAN JUST YOUR BUTT

I also discovered that exercise is my life-saver. For all that I always hated to work out before my surgery, I realized that it was the solution I've always been looking for when it came to stress and anxiety. Unlike antidepressants, it's instant -- you don't have to wait six weeks for it to kick in. A good work out can burn off more screaming stress than anything I can think of, with the possible exception of good sex.

I have come to see it as a necessity for my mental health, not just something I do to look good in jeans. Cause frankly, my jeans aren't a good enough incentive. Keeping myself from going batshit, however, is.

SOMETIMES YOU'RE NOT HUNGRY, YOU'RE THIRSTY

My Weight Watchers leader says this, and it's true. The nerves in your stomach that detect hunger also detect thirst. So if you're hungry, and it's not time to eat, drink something instead. That may be way you really need.

Anyway, those are a few of the lessons I've learned on the way to becoming half the woman I was.

By the way, soon after I started work on this blog, I learned that Shifter, my new anthology, hit #14 on the New York Times list. So I have TWO major things to celebrate today!

So I'm doing the Kermit the Frog dance of ecstasy!

SHIFTER HITS BOOKSTORES!

2008-03-03T09:12:00.004-05:00

Dear gang --

For those of you who are anxious for an Angela Knight fix, my new anthology, SHIFTER, featuring "Mad Dog Love" will hit shelves Tuesday. SHIFTER also features work by Lora Leigh, Alyssa Day, and Virginia Kantra, all wonderful authors who have penned steamy, delicious stories for the anthology.

I've written 20 novellas since my first was published in Secrets 2 back in 1996. I've got to admit, "Mad Dog Love" is my favorite of the lot. I just loved the idea-- a futuristic werewolf finds himself a slave, and is not happy about it.

Rance Conlan is from a world three hundred years from now --a planet so dangerous, people had to genetically engineer a race of werewolf protectors just to survive there. But Rance isn't just fuzzy. He's also an interstellar trader who is helping a group of revolutionaries fight a neighboring interstellar empire. Rance hates the empire because slavery is legal there, and its slavers frequently capture and collar citizens of the Freeworlds.

When our story opens, Rance has been betrayed and captured himself. To his fury, he finds himself sold to a beautiful mystery woman who is on the run from assassins. Here=s an excerpt:

Market Station,

The Lorezo Interstellar Empire,

The year 2450

Rance Conlan prowled his cell like the caged wolf he was, anger boiling through him with every long pace. There was nothing to divert his rage, since the cell held only a cot built into the floor and a toilet unit that thrust from the wall. Both were stark, white, and rounded, without so much as a sharp corner he could put to bloody use.

Not that it mattered. All he had to do was Shift, and he'd have fangs, claws and two meters of werewolf muscle at his disposal. Trouble was, the slave collar wouldn't let him Shift.

One of the new slaves sobbed in her cell on the other side of the bulkhead, her voice thick with despair and aching grief. Her tears scraped at Rance's Freeworld-bred instinct to protect and comfort. Adding to his frustration, the doorway of his cell lacked either bars or barrier field, creating the illusion that escape was possible.

Unfortunately, Rance knew better. If he so much as stepped over the threshold, agony would cripple him.

Bloody collar.

He glared at the empty doorway in brooding fury. All his life, his Nanobot system had provided him with absolute control over his body. The molecule-sized robots traveling through his bloodstream gave him the ability to heal any illness, tap superhuman reserves of strength, communicate over vast distances, access any fact he needed to know. Even Change into something not quite human.

On the savage world he called home, a man had to be more than a man to survive.

Rance's Nanos had given him that kind of power -- until slavers had captured him three months ago. The collar they'd locked around his neck had reprogrammed his Nanosystem and turned it into the instrument of his enslavement. If he attempted rebellion now, the 'bots would plunge him into a screaming red hell.

But that wasn't going to stop him. Nanos or no Nanos, he'd find a way to escape. The traitor who'd handed him over to the slavers was damn well going to pay.

"Mad Dog!" The voice rang down the corridor, arrogantly nasal. The sobbing from the cell next door cut off as if a switch had flipped.

Smart girl.

"Mad Dog, I've found a potential buyer." The slaver strutted through the cell doorway with two hulking cyborg bodyguards at his heels. "An Aristo courier looking for a werewolf bodyguard. And you'd better not space the deal, or you'll curse your mother for birthing you into hell."

Ortio Casus had a taste for melodramatic threats. Trouble was, he also liked carrying them out.

Rance ignored the little bastard, all his feral attention focused on the two 'borgs. They were as powerfully muscled as their boss was thin, dressed in steel gray Nanotium body armor and black-visored helmets that concealed their faces. And they were entirely too alert, apparently well-aware of just what Rance was capable of.

Bloody hell. All he needed was a moment's inattention. Even a little boredom would do. Too bad they were so well-trained. Probably ex-Imperial Marines. Especially the leader of the two, Captain Aaren, who'd first hacked into Rance's Nanosystem...

“Did you hear me? I said I’ve found a potential buyer." Casus glowered, jerking his weak, bearded chin upward in irritation. As usual, he was dressed like the Aristo fop he longed to be: gaudy velvet and too much lace. But what interested Rance was the glittering array of rings he wore on every finger. One for each slave in the cells.

Rance suspected the big ruby on Casus's right hand controlled his particular collar. It’d be interesting to bite the ring off that spidery finger and find out. A quick Shift to wolf form, a snap of razor fangs, and....

The pain slammed into his groin so fast and brutally, his knees buckled. Rance crashed to the floor, his body jerking into a helpless fetal ball. He gagged, struggling to breathe despite the sensation of a big fist slowly twisting his dick with sadistic strength.

Fucking Nanobots.

He must have met Casus's gaze again. The little prick hated it when he did that. Probably because he could see the patient death waiting in Rance’s eyes.

The pain abruptly ended, leaving him to collapse in sweating nausea.

“If you ruin this deal for me, I’ll see you dead!” Casus snarled, red-faced and quivering. “You’ll scream for days, Mad Dog. Days, do you understand me?” He raised the riding crop. “Do you?”

“Yes ... master,” Rance gritted, because to do anything else would bring more punishment and accomplish nothing. Slavery had taught him he couldn't afford empty gestures, no matter how satisfying it might be to spit in the bastard's face.

He had to pretend to submit, regardless of the humiliation. With any luck, a new master would be less wary than Casus. Rance would only need an instant’s inattention to do his killing and make his escape.

Mollified by Rance's pretended submission, Casus drew himself to his full height -- such as it was -- and straightened his lace cuffs with a fussy jerk. “Good. My guards will prepare you now. But if you dare meet her gaze with those yellow mad dog eyes, you’re a dead man. One way or another, I want you out of my stable. Either she buys you, or...”

Rance concealed a frown. She?

***

Zarifa Lorezo pushed the heavy gold drapes aside and stared out the porthole beyond. An Imperial Courier maneuvered to dock at one of Market Station's other arms, its thrust nodes glowing blue as it edged into its assigned slip.

Was her vicious fiancé aboard? Gerik often used courier ships on his secret missions for the Regent.

Zarifa sent up a silent prayer that he wasn't on that ship. She'd tried so hard to lose him. The course she'd flown had been almost ridiculously intricate -- making orbit at one world only to immediately blast into Superspace headed for another. Her trip here to Market Station had taken more than a week longer than it would have by direct flight.

Still, she was only delaying the inevitable. Gerik Natalo would catch up to her sooner or later. They didn't call him the Regent's Fist for nothing. He served his father's whims with fanatical devotion, and Umar Natalo wanted her back.

Zarifa’s right hand tightened on the hilt of the sword that hung at her hip. As she shifted her booted feet restlessly, a thin knife of agony stabbed her ribs. She stifled a hiss. The wound was almost healed, but the pain remained, a silent reminder of Gerik's last attempt to bring her in.

Her new system had been worth every Imperial she'd paid for it. Less than a week had passed since the bastard had driven his sword into her side. She’d have bled to death if not for the Nanos that had accelerated her body's healing. Yet she had no illusions: if her fiancé hadn't been intent on taking her alive, she'd be a dead woman now. The Regent's Fist was simply too powerful, too skilled. Too deadly.

She had to make sure she had a protector before he caught up to her again.

“Lady Selan?”

Zarifa whirled, damn near drawing on Casus before she managed to stay her hand. She slid the sword the inch back into its sheath and wiped the feral determination off her face. “Yes?”

The slaver gave her an oily smile, gaudy in his yellow silk waistcoat and green velvet jacket. A tradesman with pretensions, her father's ghost whispered. His eyes flicked nervously to the white-knuckled grip she had on her sword hilt. She wondered how quickly he’d sell her out if he knew who she really was. He’d call the Palace before I was halfway out the door.

Luckily, the image her Nanos projected would keep him from recognizing her. Between that and her cover identity of slightly shady Aristo courier, she should be relatively safe.

Unless Gerik showed up with a warrant for her arrest....

Casus sketched an elaborate bow. “The slave is ready for your consideration, milady.”

“Good. Show him in, please.” Zarifa squared her shoulders and braced her booted feet apart as the slaver turned to gesture at one of his men.

The thought of buying a slave set her teeth on edge. If she'd had her way, she'd have outlawed slavery years ago. If it was illegal to enslave Imperial citizens, it should be just as unconstitutional to kidnap and collar Freeworlders. Unfortunately, the Regent had ignored all her arguments. She suspected he was probably involved in the slave trade himself.

Umar did love his money.

And wouldn't it be ironic if one of those slaves turned out to be her salvation? Too bad she couldn't afford more of them. She'd be happier with a whole phalanx of werewolves to escort her on her mission. Unfortunately, buying the ship had left her funds so drained, one Shifter was all she could afford.

Frowning, Zarifa used her thumb to twist the diamond ring that rode her right hand, a nervous habit formed in the last stressful month. The intricately engraved band felt cold on her finger, heavy with old debts and lost honor.

The door whispered open. Zarifa looked around just as one of the guards led the slave in on the end of a silver chain.

And she forgot everything else.

The Shifter prowled between the overstuffed pseudo-Victorian furnishings, naked except for a gleaming black collar around his neck. One sweeping glance branded him on her senses -- the hard, angular features, the broad, powerful curve of his chest, the ripple of brawny arms and legs. The swing of his heavy sex between his thighs....

She looked away, feeling her cheeks burn. Right into Casus’s amused, faintly contemptuous gaze.

Alarm jolted through her. I'm blowing my own cover. The jaded Aristo she was pretending to be was not the kind of woman who'd blush at the sight of a big cock.

But my lover was nothing like that, a tiny voice protested.

Zarifa ignored it. She had a role to play.

She started toward the Shifter with as much swagger as she could manage. He didn’t meet her stare even when she stopped bare centimeters away.

Her eyes were on the level with his small, dark nipples. She looked down, along the rippled plane of his hard belly, deliberately forcing her gaze to his sex. Sweet Lady, how big would it be fully erect?

She ordered her Nanosystem to cool her cheeks before they could heat again.

Zarifa looked up into the Shifter's face. His eyes still refused to meet hers, but she saw now they were the color of ancient coins, a bright gold that was not entirely human. His hair was a rich, deep sable that gleamed like fur, cut ruthlessly short, yet still showing a hint of curl. She could almost feel the smooth silk of it against her fingers.

God, she craved the touch of another human. Entombed in her fortress of fear, she hadn't dared let anyone close. Especially a man.

Especially a man like this.

True, he wasn't the most handsome male she’d ever seen. The aristocracy habitually sent its most beautiful sons to her court in hopes of attracting her eye. Despite the breathtaking power of his body, the Shifter's features were too rough for that kind of perfection. His nose was a bit too flared across the nostrils, his deep-set eyes too feral, his cheekbones not quite knife-edged enough, his chin a little too stubborn.

But it was his mouth that fascinated. His lower lip was full with the promise of lush eroticism, yet his upper lip was thin, with a faint twist that suggested pain and bitterness.

Gold coin eyes darted up to meet hers. For an instant, they blazed hot with male interest as those beautiful lips curved into a knowing smile. Then he looked away, leaving her heart pounding in desperate lunges as she remembered everything they said about Shifters.

She could have him. Have him as she’d not dared to have a man since the Regent had ordered her lover’s murder. Six years, she’d lived like a Lady’s Nun, not daring to allow so much as a stolen kiss from the beautiful men who surrounded her. Fearing what the Regent would do to protect his power and keep the way clear for his son's claim. Only Gerik had touched her, and his hands had not exactly been welcome.

But she could have this wolf. Buy him. Own him. Take him to her bed.

You’re letting him distract you, her father’s ghost whispered. You’re not buying him for sex. He's a means to regain our lost honor. That's all.

Zarifa forced herself to step back. Forced her eyes not to drop to his lengthening cock. “I need a protector. Can you fight?”

White teeth flashed in a hard, reckless smile with just a hint of viciousness. “Yes.”

She flicked a glance at the guards in their gray Nanotium armor. “Show me.”

“Now, Lady Selan...” Casus began nervously.

But the Shifter was already moving, spinning, one bare heel lashing out to slam into the nearest guard’s armored belly. It must have hurt, but he didn’t even break step, pivoting to ram a fist into the man’s faceplate, following up with a series of furious hammer blows to the 'borg's head and body. Blood flew in a crimson arc, but it was from the Shifter’s own splitting knuckles.

Yet he didn’t seem to feel the pain, his face twisted in an animal snarl as the guard stumbled back from the fury of his attack.

The second cyborg dove at him with a roar. The Shifter ducked the charge and danced back, throwing another brutal punch. And then another, and another. More blood flew from his hands.

Zarifa caught her breath. The rage in him, the fury boiling to the surface to spill from his pounding hands and savage kicks --- it was as if the Lady herself had given Zarifa's own frenzied, angry frustration human form.

But human as he was, he couldn’t hurt his guards, could only break himself against their armored bodies.

“Shift!” she snapped, feeling wild and reckless. “Shift now!”

Gold eyes flicked to hers. He bared his teeth.

“No!” the slaver gasped.

But sable fur was already spreading over the Shifter’s bare skin, his body bulking even larger, his face lengthening into an elegant muzzle. His ears rose into lupine points as his big hands and feet grew deadly curved claws. He turned his feral golden eyes on the guards....

“Down!” Casus roared.

The Shifter roared in agony and dropped to the ground as if he’d been shot. The fur melted away as his body returned to human form, writhing and kicking in anguish.

Zarifa knew exactly how that felt. The pain. The helpless, searing rage. The black shame of being a puppet to callous men.

Her gaze shot to the slaver, who wore a smile of grim satisfaction now. “I told you what would happen, Mad Dog,” Casus spat. “I warned you.”

The next thing Zarifa knew, her sword was in her hand and pressed hard to the slaver’s throat. A tide of red washed over her vision. It seemed she could almost see the slaver's blood streaming under her blade. Casus's thin lips pulled into an O of terror.

She bared her teeth. "Let. Him. Go."

Come take a look at my new Podcast with Gail Martin

2008-02-27T13:20:00.002-05:00

I met Gail Martin a few months about at a reader's even in Charlotte, NC. I was very impressed with her and her wonderful book, so when she asked me if I'd like to be interviewed for her podcast, I gladly said yes. Here's what Gail had to say in her blog:

I had a great time talking with Angela on my Ghost in the Machine podcast
http://gzmartin.audioacrobat.com/rss/gailzmartinpodcast.xml . Even though
Angela writes paranormal romance and I write fantasy adventure, it was fun
to share our love for vampires and the supernatural. I’m much more
interested in a story if it has ghosts, vampires and haunted houses—with
some romance as well!

It’s fun to see how much “our” type of fiction has gone mainstream.
Finding a romance book with a hint of anything ghostly or supernatural used
to mean digging through a handful of “gothic romance” titles. Now,
vampires, werewolves and supernatural romance rule. It’s blurred some of
the old lines between romance and fantasy, which is a good thing. I do a
lot of book signings, and I see how people wander through bookstores. Most
people head right for their favorite section and never look around at all
the great books they might like that are shelved elsewhere. After talking
with Angela, I wandered through the romance isle and was delighted at the
types of stories I found that had a great mix of paranormal and passion. I
dare you to explore the fantasy aisle where my Chronicles of the
Necromancer books are shelved (The Summoner, The Blood King), and you might
just discover that there’s more than a dash of romance spicing up tales of
magic and mayhem! Gail Z. Martin—www.ChroniclesOfTheNecr

omancer.com

Please drop by and take a look at her site!

And here's what I have to say about Gail in particular and SF in general...

I was really honored when Gail asked me to be interviewed in a her podcast on her website. I had a ball talking to her about creatures that go bump in the night, and why writers and readers can't seem to get enough of them.

I'm also a huge fan of science fiction and fantasy, and have been for years. True, I write romance, but I also love having my imagination and sense of wonder challenged. That's something Gail does with flair!

Urban fantasy is another genre that really speaks to me. I'm hooked on Jim Butcher's Dresden Files series, along with Laurell K. Hamilton's Anita Blake and Merry Gentry books. I adore the Sookie Stackhouse series by Charlaine Harris, as well as Pat Brigg's Mercy Thompson series. Other keepers include anything by Wen Spencer and Lois McMaster Bujold, who is simply wonderful.

As a writer, I've recently begun work on a new science fiction romance series called TIME HUNTERS. The heroes are genetically engineered cyborgs who leap through time in pursuit of time traveling criminals. I just finished the first book of the series, Time Hunters: WARRIOR. Look for it in July.

For more about my work, check out my website at www.angelasknights.com. I'm in the process of having the site revamped, and I hope to have it up soon. Thanks!

Angela Knight

Writers and Depression, Part II

2007-10-12T09:38:00.000-05:00

I've talked about my struggles with depression in previous posts. A couple of months ago after my grandmother died, I had another severe bout of it. And I found a technique to get out of it I'd like to share.

In my case, depression seems to come paired with extreme anxiety. I'd find myself sitting there bouncing my knees in a frantic attempt to burn off nervous energy. I couldn't sleep. Worse, I had the horrible feeling that my battle was pointless -- that sooner or later, I was doomed to kill myself. There was no point in even trying to fight it any more.

I was so frightened, so out of control, that I went over to my sister's. She's been my dearest friend all my life, and she knows all about the way anxiety has tormented me. So I sat down on her couch, bouncing my knees and trying to put my fear into words. And she looked at me and said "You don't have to do this. You have been through this often enough to know what you can do to regain control. You can choose to do something about it, or you can choose to let it destroy you."

It was like having someone splash cold water in my face.

She reminded me I had already found out that exercising helps the anxiety and depression. She also suggested finding a tanning bed and spending about five or ten minutes in it, being careful not to get a sunburn. And she said I could also get a massage.

These are really simple things that are very effective.

I had also just started back on Lexapro, an anti-depressant and anti-anxiety drug that, unlike some, reduces appetite and weight gain instead of causing people to put on more weight. Thing is, I have found that right after I start back on Lexapro, the anxiety and depression actually gets worse for a couple of weeks. Around a month out, it finally kicks in and stabilizes the mood, but you need to be aware of the effect, or you'll think you're getting worse.

I seized on my sister's suggestions with the enthusiasm of raw desperation. The gym is open until 10 p.m., and it was 8, so I drove over there at once and spent the next half-hour on the treadmill and the elliptical machine, working up a sweat and burning off all the agonizing stress I'd built up. That night, I was able to sleep for the first time in days.

The next day, I had an appointment with my personal trainer. I really pumped hard on the weight machines, forcing myself to push despite the pain of my burning muscles. By the end of the hour, my muscles were aching, but the anxiety had burned off again. A sense of well-being filled me.

Unfortunately, I quickly found it didn't last. Whenever the anxiety started clawing at me, I'd head for the gym and the treadmill and the weight machines. Soon the anxiety and depression began to lift, especially after the Lexapro finally kicked in. But I am truly convinced that my workouts stabilized me and got me through the worst of it.

My sister was right. I wasn't helpless. I could fight depression and anxiety. I don't have to let it kill me.

My trainer says exercise is an effective treatment because scientists have found it returns the body to hormonal balance. Someone else wrote in response to an earlier blog that one recent study compared anti-depressants, talk therapy and exercise in depressed patients. Scientists found the ones that exercised did the best. However, I think combining the three would be even more effective.

By the way, I think Lexapro also helps my creativity. I know there is a big difference in my writing when I'm taking Lexapro and when I'm not. Lexapro works by liberating the brain chemical serotonin, which is also affects mood, appetite -- and creativity. (The only bad thing about Lexapro is it tends to decrease desire because it turns testosterone into serotonin. And testosterone is the hormone that is responsible for sexual appetite. I have found I can reduce that affect with a testosterone cream prescribed by my doctor, who had used a blood test to determine that my testosterone levels were too low.)

I know, I know. People are always telling you to diet and exercise -- it's supposed to be a cure for everything from cancer to Alzheimer's. Unfortunately, exercise is also tiring, and it hurts, which is why I was never much interested in doing it. It's much easier to stay at home and eat a box of Godiva's.

But I swear to you, my workouts have made a huge difference in my mood and my stress levels. I really believe that if you're struggling with depression and anxiety, working out will help you. It won't be easy at first, but I think you'll notice positive effects on your mental state very quickly. Then, if you're still having a problem, you can try an antidepressant like Lexapro on top of that. But you need to stay on the antidepressant and keep working out two or three times a week to make sure you don't backslide into depression.

You can survive this disease, but it's like heart disease or diabetes -- you have to treat it. Ignoring it will only allow it to kill you. Exercise is one hell of a good treatment.

There are other benefits too. As of today, I have lost 137 pounds since I had gastric bypass surgery Aug. 29, 2006. I feel 20 years younger, and I'm no longer in constant pain from my knees and joints.

When I started working out, I could only bench press about 15 pounds. Now I'm up to 37, and I've increased all the other weights I use too. Because I work out, I don't have as much loose skin as many other gastric bypass patients who have lost a lot of weight. And at 46, I'm stronger now than I have ever been in my life.

On the other hand, my mother is 67, and is morbidly obese. Being overweight for so many years has destroyed her joints, and she's in constant pain. She's going to have to undergo painful joint replacement surgery. I wish it was possible for her to have gastric bypass surgery, but at her age, it's just not a good option.

I urge you to exercise and try to do something if you have a weight problem. I think you will find it's more than worth the effort, especially if you're dealing with depression, stress and anxiety.

Angela Knight is teaching a new workshop...

2007-09-26T07:12:00.000-05:00

Last call for my month-long October workshop, Putting Teeth in Your Paranormal Romance: Vampires, Werewolves, and the Women Who Love Them. The class is $20. It says the deadline is Sept. 25, but registration is still open if you get it in in the next day or two.

I'm going to spend the first week discussing worldbuilding: how to construct a paranormal universe with plenty of sexy umph. The next week will be devoted to constructing heroes, heroines, villains and minor characters. Mixing the paranormal with ordinary folks can be a little tricky, and I'll talk about the best way to pull that off. In the third week, I'll talk plotting: how to keep your readers eagerly turning pages. Then in the last week, we'll talk romance and love scene construction.

For more information, drop by the Heart of the Carolinas here:

http://www.heartofcarolina.org/online_classes.html

Thanks, gang!

AK

I've been tagged!!!

2007-06-09T06:32:00.001-05:00

Robin Owens tagged me, which means I have to now list eight things you may not know about me.

1.) You probably know I do CGI art. You may not know that I started out doing pastel portraiture back in junior high, and continued doing pastel work for years. Walter Koenig, (AKA Chekhov from Star Trek) once gave me first place in an art contest at Heroes Convention for a portrait of Captain Kirk.

2.) My first crush on an actor/character was Captain Kirk. (I was 12 at the time.) Ahhh, that manly chest... LOL!

3.) When I was five or six, I had an imaginary friend -- Little Joe from Bonanza. (Actually, he's probably my first crush.,) Mom had to set a place at the table for him, and God help you if you sat on him.

4.) I worked in television production for four years, including two directing a religious program. I had just started writing erotic romance for Red Sage; if my boss had known what I was doing, she would have fired me. Then again, her receptionist was a drag queen, and she didn't know that either...

5.) When I was a kid, I had a huge thing for horses. I took riding lessons, and my first attempts at fiction revolved around horses.

6.) I'm a huge comic book geek. I still read comics, and of course, my first published fiction was a comic book mini-series.

7.) I wrote a Doc Savage spin-off for Caliber Press -- a comic about Doc's sister, Pat Savage.

8.) When I was in high school and college, my friends and I made a series of super-eight movies, which I wrote, shot and directed: "Landing Party," a Star Trek thing, "The Intergalactic Bar and Grill," another Star Trek thing; "Raiders of the Lost Props," a spoof of Raiders of the Lost Ark (Indy was menaced by a sock puppet instead of a cobra); Enemies and Friends, a Battlestar Galactica thing; and "Smith and Wesson," a detective flick which almost got us arrested for taking a gun to an airport. Good thing it was 1980 instead of today, or I'd still be in jail.

HERE ARE THE RULES FOR MY TAGGEES:

1. Each player starts with eight random facts/habits about themselves.

2. People who are tagged need to write their own blog about their eight things and post these rules.

3. At the end of your blog, you need to choose eight people to get tagged and list their names.

4. Don’t forget to leave them a comment telling them they’re tagged, and to read your blog.

My victims are: Rebecca York,

Divas Dish, revisited

2007-05-09T08:04:00.000-05:00

I wrote this for RT's Diva's Dish panel on Erotica, but I didn't get to go. Mike had to go to the ER. So because I'm loathe to waste a handout, here it is:

1.) The reader should feel the sexual tension start to build between the hero and heroine from their first glance. As many times as I’ve written love scenes, there are times I find it almost impossible to get a couple into bed. That’s usually because I’ve neglected to build sexual attraction because I’m focused on the romantic conflict.

2.) The elements of seduction:
A.) As Linda Howard says in her “12 Steps to Intimacy,” there is a definite pattern to seduction. The guy has to gain the woman’s trust and acceptance before he can make love to her. This is done in a natural set of steps.
I.) First is a quick look – is this person attractive? If so, the couple makes eye contact and smile. Then the guy can come over and start a conversation. You need to show an emotional connection start growing between them as they talk and look at one another. Boy, he’s hot! Wow, she’s sexy!
II.) Then and only then can he move forward with the seduction by touching her hand, then her shoulders, then her waist. These touches may appear to be casual or accidental, but they’re not, and both characters know it.
III.) Next comes the first kiss, which needs to be given a lot of attention. The kiss is a precursor to lovemaking, an indication of what we and the heroine can expect. How skillful is he? How tender? Build the anticipation.
IV.) Now we can start the actual foreplay, but that can’t begin until you lay the groundwork with the early stages of seduction. Think about it: if some guy just came up and grabbed your breasts, you’d slug him, scream, and call a cop. You have to build the attraction first.

3.) Do not treat your love scenes as porn breaks in the middle of the story. This is a problem I see even among mainstream published romance writers. They know their editors expect a love scene somewhere around chapter seven, so they just stick one in. The characters have a mechanical kind of sex that doesn’t really reflect the development of their romance or who they are as people.
A.) Think about what you can show with this scene. What kind of people are they? Is he dominant and aggressive? Is she sensual or unsure of herself? Is there humor – and there really should be, because humor humanizes characters and makes them seem more three-dimensional. What’s the romantic conflict?

4.) Don’t make your characters too stupid to live.
A.) In general, if it’s something you wouldn’t do, don’t have your heroine do it. If you wouldn’t pick a complete stranger up in a bar and have unprotected sex, your heroine shouldn’t do it. If you wouldn’t let a stranger tie you up for sex games, she definitely shouldn’t do that.

5.) For erotic romance to work, the love scenes need to be fun. You can have angst coming out of your ears everywhere else in the book, but when those characters get into bed, they have a very good time. They may be angry with one another to start out with, but the sex needs to rapidly morph into something lighter. If the sex is too emotionally heavy, it’s not going to be fun, just disturbing.
A.) Avoid characters with serious psychosexual issues, such as frigidity due to rape. The minute the sex becomes a form of therapy, you’ve lost about ninety percent of your heat.

6.) Things to think about when planning a love scene:
A.) Location. Go for someplace that is naturally sensual – a garden, a pool. Probably not a gynecologist’s office...
B.) Who makes the first move? Let them take turns.
C.) Where are these characters in their journey to love? What’s their mood going into the scene? Are they angry? Frightened? Just plain horny? Use that. Express the emotion in the way they touch. Maybe he knows she’s scared, so he’s particularly tender with her. Focus on the feeling, because it’s that emotion that will make your happily ever after believable.

For more, check out Passionate Ink: A Guide to Writing Erotic Romance by Angela Knight, ISBN-10: 1596323906 or ISBN-13: 978-1596323902. Angela’s website is www.angelasknights.com.

Writers and Depression

2007-05-07T14:29:00.000-05:00

One of the posters made a passing reference to depression, which happens to be a hot-button subject with me. That's because you came very close to never getting to read this blog -- or anything else I've written in the past 11 years, because I almost ate my husband's gun.

Eleven years ago, I was working for a religious broadcaster who was, quite frankly, a hypocritical bitch. She was so destructive as a boss, so endlessly critical, that I ended up quitting after two years of busting my backside working for her. I didn't know it at the time, but I also had a nodule on my thyroid that was causing thyroid storms. I plunged into a black depression, complete with delusional thoughts. My marriage began to disintegrate under the pressure. I once whipped my son so badly, I gave him black and blue stripes on his legs -- and I had no idea I'd hit him so hard. (I never spanked him again, btw.) I wasn't able to eat. Even the smell of food made me violently ill.

I struggled with these feelings for the next six months, trying to hold it together and failing. I felt as if I was losing myself. One day I went in the closet and got out Mike's gun. It wasn't because I wanted to die -- it was because I felt I was already dying. Imagine being swallowed by a giant python, feeling yourself being slowly digested. Now imagine you've got a gun. That's what a suicidal depression is like. It's not that you want to die -- you just want to save what's left.

Luckily I had just enough wit to realize Anthony was in the next room. He was 11 at the time, and I knew he'd be the one to find the body. I also knew the children of suicides are more likely to commit suicide. So I put the gun back in the box.

The next thing I knew, it was in my hand and pointed at my chin. I did not remember getting it out again.

It scared the crap out of me. I put the gun away and fled the closet.

When Mike got home, I told him what I'd done. He held me and cried. My big cop cried like a baby. He was a evidence officer at the time, with custody of the evidence from suicides. He said, "Do you want me to show you the photographs? The clothes?"

I had an appointment with the gynecologist the next day, and I told him what had happened. He promptly committed me to a psych hospital. I was terrified, but I knew I needed help. The doctor there told me I was manic depressive. (I wasn't; it was that damn thyroid nodule.)

I can't tell you how crushed I was from that diagnosis. I had always prided myself on my intelligence and wit. Now I could barely string a sentence together, and the same mind I had always prided myself on had turned on me. I wasn't sure I'd ever be able to hold a job or live a good life.

But I loved Mike and Anthony and my family, and I held on. It took time -- it was two more years before the thyroid nodule was removed, which greatly helped the depression. But because I did hold on, I was able to rebuild my life. I found I could still create. I got published by Berkley. I've gone on to write more than 20 novels and novellas since my bout of clinical depression, and I'm a best-selling author. I'm living my dreams.

I also got a job with the Spartanburg Herald Journal, during which I carried around a police scanner. Every single day we'd get at least one suicide call, where somebody either attempted suicide or succeeded. It always made my heart ache when I'd hear those calls, because I knew that if the person had gotten help, it could have been avoided.

Once I went to what I thought was a shooting. Turned out it was a suicide. The wife saw me, realized I was a reporter, and begged me not to write a story. I told her newspapers don't cover suicides, and I fled. But the look on her face -- the utter devastation -- is one I will never forget as long as I live. As I drove away I thought, "I don't care what happens, I will never do that to Mike and Anthony."

I'm sharing this painful and humiliating story because I know that some of the people reading it are suffering from clinical depression. Or possibly, one of your family members or your child is suffering from clinical depression. I beg you -- get help. Hold on, even if the symptoms don't lift right away. I struggled for years. Sometimes I still deal with the after-effects. But if I had let the disease take me, I wouldn't have experienced the success and joy I've known since then.

Clinical depression is not the end of the world. It's also not a moral failure or a sign of weakness, anymore than diabetes or heart disease or cancer is. But it can kill you just as quickly as any physical disease. Don't let it. Do something. Go see a doctor. Don't end your future over a temporary problem.

And if you need someone to talk to, you can e-mail me at angelanight2002@bellsouth.net. I'm not a therapist, obviously, but I know what it's like.

Trolls, Snarks and Critics: A Writer's Bestiary

2007-05-04T18:41:00.000-05:00

A good writer is a strip-tease artist. In the process of telling her story, she reveals a great deal about herself: what makes her laugh, what makes her cry, what turns her on. That's why the toughest skill for writers to learn is the ruthless objectivity of the craftsman: does this do what I want it to do? Does this have the effect I intend? After all, I'm revealing so much of myself. If it doesn't work, does that mean I myself am flawed?

Well, no. It just means you missed. Not even the best marksman hits the target every time. At the same time, though, if you can't force yourself to look at the target objectively, you won't know if you hit it or not.

Sometimes other people are a better judge of whether you hit your objective. They don't have as much invested in the effort, after all. It's probably taken you a good six months to write this particular book -- days of spilling your guts on the page, of laying it all out with every detail you can imagine as you struggle to create the emotional effect you want. No wonder being objective is so difficult.

That's why online criticism can be either invaluable or incredibly damaging to the artist. If it's truly objective, it can be a golden opportunity to see your work as another sees it and determine if it had the effect you intended.

The trouble is, online criticism is often far from objective, even when it pretends to be. The author of online criticism is frequently grinding an ax of one kind or another. Writers must decide if the criticism is legitimate and should be heeded, or is the product of some kind of agenda. A writer who listens to the wrong criticism can cripple herself with self-doubt and depression. At the same time, though, the writer who automatically rejects all criticism deprives herself of the chance to make her work better.

Trolls

In one sense, trolls are the easiest creature in the writer's bestiary to spot, but that doesn't make them any easier to take. Like the troll under the bridge in the fairy tale, this kind of online critic springs out at unsuspecting artists with vicious attacks. Often it's because the artist has unintentionally written something that hits the troll's hot buttons.

For example, erotic romance writers tend to attract a species of troll who simply don't like highly sexual content. The romances the troll could once count on for a certain safe content are becoming increasingly sexual, and she finds this threatening. "Smut!" the troll shrieks. "Page after page of smut! Why can't you write like (insert author name here.)”

Because this kind of troll tends to sound just like your maiden aunt, she can trigger all kinds of guilt and anger in the writer. She’s telling you sex is bad, and you’re a slut for writing it. Since erotic romance authors tend to struggle with these feelings anyway, it’s very hard not to explode at the troll.

That’s when it’s time to walk away from the computer. Do not feed the troll. You’re not going to convince her that your books don’t contain too much sex or that you’re not a slut, so don’t even try. In fact, responding to her at all simply validates her opinion by telling her that you care what she thinks. You’ll find yourself in a flame war quicker than you can say “Billy Goat Gruff.”

And you won’t win. Don’t answer her e-mails, don’t respond to her posts. The less time spent on her, the less damage she gets to do to your productivity as an artist. Don’t give her what she wants – which is you, feeling like the slut she’s branded you.

Snarks

Snarks are those online critics who pride themselves on using humor to puncture artists and writers. Mrs. Giggles is a good example.

Snarks are in many ways more troubling than trolls for a number of reasons. For one thing, they may actually have a legitimate artistic point, whereas a troll is simply irrational and shrill. What’s more, because they use humor to poke fun at the book, they tend to bring out a writer’s inner twelve-year-old, who remembers getting laughed at for wearing something goofy-looking to school.

Anytime a point is made in a biting, clever way, it gains power.

But that still doesn’t mean it’s right. Sometimes Snarks go for an obvious joke just because it’s funny, not because the book really doesn’t work. The Snark’s objective is to attract web-traffic to her site, and humor is an effective way to do that. What’s more, if an oversensitive writer shows up to rail at her, she’s got the opportunity of a lifetime. The writer’s fans will also make an appearance, along with various enemies looking to see the writer get her comeuppance. All of which means lots and lots of glorious hits.

Which is exactly why writers should never, ever show up at a Snark site to bitch about a review. One, you’re handing her hits, and two, you’re giving her another opportunity to humiliate you. Which she’s going to do. Even if you feel you’re more than up to out-Snarking her, you’re validating her by admitting her dig hurt. Don’t do that.

On the other hand, sometimes a Snark is also a legitimate critic, and that’s when you need to take her a little more seriously.

Critics

As I've said, no writer hits the mark every single time with every single scene. Writers must handle a vast number of difficult tasks in writing a book: beautiful description, gripping conflict, pacing that flows, characterization that makes readers believe absolutely in imaginary people. It’s tough. Sometimes, scenes or lines or perhaps even entire books miss the mark. Our objective as writers is to identify the point at which a book misses and figure out how to avoid that mistake on the next one.

You want people to say of you, “She gets better with every book she writes.”

So when a critique points out a flaw in a book in a rational, objective way – and I’m not talking about, “This book sux!” – you need to pay attention. Think about the comment, even if it stings. Does it resonate internally? I’ve had Amazon reviewers dismiss my books as boring, which is one criticism I’ve never taken seriously. On the other hand, I’ve had others who say my weird universe incorporates everything but the kitchen sink, which makes it hard to take seriously. I admit, I think about remarks like that, wondering if I should simplify just a bit in the next universe I create.

You should also take a criticism more seriously if you hear the same thing from a number of people. I’ve had Amazon reviewers complain about Jane’s Warlord because I didn’t make clear that Jane’s father murdered her mother. I didn’t really tie up that particular loose end, a problem I’m going to keep an eye on in the future.

On the other hand, just because a legitimate reviewer makes a comment about a book, that doesn’t mean she’s right. It could be that she simply doesn’t like that particular kind of book, or even that she’d had a really rotten day when she sat down to write the review.

But whether you’re dealing with legitimate critics, Snarks or Trolls, never let anyone’s words keep you from writing or make you feel inadequate. Writing is a learning process. Remember: you may write the book, but you are not the book. The book is a piece of craft, no different from a coffee table. If the legs are a little crooked this time, make them straighter the next. Learn from your mistakes, and incorporate what you’ve learned in the next one.

That’s what truly separates a professional writer from a wannabe.

Notes on writing Vampire romances from Romantic Times conference

2007-04-29T16:58:00.000-05:00

I participated in several panels at Romantic Times, and wrote handouts for them. Since the conference is over, I thought I'd share them here. Here's my notes on “But Will You Love Me Tomorrow?" That was a panel dealing with the question of whether there's a vampire fiction glut. Hope you find it interesting!

By the way, my book PASSIONATE INK, A GUIDE TO WRITING EROTIC ROMANCE is available from Amazon. Check it out.

1.) There are an awful lot of vampires novels out on the shelves, and you’re right to be concerned about the question of whether there’s a glut. Remember it’s going to take at least six months to write your book, and then more months to get it into the hands of an editor who may buy it. Then another year after that for the book to hit the stores. The craze may have passed by then.
A.) However, editors are still acquiring vampire and paranormal romance, so there’s still a window of opportunity. The question is, how do you make your book stand out?

2.) First, make sure you really want to write a vampire romance. Never mind whether it’s hot or not, since it may not be hot by the time you get it published. Do you absolutely love vampires and vampire romances? If not, find something else to write about, something you DO love. A passion for the idea is the key to making a book memorable.

3.) Think about how you can make your vampire novel different.
A.) What is the one thing about vampires that is key to the concept? It’s not coffins or a fear of crosses, because you can get rid of those things and still have a perfectly good vampire novel.
i). A vampire must feed on something another person has in order to sustain his life. It doesn’t have to be blood. It could be psychic energy or sex or chi or dreams. But he feeds on something, and that’s the one thing about vampires you have to keep. The rest you can change – and should change, if you want to make the book fresh and different.
B.) Think through how this idea works. Why does the hero need to do this? How did he become a vampire? Maybe he’s not 400 years old – maybe he’s only been a vampire a week, and he’s got to figure out how to survive.
C.) What is his weakness? The more powerful the character is, the more he needs a weakness. Classical vampires have a lot of weaknesses – garlic, crosses, mirrors, running water, etc. You must come up with a paranormal weakness that puts your guy in danger. Otherwise the reader is not going to worry about his safety, and if she’s not worried, she’s going to get bored.

4.) Think about your mortal character, whether hero or heroine. What does he or she want? Why would he or she have anything to do with your vampire? What is it about your vampire that he or she can fall in love with?
A.) Your mortal must be more than a match for your vampire on some level – while looking as if he or she is vulnerable. If all the power is with your vampire, you don’t have a good conflict, and without a good conflict, you’ve got no story.

5.) In a vampire romance as in every other kind, you need an internal conflict, an external conflict, and a romantic conflict.
A) The internal conflict is the thing inside the character that he or she is struggling with. In the TV show, Buffy the Vampire Slayer, Angel the vampire struggled with guilt over the crimes he committed as the demonic Angelus.
B.) The external conflict is what’s going on outside the character that is threatening him physically – usually caused by the villain who wants to kill him.
C.) The romantic conflict is the thing that is keeping the hero and heroine from their happy ending. It must be powerful enough that the reader has no idea how you’re going to resolve it.
D. All these conflicts intensify as the book goes on, growing worse and worse to make the reader more fearful for your hero and heroine. Keep complicating things!

6.) Remember than in a romance, love makes your characters’ lives more difficult, not less. It’s only in the climax that love enables the hero and heroine to overcome their internal and romantic conflicts. Whatever they learn in the process allows them to overcome the external conflict with the villain – and get to that all important Happily Ever After.

For more, check out Passionate Ink: A Guide to Writing Erotic Romance by Angela Knight, ISBN-10: 1596323906 or ISBN-13: 978-1596323902. Angela’s website is www.angelasknights.com.

Where Have All the Balls Gone?

2007-04-11T06:23:00.000-05:00

Having bored you with endless nattering about my weight loss long enough, I'm going to now talk about erotic romance again.

My current fangirl crush is JR Ward's Black Dagger Brotherhood. I love those damn books. I've read all four of them three times, and I scarf them like chocolate every time one of them shows up in the store. I think I've figured out what it is about them that just fascinates me -- and by implication, what's wrong with mainstream romance, and why paranormal has suddenly become so hot.

First, JR has giant brass balls. Really. Who else would create a misogynist hero who hates his own penis, like Zsadist, or a hero with a crush on another guy, like Vishous's stealthy love for Butch? Now, this is the kind of thing that could easily make a reader throw a book across the room, but Ward pulls it off. All her guys are so damned sexy, tortured and generally fascinating, you love them BECAUSE they're weird. And part of the appeal is "What the HELL will she do next?" I have no idea, but I desperately want to find out.

Speaking as somebody who's been reading romance since she was 17, it's damned difficult for me to find a writer who consistently surprises me. That's because so few of us romance writers have any balls. And I'm including myself in that category.

In these politically correct times, I think writers feel heroes have to be so damned NICE. They can be sexy, yeah, but they can't be really nasty anymore. Otherwise, God forbid, you might offend somebody.

It wasn't always that way. When I was reading romance during the bad old days of the 1980s, we had all those bodice ripper bastard heroes. I loved those books. I remember reading one, STORMFIRE, over and over again, and crying. Now, that guy was a real bastard. He broke the heroine's ribs, raped her, and left her in a dungeon until she was half-starved. In retrospect, I have no idea why I found him so hypnotic. Probably because he might have been a prick, but at least he was interesting. You didn't know what he was going to do next. There was nothing heroic about him whatsoever, but he was fascinating.

Now, before somebody rips me a new one, I absolutely do NOT think there is anything at all heroic about rape. Heroes should not rape heroines, any more than they should murder people or rob banks. But there's a BIG difference between committing felonies and being a six-foot-three poodle. And there are entirely too many poodle men in mainstream romance.

I tried reading a historical the other day by an author who is an auto-buy for me. Oh, God. I got through about twenty pages and realized I didn't give a rat's ass. The hero was just too frickin' GOOD. He was honest and upright and straightlaced. And borrrrrring.

The problem with poodles is they're predictable. You know they're not going to do anything really nasty, because they're Good Guys. Which, okay. But really, they shouldn't be so damned good they never say anything sexist or rude or just plain MALE. Some of these guys talk and act just like women in Hessians. No wonder I don't find them sexually attractive.

And they're not historically accurate, either. Part of the appeal of historicals is that those guys hadn't been Dr. Phill'd to death. If you so much as open your mouth and say ANYTHING stupid now, you must be publicly pilloried, then methodically spend a month flogging yourself on camera. No, I don't like racists or sexists or bigots in general, but I'm really fond of free speech. And I think people have a right to occasionally put a foot in their mouths without being proclaimed Asshole for the Ages.

Be honest, now. Haven't you ever said anything you KNEW was stupid, insensitive or just plain ignorant? I have. I'm a Southerner, after all. We've built an entire culture out of being assholes. I work really hard against my asshole tendencies, but I sometimes I miss. After all, I'm human, and being politically correct is hard work.

That's why I love JR. She's not afraid to let her heroes be assholes. And really, there's not a man alive who hasn't been an ass at one time or other. That's part of why we love them. They're annoying, they're infuriating, they make you want to smack them, but they're GUYS, and that's what guys do. And every woman knows it.

I think that's why readers have fallen in love with paranormals. Vampires and werewolves, after all, are not expected to be politically correct. They get to bite people, grow hair, and run wild in the woods. They don't have to wear bows, paint their toenails pink and sit in your lap gazing at you adoringly. You have to chase them -- or maybe run from them -- and that makes them a lot more interesting to be around.

So I think for my next novella, I'm going to try writing a bastard.

It should be fun.

For the curious...

2007-04-10T07:00:00.000-05:00

Here's my BEFORE picture.

The Big 100!!!!

2007-04-10T05:27:00.000-05:00

I'm definitely doing the dance of joy now, folks. Today I've officially lost 100 pounds since Aug. 29. When I got out of the hospital, I weighed 316 pounds. Today I weigh 216. I feel about twenty years younger, and I'm told I look it too.

I'm thinking back on what I've learned the last eight months since I started this journey.

I remember how scared out of my mind I was the weekend before the surgery. I basically melted down as I imagined every possible nightmare scenario. I was afraid I'd have complications -- perhaps even die. I was afraid my writing would suffer. (My editor says she thinks I'm actually better now than I was before the surgery.)

I was afraid the depression I've struggled with at various points of my life would be made worse by my new diet. I was afraid it wouldn't work -- that I'd pay out this huge sum of money only to end up regaining the weight.

I was afraid, period.

In retrospect, it was very similar to when my son was born. I was afraid of the pain, but I was more afraid of the way my life would change in ways I couldn't anticipate. But like the birth of my child, I now believe everything I went through was worth it.

I had reason to be afraid. Gastric bypass surgery is dangerous, especially if you don't do what your surgeon tells you to do, or if you don't choose the right doctor. I'm happy to say I did choose the right man -- Dr. Paul Ross, who had performed more than 300 gastric bypass procedures. If you're contemplating gastric bypass, I must stress how crucial it is to get a surgeon who's done at least 100 Gastric Bypass surgeries. Studies have shown that's the point when the complications go way down.

However, I will say that for all people talk about how dangerous it is to have gastric bypass surgery, it's far more dangerous to weigh 316 pounds. And a hell of a lot more miserable, too. I remember what it was like hauling my bulk out of a car, or getting on an airplane and having to ask for seatbelt extenders, or being afraid I was going to have a heart attack when I had to run catch a plane. I remember how my knees hurt when I'd have to get off the toilet. I remember the constant humiliation of being morbidly obese. One time I was riding with my girlfriend in her car, and her seatbelt wouldn't fit. I panicked. I hate riding without a seatbelt, but I was too freaking fat.

Another time I had been assigned to do a story about riding in a 60-year-old B-17 Bomber. They showed me to a seat in the plane's nose -- a rickety thing with a tiny seatbelt made for an 18 year old boy. I almost didn't get the belt to fit, and I was so humiliated. I was afraid I'd have to get off the plane.

And I knew good and damned well I was going to die young. I was headed for diabetes and the possibility of blindness -- and how would I work as I writer then? Sudden death from a heart attack was another real risk.

So I truly believe having the surgery, paying out all that money -- because my insurance didn't pick up a dime of it -- was worth it. It has probably added 10 or 15 years to my life. It's definitely made my life more worth living. And studies of those who've had the surgery confirm that.

But I won't kid you -- there have been times it wasn't fun. The first three months right after the surgery seemed endless. I was so damned weak there were times that just walking across the floor almost laid me out. My voice quavered as if I were eighty. I'd almost faint in the grocery store or the mall.

And adjusting to the tiny quantities of food was really hard at first. Here I was, used to eating anything and everything I wanted, whenever I wanted. That first couple of weeks, just watching TV was torture because of all the food commercials.

We coined a new phrase for the Food Network programs we used to love. I call them Food Porn, because you're watching all this decadent activity you can't do.

It's true what they said -- food is an addiction. And not being able to get your fix can be unbelievably frustrating. There were times I'd sit down and cry because I felt so weak and sick. Recently I went to a meeting of my gastric bypass group, and there was this poor girl there who kept crying. "When will I be able to eat?" She kept throwing up all the time. We assured her it would get better. And it has.

Right after the surgery, I couldn't eat salads or raw vegetables, beef, pork, or fruit, or anything with seeds. Rice was out. Sugar was off the menu, and still is. I had to give up caffeine. The only thing I could eat was scrambled eggs, soup, sugar-free Jello and sugar-free popsicles. If I even thought about transgressing, my body made me pay. I'd end up bent over a toilet, yarking.

I spent a lot of time that first four months yarking. When I ended up with a stricture -- scar tissue around the opening from my stomach to my intestines -- every time I ate for about a week, I'd throw up. But worse was the horrible pain as I waited and prayed to throw up. Once I did, the pain and sickness would abate. I finally had a minor procedure to open the scar tissue, and that problem went away. It was the only real complication I've had.

Since then, my stomach has healed, and my diet is a lot more varied. I can eat just about anything now -- salads, vegetables, beef, fruit, even the chicken that for a while there made me sick as a dog.

You may be thinking, Man, I'd love to lose the weight, but aren't you hungry? No, oddly enough, I'm not. I can remember diets pre-surgery that drove me nuts with hunger -- with little to show for it -- but hunger isn't a big problem anymore. Cravings sometimes are, especially at certain times of the month or when stress is especially great. I sometimes sneak a tiny piece of chocolate or a bite of brownie, which I can get away with without dumping syndrome. But if I try to eat anymore than that, I get pretty sick. That's good, because sweets have always been my downfall.

I've learned my willpower is a hell of a lot better than I always thought it was. If there are real, immediate consequences to doing something stupid, you don't do the stupid thing. Before the surgery, and a waiter asked, "Would you like the creme brulee?" I'd think -- "I really shouldn't -- I'm already the size of a horse...Oh, what the hell." Now I grimace and say, "No." 'Cause the momentary pleasure is not worth ninety minutes of being sick as a dog.

The weight loss has been phenomenal. I remember one week post-op, when I lost 20 pounds. Good God. Even after that, there were days when I'd lose a pound a day. I'm not kidding.

Now, recently, there was a month where I didn't lose a single pound. My grandmother was in the hospital, and I was having to stay with her to spell my poor mom every day for three weeks. My grandma has severe Alzheimer's, and half the time she doesn't know who I am. That's bad enough, but she'd shattered her arm -- for the third time since October -- and she kept trying to take off the bandages and get out of bed. The woman is 89, and if she fell, which was likely because of the drugs, she'd break a hip. So I spent hours at the hospital trying to keep her in the bed and in her cast. Not to mention trying to get her to eat, because she looked like the victim of a Nazi concentration camp.

All that was bad enough, but there was a while there she kept trying to attack the nursing staff and my mother and father. One time a nurse was trying to get a blood sample, and I saw my grandmother cranking up her foot trying to kick the woman in the back of the head. Good grief! I had to pounce on her to keep her from doing it, too.

This is the kind of high stress situation that drives morbidly obese people to eat like little pigs. I came about as close as it's possible for a gastric bypass patient to get. I even hit KFC one day, despite the fact that the thought of fried chicken makes me sick. And yes, I ended up nauseated and guilt-ridden. I won't be doing that again. It's just not worth it.

But Grandma is back in her nursing home recovering now. I've finished my latest novella, and made friends with Lean Cuisine. Those little 250 cal Lean Cuisines are now about the perfect size for me. Back in the day, I'd have to eat two of them.

I've lost four pounds in the last week. People compliment me all the time. My husband is beside himself with joy. He loves playing with my newly thin fingers and my collar bones and the shoulders he hasn't seen in years.

I've still got 66 pounds to lose, but I know I can do it. I also know the real challenge will come when the weight is finally off, and I have to adjust to maintaining. But I've learned important lessons, and I'm better equipped to deal with my eating addiction.

Gastric bypass is not magic. You still have to have to learn the self-control not to do stupid stuff, and sometimes it's not easy. But I've learned that every time I say no to something self-destructive, I get a little stronger. And that's not a bad lesson to learn.

Milestones

2007-02-12T07:56:00.000-05:00

It's been TOO long since my last blog, so I decided I should update you folks on what's going on.

I'm delighted to say I've finally adjusted to my new lifestyle. That's not to say it hasn't had its challenges. I've nicknamed myself the Duchess of Yerk, because every once in a while, my stomach stages a palace revolt.

One of those was around Christmas. My husband is a cop, and he took me to his department's annual Christmas party a couple of months ago. We sat with a bunch of Mike's friends from the bomb squad, who, being cops, were proving their skill with sick humor. (This poor, dumb 17-year-old kid had built three pipe bombs just for the hell of it, and one of them went off before he could get clear. Luckily, he survived, but his thumb didn't. One of the bomb squad found it in a light fixture. Since the kid was missing a chunk of his hand, there was nothing to reattach it to. The way cops deal with horror is by making sick jokes, so these guys got into a pun contest. "Hey, he gave me the FINGER!" I was laughing so hard, I forgot to watch how I ate. I ate too much, too fast, and realized I'd obstructed. So Mike and I had to leave.

On the way home, we had to pull over so I could yerk. There's something about standing in a ditch beside a patrol car tossing your salad that really puts things in perspective. I guess it serves me right for laughing at those horrible jokes.

So anyway, I am now down 81 pounds at this point, six months after my surgery. This weekend, I was invited to Philadelphia to speak to the Valley Forge chapter of Romance Writers of America. Now, flying in the past has always been a huge source of humiliation and pain, because regular seat-belts didn't fit. Last year, I had to ask the flight attendant on each plane for seat belt extenders. But this time, no extenders were needed. I felt comfortable on a plane for the first time in years! Oh, it was wonderful! And I was able to scramble up and down the ladders and walk through the airport without feeling as if I was going to pass out or have a heart attack.

There are some problems, of course. I have a really bad cold at the moment, but gastric bypass patients can't swallow pills, and anything asprin related is out. So finding a cold medication is a challenge. But I found I could swall Dayquil Liquid Gel pills without obstructing, so I was able to get through the flight. (Though for a while, I was worried I would yerk up the pills. My stomach is REALLY picky about large, hard things.)

Anyway, I can honestly say I'm glad I had the surgery. Yes, there are times I think longingly of the chocolate I can't eat, or the desserts everyone else is enjoying, or the drinks I can't have. But wearing a size 20 instead of a size 28 is a very nice consolation, and so is feeling so much more healthy.

I still have 60 or 70 pounds to go, and I'm not sure how long it's going to take to reach my goal. My weight loss has been slowing down. Ironically, as my body has gotten smaller, it hasn't needed as many calories, so it's not burning fat as fast. But I'm losing at a good, healthy pace -- about two or three pounds a week (There were days early on when I'd lose a pound a day). Hunger isn't a problem (though cravings do hit, and you have to control them. Luckily, because sugar gives me dumping syndrome, it's much easier to stay out of the cookies and candy than it once was.)

If you're morbidly obese, and there is a GOOD, experienced surgeon in your area who does gastric bypass surgery, you should give the surgery some thought. (I'm not talking about some quack who does them every once in a while. You need a guy who has done at least 100 Gastric Bypass surgeries and has a low rate of complications and mortality. Any time you operate on someone who is more than 100 pounds overweight, there are very serious risks.) God knows it's not cheap, though, and you may have to jump through hoops to get your insurance to pay for it, but I think it's worth the effort.

Oh, by the way, the Valley Forge chapter was GREAT to me! I had a ball talking to them. They're a fine group of ladies, and they're very friendly and welcoming.

Angela Knight

Attack of the Chicken Taco

2006-09-21T09:53:00.000-05:00

It's been two weeks since my last post, and I'm down a total of 31 pounds. You'll notice my weight loss has slowed a bit. That's because I went three days without losing anything. I had a minor infection of one of my incisions, and my body took its revenge by lowering my metabolism. I had kind of a reverse fever, with a body temp running around 95.3 at one point. Uck. Three days ago, that finally lifted, and I'm losing a pound a day.

My doctor tells me my energy level will continue to "drift" for another week or more as my body fights the weight loss. This means that I often feel like I've been run over by a tank.

The only way to avoid feeling like hell is protein, which has become my drug of choice. The post-op pain is basically gone, and I'm off all the interesting pain meds. Yay!

Trouble is, protein is a challenge, as I indicated last time. There's shakes, but I hate those suckers. Then Tuesday night, I decided to take a go at the baked chicken at the local grocery store. It was WONDERFUL. So I ate as much as I dared, knowing that I need the protein desperately.

The next day my strength level felt almost back to normal. I went to the doctor and got a couple of stitches out that were causing the incision problem, then decided to go to lunch with my husband. My nurse had suggested I might try Mexican food -- refried beans and a tiny amount of chicken. I know, sounds nuts, but hey, I was feeling cocky. I got a chicken taco and carefully picked little tiny bits of chicken out of it. No lettuce or sauce; I knew that would get me. And a couple of bites of refried beans.

Big mistake. Biiiiiiig mistake. I think that damned restaurant slipped me some sugar. I hadn't even finished eating before my chest started hurting. I expected the pain to decrease, but it only got worse.

I got home, and decided to go see my mother, taking her a copy of my new book. I ended up pacing the floor, fighting waves of chest pain. Before I knew what hit me, I was bent over her sink getting rid of the chicken. Disgusting as that was, it ended the pain.

Staggered home and passed out for four hours. During which, obviously, I didn't eat.

So as a result, I'm in a protein deficit. I've got to get my hands on some protein, but the thought of one of those shakes makes me feel faintly green. And obviously, not big on chicken right now.

This will get better. I know that. I have only another couple of weeks, maybe two months on the outside, to endure. Then my pouch will be healed and I'll start on the road to a better version of me, thinner and more healthy.

I just have to get through the next couple of months.

Building Knight 2.0

2006-09-08T15:36:00.000-05:00

Aug. 29, 2006

I lay on the hospital gurney listening to the click click of the wheels as the young woman wheeled me down the corridor. A pair of double doors appeared ahead of me. A big white sign on them said OR. My heart started pounding as the doors swung wide and the gurney sailed through.

For a moment, I had the sensation of riding a roller coaster -- that instant when you reach the top of the first great hill and see the endless swoop ahead of you, and your every instinct screams "I WANT TO GET OFF!" But of course, you can't.

I had been working for this moment for months. I could have bought a mini-van for what I spent on this particular E-ticket. I'd swung from panic to exhilaration, and I'd had to reschedule the deadline for a book. I'd read countless books on the subject, and I was convinced I was doing the only thing I possibly could -- the right thing for me.

Gastric bypass surgery.

Unlike many MO -- morbidly obese -- people, I had not been hugely fat from childhood. In fact, I exercised and watched my weight until I got pregnant with my son. Unfortunately, I took my pregnancy as a licence to eat.

By the time Anthony was born 21 years ago, I was 40 pounds overweight. I then hit the yo-yo diet syndrome with a vengeance, dieting, exercising, trying everything I could to lose weight. Then sabotaging myself between diets by yielding to every tempting sweet that came my way. Not surprisingly, I only got heavier and heavier. The last five or six years, I'd given up on dieting completely and begun a free fall into weight gain.

Finally my mother told me she thought I should have the surgery, because otherwise I was going to die. I was stunned. Mom had always been violently opposed to bariatric surgery, viewing it as dangerous and ineffective. For her to suggest I had come to the point of needing something that radical suggested I was indeed headed for self-destruction if I didn't do something.

So I started doing research, deeply interested in anything that would help me out of the hole I'd dug for myself.

I had somehow come up with the idea that gastric bypass surgery was the "easy" way out, and that I would never have to diet again. I quickly found out there ain't no such thing as a free lunch. Yes, gastric bypass comes with a wonderful honeymoon period in which people lose huge amounts of weight in very short periods of time. And yes, it can be very effective, allowing people to lose hundreds of pounds, going from obese to slim and healthy in a couple of years.

This miracle takes a good deal of surgical engineering.

The surgeon creates a small pouch at the top of the stomach and then re-routes part of the small intestine to it, where the two are surgically fused. Though a normal stomach is about the size of a human head, the new pouch is only the size of an egg. And immediately post-op, it's actually smaller than that, holding only about an ounce of food.

Yet the patient experiences no real hunger for months. The tiny pouch is so quickly filled, hunger is short-circuited. The pouch will come to hold more as it heals, but not as much as it did before. Hunger eventually returns, but I'm told it's never as savage as it is pre-op. It can be managed by concentrating on proteins and keeping fat and sugar to a minimum.

(Actually, many patients can't eat anything with fat or sugar for years afterward without experiencing dumping syndrome, a condition peculiar to gastric patients. Rich food hits the small intestine and the liver dumps insulin into the blood, which causes increased heartbeat, chest pains, dizziness, nausea and vomiting for one really miserable hour. It's the ultimate in negative conditioning; many people lose all taste for the cakes and candies that they were once addicted to.)

Unfortunately, some people learn to "eat around the pouch," by grazing on small amounts of food all day long, or by breaking the rules and drinking alcohol or eating high-fat food. That's when they put back on the weight they lost.

But for 80 percent of gastric bypass patients, the surgery is successful, allowing them to keep off the majority of their weight permanently. Studies show the surgery can lengthen the life expectancy of a MO person by fifteen years or more. Many serious problems, like diabetes, sleep apnea, joint problems, and even heart disease are all but cured.

Unfortunately, because it's major surgery, there is a small risk of death. Any time a MO person goes under the knife, there's a higher risk of death from a variety of causes, including blood clots, pneumonia, and unforseen complications. My surgeon, Dr. Paul Ross, had done over 300 surgeries with two fatalities, which is pretty good. Ross is a compassionate, caring man, who is dedicated to helping morbidly obese people reclaim their lives. I really liked him, so I felt very comfortable putting my life in his hands.

Well, as comfortable as you can feel putting your life in anybody's hands. Which is why I was having an anxiety attack as they wheeled me into pre-op to get my IVs inserted.

That was a major challenge in itself. I was dehydrated from the bowel prep the day before -- I'll spare you the details of THAT little adventure-- and I was scared out of my furry little mind, so my veins had shrunk down in my arms. The nurses stuck me repeatedly but couldn't get the IV to thread. They eventually had to wrap my arms in hot towels and wait 30 minutes while I went slowly out of my mind. I wanted it over so bad.

Finally they succeeded, and off I went to surgery. I was surrounded by briskly moving figures in green, with huge white lights hovering over my head. Then the doctor put me to sleep, and that was that.

There's something in the drugs that keep you from remembering the immediate aftermath of the procedure. I don't remember the recovery room at all. The first thing I do remember is the agonizing process of getting to my feet with the help of my husband and a physical therapist soon after coming back from surgery.

Yes, I had just been gutted like a carp, but if they didn't get me up and moving, my chances of a blood clot or pneumonia were really high. So I took three steps one way and three steps the other before I was allowed to collapse back into bed.

The pain was not good, but I had a happy little morphine pump that helped a lot. My dreams are normally vivid, but that morphine gave them a real kick.

What maddened me the most was thirst. I wasn't allowed anything by mouth until the day after surgery, because they had to make sure my new digestive system wasn't leaking. Hours of thirst resulted, with me sucking on little sponges on sticks to try to keep my mouth wet. I wasn't actually dehydrated, because of my IV, but my mouth didn't know that. By the time I went down for the x-rays, my tongue felt the size and texture of an old athletic sock, and tasted about that good.

Luckily, everything was fine, and I went back to my room for a glorious sugar-free popsicle and water.

Over the days that followed, my husband removed any doubts I ever may have had about how much he loves me. He left the hospital only to change clothes and shower, staying with me all the rest of the time and gently badgering me to drink. Solid food wasn't on the menu, but I could have jell-O and protein drinks. I finally went home last Friday, four days after the surgery.

In the week since then, I have lost --according to my home scales -- 21 pounds. From 316, I'm down to 295. That's a staggering amount in such a short time.

They weren't kidding about not being hungry either. I can only eat about half a scrambled egg before I feel stuffed. Yet though my stomach isn't hungry, I found food commercials maddening at first. Now they don't bother me as much.

I am still struggling with weakness -- not surprising, considering I'm only getting about 300 to 600 calories a day -- and pain is nagging. But that was to be expected. In truth, I'm doing much, much better than I feared.

But my relationship with food is changing. Instead of being something I crave as a sensual indulgence, it's become a somewhat grim necessity. I need about 60 grams of protein a day, but when you can only eat a tablespoon of food at a time, you simply can't get that much in. You have to drink protein shakes, each of which has 20 grams of protein. Some of the shakes I've tried in the past week would make a vulture gag, but without them, I feel too rotten to move. Protein is the only thing that helps the energy level, as is drinking 64 oz of fluid a day.

I'm also deathly afraid of dumping syndrome. I experienced a minor episode with some creamed chicken soup that made my heart race and my chest hurt. I definitely do not want the full-fledged deal, not with my insides still healing. My sister and I went grocery shopping, and I studied ingredient lists, searching for hidden sugar and considering fat content. It seems if something's low sugar, it's high fat and vice versa.

I am only eleven days into my quest for the new Angela Knight. I have a great deal to learn, new habits to acquire and bad ones to break.

Wish me luck.

Oh, for more on gastric bypass surgery, check out this support group:

http://www.livingafterwls.com/

--Angela Knight

A few words about women's erotica

2006-06-08T16:32:00.000-05:00

Summer is here, and with it the usual romance writers' conferences. Once again, editors of various romance houses are talking about acquiring erotica and erotic romance. But some of the things I'm hearing have started to worry me.

(This is not, by the way, a comment about my own wonderful editor, Cindy Hwang, who really does get it.)

Erotica and women's erotica are extremely new markets, and the houses aren't sure yet what's going to sell. So they're trying all kinds of stuff to see what works.

Since both erotica and women's erotica are topics I care about, I decided to share my thoughts -- (and hope I don't get myself blackballed in the process.)

Now, when I was 20, before I became a really diehard romance reader, I read erotica. And since nobody was publishing women's erotica, there was nothing to read but erotica for men. I was desperate enough to read it anyway, because frankly, I had more libido than boyfriends. (This was MANY, many pounds ago, and before I met the man of my dreams.)

I found men's erotica unsatisfying stuff, frankly. Yes, some it was arousing, more or less, but mostly it was just frustrating. The heroines were all life support systems for genitalia, which made it difficult to care about them, while the guys were cads who treated the women like toilet paper. Even when a female character had a bit more to her, she usually loudly declared her independence by the end of the book and flounced away, leaving the hero a broken man.

As for plot -- surely you're joking. Men don't read erotica for plot. It only takes them 10 minutes to beat off. If they want a plot, they'll go read WAR AND PEACE. Now, me -- it takes me a bit longer, which gave me far too much time to think, "This doesn't make any sense."

As a reader, I wanted characters I could care about, male and female. I wanted a happy ending. I wanted a ROMANCE. And I wanted hot sex. I was obviously not going to get that from men's erotica, so eventually I got disgusted and went off and started reading romance.

At the time, the hot sex was more implied than anything else, and most of the heroes in those bodice rippers were jerks, but there was a happy ending and a romance, and I decided that was as close as I was going to get to what I wanted.

In the meantime -- around 1990 or so -- I started writing what nobody else was giving me. Steamy sex, happy endings, and romance. Utterly unpublishable at the time, of course, because the stories were too short and the sex was WAY too hot for the romance market.

So, fast forward to 2006, when romance houses have suddenly discovered erotica. So what do some of these editors say they're looking for? Plot? Not particularly important, one said.

"We don't really want to see the hero's point of view," another said. (Sounds to me like he's going to become a life-support system for genitalia. Sound familiar?)

"We don't necessarily want a happy ending. We want a series of sexual encounters. These are not romances."

Well, SNOT. Here I waited 20 years for New York to start publishing what I want to read, and most of the houses (with the exception of the splendid and wonderful Berkley) are doing the exact same damn thing as the men's erotica that turned me off when I was 20. Except maybe more artsy. As one writer friend explained, "These books are supposed to be voyages of sexual self-discovery for the heroine."

Hell, THAT doesn't sound like any fun!

And that's the real problem. Erotica is supposed to be FUN. That's the whole point. If I am sitting here getting all warm and yummy reading about some marvelous hunk, I am NOT, thank you, in the mood for a voyage of sexual self-discovery.

Let me be crude: I WANT TO GET OFF.

Do not hand me an endless series of depressing and meaningless sexual encounters. I did that when I was in college, dammit, and I hated it the first time.

Here's a clue, ladies: orgasms and depression are not a good combo. In fact, where there is depression, there is no orgasm. Orgasms are fun. Sex with a handsome, horny guy is FUN. It's supposed to be fun.

Now, if I pick up your work of erotic fiction expecting to have a warm, happy time, followed by molesting my husband, and instead you leave me feeling like it's 1982 and I've just woken up next to yet another jerk...

Well, the next time I see one of your books sitting on the shelves at B&N, I will keep right on shopping.

On the other hand, if you show me a good time, at the end of which Our Heroine finds warmth and joy with a guy with a really big d**k...well, you've got a new fan.

Consider this a message to all you budding newbie Women's Erotica writers. Keep this post in mind, and I think you'll find many happy sales.

Angela Knight

Steam 101: A Guide to Writing Romance

2006-03-16T06:11:00.000-05:00

I thought I had posted this here, but apparently not.

By the way, if you're a kid -- GO AWAY. This is not for you. You don't write romance novels anyway. Go download somebody's music.

Erotic romance is hot. Readers love it, and publishers are actively working to acquire it. Yet surprisingly, editors say it’s hard to find people who write erotic romance well, despite the fact that almost every romance has at least one love scene in it.

So if you can write erotic romance – or even just regular romance with good love scenes – you’ve got a real advantage when it comes to finding a publisher. I’m proof of that: a couple of years ago I was approached by an New York editor who’d read my novellas in the Secrets anthologies. She e-mailed me to ask if I was willing to write something steamy for Berkley.

As anybody knows who has spent any time trying to get published in romance, editors simply do not approach writers who’ve never been published by a New York house.

Apparently, I’d done something right; I ended up with a two book contract.
This article is an attempt to share a few techniques and principles with those interested in writing romance – including the non-erotic variety.

Repeat after me: Romance does not equal porn

A year or so ago, I saw an RWA-sponsored ad to the effect that romance novels don’t really have all that much sex in them. It then listed various books and the number of love scenes in them – generally just one or two.

That ad really ticked me off, because it implied that a book with only one sex scene is somehow more moral than one with four or five. I’ve encountered that attitude a lot in other romance writers who sniff that they write love scenes only because their publishers demand it.
Apparently, like Victorian wives suffering the attentions of randy husbands, they lie back and think of England.

My personal belief is that somebody who writes mechanical sex solely to placate a publisher and make money is a lot more guilty of being a pornographer than I am.

No matter how much some writers might like to pretend otherwise, at their core, romances are about a sexual relationship between a man and a woman, not a purely spiritual union of souls. After all, when was the last time you read a romance staring Ghandi?

I’ve heard writers argue that their readers don’t care about sex, that in fact, they skip the sex scenes. My response is: then you’re doing something wrong. Anytime a reader can skip any scene in a book, the writer has screwed up. Every scene should advance the plot, characterization, or conflict -- preferably all three. That includes love scenes. A scene your reader can skip needs to be rewritten.

Now I’m going to make a confession: sometimes I skip love scenes too. But it’s not because I’m somehow too moral to read them. It’s because they’re boring! Too many of them are just like every other love scene I’ve read in my twenty years as a romance junkie.

The worst sin, the very worst sin, a writer can commit is boring the reader. When you bore her, you cheat her out of the seven bucks she paid for your book.

Not only that, but you’ve cheated the characters you’ve worked so hard to make real in the rest of the novel. You’ve basically turned them into porn actors, moaning and going through the motions because your publisher wants so many sex scenes per book.

Worst of all, you’ve cheated yourself as an artist. You haven’t had the guts to realize your artistic vision for that book because you’re either afraid of being called a pornographer or you’re worried the neighbors will think you’re kinky.

Screw the neighbors. Screw the critics. Tell the story of those two passionate people you’ve created without flinching and without chastely averting your eyes. That’s what being an artist is all about.

Sex is action

One of the hardest things about writing a good love scene – particularly when you’ve written a lot of them – is how to keep them fresh and different.

After all, the physical actions of sex are basically the same – kiss this, stroke that, insert tab A into slot B. You can spice things up by using different positions, locations and props, but that only works so many times.

Besides, readers are not dumb. They notice when you’ve got three sex scenes, and you tick through the basic positions in them: “Okay, we’ll do missionary in this one, and female superior in this one, and in this one he’ll...”

Yuck. Getting into porn territory again.

I’ve found that to keep sex fresh and different, love scenes needs to grow out of the characters themselves, not my reference copy of the Kama Sutra.

Every time the hero and heroine go to bed together, it should reflect where they are in their relationship. In fact, ideally you should be able to read through the sex scenes alone and track the progress of the romance through the book.

In that first scene, maybe they’re uncertain or cautious or exploring – or maybe they just go nuts from pent-up sexual tension.

In the next scene, maybe they’ve had an argument right before going to bed together, and that anger bubbles under the surface so that the love scene becomes another expression for the conflict. And so on, until the last scene in the book, when we see how they make love now that they’re really in love and committed to one another.

Sweet, tender action will do more than flowery declarations of love to tell the reader that these folks really will live happily ever after.

Remember, too, that each love scene should not only mark the progress of the relationship, but advance it. The characters are sharing a deeply personal interaction, exposing themselves to each other emotionally as well as physically. It should change how they relate to each other.

Some Examples

To illustrate, I’m including the opening paragraphs from loves scenes from my Berkely novel, Jane’s Warlord.

Baran, my hero, is a warrior from the future who has time-traveled to the 21st century in order to protect reporter Jane Colby from Jack the Ripper – who, it turns out, is also a futuristic warrior.

Baran comes on very cold and hard in the first few scenes of the book, so in the first love scene, I wanted to show another side of him: the tender lover. The idea was to demonstrate that Baran is someone both Jane and the reader can trust.

For me, that’s one of the keys of developing a sexy hero: you’ve got to first establish that he’s not a bully and that he respects the heroine’s needs, even when he’s being sexually demanding.
It’s absolutely vital to set up his heroism and concern for the heroine as another human being before you let him start playing dominant bedroom games.

If you don’t, you can end up with a hero who comes off as a selfish brute interested only in his own pleasure. And the reader’s just not going to like him.

Jane looked up blindly in the darkness, saw the shimmer of his eyes an instant before his mouth came down over hers. She tried to pull away, startled, but long fingers tangled in her hair and held her still. The kiss was an easy, practiced slide of his mouth against hers, carefully undemanding.

Jane had expected skill, but Baran’s tenderness took her by surprise. His tongue caressed her lower lip, then entered her mouth in a long erotic stroke. He mouth tasted of a sweet, spicy something she couldn’t identify. Strong hands closed gently around her shoulders, turned and lowered her to the mattress. She cupped her palms around the curve of his shoulders. They more than filled her hands. “We shouldn’t do this.”

“Probably not,” he murmured. “But it seems we’re going to do it anyway.”

The second love scene in Jane’s Warlord follows some heavy revelations of the characters’ personal histories. They’re more comfortable with each other, and they express that in playfulness. Too, the tension had gotten pretty thick, and I needed to lighten things up a little.

Baran grabbed the door just before she managed to slam it in his face. Shouldering through, he purred, “Are you running from me?”

She retreated quickly to the glass stall that took up one side of the room. “Who, me?” There was a definite squeak in her voice. Whirling, she started fumbling with a set of chrome knobs that made water shoot from a nozzle in the wall of the stall. “Why would I do that?”

“Maybe because it’s a good idea?” He strolled over to snatch her against him, grab the hem of her T-shirt, and jerk it over her head. She hadn’t bothered with a bra that morning, and her bare breasts bobbed with the motion. Those pretty nipples were delicately erect, pink and tender. He swooped in to sample one, sucking it into his mouth as he grabbed the waistband of her baggy trousers and started pulling them down her thighs. “I thought I told you not to wear these ugly pants again,” he growled between nibbles.

“And I don’t ... AH!... take fashion advice from a guy with beads in his hair. Baran!” The last word was a yelp of protest as he snatched her off her feet, one hand around her backside, the other arm circling her torso.

Here’s another point: don’t pair a dominant alpha hero with a dishrag heroine. He’ll come off as a bully, because she can’t or won’t give him a decent fight. So I let Baran try to give Jane orders, but I make it equally clear that she obeys them only when she thinks she should. This strengthens the conflict, because Baran thinks that unless Jane obeys him without question, he won’t be able to keep her alive. Jane thinks this is just dumb, and tells him so.

Humor is a great weapon for heroines to use against alpha heroes. Part of what makes alphas so attractive is the idea a powerful, physically overwhelming male. But those same characteristics makes it difficult for the heroine to hold her own with him. You need to demonstrate that she’s his equal in wit and will so the reader will respect her. And letting her get off a good joke at his expense is a great way to do that.

In the next scene, I use a sexual encounter to express Baran’s growing fear that he can’t protect Jane from the killer. I also play with his more erotically superhuman qualities to give the scene a special kick for the reader.

Baran had taken her before in calculation and in heat, but this desperation was new.

Jane could taste it in the way he kissed her, open-mouthed and fierce, his long fingers curling around the back of her skull, angling her head just the way he wanted it.

He took her in a long, sweet stroke of tongue and lip, hot and wet and hungry. Somewhere in the endless tumble into delight, she heard the rumble of a passing car, accompanied by the short, mocking toot of its horn. A tiny measure of sanity returned. Prying her mouth away from his, she panted, “We can’t do this on the side of the road, Baran!”

“Yes, we can,” he growled, and captured her mouth again, the kiss drugging, hungry.

Jane wrestled free and threw a desperate glance around them, trying to determine if they were being watched. She realized she knew the area from her wild teenage years. “There’s a spot down by the woods. A stream. We could....”

He looked down at her. The lust in his eyes was so intense, it didn’t seem quite human – and not just because of the fiery glow.

His lips pulled back from his teeth in a slow, erotic smile. “Run. Before I take you on the hood of the truck.” His powerful hands reluctantly relaxed their hold.

It wasn’t an idle threat. Jane whirled and fled as if chased by something that would eat her. And with a little squirt of heat, she knew he intended to do just that.

In the last love scene in Jane’s Warlord, I wanted to demonstrate just how far they’d come in their relationship.

“No!” she panted. “I want... I want....”

That got his attention. He stopped and looked at her, leaning his face against her thigh.

“What? Anything you want me to do, I’ll do.” Turning his head, he gave her thigh a tempting little nibble.

“I want to be on top!” she gasped.

He lifted a brow. “Of course.”

“No, I mean...” She drew in a deep breath and managed to bring her desperate pants under control. “I want to be in charge this time. Dominant.”

He lifted his head in surprise, then shrugged. “Your wish is my command.”

Jane managed a cheeky grin. “That’s the idea.” She sat up. “Lie down on your back. I want to tie you up this time.”

Because she was looking directly at him, she saw his eyes flicker. “All right.”

That moment of unease reminded her of that horrific story he’d told her of being paralyzed while the Xer tortured him. They hadn’t discussed it, but she strongly suspected the abuse had been even worse than he’d let on.

And yet, he was willing to allow himself to be bound if she wanted it that way.

“Just... extend your hands over your head,” she said, hastily modifying the game. “Grab one wrist, and keep them there. Don’t let go.” She watched while he obeyed, slowly stretching his big body out, assuming the position she directed.

It was her turn now.

The role reversal demonstrates that Baran loves Jane enough to yield to whatever she wants, including tying him up, even though that’s something he’s got a phobia about. She, on the other hand, modifies her request when she realizes this hits one of his hot buttons.

The final sex scene should, I think, demonstrate the fact that the characters know and love one another. Whether it’s tender or kinky, their lovemaking should show that this is definitely love.

They’ve reached the happy-ever-after ending readers crave.

And that, after all, is what romance is all about.

Saving the Book From Hell

2006-02-06T07:59:00.000-05:00

It happens to every writer, no matter how skilled you are: the book from hell. This is a book that absolutely does not go where you want it to go, and which limps like a three-legged dog as it wanders away. When you read over it, you get this sick feeling in your stomach that whispers, "This book sucks."

Having said that, I will admit that I always get the "this book sucks" feeling with every single book I write. But it's usually late in the process. For me, it tends to hit in galley edits, when it's too damn late to do anything because the book has been typeset. When I get that feeling, I end up going to my editor or my critique partner and whimpering, "It doesn't really suck, right? You'd have told me, right?" And they always pop me upside the head and say, "CUT IT OUT! It's FINE."

End-of-book suckitus is just part of the writing process, because writers are all neurotic. (This is another argument against doing too many rewrites during the early part of the process. If you start rewrting too early, you'll get suckitus before the book is even finished, and then you'll never complete it. This was why I never finished a novel until I hit 40.)

However, whenever I start getting that feeling early in the process, it's a bad sign. When I'm in the heat of a book, I'm always convinced it's brilliant. There's a kind of high involved that's like the first buzz of being in love. You're convinced the loved one is without flaw. You don't let yourself even notice his habit of leaving his underwear on the floor.

Fact is, I think you need that high in order to get through the grueling process of writing a book. That's why critique partners like my wonderful friend, Diane Whiteside, are so invaluable. Diane doesn't have to love my book, because she's not writing it. She can usually tell me when I'm going off-track early enough that I can fix it without killing my forward momentum. (If you don't have a CP and you want to write, you need to get one. Join one of the many yahoo groups for romance writers and ask around. My own AK loop is http://groups.yahoo.com/group/angelaknight/)

But whenever my gut starts telling me the book sucks when I'm in chapter five or so, it's bad news. This happened to me in an early draft of MASTER OF WOLVES. As I mentioned in the previous blog, I hadn't thought the book through far enough, because I had a cute, high concept idea I couldn't resist. Werewolf hero goes undercover as a police dog and falls in love with his handler.

So I wrote four chapters of the hero and his beautiful police officer partner, and just had a ball. They chased drug dealers. He turned into a man and snuck sandwiches because he couldn't stand kibble... It was really fun, and I thought it was funny. Unfortunately, it wasn't a romance. It was the Shaggy Dog with a badge. Diane Whiteside finally said, "AK, this ain't working. Where'd your romance go?"

So I realized I had to spring the hero's secret sooner. I decided the heroine was going to have to become a werewolf early in the book. But all that meant the plot I'd come up with wasn't going to work. I threw out all but a chapter and started over. Sixty pages down the drain, and my deadline coming up. Argh. So I replotted and wrote all the way out to chapter eight before that little voice started whispering again. "This book sucks."

ARGH!!! What was wrong? I read it. My critique partner read it. I read it on the plane to the RWA conference. The book sucked. I didn't know why. Diane couldn't tell me why either. She'd gotten too close to it too. Finally, in desperation, I asked my agent to read it. Now, I rarely ask Roberta Brown to hold my hand on stuff, but this time I had no choice because I did not have a clue. Roberta started reading it and called that first day and said, "This book is wonderful! I love it. What's the problem?" I said, "There's something wrong. I just can't put my finger on it."

Then the next day she called and said, "This book goes off the rails on page 103." She had it down to the PAGE NUMBER. We discussed it. Finally I realized my kickass cop heroine had started whining like some bimbo from an eighties romance. Kickass heroines do not whine. So I gutted 80 pages, replotted the book AGAIN, and proceeded to write 300 pages in a month. It turned into a rollercoaster of a book that I think the readers are really going to enjoy.

This has happened to me before, by the way. MASTER OF THE NIGHT did the same thing, and so did FOREVER KISS. From what I gather, it happens to almost every writer, even the really big names.

There are three things you need to remember when dealing with this kind of problem. First, as I said in the previous blog, you really need to plan the book and consider how it's going to work as a romance. You need to look at the structure and make sure you have a strong internal plot, an external plot, and a romantic plotline, all of which you need to weave together. I'd write them out on notecards or something and color code them, to make sure one of the threads doesn't disappear on you. You particularly can't afford to lose the romantic storyline, because you're writing a romance.

Second, when a book goes off, you often don't see it. You need to find somebody objective to look at it. Even your critique partner may not spot the problem. Diane had a similar problem with one of her books that I didn't see coming, because I'd been reading it chapter by chapter, and I had gotten too close to it.

Finally, you may just have suckitus. An objective reader can tell you if the book really sucks or not, or whether you're just being neurotic. You may want to find several trustworthy readers who are willing to give the manuscript a read, and see if any of them agree on the problem. If they agree, that's your flaw.

But even if your book really does suck, don't give up. As long as the underlying structural idea is sound, you can fix it. You may have to gut it and start over, but believe me, you won't be the first.

Happy writing!

AK

How NOT to take 20 years becoming an "overnight" success

2006-02-01T18:55:00.000-05:00

First off, if you're stopping by my blog after seeing a mention of it in ROMANTIC TIMES, thank you so much for coming. And if not -- thank you so much for coming! LOL!

When I saw the magazine was out, I started thinking about what would be the one message I'd give aspiring writers who are just getting started in the business. The answer was obvious -- don't do what I did.

Now, on the face of it, I've done pretty well since my first book came out in June, 2004. I've had four novels out, the latest of which was on the USA Today list for three weeks. One of the anthologies I was in, HOT BLOODED, won the Borders Group Award for best selling romance anthology last year, and another book, FOREVER KISS, won RT's Critics Choice award for Best Erotic Romance.

All of which sounds pretty good, until I tell you how close I came to blowing it. I want to share my mistakes with you, because I'm pretty sure some of you are doing the exact same things.

I decided I wanted to become a novelist when I was nine years old. From then on, I always had a book going. There were maybe two years in the past 36 when I wasn't actively working on a book. The trouble was, until I turned 40, I never FINISHED any of them. I always convinced myself they weren't good enough. I'd write a few pages, and I'd immediately start rewriting, and I'd rewrite and I'd rewrite and I'd rewrite, seeking perfection, until I became so thoroughly SICK of the idea that I'd just walk away. Then I'd start another book and do the same damned thing.

So my first piece of advice is this: DON'T REWRITE UNTIL YOU GET THE FIRST DRAFT FINISHED. Or at least more than halfway done. The editing function of the brain is different from the creative function. Once you turn that editor on, creativity comes to a screeching halt. So resist the impulse to rewrite. Then, when you do get it finished, give the book two complete rewrites and send it out the door. Do not let yourself tinker the book to death.

After you finish the book, SUBMIT IT. Fact of the mater is, I was probably publishable fifteen years ago, but I never submitted anything (Because, hey, never finished anything.) You're going to get rejections. Ignore 'em. If the editor has any suggestions about how to make the book better -- THAT WORK FOR YOU -- make them. Otherwise, send the book out again. Repeat the process until somebody buys it or you realize you can write a better book.

As to agents -- Kids, I hate to say this, but for newbies, messing with agents is generally a waste of time. Yes, there are some markets that require agents, but agents are like the rest of us: they don't like to work all that hard. It's a lot easier to get an agent after you get an editor's interest.

True story: in 2000, I decided I was by God going to finish a book. Wrote FOREVER KISS. (The one that won the Critics Choice award.) Sent queries to ten agents, got ten rejections. I was really discouraged, so I mentioned it to Alexandria Kendall, who publishes the Red Sage erotic romance series SECRETS. I'd been writing novellas for Alex for years, and she believed in me. She said send it to her, and she bought it. We ended up making a ton of money on it. Anyway, soon afterward, I got a call from Cindy Hwang at Berkley, who had discovered my Secrets stuff and wondered if I would be willing to write something for Berkley. Youbetcha. I came up with two ideas that weekend, pitched them on Monday, she said send a proposal. Then I got online and asked my Secrets author pals if any of them knew any agents. Emma Holly suggested her agent, Roberta Brown. I called Roberta, sent her a copy of an anthology I did for Ellora's Cave, and she accepted. Within a month, I had a tw0-book contract AND an agent who got me more money that I would have been able to get myself.

The point of this story is that it's MUCH easier to get an agent after you've engaged an editor's attention. The second point is that once you have engaged an editor's attention, GET AN AGENT. A good agent -- check them out and make sure they're not thieves before you sign anything with them. Agents can get you more money than you can get yourself, but only if they're honest. Mine is! (Many, many writers and artists have been ripped off by dishonest agents. Protect thyself.)

Next -- I realize a lot of people swear by the fine art of seat-of-the-pants writing. Many of them are writers I personally worship. You may be one of those people who can't write any other way, in which case, God love you. But if you're not sure whether you're a ploter or a panster, TRY PLOTTING FIRST. Spend time thinking about your book. What are your conflicts? What is the thing that keeps your hero and heroine from instantly falling in love on Page 1? And there had better be something, or the book is going to be impossible to write. Here's a trick I've learned: the more conflicts there are, the easier the book is to write. Figure all that stuff out. Figure out what your hero wants, what your heroine wants, and what your villain wants. Then figure out the steps each will take to GET what he wants, and how the others will react to those moves. They're going to do something to get in each other's way. The villain is going to try to murder the heroine, and the hero will try to stop him. Or the heroine will decide to steal the hero's priceless antique whatzit, which she needs to stop the villain. How is the hero going to react to that?

THINK about your cool book idea, and whether it will really work as a romance. I had a nifty high-concept idea: werewolf hero goes undercover as a police dog to investigate a murder, and ends up falling in love with his handler. Cute idea, huh? Only thing is, I had neglected to consider a simple detail: If the heroine thinks the hero is a dog, she's not gonna fall in love with him. DUH. Thus I got 100 pages into the book, going nowhere, before I realized I had a serious problem. I had to go back and gut that book four times before I figured out how to get it to work. If I'd sat down and really thought about the implications, I would have seen the problem coming.

Now, in case you're wondering, I did do some stuff right. First, I learned my craft. I learned how to write a clean sentence, and I studied the market. I read the stuff I'd written, and I looked for my strengths and weaknesses. Reading the stuff I wrote in the early 1990s, I realized that the scenes that worked best were the love scenes. I tried to figure out why the love scenes worked and the other scenes didn't, and realized it was sensual detail and emotion. Then when I found a publisher that was publishing sensual stuff, I targeted that market and was quickly accepted.

Finally, when I DID have an opportunity thrown in my lap -- Cindy Hwang's phone call -- I did not let my fear and insecurity keep me from writing the best book I was capable of. I seized the opportunity and ran with it.

I firmly believe if you apply these lessons to your own writing career, you'll be off to a good start.

Remember: never give up!

Best,
Angela Knight

Something Yummy!

2005-11-10T21:59:00.000-05:00

I just love vampires...

HIS DARK DESIRES by Jennifer St. Giles
(Pocket Books, Nov. 2005)

Can any woman resist the fire in his eyes—and the danger in his kiss? From award-winning author of The Mistress of Trevelyan (2004 National Readers Choice Award for Best Historical and Best First Book, and 2004 Maggie Award for Excellence in Historical Fiction) comes the sensual tale of a woman haunted—and a man possessed—by an all-consuming love. . . .

You are in danger. Trust no one. The terrifying words from a mysterious letter echo in Juliet Bucheron's mind. Destitute ever since her husband disappeared in the Civil War, Juliet has turned her New Orleans ancestral home into a boarding house -- despite the rumors of ghosts, the whispers of scandal, and the stain of murder. But even more unsettling is Juliet's new tenant, a handsome stranger named Stephen Trevelyan. Wealthy, educated, and seductively compelling, Stephen fills Juliet's heart with uncontrollable longing -- and her head with suspicion. Something, she senses, is lurking beneath the surface. And someone is stalking the hallways after midnight. As the danger draws nearer, Juliet wonders if she can really trust Stephen. But as he pulls her closer, she knows she cannot resist him...no matter what the price.

Excerpt:
http://www.jenniferstgiles.com/hisdarkdesire.shtml

Cover:
http://www.jenniferstgiles.com/hddsmall.jpg

ABOUT JENNIFER ST. GILES
A former nurse and home educator, this award winning author loves to create unforgettable heroes and heroines, who against all odds, fight and win the battle for love—the human need that drives us all. She lives in the suburbs of Atlanta, Georgia with her husband and three children.

REVIEWS
A wonderful Americana suspense thriller.. St. Giles provides a fabulous reconstruction era tale—Harriet Klausner.

Winner of Rendezvous Reviews Magazine’s Rosebud of the Month! Who cites His Dark Desires as Powerful and emotional, with complex characters…an excellent journey into the past you won’t forget.

A riveting sequel…a sexually charged romance that satisfies whether they’re seeking suspense or passion---Romantic Times Book Club.

WEBSITE: http://www.jenniferstgiles.com/

More Nummy MaryJanice!

2005-11-10T21:54:00.000-05:00

“Night Mares” featured in BEWITCHED, BOTHERED AND BE-VAMPYRED by MaryJanice Davidson
(Triskelion Press)

Welcome to Brokenoggin Falls, where the housewives are not only desperate, they’re Witches! (And one of them might be a Harpy) The spells cast by moonlight frequently go awry. And there are times when toads and Chihuahuas seem abundant as black flies in the summer, the dragons are a little touchy, the Forest Trolls are in danger of extinction from teeny-boppers, the Gryphons need help conceiving and...the scientist are crunchy and good with ketchup...

All proceeds from the sales of this book will go to the International Red Cross.

At a birthday party for the Disdaine Triplets, the little darlings decide they aren’t pleased with the party or the guests and use magic to create their own fun. That night the town and all its residents are visited by the infamous Night Mares who wreak mayhem as only giant ponies prancing through your house can. (First episode with story & characters created by Lynn Warren.)

Be on the lookout for MYSTERIA, an anthology expanding on the episode MaryJanice created in BEWITCHED, BOTHERED AND BEVAMPYRED. MYSTERIA (Berkley) hits shelves in August 2006!

Cover:
http://www.triskelionpublishing.com/images/Bewitchedthm.jpg

ABOUT MARYJANICE DAVIDSON
MaryJanice Davidson is the best-selling author of several romance novels, including UNDEAD AND UNWED and HELLO GORGEOUS. Her books have been on the USA Today best seller list, as well as the New York Times list. She lives in Minnesota with her husband, two children, and dog, and is secretly addicted to Peanut Buster Parfaits.

WEBSITE: http://www.maryjanicedavidson.net/

New website is up!

2005-10-18T21:47:00.000-05:00

My new website is up at www.angelasknights.com. I'm a terrible perfectionist, but I actually think this one doesn't suck. :>

I'm also hard at work writing my lessons for my class on writing erotic romance for Passionate Ink, the erotic romance chapter of Romance Writers of America. The class is free to those who join PI. (Which means that though the class is free, joining PI and RWA is not.) On the other hand, I plan to come out with a paperback version of the class, so that may be something you'll be interested in.

Passionate Ink is here, by the way: http://groups.yahoo.com/group/erw_org/

If you're interested in writing erotic romance, that's definitly the loop for you.

I'm also involved in renovating the house. This is proving to be, not surprisingly, a bigger PITA than I expected. The flooring guy is coming next Monday, Oct. 24 to install new floor, which means I have to get the walls painted before then. Which shouldn't be a problem, except I've got these flipping wallpaper borders up. I have a kit with wall paper paste removeal stuff and this claw thing and a scraper, and it's still just a huge hassle. If anyone has suggestions on how to do this without pulling my hair out by the roots, I'd love to hear it. :/

What I'm up to right now

2005-10-10T04:32:00.000-05:00

Yes, I know my blog has been mostly a place to advertise other people's books lately. I've been racing to meet my deadline on my new Berkley book, MASTER OF WOLVES. It's finished -- with any luck, my Berkley editor is reading it this weekend. (Hope she doesn't think it sucks!) So now I can do things I've been wanting to do, like get caught up on this blog and finish the desperately needed site redesign on my www.angelasknights.com site. I've been doing some artwork I really like, by the way. Hopefully the new site will be up in three or four days.

If anybody is interested in the fiction writing process, I'm currently teaching an online class on writing the Erotic Romance for the month of October. Once the class is finished, I plan to get it published by either Loose Id or Changeling, if they'll take non-fiction. So you'll be able to buy it, maybe even in paperback form.

One of the things I'm doing in the class is telling people about how to avoid some of my more boneheaded mistakes, like the ones that made MASTER OF WOLVES such a bloody nightmare. I started that book in May. I should have had it finished two months ago, but the book kept going offtrack. For one thing, I didn't think out the logistics of it.

Ok, hero is a werewolf who goes undercover as a police K-9 to investigate the murder of his best friend. He falls in love with his beautiful handler, only she thinks he's a dog. Cute idea, right? So I plotted the thing and started writing. But as I'm writing this book, I realize I'm on page 80 and the hero is still a dog, and the heroine doesn't know he's a werewolf. Well, this is a romance. Duh -- if the hero's a dog, no romance is occurring. So I gut the book, replot it, and start over from scratch, including killing a first chapter that appeared in Master of the Moon as a teaser. This time I make it to page 180 beforeI notice I'm having the devil's own time just sitting down to write the book. Deadline is fast approaching, and I don't want to write. Now, when I get like that, it's cause there's a problem in the story.

I knew the story had a problem, but I was damned if I could figure out what it was. Went to the Romance Writer's of America conference still wrestling with it. I read it, and realized I outright hated the book. NOT good. Sent the 180 pages to my agent, and she said she was in the first 100 pages and loved it. Then she called and said, "This book goes off the rails on page 103."

Which was pretty well where I thought it went off. Something had happened to the heroine, and she wasn't handling it well. In fact, she was whining. So I had to gut out 80 pages of the book, and replot it AGAIN with a big change in the heroine's personality. Between August 1 when I got back from RWA and Oct. 1, I wrote 300 pages and did two rewrites on the book. It's now MUCH better, I think -- knock wood. It's one of those rollercoaster ride books I love to write. We'll see what my editor thinks.

Cindy also gave me the new cover. Isn't it pretty? That guy is hot, IMHO. :)

Anyway, now I'm planning my next book while taking care of stuff like painting the house and putting in new flooring. You can be sure I'm going to plotting the next one a LOT more carefully!

Big Bad Werewolves

2005-10-10T04:28:00.000-05:00

I love werewolves -- I just finished a werewolf novel. Here's another cute story by an author in my ring. And the profits go to a good cause, too.

“Candy Cox and the Big Bad (Were) Wolf” featured in BEWITCHED, BOTHERED AND BEVAMPYRED by PC Cast
(Triskelion Press)

Welcome to Brokenoggin Falls, where the housewives are not only desperate, they’re Witches! (And one of them might be a Harpy) The spells cast by moonlight frequently go awry. And there are times when toads and Chihuahuas seem abundant as black flies in the summer, the dragons are a little touchy, the Forest Trolls are in danger of extinction from teeny-boppers, the Gryphons need help conceiving and...the scientist are crunchy and good with ketchup...

All proceeds from the sales of this book will go to the International Red Cross.

Godiva Tawdry casts a spell and shy, unassuming teacher Candy Cox finds the were-lover of her dreams; Janice’s cousin Romeo meets Joe, the veterinarian for unscheduled surgery.

Be on the lookout for MYSTERIA, an anthology expanding on the episode and characters PC created in BEWITCHED, BOTHERED AND BEVAMPYRED. MYSTERIA (Berkley) hits shelves in August 2006!

Cover:
http://www.triskelionpublishing.com/images/Bewitchedthm.jpg

ABOUT PC CAST
Award-winning author PC Cast is a dynamic, entertaining orator and an extraordinary teacher. Currently, her realm is in Oklahoma, where she resides with her daughter and spoiled cat.

WEBSITE http://www.pccast.net

KICKASS!!

2005-10-10T04:25:00.000-05:00

My antho, KICKASS is out. Besides my own story, WARFEM, there's a cool novella from my best buddy MaryJanice.

“The Misadventures of Boo and the Boy Blunder” featured in KICKASS by MaryJanice Davidson
(Berkley, September 2005)

They're sexy. They're smart. And they aren't afraid of a little danger-not even when it comes to matters of the heart... Four of today's hottest authors present a quartet of stories about bold women who take no prisoners-either in a fight or in love. Whether it's in the bedroom, in the outer limits of the galaxy, or out on the mean streets, they kick heart-stopping action to the next level. These are women who can hold their own and aren't to be trifled with. The men in their lives know that-and they love it...

A tale of a woman who knows how to save the day - and enjoy the rewards at night.
“The Incredible Misadventures of Boo and the Boy Blunder” by MaryJanice Davidson. Former police officer Gregory wonders how life can be so unfair. Recently, he was turned into a vampire and to make matters worse, he has met his soulmate (that is, if he had a soul). The problem is his beloved wants to kill him as Boo is a bona fide vampire hunter.

Excerpt:
http://www.maryjanicedavidson.net/KickAss%20Chapter.htm

Cover:
http://a1204.g.akamai.net/7/1204/1401/05052316011/images.barnesandnoble.com/images/9700000/9702750.jpg

ABOUT MARYJANICE DAVIDSON
MaryJanice Davidson is the best-selling author of several romance novels, including UNDEAD AND UNWED and HELLO GORGEOUS. Her books have been on the USA Today best seller list, as well as the New York Times list. She lives in Minnesota with her husband, two children, and dog, and is secretly addicted to Peanut Buster Parfaits.

REVIEWS

These four women live up to the title so anyone who enjoys strong women kicking butt and hog tying their beloved will enjoy this fun often amusing but always exciting anthology -- Harriet Klausner

Website: http://www.maryjanicedavidson.net/

Here Be Dragons!

2005-09-13T14:17:00.000-05:00

HEART OF THE DRAGON by Gena Showalter

(HQN Books, September 2005)

He’ll make you burn…

He is a Dragon, a rare breed of warriors able to transform into the legendary creature at will. Though the mighty warlord breathes fear into the minds of his enemies and fire into the blood of his women, no one has ever stirred his heart -- until he encounters Grace Carlyle of modern day Earth. He burns to possess this proud, alluring beauty . . . but he has sworn to kill her.

Journey to the mythical world of Atlantis, where the gods’ hid their greatest mistakes – the vampires, demons, dragons, and other creatures of legend – and experience white-hot passion, exciting adventure, and a love that defies the boundaries of time and magic.

Excerpt:

http://members.cox.net/genashowalter/excerpt.htm

Cover:

http://members.cox.net/genashowalter/images/dragoncoversm.gif

ABOUT GENA SHOWALTER

Gena Showalter holds a Ph.D. in Quantum Physics (lie), is an expert in Krav Maga (bigger lie), and once worked as a body guard for the stars (the biggest lie of all). Actually, Gena Showalter is just your everyday, average girl who enjoys creating sizzling paranormal tales of kick ass women and the men who can't resist them.

REVIEWS

"Sexy, funny and downright magical!" -- USA Today bestselling author Katie McAllister

This romantic fantasy is a magical work where dragons take on human form and have different values than the surface dwellers. Atlantis is an exotic city populated by dragons, vampires, centaurs, and other beings of myth and legend. There is plenty of action as well as romance in the storyline as the book will appeal to a wide range of readers. Gena Showalter has the magic touch to make readers believe in what she writes. -- Harriet Klausner

(In Heart of the Dragon) Showalter pens a bold and exciting new vision of both Atlantis and dragons. Lots of danger and sexy passion give lucky readers a spicy taste of adventure and romance.   – RT

Bold and witty, sexy and provocative, Gena Showalter's star is rising fast! -- Carly Phillips, New York Times Bestselling Author

 
Heart of the Dragon is a bang-up twist to the old fairy tail with its dragon
hero. Grace's character brings a refreshing change to the damsel in distress
with her full steam ahead attitude and persistence. Ms. Showalter leads the
reader on a thrilling adventure that even the coldest heart will acknowledge
and love. – The Romance Reader’s Connection

Website: http://www.genashowalter.com/

Really Unusual

2005-09-06T04:50:00.000-05:00

MaryJanice Davidson is up to her hysterical ways again in REALLY UNUSUAL BAD BOYS.(Brava, September 2005)

THEY'RE JUST THE SEXY BOYS NEXT DOOR.
IF NEXT DOOR IS A WEIRD, WEIRD PLACE.
Meet Damon, Maltese, and Shakar - three noble brothers from an enchanted kingdom where wooing and pleasuring is practically a royal commandment. They're hot. Irresistible. And just a little different. But what woman doesn't like a guy with a few surprises?

Excerpt:
http://www.maryjanicedavidson.net/RUBB%20excerpt.htm

Cover:
http://www.maryjanicedavidson.net/unusual%20bad%20boys.jpg

ABOUT MARYJANICE DAVIDSON
MaryJanice Davidson is the best-selling author of several romance novels, including UNDEAD AND UNWED and HELLO GORGEOUS. Her books have been on the USA Today best seller list, as well as the New York Times list. She lives in Minnesota with her husband, two children, and dog, and is secretly addicted to Peanut Buster Parfaits.

REVIEWS

These three amusing erotic romantic fantasies are terrific fun stories starring strong females who match up well with REALLY UNUSUAL BAD BOYS. Once again nobody combines humor, romance, otherworldly elements (including that), and erotica into fabulous tales like MaryJanice Davidson. -- Harriet Klausner

REALLY UNUSUAL BAD BOYS is a sizzling fast beach read with an interesting, unique and creative plot. – Armchair Interviews

Website: http://www.maryjanicedavidson.net/

Garden of Eden

2005-09-06T04:42:00.000-05:00

“Garden of Eden” featured in ELLORA’S CAVEMEN: LEGENDARY TAILS II by Jaci Burton
(Ellora’s Cave, June 2005)

Dr. Eden Mason has spent the past hundred years orbiting the Earth in stasis. Since a nuclear war destroyed everything, she and the other inhabitants of the space pods are the only survivors of the global meltdown.

One special passenger has joined them-Adam-an alien sent to recreate what was once a thriving, beautiful planet. But Adam needs Eden to fulfill his goal, in a way she never expected.

Adam has loved Eden since he first came to Earth, but her father refused to allow him to meet her. Instead, the brilliant scientist kept Adam secluded while they engineered a way to save some of Earth's inhabitants before the inevitable destruction. Now Adam can touch Eden, taste her, love her like he's always wanted to, at the same time fulfilling his duty to revitalize the planet.

His love for her is energizing and Eden begins to hope that life on new Earth will be a lush garden of sensual pleasures. But Adam's not telling her everything that will happen, and his secret may end up destroying them both.

Excerpt:
http://www.jaciburton.com/newrelease.html#Excerpt

Cover:
http://images.amazon.com/images/P/1419951521.01._SCLZZZZZZZ_.jpg

ABOUT JACI BURTON
Jaci Burton was born and raised in Missouri but now lives on an acre-and-a-half in Oklahoma with her husband Charlie. Jaci loves to write about passionate relationships with sometimes stormy outcomes but always a happily ever after. She’s a sucker for romance and a happy ending!

REVIEWS
“Jaci Burton does it again! What an amazingly hot and steamy story!” -- Fallen Angel Reviews

“Garden of Eden by Jaci Burton is a yummy little taste of fantastic science-fiction romance with beautiful balance. – eCataRomance

“Garden of Eden has a very interesting plotline. Ms. Burton gives us a very imaginative not to mention fun way for Adam to get his energy to re-create a new world. Adam and Eden are well developed characters even for a short story, and the emotional bond that develops between them is very moving and believable. With steamy sex scenes a plotline with twists and turns this one was an enjoyable read." – Cupids Library Reviews

Website: http://www.jaciburton.com/

Hurricane Relief

2005-08-31T07:57:00.000-05:00

I know a lot of us don’t have much money. But if you can afford it, please consider a donation to the Red Cross for the Hurricane Katrina victims. I made one yesterday, but I suspect it wasn’t enough after watching the heartbreaking coverage of the hurricane.

I was shocked to see so many reporters crying. I’ve never seen on-air reporters cry before, though God knows I cried plenty of times doing stories. Tells you how bad it is, when even CNN hardcases are breaking down.

http://www.redcross.org/

2005-08-24T14:46:00.000-05:00

HEART CHOICE by Robin D. OwensPublisher: Berkley (July 5, 2005) Tracker Straif Blackthorn has returned to Druida City after his last rescue mission, intending to repair his home and resume the noble duties he abandoned at seventeen, when he lost his family to disease.

He's futilely searched Celta for a cure.

But he may be too late! A secret enemy schemes to claim his title, his lands, and destroy the woman he loves.

As an interior designer Mitchella Clover dreamt of someone saying "no expense spared." Unfortunately it's a wildly attractive GreatLord who offers her the chance of a lifetime - to restore an ancient showplace. She knows she can never give Straif what he truly wants, but can she resist him? The job isn't easy. Both the sentient Residence and Straif's new snobbish Fam cat have remodeling ideas, and Mitchella's ward instantly dislikes Straif.

Everyone's back! Characters from HeartMate, Heart Thief and Heart Duel appear to help renovate the Residence, solve the mystery, give advice on the perfect duel - or meddle. And the first baby of the nextgeneration is born...

Excerpt: http://www.robindowens.com/images/HeartChoiceWebsite.pdf

Cover: http://www.robindowens.com/images/heartchoice_cover.jpg

ABOUT ROBIN D. OWENS

Robin D. Owens has been seriously writing longer than she cares to recall, but is very happy with how her writing career is proceeding. She was named the Writer of the Year by Rocky Mountain Fiction Writers in 2004, and 2003 Writer of the Year by the Denver Area Science Fiction Association. Robin has been the librarian, contest co-chair, and President of Rocky Mountain Fiction Writers. She has given seminars at Pikes Peak Writers Conference, the Colorado Gold Writers Conference, and Romance Writers of America as well as other groups.

REVIEWS “Character-driven story, brilliant dialogue...Terrific writing with a very realistic and sensual romance, make HEART CHOICE a fantastic read” -- Jani Brooks, Romance Reviews Today "

Dara Joy fans, rejoice! Robin Owens has created a unique world of her own…fun and sexy." -- Anne Avery

Website: http://www.robindowens.com/

Nobody does suspense like Rebecca York

2005-08-12T08:29:00.000-05:00

Rebecca York is one of those writers other writers read just to find out how she does what she does. I'm a huge fan of her wonderful, twisty plots. She's one of the few romance authors whose work actually surprises me every time. I've been reading romance so long, usually I see it coming every time. Anything by Rebecca, however, is an exception. And this is definitely one I'm going to go out and get!

BEYOND CONTROL by Rebecca York
(Berkley, August 2005)

BEYOND CONTROL, by Rebecca York, tells the story of telepaths who discover and develop their powers only when they sexually link with another of their kind.
Jordan Walker and Lindsay Fleming meet at a Washington, D. C., cocktail party. When they touch, they experience an electric moment of psychic awareness. As they explore the unique bond forming between them, they discover that the more intimate their contact, the more their psychic powers develop.
As with York’s Moon books, Lindsay and Jordan must work out their personal relationship against a background of danger and suspense after they stumble onto his murder cover-up at a secret biological weapons lab. At the same time, two other telepaths who want all the psychic goodies for themselves set out to wipe Jordan and Lindsay from the face of the earth.
Rebecca York says that, "Publishers wouldn’t touch a story with this unique blend of suspense and sensuality 15 years ago. But the characters and the plot wouldn’t let me go, so I held onto them until the time was right."

Excerpt:
http://mywebpages.comcast.net/glick/sneak-p21.htm

Cover:
http://mywebpages.comcast.net/glick/beyond-control-big.jpg

ABOUT REBECCA YORK
Ever since she can remember, Ruth Glick has loved making up stories full of adventure, romance and suspense. As a child she corralled her friends into adventure games or acted out romantic suspense stories with a cast of dolls. But she never assumed she could be an author, because she couldn't spell. Her life changed, however, with the invention of the word processor and spelling checker--and the help of her husband, Norman Glick, who spots spelling errors from fifty paces away. Writing as Rebecca York, she has authored or co-authored over 45 romantic suspense novels, many for Harlequin Intrigue's very popular 43 Light Street series, set in Baltimore, and many with paranormal elements.

REVIEWS
WOW! This was certainly one very hot, steamy, mind boggling and exciting suspense thriller. . . an absolutely riveting tale of suspense . . . with well-developed characters, stunning sensuality and some clever twists. A truly dynamite read! --Romance Designs

BEYOND CONTROL . . . plays out on two interwoven levels. The storyline is action-packed from the opening sequence at Maple Creek and never slows down until the lead couple learns what happened there. The tale also contains a delightful romance between Jordan and Lindsay that starts off with A Strangers in the Night encounter . . . and plays out on physical and paranormal planes. .. . a strong suspense-laden romantic tale. --Harriet Klausner

Four plus, Top Pick --RT Book club

Website: http://www.rebeccayork.com

Moon Magnetism

2005-08-06T22:04:00.000-05:00

“Moon Magnetism” featured in STAR QUALITY by Lucy Monroe
(Kensington Brava, May 2005)

Ivy Kendall dreads the full moon. For generations, women in her family have been extremely magnetic on that day—which was fine fifty years ago but not in the age of hard drives and cell phones. That’s why the hotel manager has resisted the technological improvements her boss wants her to implement. Now, the sexy, dynamic Blake Hawthorne is coming to insist on the upgrades in person. Shoot, he’ll probably fire her. Being around Blake makes her body go as haywire as a full moon, maybe even more. And as long as she’s going to be out of a job soon, there’s no reason not to use a little of that magnetism to her advantage, luring him into an elevator where the only electricity that will work is the kind they generate themselves…

Excerpt:
http://www.lucymonroe.com/ExcerptsSQ.htm

Cover:
http://www.lucymonroe.com/images/sq2.jpg

ABOUT LUCY MONROE
Award winning author Lucy Monroe sold her first book in September of 2002. Since then she has sold more than 30 books to three publishers and hit national bestsellers lists in the US and England. Her highly charged, sensual stories touch on the realities of life while giving the reader a fantasy story not easily forgotten. Whether it's a passionate Harlequin Presents, a sexy single title for Kensington or a steamy historical or paranormal for Berkley, Lucy's books transport her readers to a special place where the heart rules and love conquers all.

REVIEWS
"Monroe creates a sassy heroine and gives her a delectable rogue to help solve her unusual dilemma." 4 Stars - Romantic Times
"Their [Blake & Ivy in Moon Magnetism] dialog is priceless and will keep the reader smiling throughout this wonderful tale." Reader to Reader Reviews
"Star Quality is a delightfully funny read. The common full-moon theme is pulled together masterfully by three "quality stars" of the romance genre." - Sensual Romance Reviews

Website: http://www.lucymonroe.com/

MaryJanice Does it Again!!

2005-07-21T09:31:00.000-05:00

The blog tour continues with this one by my friend, MaryJanice Davidson. Let me say I ADORED this book. MJD just gets better and better. And Sinclair is SOOOOo freaking hot!

I have been a huge MaryJanice fan since I read her first novella in SECRETS 6. She seriously rocks, and Betsy is one of my favorite heroines.

I think you guys will love this one.

UNDEAD AND UNAPPRECIATED by MaryJanice Davidson
(Berkley, July 2005)

Most women would love to live as royalty, but Betsy Taylor has found that being vampire queen has more problems than perks, except for always being awake for Midnight Madness sales. It may be easy to find blood (yuck) in the dark of night, but try finding a strawberry smoothie. And employees at her nightclub Scratch have been giving her nothing but grief since she killed their former boss. Some people...

But Betsy's "life" takes an interesting turn at a baby shower for her wicked stepmother, who lets it slip that Betsy has a long-last half sister. Now twenty years old, this woman just so happens to be the devil's daughter...and destined to rule the world.

Excerpt:
http://www.maryjanicedavidson.net/U&U%203.htm

Cover:
http://images.amazon.com/images/P/0425204332.01._SCLZZZZZZZ_.jpg

ABOUT MARYJANICE DAVIDSON
MaryJanice Davidson has written in a variety of different genres, including contemporary romance, paranormal romance, erotica, and nonfiction.

MJ is the best-selling author of several romance novels, including UNDEAD AND UNWED and HELLO GORGEOUS. Her first hardcover, UNDEAD AND UNAPPRECIATED, will be out in July. Her books have been on the USA Today best seller list, as well as the New York Times list. Starting in July, she has a release every month through February. She lives in Minnesota with her husband, two children, and dog, and is secretly addicted to Peanut Buster Parfaits.

REVIEWS
An amusing vampiric chick lit amateur sleuth tale worth sinking your teeth into. – Midwest Book Review

Davidson's witty dialogue, fast pacing, smart plotting, laugh-out-loud humor, and sexy relationships make this a joy to read. – Booklist

A hilarious rompful of goofy twists and turns, great fun for fans of humorous vampire romance. – Locus

MaryJanice Davidson is at her humorous biting best with this devilish tale of our favorite vampiress since Vampirella started seeking a blood relation. -- Harriet Klausner, BarnesandNoble.com
Entertaining, wicked and delightful -- Romance Reviews Today
Chick lit meets vampire action in this creative, sophisticated, sexy and wonderfully witty book. -- Catherine Spangler

Website: http://www.maryjanicedavidson.net/

A Bite to Remember

2005-07-15T19:48:00.000-05:00

This book is seriously hot. You should check it out!

CRIMSON CITY by Liz Maverick
(Love Spell, July 2005)

Once, this was the City of Angels. The angels are no longer in charge.

From the extravagant appetites of the vampire world above, to the gritty defiance of the werewolves below, the specter of darkness lives around every corner, the hope of paradise in every heart. All walk freely with humans in a tentative peace, but to live in Los Angeles is to balance on the edge of a knife. One woman knows better than most that death lurks here in nights of bliss or hails of UV bullets. She’s about to be tested, to taste true thirst. She’s about to regain the power she’s long been denied. And Fleur Dumont is about to meet the one man who may understand her: a tormented protector who’s lost his way and all he loved.

Theirs is one tale of many. This is Crimson City, where desire meets danger and more than just the stars come out at night.

Liz Maverick created and developed Crimson City as a series for Dorchester. The full slate of rockin’ authors and their books is as follows:

Book #1: Crimson City, by Liz MaverickBook #2: A Taste of Crimson, by Marjorie M. LiuBook #3: Through a Crimson Veil, by Patti O'SheaBook #4: A Darker Crimson, by Carolyn JewelBook #5: Seduced by Crimson, by Jade LeeBook #6: Crimson Rogue, by Liz Maverick

Excerpt:
http://www.lizmaverick.com/crimsoncity.html

Cover:
http://www.lizmaverick.com/images/crimsonBig.jpg

Photo of Liz’s smiling mug:
http://www.lizmaverick.com/about.html

Other links:

Liz’s blog full of Assorted Misadventures and Photographic Whimsy
http://lizmaverick.blogspot.com/

Crimson City Hub
http://www.crimsoncity.com/

Crimson City city resident’s blog
http://crimsoncity.blogspot.com/

I LOVE Julie Kenner!

2005-07-07T08:08:00.000-05:00

I really enjoy Julie Kenner's stuff, and this one looks like a winner. This is definitely on my TBR pile!

CARPE DEMON: Adventures of a Demon-Hunting Soccer Mom by Julie Kenner
(Berkley, July 2005)

Carpools. Crabgrass. Creatures from the depths of hell. Suburbia has its problems too...
Lots of women put their careers aside once the kids come along. Kate Connor, for instance, hasn't hunted a demon in ages...
That must be why she missed the one wandering through the pet food aisle of the San Diablo Wal-Mart. Unfortunately, he managed to catch her attention an hour later-when he crashed into the Connor house, intent on killing her.
Now Kate has to clean up the mess in her kitchen, dispose of a dead demon, and pull together a dinner party that will get her husband elected to County Attorney-all without arousing her family's suspicion. Worse yet, it seems the dead demon didn't come alone. He was accompanied by a High Demon named Goramesh who, for some unknown reason, intends to kill off the entire population of San Diablo.
It's time for Kate Connor to go back to work.

Excerpt:
http://www.juliekenner.com/CarpeDemon.htm

Cover:
http://www.juliekenner.com/CarpeDemonMedium.jpg

CARPE DEMON: ADVENTURES OF A DEMON-HUNTING SOCCER MOM has been optioned for film by Warner Brothers & 1492 Pictures, and is scheduled for release as an audiobook from BBC America Audiobooks.

In addition, CARPE DEMON was recently honored by being selected by BOOKSENSE as a Summer 2005 Paperback Pick.

ABOUT JULIE KENNER
Julie Kenner is a USA Today bestselling author. She is also a former attorney who lives with her husband and daughter.

REVIEWS
"I loved CARPE DEMON! It was great fun; wonderfully clever... ninety-nine percent of the wives and moms in the country will identify with this heroine. I mean, like who hasn't had to battle demons between car-pools and play-dates?" -- Jayne Ann Krentz, New York Times bestselling author of Falling Awake
"As if having a teenager and a toddler weren't challenge enough, Kate Connor has other problems, too. Take kids to best friend's house, check. Clean house for budding politician husband's party, check. Kill the demon coming in through the window, check. Then hide the body and put on a little black dress...This book, as crammed with events as any suburban mom's calendar, shows you what would happen if Buffy got married and kept her past a secret. It's a hoot." --Charlaine Harris, USA Today bestselling author of Dead to the World
"Smart, fast-paced, unique--a blend of sophistication and wit that has you laughing outloud!" --Christine Feehan, New York Times bestselling author of Oceans of Fire

"[A] sprightly, fast-paced ode to kick-ass housewives..." – Publishers Weekly

Website: http://www.juliekenner.com/

Seriously hot...

2005-06-24T11:46:00.000-05:00

Gang, this is a really yummy story. Take a look...

UNMASKED by C. J. Barry
Love Spell (Dorchester Publishing), June 7 2005

To the merchants he plunders, he's the Ghost Rider of the Dead Zone. To sector law enforcement, he's a wanted pirate. To the slaves he rescues, he's the savior, laghato. To one determined female, Qaade Deter is serious trouble. Torrie Masters had heard of the legendary raider, but she'd never expected to encounter him. Nor would she have expected that beneath his black mask lurked an enticing man destined to challenge her in ways she couldn't shoot her way out of. But a great threat has emerged-one that's left no choice but for them to join forces. Entrusted with the fate of thousands, Torrie has discovered Qaade's impossible dream. Only she has the power to help him. Only she has the power to see him UNMASKED.

Excerpt:
http://www.dorchesterpub.com/Dorch/SpecialFeatures.cfm?Special_ID=1923

About C. J. Barry

Reviews
"Wow! What a story! Bravo!" -Best-selling Author Robin D. Owens

"Applause for this gutsy tale that steals your heart. Barry's best, simply her best!" -Deborah MacGillivray, The Best Reviews 4 1/2 STARS!!

"This awesome book roars out of the starting gates and never looks back. Along with telling social commentary, it is chock-full of danger, adventure, and romance-a terrific keeper!" -Romantic Times Magazine

Website: www.cjbarry.com

Awaken Me Darkly

2005-06-22T06:31:00.000-05:00

This one sounds like real fun. Take a look, gang!

AWAKEN ME DARKLY by Gena Showalter
(Pocket Books, June 2005)
WELCOME TO THE NEW WORLD. . .
In a time and place not too far away, Mia Snow is an alien huntress for the New Chicago Police Department, using her psychic abilities and deadly fighting skills to catch her prey. Heading up her expert team of Alien Investigation and Removal agents, Mia is unmatched at battling the elusive enemy among us, and she’s the perfect girl for the job. She’s seen her brother die at the hands of aliens. She’s earned each of her scars. And she’ll never, ever give up. Now, a series of killings have Mia and her partner Dallas tracking alien suspects – but a sudden blast of violence leaves Dallas fighting for his life.
The chance to save Dallas appears in the form of a tall, erotic stranger. An alien. A murder suspect. Kyrin en Arr, of the deadly Arcadian species, holds the power to heal the injured agent but not without a price. For Mia Snow, that price is surrendering to Kyrin’s forbidden seduction…and embracing their electric attraction. She’s walking a knife’s edge, risking her badge and even her life. The closer she gets to Kyrin, the more Mia learns about her own heart, her human needs – and the shocking secret that will shatter everything she’s ever believed.
Excerpt: http://members.cox.net/genashowalter/excerpt.htm
Cover: http://members.cox.net/genashowalter/images/awakenme.jpg

ABOUT GENA SHOWALTER:
Gena Showalter holds a Ph.D. in Quantum Physics (lie), is an expert in Krav Maga (bigger lie), and once worked as a body guard for the stars (the biggest lie of all). Actually, Gena Showalter is just your everyday, average girl who enjoys creating sizzling paranormal tales of kick ass women and the men who can't resist them.

REVIEWS:
"A brilliantly written, fast-paced novel, AWAKEN ME DARKLY sizzles…Similar to Laurell K. Hamilton’s Anita Blake series, (Awaken Me Darkly) takes various steps to transcend the genres of the supernatural, mystery and science fiction" Fresh Fiction
“Fans of TV’s Alias will find this book especially appealing” RT
“Buffy the Vampire Slayer meets Alien Nation in this action-packed adventure, and Mia Snow is perfect as the alien hunter with a secret.” Booklist

Website: http://www.genashowalter.com

Knightly adventures

2005-06-15T16:51:00.000-05:00

As long as I was posting something for the Blog tour, I thought I'd fill you all in on my current adventures.

Right now I'm hard at work on MASTER OF WOLVES, which has been giving me a throbbing pain in the butt. I have found that sometimes you can start off down the wrong path on a book and not figure it out until you've wasted WAY too much time.

In this case, I got this cute idea - Hero is a werewolf who goes undercover as a police K-9 to investigate a small town police department. Sounds fun, right? Only thing is, I just spent the past month writing the first four chapters and ripping them out when I realized they weren't working. I only now figured out what was wrong:

I wasn't writing a romance. Don't you hate when that happens?

I was actually trying to write a cute story about a girl and her dog, who happend to be a guy. Only AK does not do cute. She does sarcastic, but not cute. So, having come to that realization, I had to throw out all four completed chapters and start all over again for the third time. This time, it's definitely a romance, and I'm feeling good about it. The tone is completely different than my previous shaggy dog attempts -- brooding and mysterious instead of mildly goofy.

What WAS I thinking?

There's a moral there. I swear to God, I wasn't trying to pants the book. I plotted it out completely -- TWICE. Both times, the plot just wasn't right.

In between that, I'm also working on a new design for my website. And I'm running a contest through Writer's Space for a signed copy of my latest book, MASTER OF THE MOON. You'll find the contest here: http://angelasknights.com/contest.htm

Speaking of MOM, it did very well. It spent three weeks at Number 1 on the Waldens Romance List, and another three weeks on the USA Today list. Then, of course, Nora Robert's lastest came out, and that was the end of THAT.

I love Nora. Really, she's wonderful. She's the head goddess in my pantheon.

Anyway, I'm going to start doing this blog on a weekly basis instead of whenver the mood takes me. Stop by next week and find out what I'm up to. Thanks!

Best,
Angela Knight

Be enchanted!

2005-06-15T16:49:00.000-05:00

The Paranormal authors blog tour continues. Next up is ENCHANTED, INC, by Shanna Swenson. Come take a look....

ENCHANTED, INC. by Shanna Swendson
(Ballantine Books), May 31, 2005
Shanna Swendson’s debut mainstream novel, ENCHANTED, INC. is a magical story featuring Katie Chandler, a 20something, small-town Texas girl, who finds that being average in New York City is anything but. Katie loves the energy of Manhattan, and if she finds some of the people odd, well, that¹s New York, right? Where else would you see a person on the subway wearing fairy wings? In fact, if Katie wasn’t completely sure those wings must be a costume, she’d think they were real, the way they flutter in the breeze. Certainly the gargoyle that perches above the door of the church she passes on the way to and from work isn’t real. Its eyes seem to follow her, and she could have sworn it winked at her once, but now that she thinks about it, it was really hot that day, and she hadn¹t eaten lunch.... Katie is still adjusting to life in the big city while working a for a nightmare boss, when she gets a fantastic offer to work for a mysterious company, MSI, Inc. Through her new job and the magical folk she meets, Katie comes to find out she isn¹t quite as average as she thought; and the fairytale life she has longed for begins to come true in surprising ways. What Katie doesn’t realize is how rare and important being ordinary can be. In fact, it is her ordinary characteristics that make her the perfect secret weapon for MSI, Inc. Suddenly the very qualities she thought made her average are what make her special! Now she has magicians and fairies meddling in her attempted romances, a secret life she needs to keep hidden from her non-magical friends, not to mention that dangerous pull she feels for Owen, an attractive but shy wizard who might be the most powerful magic man since Merlin.

Excerpt:
http://www.randomhouse.com/rhpg/catalog/display.pperl?isbn=0345481259&view=excerpt

Cover:
http://www.shannaswendson.com/Resources/shannasbookcover.jpeg

ABOUT SHANNA SWENDSONWith ENCHANTED, INC. Shanna Swendson offers a new twist on chick lit for the-now-grown-up fans of Buffy the Vampire Slayer and Sabrina the Teenage Witch. In addition to writing fiction, Shanna is a freelance marketing consultant and writer specializing in technology and telecommunications. She is single and lives in Irving, Texas, with her many pet plants, including a vicious attack bougainvillea and a Christmas cactus that has outlasted three homes, three jobs and three boyfriends, yet still faithfully blooms every Christmas and Easter. She’s looking for a man that reliable.

REVIEWS“A totally captivating, hilarious and clever look on the magical kingdom of Manhattan, where kissing frogs has never been this fun.” -- Melissa de la Cruz, author of The Au Pairs and The Fashionista Files “With its clever premise and utterly engaging heroine, Shanna Swendson has penned a real treat! Enchanted, Inc. is loads of fun!” -- Julie Kenner, author of Carpe Demon: Adventures of a Demon-Hunting Soccer Mom and The Givenchy Code ³I am giddy! I found an enchanting (pardon the reference) book and therefore, have a new author to read. Bridget Jones, move over. Shanna Swendson is offering up fantasy for the Buffy, Sabrina and Bewitched crowd. This is a delightful romp through the world of magic with a dash of romance thrown in for good measure. There are characters you¹ll love and remember. If you want to escape the stress and busyness of life, join Katie for an enjoyable frolic into the world of make believe.” -- armchairinterviews.com

Website: http://www.shannaswendson.com

Fashionistas, Unite!

2005-06-05T10:28:00.000-05:00

I just wanted to share a little about a book by a friend of mine, Marianne Mancusi. It's definitely on my TBR Pile. King Arthur and Designer Shoes -- What's not to love?

A Connecticut Fashionista in King Arthur's Court (Dorchester Love Spell)

Once upon a time there lived an outspoken fashion editor named Kat, who certainly was not your typical damsel in distress. But when a gypsy curse sent her back in time to the days of King Arthur, she found she'd need every ounce of her 21st century wits (and pop culture references) to navigate the legend. After all, surviving a magical plot, an evil prince, and a case of mistaken identity--all without changing history or scuffing your Manolos--takes some doing!

Luckily, she's got her very own knight in shining armor, Lancelot du Lac, on her side. The honorable-to-a-fault and devastatingly handsome champion insists on helping her out, even though she's not quite sure she wants him to. After all, shouldn't he be off romancing Queen Guenevere or something? Will Kat manage to stay out of trouble long enough to get back to her beloved café lattes, cosmopolitans and cashmere? And what will Lancelot's forbidden love mean for the kingdom of Camelot?

Excerpt:
http://www.mariannemancusi.com/Excerpt.html

Book Cover JPG:
http://www.mariannemancusi.com/images/Img6.gif

Website:
www.mariannemancusi.com

Blog
www.mariannem.blogspot.com

MOVE OVER BRIDGET JONES! DORCHESTER PUBLISHING RELEASES FIRST EVER CHICK LIT TIME TRAVEL NOVEL

Imagine a Bridget Jones like character spiraling back in time to the days of Camelot. That’s the unique premise behind the latest chick lit offering from Dorchester Publishing. "A Connecticut Fashionista in King Arthur’s Court" (May 2005) combines, for the first time ever, chick lit attitude with a time travel plot. Debut author Marianne Mancusi, an Emmy Award winning television news producer for the NBC affiliate in Boston, pens a sexy, magical, laugh-out-loud romp through the legend you only thought you knew.

"I love the voice of Chick Lit," says Mancusi. "But I felt the same old plotlines about a girl in the city with a bad boss and good shoes were getting old. I wanted to do something a little different."
Connecticut Fashionista features an outspoken fashion editor named Kat, who’s certainly not your typical damsel in distress. But when a gypsy curse sends her back in time to the days of King Arthur, she’ll need every ounce of her 21st century wits (and pop culture references) to navigate the legend. After all, surviving a magical plot, an evil prince, and a case of mistaken identity--all without changing history or scuffing your Manolos--takes some doing!
So slip on your stilettos and clutch your Cosmos tight, as Dorchester Publishing and Marianne Mancusi send you on a wild, wacky, and oh-so-fashionable trip back in time.

About Marianne Mancusi

Marianne Mancusi is a multiple Emmy Award winning television news producer for WHDH-TV in Boston, Massachusetts. She has worked for news stations in Orlando and San Diego. A Massachusetts native, she currently lives in Massachusetts with her British husband Aaron and their dog Molly. She has six other adult and teen chick lit novels under contract with Dorchester and Berkley.

About Dorchester Publishing
Dorchester Publishing has been involved in the publishing of mass market books since 1971, making Dorchester the oldest independent mass market publisher in America. From its founding, we have strived to bring the freshest authors to millions of fans. Although mostly known for Romance, Dorchester also publishes world-class Horror, Westerns, and Thrillers under its Leisure Books imprint. For more information: www.dorchesterpub.com.

REVIEWS:
"Sparkling debut...A nice twist on the modern girl's search for prince charming." --
Publisher's Weekly

"Talented author Mancusi clearly knows her Arthurian lore. She vividly depicts the customs of a bygone era, and the wry, witty ending is perfectly Kat." --
Romantic Times Magazine - 4 Star Review

"It might sound like a strange premise for a chick lit novel, but once you pick it up, you won't be able to put A Connecticut Fashionista in King Arthur's Court down." --
Kristin Harmel, The Daily Buzz, WB Morning Show

"Excellent writing, biting wit, and a slew of familiar characters will have readers of chick lit laughing and wanting more." --
Jani Brooks - Romance Reviews Today

No Sex Please, we're Romance Novelists

2005-05-15T16:42:00.000-05:00

The two hottest selling romance sub genres right now are inspirationals and erotic romance. I’m not sure exactly what this says about our country, other than we’ve got a collective split personality.

Inspirationals, of course, have no sex whatsoever – even kissing is iffy – whereas in erotic romance, we happily do whatever our editors and readers will let us get away with.

Now, being a Southerner, I understand the religious belief that sex is emotional nuclear waste, to be avoided at all cost unless wearing certain protective gear – namely a wedding ring. If that’s where your faith leads you, that’s cool.

What I have a serious problem with is the attitude expressed by certain letters to RWA Magazine lately suggesting in veiled terms that everybody who writes erotic romance is a slut who is only doing it for the money. It’s not just inspirational authors expressing this attitude, either – it’s the middle-of-the-road, no-sex-until-chapter-seven set.

THAT I have a problem with. It’s as though they’re saying it’s okay to write love scenes, but they must be sufficiently bland and mechanical as to avoid arousing either the writer or the reader. In other words, sex should be treated as a bout of diarrhea – a disgusting business that should be glossed over as much as possible.

Wait a minute – what are we writing, people? These are romance novels. Like it or not, the core of a romance is the formation of a profound emotional and sexual relationship between a man and a woman.

Sex, particularly sex between two people who are falling in love, is a profoundly powerful experience. In the act of making love, the characters express to one another and to us what their feelings are at that particular time. Stripping a scene like that of any hint of true sexual heat is the equivalent of having your hero and villain have their climatic fight off-camera.
Any act which is important to the characters and the plot arc needs to be shown on camera at its maximum impact. That includes the sex. Otherwise, you’re cheating the readers, the characters, and yourself.

Women read romance because they want to experience what it’s like to love this magnificent hero, and be loved by him. As a writer, I spend an great deal of effort setting him up in all his beauty and heroism, and detailing his journey to love with the woman of his dreams.

Yet I’m supposed to shortchange the ultimate physical expression of that journey because it’s somehow dirty? I don’t think so.

The standard argument for censoring sexual content is to protect children. But romances are in no way marketed or intended for children, and children do not read them. True, teenage girls have been known to get their hands on them, which is why we need to write sexually responsible characters. But it’s safe to say the vast majority of our readers are over 21.

Thus, there is no good reason to censor our work, other than the belief that "good" girls don’t like sex, and that if we write hot sex well, we are somehow "bad" girls. Well, I am not a girl of any kind. My primary responsibility is to my characters and the reader who plunks down her $7.50 for my book. My mother, my family members and any easily scandalized neighbors will have to fend for themselves.

If you don’t care to write sexual content for religious reasons, I respect that. If you are not comfortable writing sexual content because you are shy, that’s fine too. But if you do write sex scenes, don’t blast me because I don’t choose to hold back.

And given the current market, you might want to rethink whether holding back is a good move, either artistically or from a commercial standpoint.

For me personally, writing erotic romance has paid off handsomely. My new book, MASTER OF THE MOON is in its second week on the USA Today bestseller, list, having jumped 19 spaces from 87 to 68.

Angela Knight

Putting Punch in Your Prose

2005-03-07T06:56:00.000-05:00

This is a workshop I gave a few years back. Hope it's helpful.

If you want to grab your reader by the throat, mug her in the first chapter. Don’t open with a sunset. Make your reader start worrying on the first page. To do that, you must answer a very important question: “WHY SHOULD SHE CARE?”

(1) Establish the characters in the first few pages, and show why the readers should care if they achieve their goals. To do this:

(A) Show the character doing something admirable and likeable. We want admirable people to succeed.

(B) Show that the character loves someone or something, and he is loved by others and is important to them. The biggest jerk in the world is more likeable if he loves his dog.

(C) MOST IMPORTANT: Show the depth of the character’s problem, what its impact is on his life, and how his life will change once he’s solved it. Please note the problem must have great personal impact, or the reader will not care. One reason saving the rainforest is not a good plot for a romance is that failure doesn’t affect the character personally. Doing something because it’s good for the planet is noble, but it doesn’t have the personal punch of trying to escape a serial killer. That is not to say that all problems must be a matter of life and death, but NOTHING else has as much raw emotional power as survival.
i.) To show the problem, put the protagonist in a situation where he is dealing with it. Don’t just write a scene in which he tells another character it’s bad.

(D) When designing a conflict for a character, try to come up with a particular problem that would really hit that character where he lives. What’s his greatest strength? Hit him there. Lois McMaster Bujold has a character called Miles Vorkosigan, who is an incredibly brilliant con-man who is a genius at combat strategy, even though he’s small and physically weak. In one book, she had Miles get hit by a grenade and killed, but this being SF, he’s brought back to life. But like a stroke victim, he can’t talk. Miles’ survival has always depended on his ability to convince people to do what he wants, so this is particularly desperate for him. His struggle to recover his ability is totally absorbing.

In the book I’m doing now, Midnight’s Master (later renamed FOREVER KISS), my heroine is haunted by memories of her parent’s murder by vampires. Then she’s captured by one of those vampires, the hero. (He didn’t participate in the murder, but he wasn’t able to save her parents either. He did, however, save her and her baby sister.) My hero tells her that to stop the killer, she has to become a vampire herself. That’s a choice she doesn’t want to make, but he argues that if she doesn’t do it, she will effectively be responsible for the killer’s later crimes. She also fears that she’ll become just as much a monster as the man she wants to kill. It’s a problem she can see no good solution for, and she agonizes over it through most of the book. And because she holds off making a decision, she makes the situation even worse.

My hero is an honorable man. But to stop the villain, he’s got to do things he considers dishonorable, such as endangering the heroine. He constantly fights a battle between what he has to do and what he knows is right.

E.) To set up a conflict like this, think about what you want to have happen, then chose as your protagonist the person who’d have the most trouble handling it – and who could grow the most from the experience. You can also approach it from the other direction. Create a character with a lot of strength, and then put him in a situation where his strength becomes a weakness.

(2) Don’t make it too easy.

(A.) Quickly establish the forces working against the hero, and make them stronger than he is. The villain has to be able to kick his butt without working up a sweat, and the hero has to be worried. Please note that all conflicts are not physical. Your protagonist could be a school teacher who’s afraid that the school board is going to fire her. However, also realize that she can always find another job. Why is THIS job so important to her – and the reader? There has to be something this job gives her that another wouldn’t – perhaps a connection to a particular student who needs her desperately.
(i) You also need to establish that the hero is not a wimp, either. Wimps are not admirable. Show your hero or heroine in action. That’s particularly useful if you have a supernatural or larger-than-life hero, or just a hero with unusual skills. You need to establish what he can do, and why, so the reader will know she’s in for a good time. The trick is the hero must both be capable and in danger of losing. In an early version of my book, I had the hero get his butt kicked by the villain, but I had to rewrite the scene because he looked too weak. I solved this by giving him a less powerful opponent he could best, a vampire flunky. He and that vampire go at it through most of the book, until the hero finally kills the flunky. The advantage of this is that I was able to save the main villain, spinning the story out and building the villain up. In the school teacher example, we could show her dealing with a really nasty kid, a big teenager with an attitude problem she manages to back down.

(B.) Pair your external problem with a powerful internal conflict. A purely external conflict for a character who doesn’t doubt himself doesn’t have as much power. When the hero questions and doubts what he’s doing, that has more punch. It’s also more believable. When the stakes are high, we don’t want to get it wrong. And when the character doubts himself, the reader doubts too, and that keeps her turning pages.

(C.)Try to build a conflict so strong that if your characters are anywhere in the same area code, they’ll feel compelled to find each other and argue. This makes the book very easy to write.

D.Make the characters work for it. Throw a series of conflicts at them, each worse than the last, which they survive with greater and greater difficulty. The escalating threat builds tension.

E. However, your final resolution scene must be even more powerful. If the characters aren’t in more danger in that scene than they were in the ones before it, the reader will feel cheated. So don’t avert a nuclear war in Chapter 5, because you’re not going to be able to top it in Chapter 15.

TRICKS OF THE TRADE

The first thing to keep in mind is: you’ve got to feel it first. Writing is like any other form of recording. You have to feel it inside yourself before you can make the reader feel it. When you’re trying to create a scene with strong emotion, spend time getting into it. Imagine it in detail. For example, say you want to create a scene of menace and building tension. What combinations of details would make you feel menaced? There’s the weather -- the old, “It was a dark and stormy night,” though obviously you wouldn’t use those words. Avoid cliche, because cliches have been used until all the power is sucked out of them.

I personally like to think of the cliche, and look for a way to do the opposite and still get the effect. Maybe the heroine feels uneasy for some reason she can’t put her finger on; it’s a gorgeous day, sunny and bright, with kids out playing in the neighbor’s yard. Their voices sound shrill and cutting, though normally she enjoys their laughter. When one of them screams, she jumps a foot and runs to the porch, only to see that the child is just playing. As she stands there, two dogs begin to fight as they run across her yard, snarling viciously and snapping at one another.

Then she sees a hulking man standing out on the sidewalk looking at her house with his fists in his pockets and a look of flat, black anticipation in his eyes. He meets her stare for a long moment, smiles slowly and walks away, while she watches with her heart in her throat. He looks familiar. She suddenly realizes he’s been following her.

Think of what would scare you, make you tense, get on your nerves. And use it.

That goes double for love scenes. I’ve heard a lot of people say, “I skip over the love scenes.” There are two possible reasons for that. A.) They’re not comfortable with reading love scenes, which is something the writer has no control over. Or B.) The writer did not do her job. It’s easy to do a generic loves scene, with all the same cliches everybody else uses. But why bother? They’re boring. The very worst sin a writer can commit is to be boring, because that sin will make the reader drop the book every time. I’ll overlook a clunky writing style when the writer excites me.

Writing good love scenes is like writing everything else: it takes work and a willingness to be unflinchingly honest. Look for the idea or the image that does something for you, that makes you squirm in your chair. I’m not saying you have to have your h/h hanging from the chandelier, because that’s not believable either. People who are just falling in love don’t need a lot of kinky fireworks to have a good time.

But you need to set the scene up in a way that captures your imagination, makes you feel what it would be like to be there, doing those things.

That can be a special problem for us as women. We’re taught we’re not supposed to like sex. And if you write something really hot, you’re revealing a lot of yourself. You’re admitting you like sex, and you’re admitting what kind of sex you like. That can be terrifying.
But good writing does not pull punches. If you’re going to write a sex scene, write a sex scene. Don’t worry about what Mother or the kids will think. Don’t give Mother or the kids the book. My mother and I have an agreement: I don’t give her the Secrets books, and she doesn’t disown me.

Tips for writing sex and other action scenes:

This may surprise you, but I think love scenes and fight scenes have a lot in common. Not that I write violent sex, but both are physical action, and they have some things in common when it comes to the way you write them.

1.) You have to build the tension for them. If you’re writing a climactic fight scene – or a climactic love scene – build the reader’s anticipation. Let the characters stew. Have smaller confrontations/ love scenes where the emotion sparks but doesn’t quite go off. Every time you do that, you tell the reader, “When this happens, it’s gonna be good.” She’ll keep reading because she wants to see the explosion.

Deliver on your promises! When you get to that climactic scene, take your time. Don’t do it in four paragraphs. I’ve been known to spin a love scene out over 10 pages. Fights run about the same. If you’ve been spending the past 100 pages building to that scene, let your reader savor every second.

Details, details, details. You want the reader firmly in your viewpoint character’s shoes. Tell her how things smell, sound, taste, look. Keep the sentences short, because often we experience intense feelings in bursts. Quick strokes – the taste of blood in the hero’s mouth from that cut lip. The hot male-and-leather smell of his skin when the heroine kisses him. Pay particular attention to smell and taste. Those are the most evocative, the most primitive senses, and they’re the most vivid when it comes to generating emotion. I’ve read you should try to use one of the vivid senses on every page, and I pay particular attention to that in rewrites.

Remember that action is a chain. One character makes a move, and the other responds to it. There is a logic in fight scenes and love scenes. In fights, if one character attacks, the other will have to block and counter. If he fails to block, he gets hit. Break down every move and mentally choreograph it. How do they look when they move together? What are they feeling – fear, rage, desperation? What’s the final blow? How does it feel? (Remember that the final blow is a climax of its own. It has to be something harder and more devastating than what came before. Do not make it anticlimactic.)

In a love scene, when he touches her, how does she respond? What does she do? Don’t allow her to be a passive recipient. She should be active, giving as much as she gets. Again, what are the sensory impressions? Try to describe what you’ve felt yourself.
Make sure the emotion you describe is in character. This can be tricky. Remember, people react differently. Your butch male hero may not react the same way you would in the same situation.

For example, I wrote a scene where my heroine had been shot. The hero was agonizing over the fact that she was dying. But I read the scene, and it just didn’t work. It finally dawned on me that here was a man who fights for a living. He’s seen mortal wounds before. He’s not going to panic. He’s going to get in there and work his butt off to save her. He will control that fear. So in the rewrite, he’s got his hands on the wound, clamping it off, methodically doing everything he can think of as fast as he can. His actions communicate his desperation to save her, making the scene much more powerful.

Action is always more powerful than dialogue, because we don’t stand around talking when things are really, really bad.

Brevity is the soul of wit

(A) Shorter is stronger. I first called this handout, “Achieving maximum impact in your fiction.” You’ll notice it’s now “Putting Punch in Your Prose.” On the other hand, I wouldn’t use that much alliteration in fiction writing. It’s too showy and drags the reader out of the story. However, that does not mean you should write like a machine gun. Don’t use the same sentence structure over and over, because that’s boring. You do need those longer, complex sentences for variety, but they’re best for descriptive passages when the urgency isn’t as great. I also use them at times when I’m doing a fight scene, and I want to show a complex, fluid motion.

This paragraph is a scene from Midnight’s Master:

“Ridgemont exploded at McKinnon, swinging his sword like a scythe in a blow calculated to slice through his helm and take off the top of his head. McKinnon danced back and blocked. The shield jolted on his arms with a sound like a cannon shot, and the world pinwheeled.”

The sentence lengths there are 27 words, 5 and 17. The 27-word sentence pushes the limit of length. Looking at that sentence, it would read better as “Ridgemont lunged, scything his sword right for McKinnon’s head.” 7 words. So I cut 20 words out of that sentence. Not only is it shorter, it’s more sharply visual.

Looking at word choice: I used “exploded” as a metaphor, but it didn’t really work; people don’t explode. “Swinging his sword like a scythe” became “scything” – I wanted to keep that visual image, but the phrase was too long.

As to “slice through his helm and take off the top of his head;” if you slice through the helm, you’re going to take off the top of the guy’s head, so that could go. I still didn’t like “calculated,” so I killed that whole phrase. The idea is to create a threat. If he’s swinging the sword at McKinnon’s head, the threat is there. The reader knows what will happen if that sword connects. Anyway, look for ways to collapse the sentence, paying particular attention to redundancy. But keep in mind the effect you’re trying to create. Don’t cut a sentence until it becomes weak.

I did have some good sensory detail in that paragraph. I think the sound the shield makes is good, but I wonder if it reads just right. It looks as though the jolt makes the cannon shot sound, but it should be the sword. “The blade slammed into his shield with a sound like a cannon shot. The world pinwheeled as he went flying.”

Putting that last phrase in its own sentence draws attention to the image and clarifies the action. What I’m trying to do there is catch the feeling of being in combat. “Spun” would be shorter than “pinwheeled,” but “pinwheeled” creates a particular image that “spun” doesn’t. It’s a longer, dizzier word, which goes with the sensation of everything spinning around you. Also, about the cannon shot – though they’re fighting with sword and shield, this is a contemporary story. If it had been set around the 1100s or so, I wouldn’t have used the cannon metaphor, because that’s too early for cannon. Now, looking at the entire paragraph, you have:

“Ridgemont lunged, scything his sword right for McKinnon’s head. McKinnon danced back and blocked. The blade slammed into his shield with a sound like a cannon shot, and his arm went numb to the shoulder. The world pinwheeled as he went flying.”

Notice I added a phrase, “his arm went numb to the shoulder.” That’s because I needed a longer sentence there; too many short sentences in a row set up a machine gun rhythm. I had his arm go numb because I wanted to show the force of the blow and work in one of the five senses. It bothers me that I used McKinnon twice close together, but if I changed one of them to “him” or “he,” it would no longer be clear whether I was talking about McKinnon or Ridgemont. Sometimes you have to accept repetition to avoid confusion.

Keep in mind the implications of words. I have an e-mail list, and I was taking a poll on titles for Midnight’s Master. I don’t like that title; sounds too ‘80s. Somebody wrote in suggesting “Nocturnal Phantasm.” I got a couple of e-mails back saying, “No, that sounds like bed-wetting,” and another that said, “Sounds like something teenage boys do.” I thanked the lady for her suggestion and said only that my problem with it was that the words were too long. Hope we didn’t hurt her feelings.

(B.) In general, shorter words and shorter sentences bite harder. However, words that have a lot of possible meanings do not. “Hit,” for example, is less effective than “slam” because “hit” can mean any degree of force from a pencil hitting a table to a freight train hitting a pickup truck. “Slam” carries the implication of great force and noise. Use vivid words. “Scything,” “danced,” “jolted,” are all words that have a visual meaning, that make you see a particular kind of movement. You see how calculated all this is.

Don’t rewrite the book to death

By the way, when you’re writing a first draft, don’t start rewriting like this. If you stop to noodle over every word the way I did over that paragraph just now, you’ll never finish the book. I’ve killed more novels that way. Got up to 250 pages on one of them, about two thirds of the way through, but I sucked all the life right out of it by rewriting it endlessly before I finished. Don’t do that. Don’t rewrite at all until you finish the whole first draft. Don’t even look at the previous day's work unless you can’t remember what you did. Finish it. Then do two more drafts and send it out the door to the editor. Make copy edits when it comes back, and that’s it.

If you turn on your mental editor on a first draft, you’ll slit the book’s throat. Editing is key, but remember that it is a completely different brain function than raw creativity.

(C.) In dialogue, the more angry the character is, the shorter his sentences are going to be. Adrenalin cuts off higher brain functions. You literally can’t manage elaborate sentence structures when you’re furious. That’s why people become incoherent with rage. That’s also true of any other powerful emotion, including desire. So in a love scene, don’t have the hero prosing on about the heroine’s “amethyst eyes” when he’s making love to her. For one thing, most of his blood supply has moved south of his belt buckle, and he probably can’t even pronounce “amethyst.” If he can, he’s not that hot. Which is probably why most sex words have less than five letters.

(D.) When two characters are talking, short, tight dialogue has more impact. Keep it to two lines or less if possible, then have the other character respond. It sounds more natural. For example, here’s an excerpt from “A Candidate for the Kiss,” in Secrets Volume 6. In this scene, a reporter is trying to interview a federal agent she’s just discovered is a vampire.

“Just how many vampires does the FBI have on the payroll?” Dana asked, sounding as cool as Sam Donaldson grilling the President. A real feat considering the rapid heartbeat he could hear slamming out her terror.
The question startled an admiring laugh out of him. “Damn, you’ve got guts. No brains to speak of, but guts to spare.”
“Just doing my job, Agent. And you didn’t answer the question.”
“I’m not with the FBI. It’s another federal agency all together.”
“Called?”
“I could tell you.” Archer smiled slowly as he put his own spin on the old spook joke. “But then I’d have to bite you.”
“I could guess, and you could nod,” Dana suggested boldly. “The Bureau of Vampire Intelligence? The Central Vampire Agency?” Her full mouth twitched in an impish smile. “Fangs ‘R’ Us?”
“The Federal Office of Inquiry and Analysis.” She wouldn’t remember it in ten minutes anyway.
“Never heard of it.”
“I’d be worried if you had.”
“Sounds more like accountants than vampires.”
“That’s the idea.”

You can take it too far, though. I love this kind of dialogue, but it can also sound artificial if you’re not careful. People generally tend to speak in longer sentences than that. But those two characters are playing with each other, so it works. I think.

(D) Remember that you can’t do a technical discussion for the purposes of exposition and keep the emotion immediate. If you have to explain something, you’re going to back off the emotion whether you want to or not. And impassioned characters aren’t going to be interested in an intellectual discussion anyway. It’s best to use that. Time your exposition for a period when nothing’s much is going on and you need to back off the mood temporarily.

(E) Put the word you want to punch at the end of the sentence for maximum impact. Don’t let the sentence trial off by tacking on a name or a phrase that draws attention from your meaning. “Hit him with the axe!” is better than “Hit him with the axe, John!” The punch should be on axe, not “John.”

(E) Sensory details add to emotional impact. Describe how things feel, smell and taste, particularly in love scenes. The more sense detail you use, the more you put the reader in the character’s head. And the more the reader cares about the character.

Debra Dixon has a great book out on this you should order called GOAL, MOTIVATION AND CONFLICT. I recommend it highly. She says you should give your characters GMCs that are in diametric opposition. That keeps the conflict sharp and gives them a lot of emotion to angst over.

I think doing this chart is more effective than all the little questionnaires about hair and eye color and favorite foods they tell you to fill out on characters.

In Midnight’s Master, not only did the GMC for the hero and heroine conflict, but so did the one for the villain and his flunky. This was great, because everybody in the book was in opposition to everybody else. It was the easiest book I’ve ever written because the conflicts were so strong. I’d just sit down at my computer, get the characters in a room, and watch the fur fly.

At any rate, these are a few techniques I use. I hope you’ll find then effective. But it’s also true that everybody writes differently, and you may have a very different style and subject matter than I do. Even if you don’t, my suggestions may not work for you. The best way to judge is to try them and see. If they don’t, throw ‘em out.

Making a long story short

2005-02-13T17:35:00.000-05:00

My entire romance career has been based on novellas. If you look at the 20 or so published works on my website, www.angelasknights.com, all but about four or five of them are novellas or short stories.

Now, you'd think writing 25,000 words would be a lot easier than writing 100,000 words. Like, a fourth the work, right? Wellllll... it ain't necessarily so, particularly when it comes to romance. Getting a man and a woman from "hello" to "I love you" in 100 pages is a tricky bit of business.

But I do have some suggestions, if you're tackling a novella.

Everything I know about romance I learned from writing comic books.

My first published work back in the late 1980s were actually comics. Now, before you sneer, I think that there is no better way to learn how to write than writing comics.

Oh, I'd taken college courses on writing, and I'd been trying to write fiction from the time I was nine. Yet I only really learned how to tell a story from my comic book editor, Dwight Zimmerman. He taught me more about the nuts and bolts of storytelling in six months than I'd learned in all the previous years from everybody else. I still use the concepts Dwight taught me in my novels.

That's because the underlying principals of telling a good story are the same, no matter what genre you're working in.

Writing comics also taught me how to write tight, clean copy. Before that, I tended toward purple prose, but in comics, I found out I had to cut the deadwood. There's only room for about 22 words in a good-sized word balloon, and you can only fit one or two big balloons in a panel. Probably less.

So when the artwork would come from the artist, and I'd sit down to figure out where to place the balloons, I would quickly discover that much of my artsy dialogue wouldn't fit. I'd have to cut the daylights out of it. I soon learned not to use six long words where one or two short ones would do, and I learned to GET TO THE POINT.

Later, as a fiction writer, I discovered that my short, punchy comic book dialogue was much stronger than my long, flabby prose dialogue. Even now I rarely let one of my characters talk more than a couple of lines before another one cuts in. Fact is, bright, bouncy ping-pong dialogue is a lot more lively and interesting. That's particularly true in short fiction, where you don't have room for characters that drone.

First rule of writing short: PLAN.

The second major thing I learned from comics is the importance of planning ahead.

Okay, I know that lots of people are pantsers -- they start on page one, and they write until they hit page 400. And somehow, a plot grows out of that. I admire people like that. Lots of really good novelists work that way.

But I've gotta tell you -- DON'T try to write a novella that way. You'll make yourself crazy, and you'll end up with something that has a very good chance of being dreck.

I strongly suspect that some of the really bad novellas I've read are the product of people who tried to write them by the seat of the pants. They might do a good set up, but then they start wandering around like they would in a novel, and they never address the major plot point they established up front. So the reader is left growling in frustration.

Here's a good rule of thumb: the shorter the piece of fiction you're writing, the more tightly you have to plot it. A comic book is 22 pages long. Period. You have to know what goes on every single page, and you CANNOT run over, because the presses are set up for 22 pages. You create a longer book, and it will cost your publisher money in additional paper, ink and setup.

So as a comic book writer, I would sit down with a piece of paper, and I'd write something like this:

Page 1 -- Hero and villain square off to fight a duel as a hundred people look on.

Page 2-4-- Duel.

Page 6 -- hero's friends confront him about the woman he fought the duel over.

Page 7 -8 -- Commanding officer interrupts to tell them they have to go hunt an assassin...

Note, I don't have the major details of exactly what happens yet, but I need to know what major scenes I need and how long I can let each scene run. (Though for a novel or short story, each scene will run for 3 to 10 pages rather than a page or two. I'm told you just don't get enough emotional punch with a scene less than two pages long, and I believe it.)

This is a kind of plot skeleton -- the equivalent of the rough sketch an artist does before he puts down the detailed lines. I do that in all my fiction, including novels. Because I plan this way, I usually don't have a problem with a book running really long or really short.

In novels and prose fiction, I leave it a little looser than I do in comics, because it gives my characters more room to develop and change as the story goes without seriously screwing up my plans. I may not know exactly HOW the hero defeats the villain, but I need to know the approximate steps leading up to that event. This technique -- which isn't as detailed as the outline some plotters do, but isn't as loose as a pantser's approach -- seems to work very well for me.

By the way, in novellas, as opposed to novels, I go with short, 10-page chapters, because they seem to break the action better. Gives the reader the feeling the book really flies. For novels, I write 20 page chapters.

Keep it Simple, Stupid.

The KISS rule is one a novella writer can never afford to forget. You don't have room in 100 pages to get too complicated.

Keep your external and internal conflict simple -- something you can actually solve in 100 pages. Don't try to bring international terrorism to an end, for example. You can, however, finish off one particular group of terrorists.

Keep your cast of characters small. Hero, heroine, and villain. The smaller the cast, the better the novella seems to work. I've done big casts in a novella, but the focus must remain primarily on the hero and heroine. They need to be on stage and interacting with one another almost continuously. If you can figure out a plot event that puts them in the same place and keeps them there to bounce off one another, that's good too.

Here's a biggie: The first chapter or two of a novella is setup. You set up your characters and your major conflict. (In a novella, you've usually only got ONE major external conflict. There just isn't room for more.) Readers expect you to resolve that conflict with THOSE characters by the end of the book. That means, don't just forget your conflict and wander off to have sex or a romance or whatever. Resolve the conflict by the end of the book, or you're going to seriously frustrate your readers. They want closure on the external conflict.

By the way, don't introduce a studly male alpha in the first chapter unless he's damn well your hero. You'll get in trouble every time, because readers will assume he's the hero, and they're going to be ticked if he's not.

Romancing the Novella

It may be a good idea to give your heroine and hero a romantic history. It's a lot easier to get them to love in 100 pages if they're halfway there before the book starts. Now, I've done it with them as strangers, but there's a certain amount of suspension of disbelief involved. Often a novella takes place in the span of a day or two, and it's hard to convince people the h/h fell in love that fast. You can do them as strangers, but I think it works better if at some point they acknowledge how odd it is: "I can't believe I've only known you two days, and I already love you."

I also think it works better if you throw so much at them, and they have such an intense experience running from bad guys and having sex, that it seems they've known each other longer than they actually have. It makes the reader believe a longer span of time has passed, and they know each other better. If they're just trapped in an elevator or something...no. Not gonna work. Anyway, not without a magic spell in there somewhere.

So -- Give the hero and heroine ONE concrete goal they can accomplish in 100 pages: Get rescued. Escape from the villain. Catch the villain. Find the magic whatsit.

Minimize the number of supporting characters, and maximize the amount of time the hero and heroine are together. Trapped on an alien planet running from monsters/villains? Ohhh, yeah. Done it many times. Always works.

Give them a preexisting romantic history, or else keep the romantic conflict between them simple enough that they can overcome it in 100 pages. Preferably both.

You do need a romantic conflict, by the way -- some reason these two people will fight between bouts of hot, steamy sex. Keeps things interesting.

Anyway, these are just a few techniques I use in writing novellas and short stories. Hope the ideas helped!

AK