Suo Jure. Wait. What?

What does this mean?

in his/her own right  —used especially following the title of a noblewoman to specify that she holds the title independently of her husband

Merriam-Webster Dictionary

I love the idea of women having some kind of opportunity to be themselves in a world so defined by patriarchy.

So, when I started toying with the idea of a protagonist who is a Countess and not a widow, I immediately began to research how this could be possible in an era such as the Regency.

Apparently, it was completely possible. Some women received the designation for life only. Which meant the title was for the duration of the Lady’s life and her children would not inherit said title or lands. A well-known peeress in her own right was Her Grace Lady Henrietta Godolphin Duchess of Marlborough, whom inherited her father’s title as a Duchess of the realm.

Once I realized that being a peeress in her own right wasn’t quite so outlandish, distinct yes, but not out of the realm of possibility, the character for my first novel would not let me go.

My protagonist is a Countess in her own right. And, interestingly enough, when I was plagued by doubt while writing her, I was also in the midst of marathon watching one of my all-time favourite shows, Downton Abbey and it was as if the universe had a special message for me.

If you know the show, you know the show! In a short scene near the end of the third season, Robert (Earl of Grantham) describes the family structure of his cousin and her husband, Shrimpy. Apparently, his grandmother was a Countess in her own right. He actually used those words! Well, then I knew I was absolutely on to something.

So, Lady Charlotte Elizabeth Ashbury, Countess of Bentwick in her own right took flight. And, does she ever soar.

How do you feel about a Lady in the Regency era having a title of her own, even if for life only?

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Calling Myself a Writer

I abandoned this blog for quite some time. I am a mother of two school-aged children, a wife, a high school teacher, and a woman on a journey of growth.

Amidst the many areas which demand my time, I spent any free minute I could find to finish my first historical romance – Capturing a Countess’ Heart.

Then I spent countless hours editing it and learning SO MUCH in the process…about historical romance…about writing…about myself.

My diligence was rewarded with a seven month period of working with an editor from Harlequin Historical. And, while Harlequin decided not to publish my work, it was the best learning experience I had.

I diverted from writing for a brief time while I pursued another goal of becoming a certified yoga instructor. And, I’m ecstatic to report that in two short months I will be a teacher of yoga (another passion of mine). It was precisely my yoga teacher training which led me to the crystal clear understanding that I cannot give up on my goal of publishing my work.

There are many walls in my way…I’m too old, I don’t have the social media presence, I know nothing about marketing, much less formatting a manuscript into a readable digital or paper copy book!

These are nothing but lies.

Part of my learning is being unapologetic about using my time for writing. For publishing. For becoming part of an on-line community in which I can interact with like-minded lovers of Historical Romance, readers and writers and bloggers!

But all of this requires just one thing in order for it to be accomplished. I need to call myself a writer.

So, here I am. Caryn Emme. Mother, wife, teacher, yogi, WRITER.

Let the publishing journey begin!

Snail’s Pace #AmWriting #Publishing

Becoming a writer has been a life-long dream. And, the thing is, I am a writer. An unpublished writer. Ugh.

I’ve blogged here and at Bookmarks. I’ve written short stories and a children’s novel.

More recently, I followed my heart and wrote what I love: a romance novel. A Regency to be exact. I have a shaky platform and virtually no writing credentials – at least none that publishing houses would take seriously.

So I have edited my manuscript, sculpted it by using every bit of research on editing I can find. And, I am so very proud of the final product.

Except, it’s as ready as I can make it. With numerous beta-reads, proof-reads, editing for continuity of character, plot, theme, setting and dialogue, there’s not much more I can do.

Now I face the prospect of publishing – which strangely enough has had me stuck for the past two months. I’ve used the excuse of summer holidays and busyness with the family to delay the inevitable. School’s back in. I’m working part-time – I have the time to see my dream through.

The choice now seems to send it off for more rejection letters OR perhaps, I will finally dive and tread my way through the self-publishing sea.

I believe it will be the latter for me.

Any advice?

Confident or Brat? #AmWriting

There is a fine line between a man who knows what he wants and will not stop until he gets it, and the man who makes a lot of noise expecting others to get him what he wants.

The first kind of man inspires confidence and admiration because those in his circle know he will achieve his goal with dignity and grace.

The second causes groans, tension, stress and the inevitable eye-roll.

How to make sure your hero is the first kind of man, not the second? Here’s a checklist for you:

1. Your hero takes responsibility for his behaviour and words.
2. Your hero never blames anyone else for the circumstances in which he finds himself.
3. Your hero loves your heroine so fully he does not look to her to feel more of a man or to heal any residual pain from his past.
4. Your hero leads gently but firmly and cares for those under his protection.
5. Your hero knows his mind and understands the consequences of his decisions – especially how the heroine will be impacted.

How to spot a brat in your hero? Here’s another checklist:

1. Your hero deflects the influence of his words or actions.
2. Your hero looks for places/people who are responsible for his angst/plight.
3. Your hero needs your heroine rather than loves her. (It’s ok for him to need her love after love has flourished, but if she is needed for psychological well-being rather than being pursued for who she is – there is a fundamental flaw in the hero)
4. Your hero mistreats those who serve or help him.
5. Your hero acts rashly refusing to weigh the consequences of his decisions on the heroine or those under his care.

What are your definitely/definitely-not traits when creating the hero for your novels? I hope you’re inspired to keep writing swoon-worthy men.

Avoiding Head Hopping – #Writing #Editing

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I thrive on knowing my characters deeply so I can better shape their story. Except, I end up writing the thoughts and reactions of almost all of my characters – simultaneously.

This is a big NO, NO and is referred to as head hopping.

Head hopping is when the narrative doesn’t remain within one character’s POV – but the scene moves from the perspective of all of the characters involved. Sometimes, in the midst of editing hell, I throw my arms up and think, isn’t that what the benefits of an omniscient narrator are?

Part of me becomes quite perplexed because I’ve read more than my fair share of romances where we get information from both of the romantic leads within the same scene – and I think, why does every piece of advice to writers out there include a finger wag at head hopping, meanwhile these very successful romance writers do it consistently throughout their novels?!? Frustrating, right?

I guess the saying that you have to know the rules before you can break the rules holds fast on this one.

As I write instalment two of my series and as I edit (again!) instalment one, these are some of the rules I’ve developed for myself to prevent the proverbial head hop:

1. At the beginning of each chapter I must decide who will be the focus: hero or heroine. If heroine, I stick to writing only her thoughts and feelings.
2. I make sure to note the hero’s reactions/feelings through the heroine’s eyes (and vice versa when the hero is the focus of a chapter)
3. Rule #1 has meant cutting out entire portions of a chapter and refitting it into a later chapter where the POV changes to the other protagonist – or, sometimes, saying goodbye altogether to favourite pieces of prose regardless of the pain in my heart.
4. Any interaction with a minor character must be experienced through the protagonist
5. The feelings, changes in tone or body language of the minor characters must be perceived by the protagonist and the opinions of the minor character must be explicitly stated in dialogue.
6. An omniscient narrator means access to every character’s thoughts & feelings, and brings those to light at the right time, not all at the same time.

So far, keeping these rules in mind has helped me to remain focused and each chapter has improved tremendously. Each chapter is stronger, feels tighter and I feel that the narrative voice confidently takes the reader through the story.

It’s worth looking at the amount of head hopping in your own writing and asking yourself if it is serving the story.

What techniques do you use to keep your POV focused?

 

 

 

 

Rejection

I receive a rejection letter which makes my heart sing.

I have complete and utter faith in my novel.

I am on a journey of learning about my craft unlike anything I have ever experienced.

So when the rejection letter reads to take heart because my voice shows potential, I am elated.

I receive detailed editorial feedback and am encouraged to re-submit my project.  A major publishing house recognizes in my manuscript, a novel worth publishing.

While I know there are more rejection letters to come and the publishing world is fierce, I also know the option to self-publish is always present.

I will keep perfecting this MS and start on the next instalment of my series because I cannot wait for the day I finally get to share it with all of you.

Writing in Deep POV

Point of View is one of those features of writing that when done well, it flawlessly takes readers through a story and brings us into each character.  When not, it frustrates readers.

Poorly edited POV is akin to being thrown into a story without the security of being safely steered through it.

This is why I have been deeply editing my manuscript.  I love stories that really take us into character and I am making the changes necessary to bring that depth into my first Regency.  And, it is tough.  So very tough.

However, the universe seems to always have answers for me when I feel lost.  My answer came on Pinterest this week in the form of a post at She’s Novel by Kristen Kieffer published April 23, 2015: How to Write in Deep POV + get inside the mind of your character

In her post, Kieffer writes:

Deep POV is a technique used to get inside the mind of a character and make a deep emotional connection with readers. To do so, the author must remove nearly all traces of authorship from the page. The less that the reader remembers that they are reading, the more effective the Deep POV. You want to hold your reader enthralled.

She proceeds with a list of ways to write in Deep POV and provides very helpful, concrete examples.

Here’s an example of the changes I’ve made to my manuscript using Kieffer’s suggestions:

OUT of DEEP POV:

Lady Catherine, the dowager Countess of Bentwick, had hid her disappointment well when she discovered the Duke was with other gentlemen discussing politics.  Obviously, he was not hunting for a wife this evening and so she had to move on and try to find Charlotte’s match elsewhere.

BETTER POV:

Charlotte hid a small smile behind a gloved hand when her mother’s brows furrowed upon discovering the Duke was with other gentlemen discussing politics.  “Do try to hide your disappointment mother.  Somersby is not looking for a wife and I would at least like to marry a man who wants to marry.”

Catherine smirked.  “No man wants to marry.”  She leaned towards her daughter.  “I don’t believe you realize how dire our situation is my darling.”

What do you think?  Any suggestions or sources you like to read to improve your writing?  Do you prefer deep POV or not?  Would love to hear from you!

Review: The Duke’s Disaster

The Good:

• The novel began with a bang – a really great concept with lots of tension and promise for a wonderful novel
• Noah Winters is a great alpha
• Thea Collins is a believable heroine with an interesting backstory
• Noah’s support of Thea near the end is touching (expected, but nicely written nonetheless)
• I wish I had more “Good” because I really wanted to like this one

The Meh:

• Plot moved at a snail’s pace
• Noah was so lovable I had a hard time believing he wasn’t nice, even though we were repeatedly told he wasn’t, his every action was that of a nice, thoughtful person
• The Winters’ family history was difficult to piece together
• The minor characters did not enrich the story
• I didn’t find their inner conflict compelling enough to keep them from HEA sooner
• While the sweet breakfast routine was a nice way to show the couple getting closer together, it, like everything else in this novel, became stale rather quickly

Overall:

• I wouldn’t recommend this novel, but I have a feeling it was a poor introduction to the writing of Ms. Burrowes
• The conflicts were not complex, or perhaps were not developed enough – I’m not sure what it was but I was unable to connect with the story and characters
• Simply put, it was a boring novel – many a time I found myself closing it and loudly saying “Oh for crying out loud!”
• The final scenes of violence were not very believable
• Save yourself the time and perhaps give another of Grace Burrowes’ novels a try, I know I will.

Thanks for reading!  Any comments on this or another Grace Burrowes novel?

Summary from Goodreads:  Noah Winters, Earl of Anselm, spent months sorting and courting the year’s crop of debutantes in search of an ideal bride. When the sweet, biddable young thing he selected accepts another’s proposal, Noah decides to court her companion instead.  Thea Collins, though, is anything but biddable. She has learned the hard way that men are not to be trusted, especially the handsome ones. When she reluctantly accepts, Noah rushes Thea to the altar before she can reveal her deepest secret. Can she finally move on from her past, or will it come back to haunt her?

Glue Readers to Your Story #amwriting

free stock photo from pixabay.com

The inciting incident in a work of fiction is what gets the plot moving.  Think of it as the first flashy set of fireworks that leads into an awesome display which lights up the sky and sets up the crescendo at the end.  In other words, it will also lead directly to the climax.

A superb inciting incident will keep your audience glued to your words, reading at warp-speed with the driving desire to finish your story.  And this image is what keeps our fingers flying on the keyboard, right?

Here are five suggestions to help you make your inciting incident heart-stopping:

1. Immediately place your protagonist in a dire situation where a decision must be made and there is precious little time in which to make it.
2. Force your protagonist to compromise on her ideals –  give your reader hope that this compromise will lead her to a bright outcome.
3. Give your protagonist the opportunity to feel pain – allow him to be uncomfortable, hurt, vulnerable – give your audience a reason to root for him.
4. Allow the villain free reign and control to show the strength in the protagonist, the refusal to give in despite towering odds.
5. Forget the introduction altogether and begin the novel with the inciting incident – start your story with a bang!  The rest can be filled in throughout the rising action.

There are many ways to keep your readers engaged.  Obviously, voice and style are key.  However:

• We live in an era designed to take our audience’s attention away.
• Readers are also quite savvy and images/settings/backstories that once took pages or even chapters to create can now be created in a paragraph or even a sentence!

Therefore, it is essential to keep the plot moving.

I hope these suggestions help to spark your creativity and perhaps inspire you to try something new with your writing.

Would love to hear from fellow writers how you navigate your inciting incident and where you place it, first or later in your novel?  What works for you?

Thanks for reading!

Slow Going on The Duke’s Disaster

Was super excited to read:

When I started, I felt like: (cue the chirping birds)

My surroundings are of course not quite so serene, but you get the idea.

A few chapters in and I’m feeling more like:

I don’t want to feel this way…and I will finish the novel fully hoping for a reversal in my experience.  This is my first Grace Burrowes book and I want to really like her works after going through an impressive list on goodreads.  Not to mention there are two more of her novels sitting in my e-reader.

Do you have a suggestion for plowing through a book that has you feeling a little let down? Would love to hear how you rally yourself to the finish!

Thanks for reading!

Note: photos are free stock photos from pixabay.com