What exactly do I tell people when they ask what I do?

Photo by Michael Baxter

As a pre-published author, I'm not someone who can say, "And X is the title of my new book!" This leaves me a bit at a disadvantage in social settings. When people ask what I do, I bravely say, "I write very very sexy paranormal romances."

Thus far, I have had positive responses to this statement. I wondered why, when I'm straight up admitting to being a freak who writes in a denigrated genre.

I found an answer:

A bad reputation can set you free. After all, if you've already declared yourself to be a pot-smoking, acid-addled slut, your opponents are forced to oppose your ideas on their merits, rather than strategically revealing your hidden depravities. Shame is no weapon against the shameless.
-- John Perry Barlow

(For the record, I am neither pot smoking nor acid-addled.)

As for the slut? Well, in most people's definition of the word, I am one simply by writing sexually adventurous characters. 

Hi. I'm Linda Mercury. I write very very very sexy paranormal romances. I refuse to be shamed by that. I hope my refusal invites you to enjoy life's pleasures.

Whew.

I'm taking the rest of the day off! I've been Butt In Chair, Fingers On Keyboard for the last several days working on the synopsis for a brand new book. The working title is Sister of God. I'm calling it the DaVinci Code meets The Mists of Avalon story.

I hope my agent likes it. :)

Give-away!

Another hand-painted fan!

I call this one Medusa's Haircut. I was inspired by Marvel Inhumans Graphic Novel by Jenkins and Lee.
Be the first to tell me who founded Marvel Comics, and this lovely is yours.

Examples

Here's a quick example of how the nine sentence synopsis works.

1. The trouble starts when.....  Linda wants ice cream.
2. The protagonist makes a plan to cope by... going to the freezer.
3. The trouble gets worse when...there is no ice cream there!
4. The protagonist regroups and presses on harder by...checking her purse for money
5. The protagonist reaches the point of no return when...she gets in her car to go to the store.
6. The protagonist is pushed to the brink when...all the lights are red on the way to the store.
7. She appears to have lost when...there is no Coconut Bliss!
8. She fights on by...looking behind all the other ice cream containers.
9. Everything is on the line and only one will win when...she stands up on tiptoe, drags the last container out by the tips of her fingers, and barely avoids pulling over the display!

Even this little silly story about ice cream has rising and falling action. It also describes my GMC and how it changes. For example:

Goal: Get ice cream (what I want)
Motivation: Hungry (because)
Conflict: None in the freezer (but)

My goal and motivation remain the same, but the conflict changes as the story goes on. In a more complicated story, the protagonist examines if her goal is worth what she thought it was. In a tragedy, the story would go like this:

1. The trouble starts when.....Linda wants ice cream
2. The protagonist makes a plan to cope by...going to the freezer
3. The trouble gets worse when...there is no ice cream !
4. The protagonist regroups and presses on harder by...looking her purse for change
5. The protagonist reaches the point of no return when...she is out of money!
6. The protagonist is pushed to the brink when...she ransacks the sofa cushions for change
7. She appears to have lost when...there is nothing there either.
8. She fights on by...checking her bank account
9. Everything is on the line and only one will win when...she can't afford the ice cream.

This little tool tells you how you want to run your story, and what needs to happen between each section. The writer can add the setting by talking about how blisteringly hot it is out, by what her house looks like, what kind of ice cream is haunting her.

Story Basics, Part III: A quick and dirty introduction to story structure

Some writers love outlines - sailing from island to island in an archipelago to reach the mainland. Some like to sail into the fog, boldly striking out on their own to find their story.

Both ways are correct. Both will make fabulous stories.

For those of us who run aground at the slightest notice, story structure helps keep the boat on track. I love to use this little tool called the nine sentence synopsis. This will help you figure out the turning points of your story, where your characters are going, and what needs to happen next in order for everything to make sense to your reader.

The Nine Sentence Synopsis 

1. The trouble starts when.....
2. The protagonist makes a plan to cope by...
3. The trouble gets worse when...
4. The protagonist regroups and presses on harder by...
5. The protagonist reaches the point of no return when...
6. The protagonist is pushed to the brink when...
7. She appears to have lost when...
8. She fights on by...
9. Everything is on the line and only one will win when...

I know I got this from a genius writer, but I can't find the original handout to give credit. Damn! I'll keep trying to find that.

This quick and dirty tool helps you shape the rising and falling tension of your story. I'll go more into explanations next time!

Why I like writing more than anything.

In what other career can one research the rise of Safavid Persia, the intricacies of the Sophia archetype, and the appeal of extreme SM - all in one day?