The rather snappily titled ‘writing process blog tour’ has been making the rounds and I’ve been asked to answer some questions on how and what I write.
I was nominated for this by Bruce Goodman who posts a short story a day. He is funny and sharp, and you never know, even in 150 words, how his tales are going to end. Thank you Bruce!
So here we go:
What am I working on at the moment?
A romance set in the 1920s in France. However, to earn my daily crust, I’m also editing a document about social partners in Europe. The combined effect is having serious effects on my sanity. I’m thinking of combining the two, so that the hero could be a designated representative for occupational health and safety, with the heroine attempting to organise a tripartite agreement on pay and conditions in the metalworking sector. They interface at a stakeholder seminar for hairdressers in Monte Carlo, where he falls for her risk assessment techniques in the casino, and realises that together, they have a sustainable future in roulette. Yes? (No, ed.)
How does my work differ from others of its genre?
It’s written by me? I suppose I ought to say, because it’s sassy and funny and altogether marvellous. But so are most other romances I read. I think I just try to write something that will entertain people.
Mostly, I concentrate on making what I write fit into its genre. I was trained as a journalist, and when I became a sub editor, I spent a lot of time re-writing other people’s copy but making it look as though I hadn’t touched it. Actually, I’m going to wave a flag for sub-editors here. They are the people who write the headlines, correct the reporters’ spelling and grammar, cut out all the libellous remarks, and generally stop reporters and columnists making fools of themselves. (I give you the assistant editor who told the subs not to touch her copy and then praised George Eliot for his wonderful novels). More importantly, subs make the stories fit on the page. (It’s amazing how many reporters think that 1,000 words are going to fit in three inches.) And when I worked on papers we did it all so unobtrusively that, quite a lot of times, even the paper’s reporters were under the impression they’d written what was under their name.
Why do I write what I do?
I started writing romances, because my husband and I wanted to adopt children, and in those days (the 1990s) the social services insisted that I had to give up work. So I looked around for alternative ways of making money and thought of writing for Mills and Boon. It was an entirely practical decision. I knew Mills and Boon read every ms they received, and let you know within three months whether they were interested or not. I felt that writing a romance was merely an exercise in writing to style. And if I couldn’t do that, I thought, then I really wasn’t up to scratch as a tabloid journalist. Of course, as I’ve written elsewhere on this blog, it turned out to be rather more tricky than I expected. I could write a snappy 300-word piece, but turning out a 50,000-word book was quite different. I knew nothing about creating characters, or plotting, or anything much to do with writing a novel. At all. Still, Mills and Boon liked my first ms (but not enough to publish it) and then published the next five I wrote (under the name of Sally Carr).
By this time we’d adopted two children and then, to my enormous astonishment (after years of infertility treatment), I got pregnant (twice), so we had four children in three years, and writing rather went on the back burner. A few years down the line, I thought it might be good to write children’s stories and I had a few of those published, and then real life intervened once more, and it’s only now, after starting to blog, that I have come back to writing again.
How does my writing process work?
My imagination just gets sparked by something. Then I let the idea grow and grow, and then, when my brain won’t hold any more stuff, I write. For example, I recently read a book by fellow blogger June Kearns and I was really captivated by the idea of setting something in the 1920s. Hers is based in England and Texas, but I’m setting mine on the French Riviera. (I’ve got the whole first chapter in my head, and I’m at the point where I’ve got to get it down on paper.) I’d never really been taken with the idea of writing historical romances before because, with the research involved, they seemed far too much like hard work. But the 1920s I can manage. And if I get stuck I can always borrow shamelessly from look up Agatha Christie or PG Wodehouse.
So there you go, there’s my contribution to the writing process tour. Next up, on Monday, May 26 is Ian Probert a former sports and music journalist. In America, in the 1990s, his first book Internet Spy was a bestseller there and was made into a TV film. In the UK you might know him as the author of Rope Burns. He’s been posting chapters of his book Shotgun Reality, which is about as far from romance as you could possibly get, and frankly I can’t wait for the next instalment.