Editing and Sewing Machines

What I'm reading: Blind Faith, by CJ Lyons

There are those who write via a "discovery draft" racing to get from page one to 'the end' and then going back and revising. And revising. And revising. This is the approach of NaNoWriMo--write it all; no edits. That's a process I've never been able to embrace, so I was heartened once when I attended a workshop given by Linda Howard. She said she writes, then backs up and fixes, then moves forward, then backs up and fixes some more. She likened her process to using a zig-zag sewing machine. When she finished, she said, the manuscript was ready to send to her editor.

Her method is close to the way I write. I edit as I go. (Heck, I plot as I go, too!)  Here's an example of my process from my current WIP, another of my Pine Hills Police series.

Overall, my heroine's goal was to open her own bakery, so, of course, my goal was to keep that from happening—or at least, to delay it.

Since I prefer to escalate the conflict rather than throw the reader into a full-blown crisis on page one, I began with simple accidents and setbacks as her contractor and crew (which she refers to as the Klutz Brigade) worked to get her bakery finished so she could open on time.

But that's not really enough of a conflict to carry the entire book. Since the book is a romantic suspense, and the hero is a former homicide detective, I threw in a dead body.

Men Aren't Women With Chest Hair

What I'm reading: Risk No Secrets, by Cindy Gerard

A quick recap: Sexual Tension is about the magic between two characters. It's layered. You have to consider awareness, language, and the ability to get into the characters' heads. Yesterday, I covered her discussion of awareness.


Today, we'll start with language, both in dialogue and narrative. If you're going to be writing sexual tension and sex scenes at an intense, realistic level, Linda Howard suggests that you get comfortable with the language, especially words that describe bodies. Use words when they're appropriate to the characters and situation. Judicious use of shocking language makes a point. Used too often, they lose their power.

Howard told us that in order to get used to writing words that she wasn't comfortable with, she sat at her computer and filled the screen with F-bombs. She got used to seeing the words, and her fingers got used to typing them.

It's Still About the Sex

Thanks to Julie for being my guest yesterday. A great post. If you haven't read it, you should. And, you should also read Monday's post, plus the 12 Steps to Intimacy (there's a link in Monday's post) if you didn't read them Monday.

In addition to doing her workshop, Linda Howard was generous in answering questions on all aspects of her career. She admits to being a total "pantser" and writes by telling the story of her characters. She never really knows what will happen next. That sounded very much like my process, so I was encouraged. When she closes in on the end of a book, she's totally immersed in it to the point that she skips some of the basics—like eating and sleeping. Her husband graciously steps in and does the "wife stuff." She said a recent book had her submerged for several weeks. To feel 'manly' when she was finished, her husband went and bought a backhoe.

After she went through the 12 Steps (you have read them by now, right?), she elaborated on how to apply them to romance writing.

Points to remember: It's about species survival. Human infants require many YEARS of nurturing. There has to be a strong bond between male and female in order to keep them together long enough to rear children. Sex drives this bond. Males are stuck being attracted to females long before females are attracted to males. Pheromones work differently. Male testosterone levels make aggressive behavior something that has to be curtailed in order to establish the requisite trust for bonding.

Survival: It's All About Sex

What I'm reading: Storm Prey, by John Sanford

Not much to update on the wildlife front - a raccoon got into the hummingbird feeder again. We've been bringing it in at night, but apparently not early enough. And I did spot a coyote on our way to breakfast Sunday.

On Saturday, I drove all the way into the Springs to attend a workshop presentation by best-selling romance author Linda Howard. I've summarized her 12 Steps to Intimacy on this blog more than once. I suggest you read today's post first. I'll give you the back link at the end.

Although the 12 Steps to Intimacy was the topic of the first part of her workshop, she spent a considerable amount of time explaining the why and how these steps came to be, from a species survival standpoint. I thought I'd share that with you today. Her research, as mentioned in my earlier post, is gleaned from Desmond Morris's books. He was an anthropologist, and his concepts are based on comparisons of human beings with other mammalian species.

Howard's first point was that sex is very powerful, and very important. It's more than recreation. Her comment: Sex and guns are powerful—handle both with care. Writing sensual love scenes requires an understanding of the human sex drive. Our mating rituals have deep roots in survival instincts.

And, as she points out, survival of the species is a more powerful drive than survival of the individual.

12 Steps to Intimacy

Yesterday, I mentioned that Leanne Banks talked about the 12 steps to intimacy, which came from Intimate Behavior: A Zoologist's Classic Study of Human Intimacy by Desmond Morris (originally published in 1971). Linda Howard has addressed them as they apply to writing romance. The following is part of a post I did in November, 2008.

1. Eye to body –
This is the sizing up of a potential mate. The woman walks into the room. The man looks at her and decides if she's someone who appears to meet his criteria. Hard wiring suggests he's looking for a mate who appears healthy and able to bear his offspring, but we've all met guys where merely having two X chromosomes is enough. However, if the female doesn't measure up, he moves away.

2. Eye to eye –
Assuming the woman passed muster in step 1, the man will attempt to make eye contact. If the woman averts her eyes, that's a "pull away." The man has the choice of moving on, or perhaps accepting the challenge and trying again. Be aware that a fixed gaze can also be viewed as threat behavior, so there's more fodder for the push-pull.

3. Voice to voice –
If she's accepted his gaze (and, by the way, the woman is doing the same kind of sizing up at the same time), the next step is to strike up a conversation. You want to pull them apart, perhaps your hero uses the pickup line from hell, tells a bad joke, or is a "me me me" conversationalist.

4. Hand to hand (or arm) –
The very first step in physical contact. This is the step where intimacy begins. Allowing someone to touch is a measure of trust. The woman is accepting some vulnerability here. Touching signals to others that there's a 'couple' forming.