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We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? I’m a big believer in the “writing retreat.” Sometimes writing retreats involve locking myself in a hotel room for a few days to really throw some words on the page—other times these retreats involve gathering with my writer friends in a variety of inspiring, usually beautiful places, where the word count might not be high but the camaraderie and daydreaming leads to a whole lot more writing down the road. This is how The Deacons of Bourbon Street series came into being. Last spring, Maisey Yates, Rachael Johns, and I roomed together at the RT Convention held in New Orleans. We spent a lot more time wandering that fascinating, mysterious city than we did at the conference. When an editor (perhaps jokingly!) suggested we should write a multi-author series together since we got along so well, we jumped at the idea. New Orleans and gritty bikers seemed to go hand in hand for us, and once we settled on that premise, it seemed inevitable that we should pull in Jackie Ashenden, renowned for her dark and sexy stories, to round us out. And all because we visited New Orleans! After developing an idea, what is the first action you take when beginning to write? We sent a lot of emails back and forth, since we live all over the place—Maisey and I on the west coast of the US, Rachael on the west coast of Australia, and Jackie in New Zealand. But we also spent some time on Skype. We talked a lot about biker books, about characters, about the kinds of things we liked and the sorts of stories we wanted to tell. We fashioned an overarching plot and then we decided who our characters would be within that plot. We came up with a synopsis for all four books and once that had the enthusiastic support of our agents, we settled down and wrote a chapter each to introduce our characters and stories. That was the most fun—to see all the conversations and ideas we’d thrown around come together into these four fantastic stories. All set in our decadent version of New Orleans’s famous French Quarter. How did you handle plot and character continuity across four books? We talked a lot. Communication is key when it comes to working on multi-author projects. We discussed timing and plot points and the characters’ relationships with each other endlessly. We also sent each other/the whole group the scenes where their characters appeared in our books. The goal was always to make the characters feel seamless across all the books, and to show how they all functioned as this group of sworn brothers, reunited after years in exile. I think we pulled it off, but of course, that’s for readers to decide! Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? I was lucky enough to write my book a few months after everyone else did. This was particularly helpful because it meant that I’d already read how the series ended and could write directly toward it—always a huge advantage! So one of the things I did to get in the writing mood was to read those other books and immerse myself in the world. Another thing I did was to curate “inspiration boards” on Pinterest. Looking at moody reference pictures (many featuring Charlie Hunnam, of course, as everyone’s favorite biker inspiration Jax Teller) was another way to get myself in the right mindset. I also relied pretty heavily on a mix I made of songs that brought me into the right headspace. One in particular (Arctic Monkeys, “Do I Wanna Know?”) was and is such a perfect encapsulation of my hero in this book that all I have to do is listen to that awesome opening and I’m right back there in the Priory with Ajax… Do you ever base characters off people you know? Why or why not? I have some family members who are more familiar with biker clubs than I am, but I didn’t base any characters on them. Though I did appreciate it when they didn’t laugh at me when I told them what kind of book I was writing! The truth is that reality doesn’t make great fiction. Characters are always better when they’re entirely themselves instead of pale imitations of real people. “Larger-than-life” makes a good story and fascinating characters. “Just like life” is something we can all do all by ourselves, without a good book. I prefer books. Learn more about Make you Burn here.
We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! What’s the best piece of advice you have received? At a talk at Columbia, Philip Roth said something that has stayed with me since; I’m not sure it counts as advice as much as a description of his writing process. He said that he lets himself write freely for some time and then rereads the material, pen in hand, and circles whatever feels alive. This idea, of live material, is what I take to be essential to good literary writing. I’ve come to believe most anything wrong with a first draft can be fixed later—plot can be focused and adjusted, endings changed, themes emphasized, characters and sentences refined, and so on—but what cannot be accomplished later is breathing life into something flat or false. Did you always want to write? How did you start your career as an author? I came to fiction writing later than most writers I know: not until my mid-twenties. Before then the writing I’d done was almost entirely academic; for a while I’d seriously considered a career in philosophy. When I think about my first attempts at fiction, they seem to me very much influenced by philosophy: back then I started every story or novel with a concept, and developed it pretty linearly. Readers of Bradstreet Gate might be surprised to hear this; that book proceeds so differently, following characters in often unpredictable directions. That improvisational feeling took me a lot of work and time to achieve. Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? The best way to get into a writing mood really is to just start writing—if not writing in the most ambitious sense (new scenes, preciously crafted sentences) then just sketching, thinking through ideas on paper. I often do start writing on paper, developing thoughts in notebooks, until I have some material to work with and sufficient momentum to get back to a scene. What writing techniques have you found most important or memorable? I do a terrific amount of exploratory writing; that is, writing that probably won’t make it into the final book but that allows me to play with my characters and their situations until the material shapes and reshapes itself into a form I like. Often, I continue to do this even later in the process: once I’ve worked up one scene or one idea, I’ll make myself do another version or two—an altered course of events, a new reaction from my character—just to see if something more interesting happens. That way I have a means to evaluate my choices, and it’s a good way to avoid crutches and clichés. Do you ever base characters off people you know? Why or why not? I’d say my characters contain some elements of people I know, but often several people in combination, and I still try to leave most of my characters’ biographies and sensibilities to invention. For me, sticking too closely to real people would be confining, and possibly prevent me from the important work of having to think through the experience of my characters myself. Maybe it’s that I understand those around me less well than I like to imagine, but copying actual people hasn’t proven as useful in my writing as it seems to be for others—or worth risking the consequence of terrifying family and friends. Learn more about Bradstreet Gate here.
We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? In the early morning, I consume coffee, turn on my computer, plant my butt in my desk chair in my home office, and let my cats get settled into their usual spots. I quickly check email and look at the headlines on a news site to see if the world has blown up outside my bubble. If I don’t need to duck for cover, I start working. I stay off social media until noon (that’s my plan, anyway). Each of my books has its own digital journal: it’s for stream of consciousness stuff, whatever’s on my mind. I open the journal for my current book and type like mad for a few minutes. It helps me discharge anything that’s weighing on me so I can move on. Then I open my manuscript and revise the last few pages I wrote the prior day, which leads into the new day’s work. For those days when the work just isn’t happening, I make deals with myself. Write for 45 minutes and get up and do something else for 15. Write until lunchtime and then do something else. Oddly, times of personal crisis are excellent writing periods for me because what better escape is there than to immerse yourself in a good book? How would you recommend creating and getting to know your characters? I start by naming them. By going through that process, I think through their history, circumstances, and personalities. When was she born? What’s her ethnicity? What’s her birth order in the family? Was she raised in a traditional two-parent family or something else? Would her parents have selected a popular name of the era or something unique? Does she come from a modest background or is she well heeled? Does she later change her name or go by a nickname? Is her name evocative of who she is? The protagonist of my current series of suspense novels is Nan Vining. She’s rooted in tradition and family, so I named after her grandmother, Nanette. But she’s tough, so her nickname, “Nan,” is clipped and direct. I liked the surname Vining because it’s uncommon and has a lot of consonants, which for me makes a tougher sounding name than one with many vowels. Also, it evokes a vine, which is appropriate for Nan who’s tenacious and steady. Her name is a great fit for her, but I’ve changed names when a character has evolved and the name no longer works. Thank goodness for “Find and Replace.” Did you always want to write? How did you start your career as an author? I fell in love with writing and reading before I really learned how to do either one. When I was about four years old, I could write my name, with the Ns backward, and three words: yes, no, zoo. My mom was a reader and I was fascinated with her books. I’d look through the pages and pick out the few words I could read. When I got to the white area after a chapter break, I thought that space was there for me to finish the story. I’d take a crayon and have at it, writing, “yes, no, zoo,” and signing my name with backward Ns. It didn’t make my mom too happy to find me scribbling in her books. After I truly learned how to read and write, I wrote compulsively—letters, diaries, stories—but didn’t attempt to publish anything. I didn’t feel I was good enough. Many years later, I took a creative writing class at UCLA, where I started my first novel. After three years, while working fulltime at a day job, I finished that book and got it published. I’ve been writing and publishing fiction ever since. What’s the best piece of advice you have received? Finish that first draft, even if it’s a big, flawed mess. And then the next best piece of advice I’ve received comes into play: Writing is about rewriting. What are the perks and challenges of writing a come-back character? Five years passed between my last Detective Nan Vining thriller and my latest one, Killing Secrets. During that time, I wrote a standalone, The Night Visitor, and several short stories. The challenge in returning to the Nan Vining series came from reconnecting with the four earlier books and wondering whether I could still channel the writer who had created that vibrant world. I was afraid I’d somehow lost my feel for Nan, her daughter Emily, her work partner and lover Jim Kissick, and the other characters as well as the dark thread that runs through the series. My doubts disappeared when I started Killing Secrets and it felt entirely natural, as if I’d come home. It felt great to return to this familiar tableau, but also to break new ground. I’ve just signed a contract with Alibi to write the sixth and seventh in the Nan Vining series and I’m excited to see where the journey takes the characters and me. Read More about Killing Secrets here.
What writing techniques have you found most important or memorable? When it comes to revising something, I’ve gotten into the habit of retyping my pages. It sounds pretty time-consuming—and it is—but it’s so worth it. I don’t know how else to get that kind of fresh perspective on a sentence-by-sentence level unless you force yourself to literally rewrite every single line. After developing an idea, what is the first action you take when beginning to write? I’ll probably do an outline. Sometimes I just dive straight into the prose, but at a certain point I need to step back and organize my thoughts. Particularly if it’s going to be a book, I’ll end up laying it out chapter by chapter pretty early on. That outline will change radically as I get further in, but it’s good to have a road map. I’m a big fan of lists—I might make a list of all the scenes I already have in mind, or elements that I want to include, just to get it down on paper. If I’m stuck, a list like that is a great resource to look back at. Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? I need a quiet room and a big, uninterrupted chunk of time. I’m at my most productive when I know that I can devote an entire day to a project—wake up with it and go to sleep with it. But if all else fails… candy. Did you always want to write? How did you start your career as an author? I’ve always written, but it wasn’t always clear to me that I could be a writer (whatever that means). When I was a kid, I really believed that I could do anything, but as I got older, it seemed impossible, like I was being foolish if I didn’t have a plan B lined up. I think the first time I really gave myself permission to at least try to be a writer was when I was an undergrad, working on the opening chapters of Motorcycles I’ve Loved, and my writing professor told me it could be a book. I’m not sure I would have allowed myself to entertain that fantasy if someone hadn’t given me the go-ahead. It’s an amazing gift to give someone—to give them permission to go for it. I wish it was easier to give it to ourselves! What clichés or bad habits would you tell aspiring writers to avoid? Do you still experience them yourself? Don’t use three words when one will do. I am totally guilty of that, I always have a whole list of adjectives that I cannot part with. What’s the best piece of advice you have received? Finish things. I forget where I first heard that, but it’s the most important thing I know about writing. It doesn’t matter how good your ideas or your opening pages are if you don’t finish your project. Read more about Motorcycles I’ve Loved here.
We know readers tend to be writers too, so twice a month, we’ll feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! Write a s***ty first draft. If I could give you only one piece of advice, it would be this. I didn’t make up—I heard it from Anne Lamott— thanks, Anne! Anne Lamott didn’t make it up either. Every writer since the beginning of time has written some god-awful, hideous nonsense at one time or another. I write straight through to the end of a book without once looking back. Not everyone does it this way— some people edit as they go. But for me, this is a great way to get out from under your own self-judgment. Sometimes I barely even punctuate my first drafts. I like to soft focus my eyes and write as if in a trance, going on tangents, allowing the most treacly sentimentality and absurd hyperbole. I breathe and write and try to open my mind to the click, the spark, the flow. I soldier on this way until The End. By that time I usually have some idea of what my book is about. It’s never what I thought when I started. Move around. Take a walk. Stretch. Breathe. Don’t live in your head so much that you forget your body. The body is one of our greatest recording devices– a goldmine of wisdom, memory and emotion. It digests and assimilates our thoughts and experiences, taking on a perspective that is often wiser than our intellect, and more accurate. There is no secret. I know you don’t want to hear “write badly” and “take a walk.” Usually what people ask for is my schedule (here it is: mornings, at least four hours a day, five days a week), a template for the perfect outline, a recommendation to the magic graduate school, a shortcut, an agent introduction, a way to make it not hurt so much. I often talk to people who are “stuck” with their memoirs, and watch their face fall when I ask them, “Have you thought about writing it straight through to the end and not looking back?” They usually have a million reasons why they can’t or shouldn’t do that. And maybe they shouldn’t. I don’t know what they need. But I do know three over-edited chapters won’t magically transform into a book one night while you’re sleeping. Writers are readers. We have grown up treasuring the books we devoured late at night, by the light of a stolen flashlight. We dreamed one day we’d be the name on the cover of just such a precious object. That may or may not happen, but either way it’s a worthy quest. It’s so easy to forget, while caught up in the morass of self-doubt and self-pity that can swamp our fragile writer souls, that this life of struggle is a dream come true. I love it fiercely. I hope I get to keep doing it until the day I die. Read more about Jillian Lauren’s book, Everything You Ever Wanted here.