New Release: Reconcilable Differences by Elizabeth Ashtree

Prosecutor Gwendolyn Haverty puts bad guys in jail…and keeps them there. That isn't easy when defense lawyers like Aaron Zimmerman try to spring them out again. Zimmerman is a rumpled do-gooder on a mission to free the innocent—which, of course, includes every single one of his clients behind bars!

His latest mission's success depends on convincing Gwen to listen to his witness. Fine. That ten minutes she gives Aaron to plead his case results in a ridiculous cell phone mix-up…and a playdate for their two boys? She's not sure how the line between professional and personal gets blurred so quickly. But it can't happen again. She can't let this man, no matter how compassionate, into her heart.

Elizabeth Ashtree's newest romance is now available from Harlequin. Be sure to pick up a copy!

New Release: What a Goddess Wants by Stephanie Julian

Tessa, Etruscan Goddess of the Dawn, is desperately fighting off a malicious god, but her powers are weakening. She needs a hero and fast, because only sexual energy can give her strength. So she seeks out Caligo, whose sexual prowess is legendary...

Caligo is a fabled Cimmerian warrior determined to stay away from spoiled goddesses who trample hearts after they've had their fun. But there's something irresistibly hot and inviting about Tessa, and he knows he's her only chance to escape the encroaching darkness...

Stephanie Julian is back with another steamy romance. You can pick up your copy today!

Research Makes Perfect

Tip of the day from your friendly neighborhood intern: do your research. I know, it isn’t the most fun part of writing a novel—it’s tedious and time-consuming, and you want to get to writing your story and bringing the scenes in your head to life (although in theory you’re writing about something that interests you, so hopefully the research isn’t too boring). But trust me, it’s worth it.

One thing I cannot caution you enough on is the use of foreign languages in your books. I love the use of other languages in things I’m reading, I really do. I get excited. But I hate when they’re used incorrectly. And since I speak a couple of other languages conversationally, I often notice.

An example completely unrelated to my work here, so as not to offend anyone: at the pet store I work at, I once saw a bird toy that was made of coconuts and other things latin-american-y. The company, trying to be cutesy, decided to put some Spanish slogans on it. One of them was “Mucho grande!” Mucho grande means much big. Not even in English is that okay. I was not inclined to buy that toy for my bird (yes, I do actually have a bird), and when a novel makes this mistake, I’m not inclined to sing its praises.

Don’t use an online translator. I love Google translate; it’s my best friend when I need to know a word for a class. But if you don’t know the language and can’t use discretion, don’t try. “Mucho grande” could have been fixed by a literal translation (which is part of why it annoys me SO much), but often those don’t work for the everyday slang in dialogue (which is usually when you’re using the other language).

If you really want to use another language that you don’t speak, find someone who speaks it. It’s really not that hard in this day and age; we can find anyone we want on the internet.

In general, you can’t assume your readers won’t know this or that detail, or won’t care. Some readers are going to know more than you. Some, just because they’re curious, will look things up to see if you’re right. And you want to be right. If a character in your story has a disease, make sure you know the symptoms and progression of that disease really well. If you’re writing about a different time period, make sure all of your historical facts mesh (on this note, I also want to mention that it’s really okay for characters to have beliefs that mesh with their time period, not ours. Sure, we don’t want them to be bigots, but realistically, women’s rights (for example) didn’t come along until fairly recently. Not every guy from history has to be gung-ho for equality to make them a good guy. They just have to be good. And, you know. Not a complete bigot.).

Sometimes, readers even like to learn (gasp!). If you’ve done enough research on your topic (or even have enough background knowledge), you don’t have to stop at the simple, basic information. You don’t want a list of facts, of course, but if you can slip some interesting tidbits into dialogue or narration, it can add to the story. Be careful about it (remember what I said before about dialogue that’s obviously just there to tell the reader something? “Did you know that the leaning tower of Pisa took almost two centuries to build, and it started leaning after only a couple years of construction? But they stopped building it for almost a century so that the earth could settle underneath and it wouldn’t fall. It’s the campanile, or free-standing tower, for the cathedral in Pisa.”), but if it fits naturally into the story, go for it. This is why I love historical fiction; I love learning new things.

I thought this was going to be a fairly short post, but I don’t seem to be able to stop when I start rambling. I’ll cut myself off. Good luck and keep writing!

-Katie

Dialogue: Let's be real.

Nothing turns me off a story more than poor dialogue. It has to sound real. When reading a story (be it a partial submitted here or a published novel) I can forgive the author for a lot of things. If the dialogue is unconvincing, it is very hard to win me back.

Let’s be clear. Things that make me cringe:

-dialogue that is obviously only used to explain something to the reader. Authors often don’t give the reader enough credit. The reader is smart. The reader can figure it out. The reader also knows when dialogue is contrived, not to portray a conversation between characters, but to spell something out. That’s not to say you should never use dialogue to explain something—used correctly, this can be a great tool. But you have to do it subtly.

For example, the WRONG way to set up a situation:

“Josh and Mary are together again. I don’t think that’s going to work. He cheated on her before and people don’t really change.”

“I think you’re right. Mary is too dependent on him, too. She’s only going to end up in trouble again.”

A better way to say this could go something like:

“Mary’s back with Josh.”

“Seriously? God, I thought she was rid of him.”

“I know, me too. I swear, he smiles and she goes running back.”

People’s thoughts on a subject can be just as (or more) informative than straight information. In the second example, we already know the speakers don’t like Josh, and that Mary is infatuated. We don’t need all the information at once; it can come out later that they were separated because he cheated.

-being too formal. Specifically, the absence of contractions. This one really gets to me. Use contractions! When people talk, they use contractions (unless there is a specific reason for them not to—if they learned English as a second language, for example). If it’s a really formal setting, that’s fine. But in day to day speech, people do not say things like “We would love it if you would come. We will wait for you so that you do not get lost.” Instead, say something like “We’d love for you to come. We’ll wait for you so you don’t get lost.” It’s a simple thing, but it makes a huge difference.

There are more, of course, but those are two big ones and this post is getting long. So before you send your baby out for other people to judge, go back to the dialogue. I know it’s hard to be objective, but try to imagine the conversation outside of the story. Could you hear two of your friends having the conversation? Two random people on the street? If not, the reader probably can’t hear the characters having it, and it’s going to disrupt your story. The story you've slaved over deserves better than to be dismissed because of awkward dialogue.

Good luck!

-Katie

New Release: Just for the Night by Tawny Weber

Power outages happen, and you have to be somewhere—like in an empty store—with your ex. Who is still irresistible. And hot. And who knows how to make the most out of a dark situation….

Checklist for: Larissa Zahn

☑ Food

☑ Water

☑ First aid kit (With condoms. Be prepared. Very, very prepared.)

☑ Someone you're still overwhelmingly into (Jason Cantrell, I'm looking at you.)

☑ Plenty of time in the dark (Read: hot nookie. Lots of it.)

❑ The ability to walk away without regrets in the morning…. (Uh-oh!)

Intrigued? Then check out Tawny Weber's latest steamy romance in the Harlequin Blaze line, Just for the Night. You can pick up a copy today at your favorite bookstore.