Tuesday, March 01, 2005

Reviewers International Organization - Interview


Award of Excellence
2004
Morgan Hawke
is the 1st Place Winner in
Debut Novel
for
House of Shadows

A very special Thank you to MIDNIGHT SYNDICATE
Listening to their album VAMPYRE made writing this particular novel a total scream! 
Reviewers International Organization http://www.rio-reviewers.com/

PARANORMAL AUTHOR SPOTLIGHT
MORGAN HAWKE


By DeborahAnne MacGillivrary

Morgan Hawke was recommended to me by Roberta Brown, writer/agent, who got the recommendation from Angela Knight author of Master of the Night and Jane’s Warlord. I had thought Angela Knight was one of the sharpest writers since I first read her Roarke’s Prisoner, a Sci-Fi/Futuristic tale for Red Sage’s Secrets. Since then, she had never failed to impress me. So for a writer to impress her, I had to take notice!

Morgan’s House of Shadow:  Enchantment in Crimson earned her a 4 1/2 Stars rating from Romantic Times, and justly so. It has been selling in a secondary market on Amazon.france for nearly $100 a copy!

She’s may be a new name to readers, but won’t stay that way for long. She is a prolific writer with a long backlist of e-books available such as Uber-Gothic, Victorious Star, The Pirate’s Pixie, Passion’s Vintage, Snow Moon, Night Waitress, Teachers Pet, Queen of the Dragons and more.

Her writings are not for Gran or Auntie Bess, but if you want a walk on the wild side, you cannot do better than this hot new writer.

So let’s find out what in on the mind of the talented writer who impresses Angela Knight…


Tell us about what motivates you to write your stories.  Where does your inspiration come from?  What pushed you to write erotica?

Out of sheer desperation for something to read, I started writing my own little stories of erotic adventure. I submitted my little shorts to a small erotic story site, and to my complete surprise, the readers not only liked them, they started hounding me for more!

18 short stories later, I went to Extasy Books with my first full novel near completion – HOUSE OF SHADOWS.

House of Shadows, the first book of the Enchantment in Crimson really blew me away.  You are a sassy writer, with a wicked sense of humor.  When can we expect the next installment of this series?



I’m going to take Michelangelo’s view when approached by the pope on when he would finish the Sistine Chapel: “When it’s finished”.


Victorious Star shows you really pushing the limits.  It was a fine line between erotica and rape in the early part of the tale, but you pulled it off.  How do you go to that edge and still keep the balance? 


The trick to NOT stepping over the line is to clue the reader in through body language and dialogue cues. They may be saying one thing but actions really do speak louder than words.



Context is the Key. If someone is saying something terribly mean, but pressing a tender kiss to your brow at the same time, it changes the entire meaning of what is being said.

In Victorious Star, the two males struck me as resembling Aragron and Legolas, or was that my imagination?


LOL! – I had two completely different actors in mind, but if that’s what made you tingle in all the right ways, by all means imagine them!


There are a lot of vampire writers out there at the moment.  How are your vampire tales different?  What makes them unique?


This is a Very complicated answer. It starts with the fact that I have studied magic for over 23 years and ends with something relatively simple – my vampires feed on the soul. Stoker said it in his novel: “The blood is the life.” I see blood as a vehicle for tapping into the body to get to the soul. The more creative a person is, the more “soul” they have – and the more tempting they are to a vampire.

You writing of witches, warlocks, vampires and pixies shows you adore the magickal side of writing.  What draws you to this?


I grew up in New England; New York, Connecticut, and Massachusetts. The whole area is positively bursting with old ghost stories and tales of magic. I guess you could say it was inevitable that I would write about what I had known all my growing up years.

Which of your books of those books you have written is your favourite?  Which is the one do you like the least and why?



My least favorite book is Demoness. It was written to be textbook Erotica, designed specifically to excite the reader – and no more. It’s a complete success in the male-dominated sex-story genre of pure erotica, but a complete failure in the Erotic Romance market. The characters had no depth what so ever. It is utterly emotionless and plot-driven. People Do things, but they don’t Feel anything about what they are doing. The true pity is that Demoness Could Have had depth, but that was not what that particular market called for.

My newer stories are all character-driven. The characters affect each other’s decisions – feelings and emotions count.

I will say this though, Character-driven stories are MUCH harder to write. I get caught up in the character’s worries and problems to the point that it’s not unusual for me to finish chapters in tears. Victorious Star was so harrowing on my emotions that I actually had to take two whole weeks off from writing (and I write every single day – without fail,) just to recover from what I had wrung out of myself to get it onto the page.

As to a favorite story, I don’t have one just yet…

Which come first?  The plot or the characters?  Which drives the story for you?


Believe it or not PLOT comes first. Once I know what I want to happen, I design characters to work against that plot.

Every once in a while I come up with a very interesting character. When this happens, I immediately try to design a plot that will test them to the limits (mental, physical and emotional) of their being. If a character changes to the point that they no longer work with the established plot, I pull them from the story, and file them away for a story of their own.

For me – The STORY always comes first.

Do you plot it yourself or do the characters come alive and take “control”?  Do you write in pieces or straight through?


I design a loose plot then outline the characters, their drives, their motivations and their fears as thoroughly as possible, and then I outline my plot in detail. This does not mean I know exactly how the characters will accomplish that particular event, I only know that they must, to get to the next event.



I normally write straight through. I know what needs to happen so it’s a simple matter of going from A to B, but every now and again I get a whole scene that I know needs to go in the story, but I don’t know where. I write the scene and save it in its own document, then go back to where I left off and wait for that scene’s place to appear.



House of Shadows was done in bits and pieces, one unrelated scene appearing out of nowhere after another, but then House of Shadows was my first novel too. I had yet to learn the fine art of BLOCKING, making a thorough outline of major events. These days I don’t write without a detailed plot outline set up. If a scene pops up, it’s a simple matter of looking at the outline to see where that scene would work best and jotting a notation into the appropriate block.



Once in a while this great scene blooms into being – and doesn’t go. Those scenes usually end up becoming an entire story all by themselves. 

Was there a book or books that made you say, I have to write Romance or a writer who really influenced your chose in what you wanted to write.


Absolutely! I started writing erotica because I loved reading it. Unfortunately the only author producing stories I actually enjoyed back in ’98, was Angela Knight. Ms. Angela Knight’s “Blood & Kisses” in the Red Sage “Secrets” Book #4, was my first introduction to what I felt erotica should be. Shortly after reading that one story, (1998) I started writing. I have since met her and I have yet to meet a more gracious and generous author! She did the cover art for House of Shadows!

What made you chose erotica?


I made the same mistake most beginning writers make; I chose to write Erotica, because I thought it was easy. Boy, was I ever WRONG. 

Is there some period or genre that you have not explored that calls to your Muse?


I have been very, VERY lucky. Erotica allows exploration into any genre you could possibly imagine – contemporary, paranormal, fantasy, gothic, sci-fi… I have an erotic title published in every single sub-genre, and I am comfortable writing them all.

However, this ability of mine to write in any genre has become something of a worry. I have heard over and over and over, that once you start writing for the New York publishing houses you have to stick to ONE genre – even in erotica. I am having the hardest time choosing WHICH genre to present to them, because which ever one they accept, that’s what I am going to be stuck writing for a long, long time.

How do you write?  Daytime, nighttime?  Do you set the mood with music or need silence for concentration?


I write all day long and into the night. I am a full time writer. My butt is in that chair every waking moment I possess. I have no family, so I have no distractions what so ever. I even eat at my desk.

I use movie soundtracks for atmosphere. This is how I maintain consistency in the flavor of my books even though they take months and sometimes years to write.  

When did you know you wanted to be a writer?  How long have you been writing?


Stories have always crowded into my head. I write them down to get some peace. I have been writing stories since I started drawing pictures on every scrap of paper I could find as a small child.

I was 14 when I began writing as a way to deal with problems at home. I decided that writing stories was what I wanted to do professionally after winning a regional short story contest when I was in the tenth grade back in 1980. I spent the entire rest of my life, since that time, gathering experiences and information on every subject that interested me so I could put it down on paper.

For me, writing is a full blown obsession. I couldn’t stop if I tried.

How long was it before you sold your first book?


In 2000, Amatory Ink asked for one of my stories for their: Mythic Fantasy Anthology. That was the first piece I actually got money for. Amoret bought and published a small flasher that I wrote on a whim. In 2002, Suspect Thoughts Magazine published a short of mine that ended up in the Mammoth Book of Best New Erotica Vol. 3. I got the check from BNE3 on publication, a full year after the editor asked for it.

In 2003, I offered Extasy Books a small novella that was getting critical acclaim on a free site and they snatched it up. It sold very well. A collection of 12 of my shorts followed that. Then I submitted my first real novel. The novel "House of Shadows" scooped up 5 and 4.5 star rating with the reviewers. It was a complete success and was one of the first books Extasy sent to print. My largest novel, an SM Sci-Fi, "Victorious Star" broke every record for sales I ever had, but "Uber-Gothic" is gaining on VS for sheer volume of sales very quickly.

I have only ever had one rejection: from Tor books. The book Tor rejected was "House of Shadows" - which is making me a tidy sum at Extasy. It wasn't what Tor was looking for, but it was exactly what Extasy wanted.

How long did it take me to get published? That's hard to say. Everything I've ever submitted has been published. Writing has been very, very good for me. I've been living on my royalties - as my only income - since August of this year. It's not a whole lot - but it's enough for me.

Do you have advice to writers struggling to break into Erotica?


Yes. Do your RESEARCH! If you plan to write about vampires, understand that the readers have very likely already read every other vampire book in print and are Very well informed on their subject. The readers of any given genre will always know if you know your subject  - and will judge you accordingly. 

For more detailed advice, and the occasional rant, visit my Writing Blog (web-log): www.darkerotica.blogspot.com 

I presume you want to break into Mainstream Publishing?  Is that a goal?  Will you still write for e-books if this comes about?

Seeing my name on the bookshelf of a major book-chain has always been a dream, but unfortunately, mainstream writing does not pay as well – or as regularly – as writing for the ebook markets.



A $10,000 advance on a book that takes 6 months to write, and over a year to see print does not go very far once you realize that you only get one third of it on signing the contract, another third once you deliver the completed manuscript – after they tear it to shreds and you have to rewrite, and rewrite it, and rewrite it…to their specifications, which may or may not be related to the book you actually wrote – and the last third when it finally appears on the bookshelf. A single novel can take anywhere from one year to three to appear on the bookshelf. That’s a Long time between paychecks.



Should I ever make it to mainstream publishing I will not stop writing ebooks, simply because I could not afford the pay-cut. 

Where do you hope your writing career will be ten years from now?


Lucrative. I hope my career will prove lucrative. LOL! I have my doubts though. Very few authors actually make enough to live on their writing. At this point in time, I actually AM living on my royalties, but then my bills are teeny-tiny. A one-bedroom apartment is far easier to support than a family!

My dream is to be able to afford a cottage on the coast. (sigh…)

March 1st 1995

Sunday, February 20, 2005

MARKET NEWS – Vampires have flooded the market.

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The Subtle (and Annoying) Static Trait

Secret Weapon of the Clever Writer
 
The Static Trait is the small personal HABIT an individual character displays which reveals their personal Neurosis; their driving NEED, especially in stressful situations. 

This habitual or even ritual behavior acts as both their greatest source of trouble and the linchpin to their success

This Static Trait is the individual character's
Accident Waiting to Happen”.

The most obvious place to find visible Static Traits is in both Comedies and Tragedies. These stories (and movies) RELY on their characters' Static Traits to linchpin the plot.

Laurel & Hardy
What made Laurel and Hardy so funny, were the little neurotic habits -- the static traits -- that would appear under stressful situations.

Abbot & Costello
Abbot and Costello built whole routines on Bud Abbot’s little twitchy responses. The climactic scene in every one of their movies involved Abbot in a panic attack. 
 
 
You spent half the movie going “Oh no! Don’t! Don’t! Don’t!...AH! He did.”

I don’t watch tragedies as a rule, but just about every Greek play I’ve read involves the Protagonist acting on their Neurosis, the emotional need they can't -- or won't -- control which brings them crashing down.
  • Pandora acting on her uncontrollable Curiosity – opened that box of ills.
  • Paris acting on his uncontrollable need for Love – picked Venus as the loveliest goddess in a contest with Hera and Athena, to gain the most beautiful woman in the world who was already married to a powerful warlord.
  • Oedipus acting on his uncontrollable need for Recognition – killed the king and married the queen, who turned out to be his biological parents.
  • Ariadne acting on her uncontrollable Pride - bragged that her ability to weave was greater than a goddess's and was turned into a spider.
  • Prometheus acting on uncontrollable his need for Revenge - gave fire to mankind and was thus chained to a rock to be eaten alive by buzzards for the rest of eternity.
In stories that are Not tragedies, this neurosis-based habit DOES cause their downfall, but also comes to their rescue at the Climax then CHANGES by the end of the story, quite literally Showing that the character has conquered their neurosis. 
 
For those who like to write their stories with humor, adding Static Traits to your characters is the easiest and most effective way to have zany antics happen in any scene.
 
 

The movie The Mummy (1999)
was loaded with static traits.

Just about every single character in the movie had a static trait based on their personal neurosis, and either lived or died, because of it. This made the movie very Comedic despite being listed as Horror.

Evelyn (Evie) 
  • Her personal neurosis was her obsession with being an Egyptologist
  • Her static trait was her obsession with books.
If it was a book, she had to touch it. Evie’s opening scene defined her character – she was filing books and knocked over an entire set of bookcases (rather like dominoes) because she simply HAD to put that book where it needed to be. The entire catastrophic release of the Mummy happened because she simply HAD to have (as well as open and read) the Book of the Dead.

Her Trait came to her rescue because her Habit allowed her to be able to Read ancient Egyptian, allowing her to be able to not only find the correct book to dispel the Mummy, but know which spell was the right one to use. She conquered her neurosis when she allowed the book to be destroyed.

Jonathan
  • Evie's brother’s personal neurosis was monetary greed
  • His static trait was kleptomania.
If it was small and shiny, he had to have it. His opening scene involved showing off to his sister his latest theft. Because of his habit for picking up shiny things, he never quite lost the object he stole – the key to the Book of the Dead.

His trait came to his rescue when he pick-pocketed the needed 'key' from the bad guys. However, he didn't conquer his neurosis. He walked out of that temple with a huge stash of gold.

Rick' O'Connell
  • His personal neurosis was anger
  • His static trait was biting sarcasm.
His solution to everything was “fight it” with his wits or his fists. He was constantly leaping into one fight after another. Evie met him while he was in jail for being in a brawl. "He had a very good time." In every scene involving an attack of some sort, he was the first one to dive into the fight.

His trait came to his rescue when he needed to go on a one-on-one battle with a supernatural creature without immediately dying. He conquered his neurosis when he allowed Evie to destroy the monster with a spell rather than trying to do it himself.

Beni 
  • His personal neurosis was cowardice
  • His static trait was freezing in place then bolting.
He ended up working for Imhotep, because he simply did not have the guts to run away.

His trait NEVER came to his rescue, and in fact destroyed him.

Imhotep
  • The ancient Egyptian Mummy's personal neurosis was obsessive Love.
  • His static trait was Scarabs; the symbol of his personal destruction. He was riddled with the beetles and they showed up in hoards whenever he was nearby.
Imhotep got into trouble and became the Mummy because he was in love with the pharaoh’s concubine. Everything he did was to get his one true love back from the dead at any cost.

Because Evie resembled his beloved, his neurosis made him grab for Evie -- which was his biggest mistake. If he had grabbed any other female, he would have gotten away with the resurrection of his beloved.

How to use this in your Fiction…

Start with your character’s personal neurosis and pick a small habit that shows their personal neurosis in action
 
This Habit should get them In to as much trouble as it gets them Out of trouble, and it should be the lynch-pin that either sets off or defuses the climactic scene.

Having a hard time finding
your character’s Personal Neurosis?

Try looking at your character’s core Motivation.
What obsessive habit would define this?

In Walt Disney’s Beauty & the Beast
Gaston’s motivation was his Selfishness. “I deserve the best!” This was reflected in his static trait of always looking in the mirror. Even when hunting the Beast, he stopped to look at his own reflection.

Beast, in complete reverse of Gaston, utterly Refused to look into mirrors because his Original personal neurosis was exactly THE SAME as Gaston’s: Selfishness.

They were BOTH obsessed with their APPEARANCE. But then, the movie’s Premise was all about “Looking Beneath the Surface”.

In Erotic Fiction...
The Static Trait should be Sexual in nature.
  • A woman who wears skimpy clothes.
  • A guy who wears tight jeans and/or leaves his shirt open to the navel.
  • Long Hair on either gender. This IS a sexual trait!
  • Fur, Leather, or shiny Plastic clothing on either gender.
  • An oral habit such as licking the lips, biting the bottom lip, chewing on pens, sucking on lollipops, or even smoking.
  • Physically Touching anyone they speak to.
  • Posing provocatively instead of merely sitting or standing.
For another example...

One of my personal Static Traits is redefining difficult concepts into simple terms. This comes from my obsession to write as clearly and concisely as I can, and is motivated by my personal neurosis of Avoiding Reality – by creating fantasy worlds real enough to hide in. (grin)


Morgan Hawke
www.darkerotica.net
~~~~~~~~~~~~~~~~~~~~

Wednesday, February 02, 2005

Friday, January 28, 2005

The Villain's Point of View?

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STORYCRAFT - by Lynne Connolly


-----Original Message-----
"...I like to write in an organic sort of way but I'm thinking I should put more energy into creating a conflict of some sort to drive my tales even though they are short. The problem is, when I think too much, it gets contrived and I hate that.


"I am looking for the way other people think about this issue rather than advice. How do you keep things moving? Do your conflicts and points of tension emerge naturally out of your stories or do you really think hard about what they will be? Can just painting a picture of something beautiful be as worthy of reading as a full blown plot arc?"
~~~~~~~~~~~~~~~~~~~
(from Ms. Connolly) - Are you writing purely for your own pleasure, or are you writing to sell your work to a publisher or magazine?

If you're writing for yourself, the only person you have to please is yourself. You don't have to finish anything you get bored with, you don't have to worry about tension and conflict.

Writing to sell, or even to encourage other people to read your work, you have to take other matters into consideration. Your first customer is your publisher, so you have to study what is popular, what is selling, and what is not.

Know What the Publisher will Publish.
Publishing is a business like any other and if you want to sell you have to live by (the individual publisher's) rules. That's just the way it is. It's only courteous not to waste (a publisher's) time by, for instance, by sending an erotic story to a Christian publishing house.

In a recent WIP, (Work in Progress) I wrote a serial killer. I wanted to ratchet up the tension by making him a child killer, but my publisher doesn't allow child killing, so I redrafted and rewrote.

In the field of erotica, you have to take note of taboos. Most mainstream erotica publishers ban; 'real' rape, bestiality, pedophilia and sex involving bodily waste. There are some rules I choose to break, and some publishing houses that will not accept them. But I know what I'm doing.

Fill your Writer's Toolbox...

In order for any publisher to take your work seriously, ie that your manuscript is sellable, you have to take note of certain conventions. Lets not get into what (writing) rules you can break and what you can't. A lot of that depends on the story you want to tell, and your skill. All writers have things they are good at, and things they need to work at.

Learn your strengths and weaknesses.

Read books on plot, characterisation, pov and the rest, attend classes, online or off. It is important that you know the rules before you decide to break them.

For story arcs, try reading Vogler, Campbell and Evan Marshall. All great discussions, and very well illlustrated. Watch "Star Wars" because Lucas admitted he followed Campbell's model very carefully when he made the film. It's a start, and it might give you the 'spark moment' you need.

Suggested Books on Writing
  • 'The Writer's Journey' by Christopher Vogler
  • 'The Marshall Plan for Novel Writing' by Evan Marshall
  • 'The Screenwriter's Workbook' by Syd Field

Tension and Conflict.

Tension and Conflict are vital to a publishable novel, and to many short stories. When you set up your characters, set them goals, and make sure those goals conflict in some way with someone else's. With a romance, it should ideally be the Hero and Heroine who are in conflict. That's why I've moved from romance to romantic suspense. Very often my conflicts come from outside the central relationship. I really don't like my central couple fighting all the time.

Go to: Motivation and Conflict, an article by Patricia Kay

Before I start to write...  

...I've (already) been through a process that takes from a week to a month. I know my characters, (Character sheets) and I have a chapter by chapter outline to work from. (Also known as BLOCKING.) This method might not work for you, but I've tried other methods and this is the one I'm comfortable with. Obviously the pantser method (writing by the seat of your pants) is only working so far for you, so you may need to develop your prewriting technique.

Go To: Assorted PreWriting Exercises by Vickie Kryston

Lynne Connolly
GSOLFOT, Author of urban Gothic romance