This blog is the fault result of a question from Cerrisa Kim, on the WITS Facebook page. I’d posted a brilliant Writer’s Digest article about the line between Women’s Fiction and Romance (You can read itHERE).
Cerrissa’s question was more specific though - how I was able to write in two genres? What challenges arose from that? I could have avoided the question, but then she used my name in the same sentence withBarbara Samuel O’Neal’s. *Fan-girl sigh* She had me.
My two genres are WF and Romance, but I think the issues you have to consider, and the problems you run into along the way will be similar, no matter what two genres you write in (I wouldn’t recommend more than two, because you’d be diluting your brand – but more on that later).
Our own Orly Konig Lopez wrote a blog about writing in two genres a while back. You can read it HERE. Go ahead, we’ll wait.
Back? Okay. Here are a few things to consider that may be different in your new genre:
POV –
Most YA novels are written in first person, and many Women’s Fiction novels are as well. Do you know how to do that? You may want to do some practice writing to become comfortable with the shift, before you start. First person terrifies me, so I wrote my WF in third person, but I only had ONE POV character. Wow. That’s way different (read: harder) than having two POV characters.
To make it harder (because, of course I have to do that, right?) my character was damaged and closed-off. Which meant she didn’t have a sidekick to bounce ideas off of, and to break the relentless stream of thoughts in her head. Less dialog than my romances, as well. The way I worked around it was to have her act differently than her thoughts. Outside, she was tough and scrappy. Inside, she was out of her element, afraid, and vulnerable.
Voice –
I could never write MG or YA. Those years are so long past, that I just don't have the voice for it. I'm in awe of people who do.
Historical is a much different voice than contemporary.
Some genres won't be as challenging this way. For example, Horror and romance both usually involve adults, and may both be in the present day (or both historical). WF and romance, though the focus is different, the voice remained the same.
Research-
Again, depending on which genres you're skipping from and to, this may be a challenge as well. I chose contemporary, and something I know a lot about (Pro Bull Riding), so this wasn't an issue for me. I highly recommend that you choose a genre that you read. Each genre has different nuances of pacing, plotting and action, and you're not going to understand them on a deep level unless you know the genre, intimately.
Here are the advantages and disadvantages that I discovered by genre skipping:
PROS:
A well deserved rest. I'd only written romance before this last book, and I was weary of the tropes, and restrictions in romance. Don't get me wrong, I love the genre, and will write more romances, but it sure was nice, not to have to write one. More. Sex. Scene.
A new challenge. If we're not learning something new with every book, we're not only getting stale, we're not improving our craft. And that's very important to me, as an writer.
Freedom. These were new editors, who didn't know me. They wouldn't buy based on a proposal. I had to write the whole book first. I haven't written an uncontracted book since I first sold. It was scary. And very freeing. I didn't have a deadline, staring me in the face, every day I sat down to write. I also didn't have to consider what my editor would want - I was free to write to make myself happy. Wow, I enjoyed the heck out of that.
CONS:
Risk.What if I spend all this time, and no one wants it? I thought it was a brilliant premise. I loved the protagonist. But then, I'm kind of odd. What if no one else did?
Learning curve. I understand romance. I am lucky enough not to get many editorial changes, because I draw between the lines well. Imagine my shock, when I got a 'revise and resubmit' on this WF. I currently am typing with my fingers crossed, hoping my dream house will pick the book up. We'll see.
Watering down your brand. Again, this depends on what genres you're skipping between. Erotica and Inspirational? MG and Horror? Those are totally different audiences. You may have to build a completely new brand (not to mention using a different name). You'd think romance and WF would share an audience, but you'd be surprised. If you have a happy ending in your WF, you may pull some romance readers who love your voice, but WF readers tend not to read Romance.
Should you genre skip? Only you can decide that. I'll continue doing it - hopefully writing a romance, then a WF, and repeat.
What about you? Have you ever considered genre skipping? Ever tried it? Which genres? Have any advice for us?
About Laura
Laura Drake is a city girl who never grew out of her tomboy ways, or a serious cowboy crush. She writes both Women's Fiction and Romance.
She sold her Sweet on a Cowboy series, romances set in the world of professional bull riding, to Grand Central. The Sweet Spot won the 2014 Romance Writers of America® RITA® award in the Best First Book category.
Her 'biker-chick' novel,Her Road Home, sold to Harlequin's Superomance line (August, 2013) and has expanded to three more stories set in the same small town. Twice in a Blue MoonReleases July 1, and is available for preorder!
In 2014, Laura realized a lifelong dream of becoming a Texan and is currently working on her accent. She gave up the corporate CFO gig to write full time. She's a wife, grandmother, and motorcycle chick in the remaining waking hours.
A few weeks ago I was heading to Cashiers, North Carolina for what was heralded as the answer to my recent writer’s weariness. I’d been driving for several hours, twisting up winding roads where the earth falls away into deep gullies and the air grows thin and the mountain walls weep.
I was dizzy with anticipation, and probably the higher altitude. For months, I’d been waiting and worrying about this retreat. I’d been invited to attend as a speaker, and I’d become convinced I was secretly meant to be the comic relief. The other authors on the panel were big names with long, illustrious careers. I had no idea how I’d gotten so lucky to be included amongst them, but I was already sweating through my new jacket.
Upon arrival, I dumped my luggage in a pile in my room and texted the event coordinator to let her know I’d found the joint, mostly so I couldn’t back out of the whole thing and hit the road with some sort of excuse – got kidnapped, bubonic plague.
I’d been battling my inner running dialogue all day, the one that reminds me of all my shortcomings, all the bad decisions, the bad grammar, the bad breath.
Some writers call this voice the Inner Editor. I call it my Inner Jackass. In my mind’s eye, this voice looks a lot like the Hee Haw logo, sporting goofy teeth, ready to take a bite out of me any chance he gets.
With time to kill before our first panel and dinner, I tried on a pair of heels and practiced walking around, trying to be taller. Being taller means you are a real writer, doesn’t it? Being taller will make people believe you are smart enough to stand behind a lectern right? Being taller will distract them from my poor spelling.
I ended up giving myself a blister. It was a sign. I could hear my Jackass guffawing. I was out of my league and now, my shoes. I might as well hang a tag off the brim of my straw hat, he brayed.
I had nothing to say. My novel was drivel. I hadn’t written anything worth reading out loud in weeks. No, years! I’d published with a small press and everyone knows that’s because I’m second string. I never had a movie deal. I made a “C” in Honor’s English, likely the high point in my writing journey!
At this point, I started having that waking nightmare where someone asks me about the high concept in my current work. They’ll want me to teach them my secrets of success, fill out a story arc on a dry erase board. They’ll want to hear all about the main conflict in my new work, expecting to be knocked back in their seats by brilliance. They PAID MONEY to be here!
Big, sloppy donkey lips were nipping at all my soft spots.
My phone jingled. Here was the coordinator’s response to learning I had arrived safely. Get ready. It changed my entire weekend.
“Yay! I am feeding the donkeys. Heading back soon.”
Did you cock your head? Seriously?
I really did look around, wondering if I was being pranked. The place didn’t have phones or TVs in the rooms, but that didn’t mean I wasn’t being watched. The walls were knotty pine, perfect for peep holes. This was nothing short of portent, damn it.
The jackass in my head wiggled his eyebrows. He might have had a stogy between his teeth.
I read the message again and puzzled. Was I supposed to respond to this? Maybe it was some kind of cool kid code, like LOL or…I don’t even know any other secret texting acronyms. I was in trouble. Worse, maybe this was some clever, literary expression and I was too witless to understand. Or, God forbid, maybe it was about politics.
Before the text, I’d been trying to think up something smart to say on that evening’s panel. We were supposed to inspire the attendees with genius ideas about finding inspiration to write in the everyday. Now, all I was thinking was, Donkeys. Feeding donkeys.
I started throwing all my junk back into my suitcase. If I started driving now, I’d cross the state line just a little after dark, about the time anybody here would even miss uninspired, unsophisticated me. I’d just take my ass and go home.
But, as writers are wont to do, I couldn’t help appreciating the bizarre, neurotic irony of it all and my mind turned to metaphor. An idea bloomed. It was one of those moments where two wrongs make a right. Two donkeys and Kimberly Brock walk into a bar...
Seriously. It’s not just the Jackass in my head with all the self-doubt and anxiety that plague a creative mind. It’s all the jackasses who wimble on about how they don’t have time to read. The jackasses that make me feel guilty about devoting time to the writing, instead of mothering or wife-ing or tennis-ing or volunteering like a good suburban humanitarian.
The jackasses that mean well. The jackasses that are jealous. The jackasses that suck all the energy out of my soul. The jackasses that brag and dance and laugh all the way to the bank. Or jail. The jackasses that don’t even try. The jackasses who bully and tease and pick at my sanity. The jackasses who are mean and skinny. The jackasses with too many expectations. The jackasses that worry me out of my sleep. The jackasses who fire me up. The jackasses I love.
Considering all the myriad of ways in which jackasses have inspired me over the years, I started wondering if I should have been sending out thank you notes.
I didn’t leave. I spent the time before the first panel feeding my inner donkeys, which turns out to be the most effective bit of advice I have for writers seeking inspiration. Feed your writing with what nags at you, nips at you, brays and bewilders and bullies.
I put on my sandals and forgot about being tall or smart. Turns out, there really were a pair of friendly, hungry donkeys on the property. As is often the case with a couple of jackasses, they had no interest in writing, but ended up front and center in my work and what I had to say that night amongst my esteemed peers.
What inspires your everyday writing life, Kimberly Brock?
I answered honestly.
Jackasses.
What inspires your writing? Do you feed the jackasses in your daily life that might inspire you, or do fear them? Do you let them fire you up or shut you down?
About Kimberly
Kimberly Brock
Kimberly Brock is the award winning author of the #1 Amazon bestseller, THE RIVER WITCH (Bell Bridge Books, 2012). A former actor and special needs educator, Kimberly is the recipient of the Georgia Author of the Year 2013 Award. A literary work reminiscent of celebrated southern author Carson McCullers, THE RIVER WITCH has been chosen by two national book clubs.
Kimberly’s writing has appeared in anthologies, blogs and magazines, including Writer Unboxed and Psychology Today. Kimberly served as the Blog Network Coordinator for She Reads, a national online book club from 2012 to 2014, actively spearheading several women’s literacy efforts. She lectures and leads workshops on the inherent power in telling our stories and is founder of Tinderbox Writer’s Workshop. She is also owner of Kimberly Brock Pilates.
She lives in the foothills of north Atlanta with her husband and three children, where she is at work on her next novel. Visit her website at kimberlybrockbooks.com for more information and to find her blog.
No author I know signs with an agent wanting that partnership to end. But, sadly, things do break down sometimes. Here are four signs that your agent-author relationship has turned sour.
1. Lack of communication from the agent. This is the big one. Most agents will respond to your e-mails within forty-eight hours, if not much quicker. But if you’re e-mailing your agent and repeatedly getting nada in return, that’s a bad sign. It means your agent no longer considers you important enough to communicate with, or she is simply avoiding you. A serious lack of communication is a large problem and one of the first signs of a sinking ship.
2. Disagreement on big issues in your writing career. You and your agent should be on the same page concerning what you write and your career goals. Sometimes an agent sees an opening for you in another area and wants to guide you in that direction. You may take this change of direction easily, or you may not. If you feel uneasy writing what your agent wants you to write—whether it’s a completely different type of book or the suggestion to change the age of your main character from 33 to 63—then that’s another red flag.
3.Dreading to talk with one another. Personally, I always look forward to my agent’s phone calls. Why? Because she only calls with news, and news is welcome. Even bad news is welcome, because it gives us answers and closure, and helps us move on and decide the proper next step. So if you don’t look forward to your agent’s calls, or she always acts put out when you get her on the phone, that’s bad. This partnership is fueled by enthusiasm, and dread is the opposite of enthusiasm.
4.A major difference of opinion on an offered deal. An agent’s job is to get you a book deal. But, oddly enough, sometimes a deal offer can be a problematic thing and lead to disagreements between you and your agent. An agent is likely to be excited about her hard work paying off with a deal offer (and thus want you to take the offer)—but what if the deal is not what you expected? All of the following scenarios are plausible:
The offer comes from XYZ Publisher, but a writer friend of yours published by that house has told you of her negative experience there.
The offer for your nonfiction proposal was much lower than hoped, and you now feel like writing the book will not be financially worthwhile. (This scenario actually happened to me in 2009. My agent and I got an offer on a small nonfiction book I wrote. The problem: The publisher only offered a $1,000 advance, and we had no other offers. I could sense that my agent still wanted me to take the deal even with the measly advance, but when I told her I couldn’t say yes to that figure, she understood my response and respected the decision. We ended up declining the deal and moving on, faring better with our subsequent books.)
A publisher offers you a healthy deal, but they, in fact, want to make your book the next edition of an existing novel series and take your name off the book.
The publisher wants to release your book, but only as an e-book at first—with print copies discussed only after certain sales figures are reached.
If your agent is pushing you to take any deals such as these, but your gut tells you no, that’s a tough situation.
So what happens if you feel like your efforts together have taken a downward turn? At that point, it’s time to compose an honest e-mail expressing your concerns. Make sure you don’t get upset or point fingers. Just calmly express what’s on your mind. It’s also an invitation for the agent to write back and tell you what’s frustrating her. You both have nothing to lose at this point, and it’s time to stop holding back and express your true thoughts—albeit politely.
(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)
Ideally the open conversation will illuminate some issues or ideas you two didn’t understand before. Then you can use it as a jumping-off point for getting your relationship—and you career—back on track.
Conversely, the conversation may confirm your fears that the match is not a true match, and it’s time to move on. In the worst case, the agent may choose not even to reply to your “Let’s talk” e-mail. If that happens, it’s time to pull up the anchor and sail on. You can then send a follow-up e-mail requesting the termination of your partnership, effective in however many days as set forth by your contract. Thank her for her time and hard work, and start drafting a new query letter to begin your agent search anew.
Keep in mind that if you want to find another rep who might be a better fit for your style, you should cut ties with your current agent before doing any new querying. It’s disrespectful to both agents if you talk representation with new agents before formally terminating your current contract.
