THE WRITE WHISPER: Sales rankings

Due to deadline craziness (that will continue into this year!) I haven't done a writing craft post for a while.

So here's a link to an article that all authors will find fascinating.

Which author doesn't check their sales rankings on Amazon or Barnes & Noble?
But what do those numbers mean?

Here's a great post by author Christine Bell that demystifies rankings.

THE WRITE WHISPER: Writing processes

I'm fascinated by writing processes.

How other writers bring their stories to life.

At the RWAus conference, I had an enlightening, informal chat at afternoon tea on Sunday with Stephanie Laurens, Anna Campbell, Barbara Hannay and Annie West.

Fabulously talented mainstream and category romance authors whose books I've read and enjoyed.

What intrigued me about our conversation was our different writing processes.

Some are linear (start the book and right straight through), others write snippets of dialogue or separate scenes, then weave it all together at the end.

I'm always a little in awe of this second group. How do you make it all fit together so seamlessly? And make it look like you wrote it in one go? Amazing.

Me? I'm linear all the way. From the moment I write Chapter One on a blank document, I write the rest of the story straight through. No jumping. No editing. Just write.

Luckily, I write a fairly clean first draft so mainly need to tweak and layer a tad as I go through the next time before sending off to my editor.

Interestingly, I've heard from readers who can pick I write the book in one go.

Yet here's the thing. I heard another gem at the conference that piqued my interest and I'm tempted to try.

In Bob Mayer's "POV & VOICE" session, he mentioned this:

"don't worry about the opening scene. Write the book. The climactic scene should mirror the opening scene therefore you can come back and write/rewrite the opening scene."

Fascinating stuff for a linear writer like me.

Have to admit, I tend to do this unconciously, ensuring the climactic scene ties in to the opening scene but actually mirroring it? Not so much.

While I have to nail my opening chapter every time to set up the rest of the book, maybe next time I'll go back and see how closely it mirrors the last.

Now, you know what's coming next...all you writers out there, I'm dying to know your writing processes. Please share!

THE WRITE WHISPER: Free writing craft books!

Thanks to the fab folk at WRITER'S DIGEST, I stumbled across 5 free books for writers.

Yes, that's right, free!

1. 70 Solutions to Common Writing Mistakes by Bob Mayer.

A fabulous resource from an experienced novelist.

2. 279 Days to Overnight Success by Chris Guillebeau.

If you dream of being a full-time writer, this is the e-book for you! About 11,000 words of fabulous advice.

3. How to Write a Great Query Letter by literary agent Noah Lukeman.

Lukeman is the author of several fabulous how-to books, including The First Five Pages. This free one on queries will not disappoint.

4. What Publishers Want: An Author's Guide by Greenleaf Book Group.

The good people at Greenleaf have made this brief guide available to beginning writers who are just getting into the writing and publishing game.

5. Smashwords Book Marketing Guide: How to Market Any Book for Free.

This gem just came out this past month. An excellent starting resource.

(Note: I couldn't download the last one because I don't have a Kindle. It's via Amazon.)

Download the books via Writer's Digest here.

You can thank me later :)

THE WRITE WHISPER: Limbo land

Limbo land is that strange place writers visit between books.

When we've just finished writing a story and are eager to jump into the next.

When we're waiting to hear from an editor/agent on a query or submission.

When we know what we want to write next but we're too scared to start.

Limbo land is a tempting place to be.

We get to catch up on reading and experience the joy of plucking the next must-read off our TBR pile.

We get to swim and go to the park and spend hours in the museum, hours we wouldn't have while on deadline.

We get to watch mindless TV just because we can.

Limbo land is an essential part of being a writer. Refilling the well is a must. Clearing the mind of our old characters to allow the new to jump in there and demand their story.

I love the possibilities of limbo land, love the excited tingle of new stories begging to be written.

But limbo land can also be a scary place.

Limbo land can sap your confidence as you wait to hear from your editor/agent.

It can tempt you with the aforementioned TV/books/etc...so you'd rather be doing that than thinking about your next story.

It can allow the self-doubt you usually ignore by writing 2000 words a day to rise up and make you question if you have it in you to write another book...and another...and another after that.

Yes, I'm in limbo land at the moment.

It has been a fun place to be over the weekend when I've refilled the well with loads of family fun and swimming and reading.

But come today, when I'm back to work on Monday, those self-doubts are niggling.

The solution?

Write.

Something.

Anything.

Because writing soothes and sweeps away those doubts.

Because writing makes everything simpler and feel right.

Goodbye limbo land, hello sparkly new idea!

Finding time to write

I've extolled the virtues of speed writing and ways to do it in another post so today, I'm focussing on something different.

How do you find the time to write?

For me, it's making the opportunity the write.

If preschooler is playing at my feet, I write.

If he's blowing bubbles out the back, I write.

If he's watching Playschool, I write.

Do I feel guilty at times? Sure do. Surely I should be interacting with him all the time?

Yet I spend every day with my kids for the bulk of the day, I'm very hands-on so I guess these few snatched half hours here and there aren't too bad.

And I need them.

I have deadlines, some that fluctuate, like my current one.

I need to write 35K in a week.

In school holidays.

So far, I've managed 20 pages the first day, 26 yesterday and the bulk of those were written while the kids played around me.

We do what we have to do to find the time to write.

Here's a great post on ways to find that time.

THE WRITE WHISPER: Steroids for writers

Yet another interesting article from Larry Brooks at StoryFix about how to give your story, every story, a major boost.

Putting your story on steroids.

Now, before you rush off and read it, let me say this.

I love 'how-to' stuff. Books and blog posts and journal articles on writing craft make me squee.

I devour them.

Then promptly forget them.

Yep, you read that right.

I love seeing how different people write, the different creative processes, but the thing is I've found what works best for me and I consistently do it.

A brief 2-3 page outline so I have a basic idea of the characters, a glimmer of a first scene in my head, then I sit down, start typing and off I go until the end.

No way could I plot a whole book using screenwriting tips (the one time I have, a complete mainstream I was buzzed about writing at the time, I haven't written. One fabulous chapter that made me cry and that's it. The idea languishes. Time factor, maybe? Or is it because I already know what happens?)

So I guess what I'm trying to say in my convoluted way is...with the posts I guide you to or stuff I find interesting is just that: interesting stuff to tweak your writing imagination but not gospel truth.

Find what works for you and stick to it.

THE WRITE WHISPER: Speed writing with a bullet

As many writers are working their fingers to the bone this month with NaNoWriMo, I thought this link might help speed things up a little.

From the fabulous Storyfix blog, the basic summary is this:

-you've written about 20K words & are finding the going tough
-stop writing narrative
-start writing story exposition bullet points
-keep adding bullet points till you know where your story is going/you're excited to keep writing it/etc...
-with these points already jotted down, you can write with added speed as each bullet defines what happens in a scene.

This method is called beat sheeting (each bullet=story beat=scene) and there's load more links in the article if you want to know more.


Happy writing!

THE WRITE WHISPER: The greatest gift

I love receiving fan mail.

It's such a thrill to discover people read and enjoy the stories I create.

I also love it when people take the time to comment here. The interaction and feedback is great.

Every author has regulars, lovely people who read our books and take time out of their busy days to let us know. You have no idea how uplifting it can be when you're having a tough day and the WIP isn't zooming along and the PC crashed and the dog ate your synopsis...you get the general idea.

Feedback is important.

Positive feedback also sells books.

So what's the greatest gift you can give an author?

(apart from a six figure advance on a 5 book contract?)

Word of mouth.

If you love a book, tell people.

Loud and proud.

Post reviews on Amazon, Goodreads, Shelfari, Twitter, your blogs, wherever people will see them.

If you don't have time to post a review, 'star' the book.

Every little bit helps and the more sales an author makes from word of mouth, the more contracts they'll be offered and the more books you'll get to read from your fave authors.

Sounds self-serving coming from an author? Maybe, but I love recommending good books and my favourite authors, because readers buying books keeps the publishing industry alive and in the long run, that's a bonus for us all.

Plus I want you to enjoy curling up with a good book as much as I do :)

THE WRITE WHISPER: Creating hot heroes

In the reader questions recently, someone asked about heroes so I'm cheating and reproducing an article from my website here:


Great characters draw me into a story and keep me there, making me flick pages at a rate of knots and nothing signals 'page turner' more than a hot hero!

We all know the type of guy: strong yet gentle, commanding yet compassionate, in control but willing to bend to the heroine's will. Throw in gorgeous with a sense of humour and you've got me well and truly hooked!

So how do you create hot heroes in your writing?

Is your hero a take-control alpha guy or is more laid-back beta counterpart?
Remember, every hero is different and having an alpha hero in a Harlequin Modern Heat will be different to an alpha guy in a Romance or a Presents or a Desire.

Here are a few points to help you delineate between the two.

-Make him commanding: the alpha hero is always in control. He likes to call the shots - except when the heroine finally tames him...
-Arrogant? Well, maybe just a tad...the alpha believes in himself and the reach of his influence, totally - until the battle with his feelings for the heroine begins...
-He's passionate: sensual and sexy, the alpha uses his charm and power to get what he wants, though his need for the heroine may ultimately prove stronger.
-Status: impossibly wealthy, probably self-made; the alpha often has celebrity status in the media. The ruler of all he surveys, be it a company or a country. Perhaps a specialist in his field?
-Tower of Strength: the alpha has a steely core, is not easily manipulated and is uncompromising about the things that matter.
-Aspirational: an alpha hero is the guy with whom women aspire to spend the rest of their lives; definitely Mr Right.
-Code of Honour: the alpha has a strong sense of right and wrong, is reasonable and fair.
-Sense of Humour: the beta hero can laugh at himself and life.
-Follower: Betas are more followers where alphas are leaders.
-Self Aware: Betas have more nouse when it comes to what's going on and how they're feeling.
-Easy going: Betas are the laid-back hero whereas alphas are more driven.
-Outgoing: Betas are more sociable where as alphas are more reserved.
-Insecure: Betas may have self-doubts whereas alphas are secure in themselves and their place in the world. Alphas are confident, betas less so.
-Verbal: Betas aren't afraid to express themselves whereas alphas tend to be less verbal and more into the short command, totally used to having their orders obeyed.
-The 'Nice' Guy: Betas are perceived as 'nice' or 'funny' or even 'geeky' whereas alphas are perceived as aloof or unobtainable, even the bad boy.

Keep all these in mind when creating your very own hot hero but remember, your hero will be unique. He may demonstrate more of these characteristics than others. He may turn out to be more beta than alpha or vice versa.

And where does the gamma hero fit into all this? Gamma is a combination of alpha and beta, which would practically make him the perfect man. A tad too perfect for a written hero, perhaps?

Whatever you do, make your man the sexiest hero possible, the kind of guy we can't close the pages on until the last, satisfying scene.

THE WRITE WHISPER: The first 5 pages

Editors and agents read thousands of manuscripts a year and if you ask many of them, unless the first page doesn't hook them, let alone the first five, they won't read on.

So how do you make your first 5 pages memorable?

A KILLER FIRST LINE

I'm a sucker for a great first line. It's a great hook to launch the reader into the rest of the story.

So how do you do it?

-raise a question

-introduce something unique/different

-reveal something unanticipated

-show something is about to change

Here are a few of my first lines to give you examples:

The bronze god was naked. (Overtime in the Boss's Bed)

"Come in and take off your clothes." (Big-Shot Bachelor)

Kristen Lewis had a thing for hotels. (Executive Mother-To-Be)

"You want me to do what?" (The Tycoon's Dating Deal)

Fleur Adams rushed into the café, trying to juggle a portfolio, laptop, umbrella and handbag while shaking raindrops from her curly hair and cursing the fickle Melbourne weather, a lousy public transport system and men, in that order. (Contract to Marry)

Maya Edison stood ram-rod straight, oblivious to the huge society crowd that had turned the funeral into a farce. (Inherited: Baby)

Each of these opening lines raises questions.

-who is the bronze god & why is he naked?

-why does Kristen have a thing for hotels?

-who is being asked to do what?

-why is Fleur cursing men?

-why is Maya so uptight, whose funeral is it & does she care it has turned into a farce?

CREATE SYMPATHETIC CHARACTERS

Not all characters you create have to be 'sympathetic' or likable, but you need your reader to relate to the character so they'll continue to read the story.

Though many books deviate from this, introducing the main character in the first scene, making your reader care what happens to him/her, is a way to keep the reader hooked.

INTRODUCE MAIN CONFLICT

While the first line will hook your reader, it's the main conflict that keeps the reader turning pages.

Try to hint at the main conflict in the first 5 pages: a threat to the main character, an inner turmoil, something that makes the reader care.

PAINTING A PICTURE

May sound obvious but the first few pages should convey the general tone of the story. Try to give a sense of where the story is taking place without listing facts like a travelogue.

WHAT NOT TO DO

Avoid info dumping.

Avoid boring your reader with backstory.

Avoid excessive description (scenery, setting, world building, whatever)

When you submit your manuscript, you only have a few seconds, a few minutes if you're lucky, to grab that editor's/agent's attention.

Make your first 5 pages sparkle and you'll definitely have them wanting to read more.

THE WRITE WHISPER: The question you must answer

We've all heard the terms 'premise' and 'theme' bandied around.

And if you're anything like me, having to label my story kinda freaks me out.

If I had to do it, I'd say many of my contemporary romances have been stories of second chances.

But there's something more important than figuring out theme while you're actually writing. Answering the all important STORY QUESTION.

So what is a story question?
It's the question that drives a reader to finish the book or watch a movie.

eg. Will Bella and Edward overcome all obstacles to be together?
Will Woody and Buzz save their toy mates and get played with in safety?

Interestingly, the answer to the question isn't often in doubt.

We know Bella and Edward will overcome all obstacles to live HEA.
We know Woody and Buzz will look after their mates and save the day in the process.

But what's important is getting your reader to care about the story question.
And to do this, we need to get our readers to care about our characters.

Both Bella and Edward are fish out of water characters. They don't belong. They're outcasts/strange in their respective worlds. And Edward is 'out' of this world. But Bella's desire for the vampire is strong. She'll let nothing stand in their way of being together and a powerful desire makes a character more compelling.

Along with getting your reader to care about your characters, your reader should be in doubt how your story question will be resolved. (Even though the ultimate outcome is rarely in doubt.)

eg. Though we strongly suspect Bella and Edward will end up together, they face enormous obstacles in getting there. Jacob, the Volturi, Victoria, their families, the list goes on.

So want to write a great story?

-Create a compelling story question.

-Create a character reader's will root for

-And a reason why they'll support that character through to the end.

-Create obstacles, make it look like that character can't obtain what they want.

-Try to answer your story question in an unexpected way.

Happy writing!

THE WRITE WHISPER: Methodology

Writing processes intrigue me.

How writers write.

Do they plot? Fly by the seat of their pants? Write to music? Write in silence? Have some magical trick to make words pour out?

If a writer's most commonly asked question is 'where do you get your ideas from?', a close second would be 'how do you write your books?'

Or more technically, 'how do you plot?'

When I first started writing, I was a plotter.

I played around with character charts, answering questions on my hero and heroine, filling in an art sheet with a basic story outline. It helped me, knowing where I was heading with a story.

Then somewhere along the line I changed.

Completely.

These days, I'm a pantser.

Don't get me wrong, I still need to do a little pre-writing plotting. I need to know my characters but I focus more on their motivations and what drives them rather than knowing their hobbies and family.

I need to know they'll be in conflict and how, not their favourite car or their star sign.

So I jot down a page or two of motivations and conflict. And off I go. Flying by the seat of my pants. And the ride's exhilirating each and every time!

That said, I'm still intrigued by plotting.

And if I get stuck in the sagging middle or need clarification, I always resort to trusty pen and paper to roughly plot the rest of the story=one sentence to describe what needs to happen in each chapter to the end of the book.

There's something comforting in having those sentences, like signposts guiding me to the end. And it makes me write quicker too.

So back to the methodology of writing.

I've read resource books on plotting, have enjoyed them, but they scare me.

Similarly the index card method and breaking your story into acts with climax points and turning points. Fascinating but scary!

I like the uncertainty of not knowing where my characters will lead me.

I like giving them free rein.

But I swear my inner plotter is tempted by all that structured lining up color coded cards on a wall...

So what works best for you?

THE WRITE WHISPER: Resilience

Publishing is a fluid industry.

Ever-changing, challenging, trends come and go.

So as an author, how do you survive?

Resilience.

It's a quality schools are big on instilling in kids.

About learning how to cope with hard knocks.

About moving on when things don't go your way.

About adapting.

About learning to forge ahead when things are against you.

Here's a publishing example:

People congratulate me on selling 24 books in 6 years. While not easy, some assume that once you get a contract with Harlequin Mills and Boon that you can keep writing for them for infinity.

Hmmm...myth.

The reality for me? I've had 5 editors and they've all been brilliant but after I had my first child I wrote 2 books in 8 weeks.

Yes, you read that correctly.

Maybe it was being high on happy hormones?

Maybe the lack of sleep?

Maybe because I'd worked full time until then and suddenly had loads of time on my hands while baby slept?

Whatever the reason, I wrote those books and thought they were brilliant.

And they didn't sell.

I'd had a change of editor and those books didn't fly.

So what did I do?

Worked on a few proposals, found one she liked and wrote that book instead.

That book too was on the verge of rejection but I knew I could revise it so I did and it sold.

After selling 5 books with barely a revision, those 2 rejections could've knocked me down.

I could've stopped writing, bemoaned the fact I'd never sell another book, whatever.

Instead, I used the experience to spur me on.

I wanted to take my writing to the next level.

Resilience=how we cope when the going gets tough.

Once you're published, there is no magical fairy godmother who waves a wand over all your manuscripts and makes them instantly publishable.

You still need to work at it.

You still need to produce your best work time and time again to secure more contracts.

You still need to keep striving.

I do.

Every single day when I sit down at my keyboard I want to prove to myself I can still do this, that I can go one better.

It's what drives me. What keeps me up and writing when the trends change and sales you expect don't materialise and the book of your heart isn't what's hot right now.

There are loads of resources to learn writing craft.

Only you can refine resilience.

(PS. Those 2 rejected manuscripts? Reworked and sold a few years later. One was MARRIAGE: FOR BUSINESS OR PLEASURE? a recent RT Top Pick. Another of my mottos? Never say never!)

THE WRITE WHISPER: Playlists

Many authors write to music.

I'm not one of them.

After a day filled with noisy-traffic during busy school runs, exuberant toddler, chatty hubby-my sanctuary at night is my office, where I sit in blissful silence and start writing.

Not that I haven't tried.

I've played around with 'hot' music for sex scenes, Bollywood music while writing my RT award nominee set in India and general chill out stuff.

Don't like it.

The music ends up being an annoyance and a distraction from my characters.

Maybe it's because I'm an auditory writer (hear my characters' dialogue) and music interferes with that.

Though something I would like to try is making a playlist for a particular novel.

ie. gathering various songs together to set the ambiance for that particular novel and maybe playing it before I start writing. To get me in the mood, so to speak!

So all you writers out there...do you use playlists?

Popular artists for specific genres?

Song recommendations for subgenres?

THE WRITE WHISPER: When characters shout

Writers know the feeling.

When some characters shout out to you more than others.

Those characters that strut onto our pages and refuse to be ignored. They grab hold of a story and give it a decent shake.

They make the pages fly, both as a writer and a reader.

If a secondary character, they can even take over the story and overshadow your protagonists.

Over the last few weeks, I've had an interesting experience so that I'd share with you.

I've been writing 2 books at once, something I never do.

I much prefer to concentrate on one book at a time, bury myself in the 'feel' of that book and the characters.

But I have a story that won't be denied, something really outside the box for me, something I have that constant 'excited churning in the belly' feeling for...

This story is giving me a buzz so I've been 'playing' with this story over the weekends while concentrating on my deadline Mod Heat during the weeks.

The words have been flowing in both but after sending off my 'outside the box' story mid-week and diving back into my Mod Heat, something happened.

The gloss of my MH characters wore off.

Annoying, because I was already struggling with this book from the start, in so much as the hero, Rhys Cartwright, featured so heavily in my next Presents release, OVERTIME IN THE BOSS'S BED, that my editor asked me to tone him down completely and remove him from several scenes. He was overshadowing the hero and far too sexy!

So of course he demanded his own story but when this guy got it...he's nothing like how I remember!

Sadly, this hasn't changed all book.

I know I'm in for loads of editing/polishing with this one.

Why is it some characters shout louder to us than others?

Is it the plot? The conflict? The characters themselves?

I think it all comes back to that old adage, 'write the book of your heart'.

If something is calling to you, write it.

No matter how many books you've written in a particular genre, no matter how many books you've published or unpublished, those characters 'shouting' at you are doing so for a reason.

Let them run free.

Flex your creative muscle.

You'll be fresher for it.

And who knows, that book may just be 'the one'.

THE WRITE WHISPER: Dream journal

In my last WRITE WHISPER post, I discussed the hypnologic state, and how I solve plot problems/have inspiration during this time.

So as a follow on, let's discuss dream journals.

Personally, I've never had a dream which has resulted in a book, though I've heard some authors have.

For me, it's that pre-dream state which is a cauldron of bubbling ideas.

Our subconcious never sleeps so why not tap into it?

The art of keeping a dream journal is simple.

Keep a notebook and pen by the bed.

The instant you wake (whether it be morning or middle of the night), don't move. Stay still and relaxed, try to remember your dreams or anything else you can think of.

Initially you may only get vague details. A rose. The colour purple. Kids running.

Or perhaps a pervading feeling will come through...fear, happiness...

Whatever you barely remember, write it down.

Start to court your dreams. The more committed you are, the more vivid your dreams may become.

A trick I use often is to ponder a plot question just before falling asleep.

Hopefully, the answer will appear.

Trying new ways to harness our creative energy is fun. Why not give it a try?

THE WRITE WHISPER: Dreaming

I've mentioned on several occasions that I get many of my ideas/titles/first lines/characters in that half drowsy/half awake state just before dropping off to sleep.

In fact, if I need to ponder a plot point or a conflict that isn't quite working, I'll take to bed, close my eyes and let my mind wander.

It's a great technique and often works. (Drifting off to nap is a bonus!)

Imagine my surprise when I recently discovered there's a technical term for this.

There is a naturally occurring sleep state called the HYPNOLOGIC STATE.

As I've already described, it is the phase of sleep right before you drift off and right before you wake up, and is a state of altered consciousness.

Apparently it's a highly fertile time for creative people!

The trick is to utilise this phase.

Ask yourself a question before you lie down. eg. What is the main obstacle keeping my characters apart?

Close your eyes.

Let your mind drift...doze...

But you must remember what happens in this state.

I've heard a recommendation to hold one arm up in the air, as the tension required to hold the arm up will keep you on the verge of that sleep/awake state, and as the ideas/concepts/connections come, you immediately write them down.

For me, I close my eyes, let the ideas flow, and jot them as soon as they arrive.

It's a tried and trusty plotting method for me.

Writers out there, have you tried it?

Does it work for you?

THE WRITE WHISPER: Sprinting

You know about me and exercise...so no, I'm not talking about sprints of the running variety.

Lately, I've been seeing the term sprinting springing up everywhere in relation to writing.

I happened to be on Twitter 2 weeks ago on a Friday night, about to start writing, when I noticed RWAus and a few Aussie authors were doing a 15 minute sprint.

Basically, it involves writing as fast as you can in that time frame, non stop.

Similar to pacing yourself against an egg timer, I'd say, which I heard recommended by Stephanie Bond once.

The interesting thing is, I've been doing natural sprints for the last fortnight.

I have a short deadline.

I have loads of words to write.

So I write: early morning, toddler nap time, late at night.

The result?

Huge increase in productivity. Not just from the actual time spent writing, but sprinting increases your speed. Truly!

Go ahead, try it.

I've written 14000 words last week, over 10000 the week before.

It has been a long time since I've done that, because I'd slowed my writing, aiming for 4-8 pages a day. Now, I'm doing 6-8 in one sitting.

Along with faster fingers, I think your mind loosens, gets in tune with your story, knowing you need to pour the words out to meet your self-imposed time limit.

Practice your sprinting.

You'll be pleased with the results.

THE WRITE WHISPER: Stellar settings

Last month, I wrote an article for RWAustralia's monthly journal, 'Hearts Talk', on Stellar Settings.

The article is now live on my website so if you want to make your next setting come alive, go check it out here!

THE WRITE WHISPER: Sample synopsis

I haven't written a category romance synopsis for a while, so dug around in my archives and voila!

Here's the synopsis I wrote for PURCHASED FOR PLEASURE, my 3rd Modern Heat novel (released as a Harlequin Presents Extra Feb 08)

An interesting exercise for me to read back over it.

The book stuck to most of my outline but veered in different directions on several points.

Those of you who've read the book will find this particularly interesting!

Kate Hayden, 30, is the feisty senior editor for the thinking woman’s magazine, Bella, based in Los Angeles. She has worked her way up at the magazine, eager to prove that she can make a life for herself, without the help of family money. Her first story, “Military Men”, introduced her to Tyler Jones, a cocky Navy SEAL with attitude. After several enthralling encounters, Kate obtained her story and walked away from the sexy SEAL, berating herself for falling in love with a guy who obviously played the field.

Ten years later, Tyler Jones, 35, re-enters her life. At a charity Man Auction the magazine is sponsoring, Kate sees Tyler standing on the stage and is goaded into bidding by her colleagues, suddenly eager to dispel her stodgy and work-focussed image. What harm could it do, when she wouldn’t be the highest bidder? Unfortunately, she is the one and only bidder. As the gavel falls, she has acquired a male slave for one week and he happens to be the last man on earth she would want to spend time with.

At the conclusion of the auction Kate is handcuffed to Tyler, who later teases her into removing the key from his pocket. She refuses, denying their previous attraction and he reawakens her memory with a scorching kiss. This sets the tone for a dynamic week together.

Tyler has donated one week of his annual leave to raise money for his favourite cause. The Ramirez Orphanage, his home during childhood, is low on funds and may close. He is desperate to raise the orphanage’s profile and this is his main motivation for being sold as a slave. When Kate buys him, he recognises the potential for publicity and wants her to write a series of articles for Bella to highlight the orphanage’s plight and hopefully raise more money.

Kate soon discovers that acquiring Tyler as a slave is set to rock her world all over again. Sparks fly whenever they are within two feet of each other, soon leading to fiery combustion, with Tyler reneging on the deal. However, Kate swallows her pride and convinces him otherwise, as she needs him to secure a promotion. Her boss, set to retire in a month, believes that ‘purchasing’ Tyler was a stroke of genius on her part and the ensuing publicity has been a windfall for the magazine. He wants to capitalise on it in a feature on his senior editor with the SEAL. In return, she will become Bella’s chief editor, a position she has long coveted.

Kate is unaware that Tyler is an orphan and falsely believes his interest in the orphanage revolves around Maria Ramone, the beautiful woman who runs it. Tyler grew up with Maria in the orphanage and sees her as a sister. He is guilt-ridden at not following through on his childhood promise to get her out of the orphanage. If he can raise the profile of the orphanage, Maria may have a chance to leave it behind and make a life for herself, just as he has done.
Kate is jealous and advises him that the orphanage story would be unsuitable for the magazine. However, with the promise of the ultimate promotion, Kate needs Tyler to participate in her feature article, so she runs the articles on the orphanage in exchange for his co-operation, a win-win situation for both. However, she omits to tell him the real reason behind her feature article and ultimately, threatens their future happiness.

Kate and Tyler complicate this simple arrangement with an irresistible sexual attraction that soon develops into a sizzling physical relationship. She revels in their encounters, convincing herself that it’s one week of impulsive pleasure out of her organised, well-planned life. After all, she knows Tyler is a man with similar expectations: independent, living for the moment, able to walk away at the end.

Tyler believes the rich princess from Beverley Hills is slumming it for a while with the orphan from downtown L.A. No harm done, when the mind-blowing sex is everything he imagined... and more.

Neither are prepared for their emerging feelings, the yearning for love and stability which was not present in their respective childhoods.

At the thought of losing Tyler, Kate is prepared to take a chance. However, before she can profess her love for him, he discovers the truth about her promotion and the price he paid to secure it. He feels used, betrayed and abandoned, just like his childhood. The woman he has taken a chance on and grown to love has deceived him. Rather than discussing his possible re-assignment to Puerto Rico with her, he flings it in her face, wanting to hurt her as much as she has hurt him. Kate is convinced that the SEAL she loves will never change and is devastated in the process.

In a hurry to leave the orphanage, where their final confrontation has occurred, she bumps into Maria, who sets the record straight. Kate knows her only chance to convince Tyler of her love is to prove that her job and lifestyle are not the most important things in her life. She arrives on his doorstep with her suitcase, ready to follow him to the ends of the earth if needed.
Tyler is convinced that Kate is the woman for him. He professes his love and their relationship is secured. Though the handcuffs are removed in their initial encounter, they are now bound by the welcoming shackles of love...
Now, comparing the synopsis to the proposal I posted last weekend, you'll see the key differences.

I know which I prefer: the proposal is quick, to the point, an outline of the book at a glance.

There are loads of 'how to' articles on synopsis writing available.

Read a few.

Make notes.

Play around.

Find your niche.

And write the best darn synopsis you can so an editor is begging to see your book .:)