Lucynda Storey-Erotic Romance Writer

Singer/songwriter Warren Zevon’s biography is being touted this month in Denver by his former wife, Crystal, who will be signing books at Denver’s Tattered Cover bookstore, one of the largest independent bookstores in the United States.

I was introduced to Warren’s music about ten years ago when I received the Rhino compilation of his greatest hits.  Zevon was rather like Don Henley in that he collaborated with a number of big music stars in his day.  Some of his titles were used as film titles including “Werewolves of London” and “Things to Do in Denver When You’re Dead”, and “I’ll Sleep When I’m Dead”.

In fact, several influential rock musicans came together to cover many Zevon songs in “Enjoy Every Sandwich”.  Warren Zevon died of a rare lung cancer on September 7, 2003 and is probably most well known for his song “Werewolves of London”. 

I have a particular fondness for “Things to Do in Denver When You’re Dead” J  And the music of “Roland the Headless Thompson Gunner” has inspired several of my fight scenes.  His song, “Lawyers, Guns and Money” has been recently covered, but perhaps the most popular in our household is “Gorilla, You’re a Desperado” a silly song about a gorilla taking the place of a man in LA.

Zevon had a natural talent for writing songs about contemporary events and significant cultural occurrences in American society.  A song based on the travel of Philip Habib during the Carter years is called “The Envoy” and he wrote several historical songs including “Frank and Jesse James” and “Boom Boom Mancini”.  I’ve included the CNN article on Zevon the day after he died.  His biography has been written by Crystal Zevon, a former wife and includes interviews with several influential rock icons.

Singer Warren Zevon dead at 56Monday, September 8, 2003 Posted: 10:57 AM EDT (1457 GMT)    

LOS ANGELES, California (AP)

– Warren Zevon, who wrote and sang the rock hit “Werewolves of London” and was among the wittiest and most original of a broad circle of singer-songwriters to emerge from Los Angeles in the 1970s, died Sunday. He was 56.  A lifelong smoker until quitting several years ago, Zevon announced in September 2002 that he had been diagnosed with terminal lung cancer and had only months to live. He spent much of that time visiting with his two grown children and working on a final album. 

Zevon died in his sleep Sunday at his home, publicist Carise Yatter said. 

He faced death with the same dark sense of humor found in much of his music, including songs like “I’ll Sleep When I’m Dead,” “Life’ll Kill Ya” and “Things to Do in Denver When You’re Dead.” 

Zevon said he “chose a certain path and lived like Jim Morrison and lived 30 more years. You make choices and you have to live with the consequences.” 

He released his first album, “Wanted — Dead or Alive,” to little notice in 1969, but gained attention in the ’70s by writing a string of popular songs for Linda Ronstadt, including “Poor, Poor Pitiful Me,” “Carmelita” and “Hasten Down the Wind.” 

His next two albums, 1976’s “Warren Zevon” and 1978’s “Excitable Boy,” followed those songs with darkly humorous tales of prom-date rapists; headless, gun-toting soldiers of fortune; and werewolves who drank pina coladas at singles bars and were particular about their hair. 

They cemented Zevon’s reputation as one of rock music’s most politically incorrect lyricists, giving him a lifelong cult following that included gonzo journalist Hunter S. Thompson, former Minnesota Gov. Jesse Ventura and “Late Show” host David Letterman, who provided backing vocals on “Hit Somebody,” Zevon’s 2001 elegy to a professional hockey goon who longs to be a goal-scoring hero. 

“I always like to have violent lyrics and violent music,” Zevon told The Associated Press in 1990. “The knowledge of death and fear of death informs my existence. It’s a safe, kind of cheerful way of dealing with that issue.” 

Other admirers included Bob Dylan, whom Zevon cited as one of his principal songwriting influences and who performed on his 1987 album “Sentimental Hygiene.” Still another was Bruce Springsteen, who co-wrote “Jeannie Needs a Shooter,” Zevon’s tale of a lover shot to death by a woman’s jealous father. 

 Zevon was known for songs like “Werewolves of London.”   Not that all of his music was dark and violent. His oveure contained some straight-out comedy as well, including “Mr. Bad Example,” “The Hula Hula Boys” and “Gorilla You’re a Desperado.” The latter told the tale of a Los Angeles Zoo ape who escapes by locking a yuppie in his place and going off to live in the man’s apartment, only to end up depressed and divorced. 

His compositional style reflected a number of genres, from hard-driving rock to folk, as well as classical, polka and other influences. In his final months, he summoned the energy to complete a last album, “The Wind,” released in August. It includes the poignant “Keep Me in Your Heart,” a cranky “Disorder in the House” and a remake of Dylan’s “Knockin’ on Heaven’s Door.” 

Zevon, born in Chicago to Russian immigrant parents, moved to Los Angeles in the 1960s, making a living writing jingles for television commercials. He also composed the song “She Quit Me Man” for the movie “Midnight Cowboy.” He was just out of his teens when he went to work for the Everly Brothers, first as a pianist and later as their band leader.

In his last months, he told various interviewers he had no regrets, expressing particular gratitude that he had quit drinking in time to watch daughter Ariel and son Jordan grow up. 

“I got to be the most [expletive deleted] rock star on the block, at least on my block,” he once said. “And then I got to be a sober dad for 18 years. I’ve had two very full lives.” 

His family had noted that he lived far longer than was expected at the time of his diagnosis, long enough to enjoy twin grandsons born to Ariel.  

http://www.tatteredcover.com/NASApp/store/IndexJsp?s=storeevents&eventId=353176

Coming Soon: Blind Devotion from www.AspenMountainPress.com

I’m pleased to announce that my erotic time travel romance, The Collector 7: This Time Forever is receiving terrific reviews!

Fallen Angel Reviews gave Rand and Skylar 5 Angels, saying “Ms. Storey has created a swashbuckling saga that has adventure, enough action and romance to please everyone.”

Just Erotic Romance Reviews said, “Ms. Storey created a beautiful love story with characters that had nothing to lose and everything to gain.”

And this from Night Owl Romance: Lucynda Storey has written a scorching adventure of timeless love. Rand and Skylar will burn your senses with their erotic love scenes and the plot twists will keep you glued to the story. Rand and Skylar were a fun pair to write and I hope my readers have enjoyed their story.

Lucynda:  How long have you been writing and when did you have your first release?

Jeanne:  I wrote poetry and short stories when I was in elementary school. I started writing seriously in 1998. My first release followed in 2004 when I finally got up my nerve and submitted the darn thing to Loose Id. They were my first submission and they accepted it right off the bat! 

Lucynda:  Do you have a writing routine?

Jeanne: I try to write every day, even if it’s only a few pages. Right now, I’m working more on the PC directly, but usually I curl up on the couch with my AlphaSmart. I find that there are fewer distractions when I’m not online! 

Lucynda:  Do you have a “day” job? or are you able to write full time?

Jeanne: My day job is as a music therapist/entertainer for Senior facilities.  It does leave me quite a bit of time to write.

Lucynda:  Who inspired you and how? 

Jeanne:  My mom inspired the first story I had published. When she passed away  unexpectedly, it unleashed a torrent of words and a fantasy world fully developed in my mind. But I first wrote fanfiction inspired by the actor Antonio Banderas and he does inspire many of my heroes! <g> 

Lucynda:  Where is home?  Have you lived your entire life in one place? 

Jeanne: Home is in the hills of Pennsylvania, right near the Mason/Dixon line outside of Gettysburg. My dh and I have lived in Florida, Georgia, New Jersey, Minnesota, Maryland and now Pennsylvania -whew!

Lucynda:  What genre do you write in?  Is there one you’d like to try?  What is it? 

Jeanne:  I write fantasy/paranormal erotic romances. I’d like to try a straight contempoary romantic suspense.

Lucynda:  What was the most memorable, positive experience of your life? 

Jeanne:  In my writing life, the day I received the email from Loose Id saying they wanted my ms! 

Lucynda:  What was the toughest thing you had to go through and how did you manage? 

Jeanne:  Probably the unexpected loss of my mother. She had gone into the hospital for some fairly routine tests and a month later she was gone d/t unforeseen complications! I coped by writing my head off.  

Lucynda:  Some one or the other questions: 
Coke or Pepsi products - PEPSI 

Eric Bana or Orlando Bloom - ERIC

CSI or Bones - BONES

Movies or Theater - THEATER (if I could afford it!)

Rocky Horror Picture Show or Reservoir Dogs ROCKY HORROR

Andy Garcia or Val Kilmer Neither ANTONIO BANDERAS! (But if I had to choose it would have to be my Cubano Andy Garcia)

Spain or France SPAIN (of course)

The Eagles or The Beach Boys BEACH BOYS

Thanks Jeanne for answering my questions and providing me an excerpt from: The Collector 5: The Crystal Flacon.
 
BLURB:

Abby Foster, owner of Nannies, International, has been commissioned by the secretive Collector to obtain the Crystal Flacon, believed to have been in the possession of the infamous Lucrezia Borgia and to contain a magical aphrodisiac. But why should a nanny be set such a task? Seems Abby has secrets of her own. She also runs Finding Justice, an organization dedicated to returning art and other treasures lost during WWII to their rightful owners. With the specialized skills she’s gained, getting the Flacon should be easy. She isn’t counting on channeling Lucrezia through visions and dreams or falling for Antonio, duke d’Este, the present day owner of the Flacon.

Antonio d’Este, the direct descendent of Lucrezia Borgia, is a modern man with modern problems. A recent widower, he needs a nanny to take care of his five year old daughter while he prepares for the launching of  “Lucrezia”, the new scent for Borgia, the family-owned perfumery. Inspired by the stunning Crystal Flacon, Antonio focuses everything on making “Lucrezia” a success. He has no time for the distraction posed by the beautiful nanny or the strange effect making love with her has on him.

When someone attacks the perfumery, destroying property, disruptingprojects in an attempt to ruin the company and killing innocent people, they both need a change of plans. Together, using Abby’s skills honed while  working for Finding Justice, they must find the saboteur, before everything they love is lost.

* * * * * 

EXCERPT:

“Ah, bella, I should send you and Lucy away, but you’re right, I cannot. Go upstairs now.” He sighed. “I wish I could join you.”

“I wish you could, too, but it helps to know you’re near.”
 
He gritted his teeth. “It does not help me at all! To know you are only a few doors away from me, lying alone in your bed. No, it does not help at all!” His voice settled into a low growl. “In the days of my ancestors I would have gone to you whenever I chose and no one would have dared to say a  word.” He stood abruptly and pulled her up to his chest. “If I were more like them, I would take you to my bed and never let you leave until I had sated my desire.”

Abby’s breathing quickened. All sense of decorum fled before the burning passion Antonio ignited within her. “Then take me now and don’t stop.”

Within one corner of her mind, Abby exalted as Antonio shoved the cups aside on the table, lifted her up and pushed her back. He pulled up her top and licked his lips as he looked his fill of her breasts. She took her shirt off, stretched her arms above her head and arched her back, offering herself to him.

He stepped between her legs and cupped her breasts, his thumbsrubbing her tightened nipples. When he bent his head to take one aching point into his mouth, she pressed him closer, her fingers threading through his thick hair. The smooth wood beneath her back clung to her as sweat slickened her skin. 

He lifted his head, stepped back and unbuttoned his shirt. His chest, whorled with dark hair covered lean muscles and invited her touch. She  sat up, and crooked her finger at him, a wide grin on her face. “C’mere, big boy. You’ve got something there just begging for my touch.”

With an answering smile, he opened the top button of his jeans.

She shook her head. “Not yet, I’ve some other exploring to dofirst.”

Curious, he moved closer to her. She spread her fingers over his chest, admiring the muscles beneath her fingers.

He closed his eyes, trembling as she caressed him. “Ah, bella, this is torture.”

“Come closer.” Her hands pulled down his zipper and delved beneath the denim. “We haven’t even gotten near to torture. Yet.” She found his erection and squeezed just a bit. He gasped and Abby smiled. “Now, that’s torture.”

He pushed her back on the table, bent and pulled down her jeans and kissed the fiery curls revealed. “And I am the chief torturer, Signorina. Now, let me get on with my task.” He flicked his tongue within her core and gripped her thighs tighter. He lifted his mouth from her. “By the time I am finished with you, you will be screaming.my name.”

Abby wriggled and settled back on her elbows, looking down at him. She smiled. “Promise?”

“Promise.”

“Then get back down there and get to work.”

“As my lady commands. Let the torture begin.”

~*~*~*~

Now available at Loose Id! 

To all of those frustrated by the dismissive attitude of some of the larger professional organizations, I’d like to offer the following thoughts.

“A book is a book, regardless of form.” This nugget of wisdom was coined by Karen Woods of EPIC some time ago, and it’s true. All the mind games and politics in the world are not going to change the fact that books are books, whether presented on paper or by using a screen, whether printed 100,000 copies at a time or a single copy at a time.

Given the chance to buy a book that sounds interesting to him/her, a reader will purchase it, whether it’s a POD trade paperback or one printed offset. READERS do not care what these organizations do or say. They are organizations for authors and publishers, not for readers.

It is time to re-evaluate why we care what the mainstream professional organizations think.

Because they’re professional organizations? They are, but they are professional organizations with a very limited scope. I don’t just mean in terms of genre but also in terms of which authors and publishers they consider worthy of their attention and respect.

It’s time to change that mindset. Indie/e is no one’s follower. We are innovation, breakout technology and breakout books, the industry leader in adopting new and profitable genres. Indie/e does not need professional organizations that are not willing to acknowledge our strengths. They are, simply put, a liability and nothing more.

Because its nice to have the respect of our peers? Many of our peers are in indie/e, and NY authors rarely share this bias. Why would I put money in the coffers of a monolith that makes me prove my worth by way of biased guidelines? We don’t need their approval. We certainly don’t need their permission.

So, why do we need to worry about what they think? Because we want validation that we’re really published? If you’ve written and contracted a book, you’re published. “A book is a book, regardless of form.”

Because we want to enter their contests? Why? What is so special about their contests? They are a private endeavor that doesn’t allow everyone, even those with print books sold by the publisher, to enter. They are closed-group awards, because only authors of recognized publishers or member authors are allowed to play. And the judged
awards are expensive, to boot.

Why would an indie/e author care about entering? Readers don’t care…for the most part. The only industry awards for books that a significant number of readers of the genre recognize and care about are Hugo/Nebula and Newbery/Caldacott. It’s just another award, and readers largely dismiss awards, so it’s for industry recognition and not reader appeal. The industry that prizes them so highly is not indie/e; it’s NY, so what is your focus? Where should it lie?

Why should we care about what they say? What do these organizations give back to the indie/e members but continuous scorn  and headaches(at the National level, not in the individual chapters)?

They not focused on us. We don’t even blip on their radar, except as the red-headed step-child that they’d like to send off to our room. Too bad. Indie/e is here and we’re strong…and we’re growing every year.

Just remember that they need members; we don’t need them. EPIC is there, with open arms and open minds…and with contests that are inclusive and respected, even in NY. If you would like to experience a professional organization that is focused on your needs, as an indie/e author or industry professional, even if you also work in NY or aspire
to NY, EPIC may be the place for you.

EPIC’s commitment is focused on only two things: indie publishing and e-publishing of any type, large or small, even those that self-publish. Members are not only published authors but also editors, publishers and other industry professionals.

Remember what EPIC is committed to, because it’s become increasingly clear that some of the other “professional organizations” have no wish to embrace the future. For that reason, it is high time we started asking ourselves why we care what they think.

The door is always open.

Brenna Lyons
President of EPIC

I’d also like to point out one more thing. EPIC doesn’t take unpublished authors. If you take all of the unpublished authors OUT of RWA and compare the focus to focus groups, RWA is less than four times the size of EPIC, despite the fact that EPIC is less than half the age. The ONLY reason RWA looks so big…is all of those unpublished authors, filling up their ranks.

Brenna
–
http://www.brennalyons.com http://www.myspace.com/brennalyons

Read it for yourself, word-for-word:

RWA Hot Sheet
RWA Board Meeting
July 8-10, 2007
Hyatt Regency
Dallas, Texas

The RWA Board of Directors had a very productive meeting.  The following items were discussed, and motions were enacted:

1. The Board approved modifying the allotted time for Hot Sheet distribution from 48 hours to 72 hours to allow the necessary time for travel and communications issues.
2. Decisions were made regarding the Golden Heart and RITA contests. Full details are outlined on the RWA Web site and in the summary sheet provided at the Registration Booth at the National Conference.
3. The Board updated the definition of Subsidy Publisher or Vanity Publisher to:  “any publisher that publishes books in which the author participates in the cost of production or distribution in any manner, including publisher assessment of a fee or other costs for editing and/or distribution.”  This definition includes publishers who withhold or seek full or partial payment of reimbursement of publication or distribution costs before paying royalties, including payment of paper, printing, binding, production, sales or marketing costs; publishers whose authors exclusively promote and/or sell their own books; publishers whose primary means of offering books for sale is through a publisher-generated Web site; publishers whose list is comprised of 50% or more of its books written by authors who are principals in the publishing company; and publishers whose business model and methods of publishing are primarily directed toward sales to the author, his/her relatives and associates.
4. After examining RWA’s Publisher Recognition standards, the Board elected to eliminate the all-inclusive standard for Publisher Recognition and set standards based on programs and services.
   (A) The “First Sales” column of the RWR now will include first sale information from members who sell romance novels or novellas to any non-Subsidy or non-Vanity Publishers.
   (B) Changes were made to PAN Eligibility Requirements that provide two options through which members may be eligible for PAN.  Full details are outlined on the RWA Web site and in a summary sheet provided at the Registration Booth at the National Conference.  Current PAN members shall retain their status.
   (C) The Market Update section of the RWR will contain news that will enable the membership to know what non-Subsidy/non-Vanity Publishers are currently seeking romance submissions.
   (D) The Board amended PRO requirements in light of changes to PAN.
   (E) Effective July 15, 2007, in order to officially participate in RWA’s National Conference, a publisher must meet the following criteria:  (1) it is not a Subsidy Publisher or Vanity Publisher; (2) it has been releasing romance novels via national distribution for no fewer than three years, with no fewer than two full-length novels or novel-length romance anthologies published in each of three consecutive years; (3) it provides advances of at least $1,000 for all books; and (4) it pays all authors participating in an anthology an advance of at least $500.
5. The Board placed a freeze on Agent Recognition for applications received on or after July 9, 2007, so that new standards can be put in place, to be voted on at the November 2007 Board meeting.
6. A Business Education Task Force was created to study and propose recommendations on the formation of educational programming for RWA members who have sold but who are not yet eligible for provisional PAN or full membership in PAN.
7. The Board created a Task Force to study the distribution of press passes at the National Conference.
8. The Board approved Standard Chapter Bylaws.  Chapter Presidents will receive all relevant information via ChapLink and in a Standard Chapter Bylaws packet.
9. The Board adopted policies and procedures regarding the selection and approval process of the RWA Academic Grant scholarship program.
    

CHANGES TO “PUBLISHER RECOGNITION”

In July, 2006, the Board created a task force to examine RWA’s use of a “Recognized Publisher” standard as an overall method to allocate RWA’s programs and services.  After much research, member input, discussion and deliberation, the Board has determined that the blanket application of “Publisher Recognition” to allocate RWA’s resources is not serving its members, many of whom mistakenly perceive that RWA is placing a “stamp of approval” on these publishers. Therefore, the Board has examined its programs and services, item by item.

By substituting the word Eligible for Recognized, and limiting the scope of the term Eligible Publisher so that it deals solely with RWA’s allocation of its programs and resources, primarily at our national Conference, the term and concept of “Recognized Publisher” no longer factors into PAN and PRO eligibility, the RITA and Golden Heart contests, RWR content, and many other sections of our Policies and Procedures Manual. 

Commencing with RWA’s 2008 National Conference, for official publisher participation, a romance publisher must verify to RWA that it: (1) is not a Subsidy Publisher or Vanity Publisher; (2) has been releasing romance novels via national distribution for no fewer than three years, with no fewer than two full-length romance novels or novel-length romance anthologies published in each of three consecutive years; (3) provides per book advances of at least $1,000 for all books; and (4) pays all authors participating in an anthology an advance of at least $500.

A Subsidy Publisher or Vanity Publisher means any publisher that publishes books in which the author participates in the cost of production or distribution in any manner, including publisher assessment of a fee or other costs for editing and/or distribution.  This definition includes publishers who withhold or seek full or partial payment or reimbursement of publication or distribution costs before paying royalties, including payment of paper, printing, binding, production, sales or marketing costs; publishers whose authors exclusively promote and/or sell their own books; publishers whose primary means of offering books for sale is through a publisher-generated Web site; publishers whose list is comprised of 50% or more of its books written by authors who are principals in the publishing company; and publishers whose business model and methods of publishing are primarily directed toward sales to the author, his/her relatives and associates.

Note:

The Board wishes to note that a $1,000 advance for a novel is an extremely small sum.  It is, however, a minimal indicator that a publisher is invested in an author’s career to the degree that RWA can reasonably allocate its conference resources to that publisher, as some consideration has been paid for use of an author’s rights.

CHANGES TO PAN ELIGIBILITY

In the June 2007 RWR, an article by PAN Liaison Nicole Burnham and PRO Liaison Trish Milburn outlined proposed changes to PAN eligibility requirements and asked for feedback from members.

After much discussion and careful consideration of hundreds of detailed letters from members, the Board decided that all RWA General or Honorary members who are also general members of PAN before July 10, 2007, shall retain their general PAN membership.  RWA General or Honorary members who are also provisional members of PAN, or who have applied to become provisional members of PAN, before July 10, 2007, shall have eighteen months from the date of their application for provisional PAN membership to submit a copy of the qualifying novel’s copyright page to the Office.

The Board also voted to change PAN eligibility requirements to offer two methods by which RWA members may now become members of PAN.

Option One:  Any RWA General or Honorary member who has earned at least $1,000 in the form of an advance from a single romance novel or novella published by a
non-Subsidy, non-Vanity Publisher may join PAN either as a full member (once the title is published) or as a provisional member for an eighteen-month period while awaiting publication of the title.  In order to qualify for PAN under Option One, the member must submit a copy of the signature page of the contract to the Office along with either of the following: (1) a copy of the contract page showing an advance of at least $1,000; or (2) a letter from the acquiring editor stating that the author has earned at least $1,000 in the form of an advance.

Option Two:  Any RWA General or Honorary member who has earned at least $1,000 in the form of royalties or a combination of advance plus royalties on a single published romance novel or novella published by a non-Subsidy, non-Vanity Publisher may join PAN as a full member following the publication of the title.  In order to qualify for PAN under Option Two, the member must submit a copy of the novel’s or novella’s copyright page to the Office along with either of the following: (1) royalty statement(s) from the publisher showing earnings of at least $1,000; or (2) a letter from the acquiring editor stating that the author has earned at least $1,000 in the form of royalties or an advance plus royalties.  Documentation must reflect earnings on a single novel or novella.  In the case of a multiple-book contract, or in the event royalty statement(s) show earnings on multiple books, the earnings on the qualifying novel or novella must be shown separately.  Any percentage of earnings deducted by an agent shall still be considered earnings to the author; however, the pre-deduction figure must be reflected in the documentation.

As in the past, members may wear a First Sale ribbon at the first National Conference after they become PAN-eligible.

Rationale for Changes to PAN Eligibility

For numerous reasons, including advocacy, using “Publisher Recognition” as the yardstick by which PAN eligibility is determined has proven problematic.  Several other professional organizations—including the Mystery Writers of America, Horror Writers of America, Science Fiction Writers of America, Writers Guild of America, and the Screen Actors Guild—use income as their standard of membership, and this is a viable method by which RWA can determine PAN eligibility.  However, the Board determined that all current PAN members should retain their PAN status subject to the rules that were in effect when they applied to PAN.

Under the new policy, all authors who have earned a minimal advance of $1,000 on a romance novel or novella from a non-Subsidy, non-Vanity Publisher may join PAN either as full members (once the title is published) or as provisional members for an eighteen-month period as they await the publication of their title.

However, this new policy also offers new avenues for authors to join PAN.  In keeping with current trends in the market, authors who write novellas may now apply to join PAN.  The new policy also allows those authors who do not receive an advance of $1,000—but who do earn that amount in either royalties alone or a combination of advance plus royalties from the sale of a romance novel or novella—the opportunity to join PAN.  These authors may not join as provisional members; however, they may apply to become general members of PAN once they have the copyright page of a published romance novel or novella and proof of earnings of at least $1,000 on that same romance novel or novella.

The Board of Directors wishes to note that $1,000 in earnings reflects an extremely low number of sales (for example, at a cover price of $5.99 and with a 6% royalty rate, an author would earn $1,000 after selling only 2,782 copies). Therefore, the Board of Directors does not wish to suggest that $1,000 is a reasonable advance or, in fact, adequate for any purpose other than establishing a minimum standard of membership in PAN.  Members must consider each offer they receive for their work and determine for themselves whether the offer and contract terms meet their career goals.

In order to address the needs of those authors who have sold romance novels or novellas, but who are not yet eligible for PAN, a Board Task Force was created to study and prepare recommendations for educational programming specifically targeted to that group.

CHANGES TO THE GOLDEN HEART AND RITA CONTESTS

In an article in the June 2006 RWR, the Board outlined a plan to re-evaluate the Golden Heart and RITA contests.  This plan spanned the terms of multiple Boards.  It included two separate comment periods from members, input from a diverse committee, and study by a Board Task Force.

After much discussion and carefully considering input on a variety of issues related to the contests, the Board voted to make the following changes:

Changes to Current Golden Heart and RITA Categories

Changes were made to several Golden Heart and RITA categories based on input from members and an evaluation of industry and contest entry data from the previous ten years.  The Board looked at both contests to ensure that each category description better reflects RWA’s core purpose of advancing the interests of career-focused romance writers. Word count concerns were also addressed. 

•  Traditional Romance and Regency Romance:  These categories were removed.  

Rationale:  Due to the consistently low number of entries over the previous several years, these categories were folded into new or already existing categories.

•  Short Contemporary Romance/Long Contemporary Romance:  These categories were replaced.  See new definitions on page 10.

Rationale:  With the shrinking word counts at Harlequin/Silhouette, there is no longer an appreciable difference between the length of individual lines.  Therefore, two new categories were created to focus on content rather than word count.

•  Contemporary Single Title Romance:  The definition and judging guidelines for this category were edited to read as follows:

 Definition:  Romance novels which focus primarily on the romantic relationship,
 released as individual titles, not as part of a series.

Judging guidelines:  In this category, the love story is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale:  This change eliminates questions concerning word count and better reflects RWA’s core purpose.

•  Young Adult Romance:  The definition and judging guidelines for this category were edited to read as follows:

Definition:  Novels with a strong romantic theme geared toward young adult readers. 

Judging guidelines:  In this category, the love story is an important element of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale:  These changes reflect the state of the market as well as member input.

•  Short Historical Romance/Long Historical Romance:  These categories were replaced.  See new definitions on page 10.

Rationale:  After reviewing contest entry numbers, and several market analyses regarding the number and type of historicals within the marketplace, two new categories were created.  Both the market analyses and the entry numbers over the past ten years across all historical categories in the contests supported, at most, two categories. 

•  Romantic Suspense:  The definition and judging guidelines of this category were edited to read as follows:

Definition:  Romance novels in which suspense, mystery, or thriller elements constitute an integral part of the plot. 

Judging guidelines:  In this category, a suspense, mystery, or thriller plot is blended with a love story, which is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale:  The changes to the definition and judging guidelines take into account member feedback, current market trends, and RWA’s core purpose.

•  Paranormal Romance:  The definition and judging guidelines for this category were edited to read as follows:

Definition:  Romance novels in which the future, a fantasy world or paranormal happenings are an integral part of the plot.

Judging guidelines:  In this category, a futuristic, fantasy, or paranormal element is blended with the love story, which is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale:  The changes to the definition and judging guidelines take into account member feedback, current market trends, and RWA’s core purpose.
•  Inspirational Romance: The definition and judging guidelines of this category were edited to read as follows:

 Definition:  Romance novels in which religious or spiritual beliefs (in the
 context of any religion or spiritual belief system) are a major part of the
 romantic relationship.

Judging guidelines:  In this category, religious or spiritual beliefs (in the context of any religion or spiritual belief system) are blended with and form a significant part of the love story, and the end of the book is emotionally satisfying and optimistic.

Rationale:   The changes to the definition and judging guidelines streamline language to eliminate redundancies; it also eliminates questions concerning word count.

•  Novel With Strong Romantic Elements:  This category was retained in both the Golden Heart and RITA contests; however, substantial changes were made. The definition and judging guidelines of this category were edited to read as follows:

Definition:  A work of fiction in which a romance plays a significant part in the story, but other themes or elements take the plot beyond the traditional romance boundaries.

Judging guidelines:  Novels of any tone or style and set in any place or time are eligible for this category.  A romance must be an integral part of the plot or subplot, and the resolution of the romance is emotionally satisfying and optimistic.

Rationale:  The changes to the definition and judging guidelines streamline language to eliminate redundancies, take into account member feedback, and better reflect RWA’s core purpose. 

Please note:  Due to the changes in the judging guidelines, entries in this category may be marked “NR” (Not a Romance) rather than “NSRE” (No Strong Romantic Elements). 

•  Novella: This category was retained in the RITA contest. The definition and judging guidelines of this category were edited to read as follows:

 Definition:  Novellas that focus primarily on the romantic relationship.

Judging guidelines:  In this category, a love story is the main focus, and the ending is emotionally satisfying and optimistic.  Typically the word count is 20,000–40,000 words.

Rationale:  The changes to the definition and judging guidelines streamline language to eliminate redundancies, take into account member feedback, and better reflect RWA’s core purpose.

•  Best First Book: The judging guidelines of this category were removed, and the definition of this category was edited to read as follows: 

Definition:  A full-length book entered in any of the other contest categories.  To be eligible, the author (or authors in the case of a writing team) shall not have had any other novel or novella previously published in any format. 

Rationale:  As this category is only judged in the final round of the RITA contest when entries are simply ranked, the judging guidelines of this category were removed.  The changes to the definition address questions regarding what constitutes a “First Book.”

**  NEW **

New Contemporary Series Golden Heart and RITA Categories

•  Contemporary Series Romance 

Definition:  Series romance novels that focus primarily on the romantic relationship. 

Judging guidelines:  In this category, the love story is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

•  Contemporary Series Romance: Suspense/Adventure

Definition:  Series romance novels which focus primarily on the romantic relationship but may have more complex suspense/adventure subplots. 

Judging guidelines:  In this category, the love story is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale pertaining to both of the above categories:  With the shrinking word counts at Harlequin/Silhouette, there is no longer an appreciable difference between the length of individual lines.  Therefore, these two categories were created to focus on content rather than word count.

New Historical Golden Heart and RITA Categories

•  Regency Historical Romance 

Definition:  Romance novels in which the majority of the story is set against the Regency period of the British Empire.

Judging guidelines:  In this category, the love story is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

•  Historical Romance

Definition:  Romance novels set in any time period prior to 1945 and taking place in any location.

Judging guidelines:  In this category, the love story is the main focus of the novel, and the end of the book is emotionally satisfying and optimistic.

Rationale pertaining to both of the above categories:  These new categories eliminate questions concerning word count and take into account member comments as well as data from several market analyses regarding the number and type of historicals within the marketplace over the last ten years.
Other Changes to the Golden Heart and RITA Contest Rules

•  Two clarifications were made regarding which books may be entered in the RITA:

(1) Books entered in the RITA must have an original copyright date or a first printing date or a first North American printing date in the year prior to the contest year. 

Rationale:  This change eliminates questions concerning copyright for books.

(2) After eliminating RWA’s Publisher Recognition standards, language regarding Subsidy and Vanity Publishers for purposes of the RITA contest was updated. 

Rationale:  This brings the RITA contest language in line with current policy.

•  Pseudonyms in the Golden Heart:

Entrants in the Golden Heart contest may not use a pseudonym in the first round of the contest, but pseudonyms may be used by finalists when the finalist list is released. 

Rationale:  This takes into account member feedback.
Other Information of Note:

• After extensive discussion, the Board voted to retain the current system of mixed-panel judging in the first round of the RITA contest.
• Questions regarding admission to the Hall of Fame due to changes in the contest categories were referred to the Executive Director for further study.  The Board will address this issue at the October 2007 Board Meeting.
• After extensive discussion, the Board decided not to add an erotic romance category to the contests due in part to the inherently indefinable nature of erotic romance.  Romance entries with highly sensual and sexual content may be entered in any category.   General contest instructions to judges for all categories now state that highly sensual and sexual content may be present in their judging panel. 

My daughter needs to get to Houston.  Yep, hot, humid Houston by July 9th.  So to avoid driving to Houston, I drove to and from Ogallala, NE.

Ogallala is a nice town.  Nice people.  Not too crowded (well, not crowded at all), not too modern, not too old fashioned (hey, the Transformers is playing there along with Ratatoulle the new Disney flick).  And, its a long 200+ miles from home one way. 

I did the round trip thing today.  Good points?  I met some nice people, spent the afternoon in air conditioning and away from the keyboard.  Even got to listen to some really good music.

We listened to 80s dance music, the Police, Dan Fogelberg, and a band a friend of mine is in called Uncle Dirty Toes.

UDT inspired Reynardine.

And just think…I get to do it all over again on the 18th.  Lucky me.

Frequently, a title is the very first introduction a reader or book buyer will have to you and your work.  Is your title creative or ho-hum?  Does the title represent something about your story?  A theme perhaps?  A common thread linking this story to another you have or will be writing?

The title for Blind Devotion was chosen carefully.  I had a solid premise and I knew what I wanted readers to take away from the story…the idea that while devotion is good, blind devotion can lead one astray and cause you to miss out on certain aspects of life.

The Reckoning of Asphodel by Celina Summers tells you what the story is about…a reckoning.  But it also makes me curious.  What sort of reckoning is this?  Is Asphodel good or bad?  What happened that a reckoning is coming?

Even the title Birdman makes one pause.  How does one become a birdman?  Is this some sort of superhero?  The title itself teases and creates a desire to find out a little more.

What else is in a title? 

Potentially, the ability to brand oneself. 

Think of J.D. Robb and all the novels with death in the title.  She’s developed an entire series around the word.  Janet Evanovich has done the same with her Stephanie Plum character by playing on the nursery rhyme “One for the Money”.   Think of James Michener.  He made a fortune off his location titles.  Remember Hawaii, Chesapeake, Poland, Alaska? Orson Scott Card has some renown for his Ender books.  Ender’s Game, Ender’s Shadow.  When buyers see these titles, they see an old friend and something familiar.

Think about one of this summer’s blockbuster movies…Live Free and Die Hard.  Hello…ring any bells?  How about Die Hard, Die Harder, Die Hard With a Vengeance?  Not a person alive who has seen one of these movies would have the least little doubt what the others are about…a bad guy who ends up having John McClane interfering in his operations.

Even our own Wayne Greenough is doing something similar.  Wayne’s novel, Who is Offing the Collectors? is being followed up with Who is Offing the Private Dicks?  The titles alone tell us this is a mystery and that someone, namely a person in the occupation listed in the title, is going to die. 

We have another example with Jessica Russell and her New Tortuga series.  This series uses the children’s poem Monday’s Child.  If you liked Monday’s Child and Jessica’s writing, as a reader you will know to expect six more similar stories.

When the Del Fantasma series previews, readers will know that the stories are contemporary paranormal romances.  They will already have a basic idea of what the stories are about without having cracked the cover.

Become a connoisseur of titles. Take a look at Amazon or Fictionwise and read the titles.  Some snag your attention.  Others are duplicated.   Some take a slight twist on an old phrase.  Some create a repetitive word from title to title. 

Remember the Rabbi stories? Friday the Rabbi Slept Late, Saturday the Rabbi Went Hungry, Sunday the Rabbi Stayed Home by Harry Kemelman.   All these stories feature Rabbi  Small, an amateur sleuth who solved mysteries with his acquaintance, Hugh Lanigan, the Chief of the local police department.  And, if you notice, we have a pattern set up.  We can expect one novel for every day of the week as well as knowing who the heroes will be.

And what about those one hit wonders?  Maybe they were one hit or maybe not.  Poor title choices may have made an author of multiple tales disappear into the woodwork.  One excellent title may have made the work stand out, far above the others.  I only know that I recently repurchased a book that came out in the very early 70’s because the title made me remember a lot of the story.  What was it?  The President’s Plane is Missing. 

Stuck for a good title name?  Think of your theme and premise (two different animals) and then hit a quotation book.  Even a religious book like the Bible or Koran can suggest potential ideas.   What if all your titles came from 80’s songs?  Lines of music lyrics?  What if all your titles were based on the pithy sayings of Benjamin Franklin? An article of clothing?  The season of the year?  The surname of a family? A part of a house?

Try to have the best title you can for your story.  If possible think of how the story will be alphabetized in a catalogue.  Skip those determiners (a, an, the) when thinking up your title (they are basically throw away words).   Here, try to pump up your creativity…what titles can you think of that might go with the first word of aspen?

Aspen After Dark: What happens in the playground of the rich after sunset?

Aspen Speed: Downhill skier’s competition turns deadly

Aspen Ice: Stranded outside Aspen, two city slickers try to survive the wilderness

Aspen Quake: A tectonic event shakes the town, but was it a natural event or a terrorist act?

Aspen Spring (Fall, Winter, Summer)

Aspen Lights: A strange glow in the sky brings an unusual event to the town of Aspen

Aspen Stars:  An astronaut from Aspen fights prejudice in outer space

Aspen Murder Chronicles: A reporter for the Aspen Chronicle is targeted for death

What can you come up with?

Take charge.  Be proactive in selecting a title.  If you have a good title to begin with, odds are your publisher won’t change it.  Remember, titles are one of the first things to sell a reader on your story.  Make yours great.

Coming Soon: Blind Devotion

Now Available: The Collector 7: This Time Forever