A Paperback Birthday means Prizes for you!

BREAKING NEWS!

THE WRONG GIRL wins the DAPHNE for Best Mystery/Suspense!

           (You know what I mean..)

HANK PHILLIPPI RYAN: Do you still read paperbacks?

If the answer is yes, keep reading—I have an irresistible offer for you.

If the answer is no, keep reading. I will try to convince you. And then I will have an irresistible offer for you!

Paperbacks. Their demise is a topic of discussion throughout the publishing world—will people give up the cheaper sometimes-flimsy paper-intensive mass market paperbacks in favor of ecologically-sound, lighter and paper-saving ebooks?

Well, interesting, huh? I have at least three rooms in my house-- well, actually four. Ah, five. Yeah, five--that have bookshelves in them,and I can tell you the paperback shelves are sometimes double-shelved. You know, a row in the back and a row in the front.

Do you do that? I mean, it’s kind of more storage than display, right? If someone asks—do you have, say, LORD OF THE FLIES? THE FIRM? THE HOBBIT? SILAS MARNER? WITNESS FOR THE PROSCECUTION? You’d say, oh sure. I have those! Well, great, but where? Can you find them?

I fear I could not find them. But I cannot give them up.

And yes, and yes, I continue to buy mass market paperbacks. They are perfect for the beach, right? If they get sand between the pages, or a few blotches of sunscreen smudge the especially smudgeable print, well, you don’t really care, right? And in a pinch, you MIGHT dog-ear a page, right? Come on, you MIGHT.

They are great on planes, and in hotel rooms, and when you are finished, you can leave them behind as a special gift to a housekeeper or the next guest. Or tuck them into the seatback pocket for the flight attendant—they love to read!

They are a staple in beach and vacation homes, of course. I love to walk into a summer home or a bed and breakfast, or a lovely inn, and amidst the fragrance of salt air and mildewy curtains and coconoutty sunscreen, and come upon an overflowing shelf of paperbacks so happily readthat the bindings are sprung and the pages are thick with the damp air.

You know what I mean? They don’t even close anymore? And you know someone had a wonderful time. They are full of good energy.

This weekend, we were in Tanglewood, and in the inn where we stayed, we found a book just like that—it was Ken Follett’s KEY TO REBECCA, and I bet Jonathan is about the millionth person to read that particular copy. Some other happy vacationer finished it, and left it behind for the next happy group. I love that.

(I left behind the paperback of THE OTHER WOMAN. You never know who might read it, right? What if Steven Spielberg is the room’s next occupant? Ah HA.)

So I think summertime is the perfect paperback time. And that is why I am so thrilled that today is the paperback birth-month for THE WRONG GIRL.
 

THE WRONG GIRL had the extraordinary honor of winning both this year’s Agatha for Best Contemporary Novel, and the Daphne for Best Mystery/Suspense! It’s also an Anthony nominee.

So to celebrate this paperback birthday: two irresistible offers.

First: if you send me your proof of purchase of the paperback of THE WRONG GIRL, you’ll be entered in a drawing to win A Kindle Paperwhite, a Nook Glowlight or a $120 gift certificate to the bookstore of your choice!

Just email me through my website at http://www.HankPhillippiRyan.com or at hryan@comcast.net

(See below for the fine print.)

Second! Tell us in the comments how you feel about paperbacks…and one lucky commenter will win the paperback of the Mary Higgins Clark award-winning THE OTHER WOMAN!

Happy Paperback Birthday to THE WRONG GIRL!  (You know what I mean....) 

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Contest rules: enter as often as you like—one receipt per entry. Three winners will be drawn at random, and winners can choose their prize. Contest ends August 15, 2014, and winners will be notified on August 16. US and Canada only, please.

What I learned from judging the RITAs

By Maria Geraci

  

Our theme this cycle is marketing tips for writers and we’ve had such great advice that I can’t think of anything more to add. Except to emphasize the one thing we’ve been hearing over and over. The most powerful marketing tool is writing the best book possible. And writing the best book possible involves continually growing and learning as a writer. For me, that means writing every day, reading every day, and expanding my knowledge in any way possible.

Recently, I was a judge in this year’s RITA contest. For those of you who aren’t familiar with the contest, it’s Romance Writers ofAmerica’s most prestigious award recognizing romance fiction. This year the contest underwent a bit of an overhaul. Traditionally, books were scored on a 1-9 ranking, 9 being the highest number a book could obtain. Under the new scoring system, books are now judged on four criteria, with 50 being the highest total score: 20 points for the romance, 10 points for the plot, 10 points for the characters and 10 points for the writing.

When I received my bundle of books in early January, I have to admit to being a bit perplexed. As far as genre, they were all over the place—historical romance, romantic suspense, novellas, contemporary series… you get the point. The only genres I didn’t receive were the ones I opted out on—mainstream with strong romantic elements (the category my own book is under) and Inspirational. But being the good sport I am, I tackled those books with all the seriousness of a Nobel Prize at stake. Because let’s face it, although a Rita certainly doesn’t guarantee you any modicum of “success” in this business, it is in the immortal words of Sally Field a pretty good indicator that your peers really really like you. And yes, a good part of the contest depends on luck of the draw, because it only takes one judge to really really not like your book to probably knock you out of contention. But I digress.

So, I began reading “my” books. I have to admit to feeling a bit protective of the books I’m called upon to judge. It’s a serious thing to read a book, take it apart and then give it a score in a contest that you know (as a contestant yourself) can either throw an author into total elation or drive you to the pits of despair. Okay, a bit dramatic, but bear with me. In other words, I take this stuff seriously. As my pal, and fellow author, Roxanne St. Claire says (roughly) she approaches the RITA using the Melanie approach from Gone With The Wind. She treats every RITA book she judges the way she’d like her own books to be read and judged. Which means reading every book cover to cover with an open mind and a positive attitude. In other words, every book starts out with a perfect score.

I know I’ve heard a few moans regarding the new scoring system, but I have to say that as someone who has judged under the old system and now the new, I definitely like the new better. Under the old system I hated giving a book a blandish 6 or 7 without being able to pinpoint to either the author or myself why their book wasn’t a 9. It was judging from a “gut” feeling. The new scoring, I think, is much more objective (in a subjective sort of way), and surprisingly a lesson learner. I had to really think of why a book might earn the full 20 points in the romance area, but maybe a 7 for plot or a 6 for characters. It made me dissect my books in a way that I hadn’t before. And what I learned from that was invaluable. Yes, viscerally I knew all this stuff, but after judging the RITAS this go around, it’s really crept into my subconscious in a way that I think has benefited my writing.

So, what exactly did I relearn?

You have to read books that you would never think of reading. We all fall into the old pattern of reading the stuff we know we’ll like. But it’s like going to the same restaurants time and time again. You get the same good food but you don’t ever get surprised. It’s the surprises in life that make us grow and learn. Both as people and as writers.

Give your readers what they expect. Now, I don’t mean to make your book predictable and boring. But every genre has it’s own expectations. Respect that. Or you’ll lose readers.

Write a main character your readers will like and root for. Honestly, yes. It’s really that simple.

The last twenty five percent of the book has to deliver. In a big way. We all spend months polishing that first half of the book and it’s easy to let the last bits slip away from us (mostly because we’re so sick of the book by then!). Don’t fall into this trap. I judged one book that I dearly wanted to give near perfect marks to until the book fell apart in the last fifty pages.

If you have any influence over your cover and title, use it! The last book I judged was the best by far, yet I kept putting if off to the end simply because I didn’t think I’d like it based on the cover.

So there you have it. My 2013 RITA experience. A workshop on writing couldn’t have taught me more. I wish all the books I judged the best of luck in the contest and please know I did my best. I’m honored to have read you!

 Maria Geraci was born in Havana, Cuba, and raised on Florida’s Space Coast. Her love of books started with the classic, Little Women (a book she read so often growing up, she could probably quote). She writes contemporary romance and women’s fiction with a happy ending. Her fourth novel, A Girl Like You, was released last August by Berkley, Penguin, USA. You can connect with Maria by visiting her website, www.mariageraci.com

No Junk, Just a Little SLUSH in the Trunk

By Laura Spinella

Okay, so what I'm really wondering is how long until we Google through all the cute clipart that complements "trunk novels?"  Anyway... when our own Brenda Janowitz suggested the trunk novel theme, it seemed like a topic we could all relate to, sharing the would-be books and what became of them—kind of like spinsters in a crochet circle yapping on about the one that got away.  (I know, speak for myself)  Aside from a universal pitch that was sure to attract readers, writers and, who knows, maybe an editor’s eye, I own the unique experience of having resurrected a trunk novel for a very different reason.

            A few months ago, I was asked to start a writers’ critique group. Hmm, I ’m not a leader by nature. I’ve never aspired to teach the written word.  Writing is tough enough, never mind conveying the hard and fast rules of which the first rule is there are no hard and fast rules. I’ve heard I can be a tough critic.  My children hide essays better than the Easter Bunny hides eggs.  But after receiving emails from what seemed like an eager and genuinely interested group, I said yes. I said yes with the understanding that I would be an equal participant, no more, no less.  With a few more beginners than intermediate writers, I was perplexed as to what I might bring to the table. At the time, I was in the last round of revisions with my agent and THE IT FACTOR.  No offense, but I really wasn’t looking for outside input, not at this delicate juncture.  Then I thought of SLUSH. 
        This is the novel that was destined for greatness, my sure thing debut after BEAUTIFUL DISASTER had been permanently assigned to the trunk.  This alone goes to show what I know.  So off I went to the critique group, submitting chapters of SLUSH the way a kid might feed koi in a pond. At first, I was tentative—koi might as well be sharks if you’re six. Then there was my fascination at the hungry nibble.  I was amazed, watching my words roll around their mouths as if they actually tasted good. A few chapters in and the group was gathered by the edge, waiting for more.
Okay, maybe this book didn’t suck.

In truth, it never sucked.

Oh sure, it’s riddled with flaws.  They are flaws that this far more seasoned writer cringes at, scrambling to adjust unnecessary backstory and cliché character traits for an eager-eyed audience. And, so far, I’m having a good time doing it. SLUSH is more mainstream women’s fiction than romantic fiction, the genre that stamped my passport to publication. But the enthusiasm of these unexpected readers has refreshed my perspective, at least to the point of hunting up old emails, recalling exactly where that all changed. Agent number one rejected SLUSH outright. I mean, she probably broke a nail in her haste to dial a phone, telling me how much she hated the thing.  More than a decade younger than me—or my protagonist—she couldn't fathom why Lydia Sommers could not get past the drowning death of her three-year old son.  Go figure.  After that I was agent-less, (my choice) managing to get full reads for SLUSH from three major publishing houses. Each offered what I’d a call a positive rejection—complimentary but ultimately passing because… well, you fill in the blank. SLUSH was actually in the hands of publisher four when BEAUTIFUL DISASTER turned up from the trunk, almost by accident.  I’d succeeded, I was there. I could forget about a family saga that takes place in the seaside village of Snow Harbor, Maryland. I could move on from Lydia and Grady Sommers, the secrets that wash ashore decades later—a fateful twist of an ending that even I had forgotten I’d written!  I could forget all this except for a thoughtful group of women writers who have reminded me that maybe, just maybe, I shouldn't.

            This is an excerpt from SLUSH, which was honestly not titled to irritate or mock the publishing masses. For the full chapter read, click here:

The Boathouse

Twenty-four Years Earlier

Snow Harbor, Maryland

          “Well, hello.  I was wondering if you changed your mind.” It was a whisper that stuck to the air like melted ribbon candy.  Audra Bauer stepped from the cabin of the dry-docked sailboat looking sweeter than anything Grady Sommers had ever tasted.

            “Changed my mind? I can’t believe you’re really here,” he said, grabbing onto the boat’s mast as if it was caught in rough seas rather than moored to a pit of dirt. “Sorry I’m late.  I had to take a shower.  I didn’t want to come out here smelling like bucket of varnish.  I was helping my dad with the finish on the tiller.”

            “Oh,” she said, looking past Grady’s shoulder, “should we be expecting him?”

            “Who, my dad?  No,” he laughed.  “They went to Mt. Pleasant for the evening.  That’s why I helped.  I wanted to make sure he got it done.  He won’t have any reason to come out here.  It’s the last piece before he puts her back out to sea.”

            Audra took a few steps closer, glancing around the dim cavern of the boathouse.  “I see.  That was clever thinking, Grady.”

            “I wanted to make sure we were alone.”  He guessed she was as nervous as him, watching her tuck a length of blonde hair behind her ear.  He knew it was a habit, having spent much of his senior year observing Audra Bauer.  She was unattainable. 

 Audra and her father moved to Snow Harbor the summer before.  There was no mention of a Mrs. Bauer, except to say that there wasn’t one, Walter Bauer filling a need as Snow Harbor’s only lawyer.  They were from Philadelphia, which according to Grady’s father made them city people and complicated.  According to Grady, it only added to Audra’s allure. Two gas lanterns cast a glow around her, moonlight threading through the cracks of the barn-like building where Emil Sommers dry-docked broken boats.  On the raw wood ceiling craggy shadows jumped about like little devils on an errand. And knowing what they’d come there to do, the shadows made Grady feel even edgier: looming hell, Audra Bauer, and his father’s voice booming in the back of his head.  He was amazed she didn’t hear it.  Use good judgment and you’ll be fine, son.

            Audra’s voice stifled any lecture.  “Did you bring it?”

            “Yeah, here,” he said, pulling a paper bag from the shadow of his jacket.  “It’s the kind you wanted, right?  Extra-dry.” He smiled, wanting very much to please her. It was part of his image to deliver things, like liquor, as effortlessly as he did the winning touchdown.  It went with being popular.  Just like handsome went with the fact that he’d done it with half the girls in the senior class.  There were girls he’d gone all the way with while parents’ slept in the next room, and ones he’d jaded under the bleachers after a big game.  He’d heard it all, stupefied by his own prowess.  The stories were stunning and empowering.  The trouble was, not a single one was true.  
         Click here to continue... 


 Laura Spinella is the author of BEAUTIFUL DISASTER, a 2012 RITA finalist for Best First Book. The novel is also the winner of the NJRWA Golden Leaf and Desert Rose RWA Golden Quill awards for Best First Book, as well as a finalist in the Wisconsin Write Touch Readers' Award. Visit her at lauraspinella.net