“All writers have this vague hope that the elves will come in the night and finish any stories.”

― Neil Gaiman

Time for writing doesn’t make itself. This might seem like a ridiculously obvious statement, yet it is a trap writers fall into all the time, myself included. If you have a good writing habit and you write regularly, this article isn’t for you.

This is article for writers like myself, who have to work hard to make the time to write. If you want to have a regular writing habit, this article is for you.

As a parent, I live a highly regimented life. If you’re like me, you might work eight hours a day and only have a small period of free time each evening or morning.

The first step to make time for writing is to be deliberate about it. Look at your calendar, and write in time reserved for writing. It can be a half hour each day. It could be three hours every Saturday morning. Whatever works.

However the most important thing isn’t writing it down calendar, it is protecting that time. If it is on the calendar it can make it easy for you to tell friends who ask you to go out that night or that morning that you already have plans. I have had friends get mad at me because I was writing instead of spending time with them. If a friend gets mad at you because you are writing, it is an indicator of how good a friend they are (hint: not very).

If you are at home and your home is a mess and you are tempted to clean it – don’t. Write in the mess, or go out to a coffee shop and write there. Setting aside time for writing is important, but it is even more important to take full advantage of that time by writing.

If you have a relatively flexible schedule (as I did once), it can still be hard to make time for writing. It is easy to think that there will be time, that each day the muse will visit you and tell you that the time to write is now. That rarely happens. One period of not writing leads to another.  The only reliable way to get the muse to visit you is to sit down and write.

Set aside a part of your day that belongs to writing. Be deliberate about it, even if it isn’t on the calendar, make sure there it is something you do every day.

Now I want to say that when I say writing, that is what I mean –  writing. Below are a number of things that can often be confused or conflated with writing, but are not writing and for that reason they should never take place during writing time.

• Reading
• Research
• Editing
• Submitting (your work to publishers)
• Talking (about your writing)
• Self-promotion
• Emailing
• Facebook

Don’t let those things steal your writing! Those things are the opposite of the (unfortunately non-existent) elves that Neil Gaiman talked about in the opening quote. I think a lot of people convince themselves they are doing writing, when in fact that “writing” is a Facebook messaging a friend. If you need to turn off your internet or go somewhere without WiFi in order to get focused writing time – do that!

All of this information might seem obvious and self evident. But I can tell you this: every author, from the ancients to contemporary authors, have struggled with it.

“Be ruthless about protecting writing days, i.e., do not cave in to endless requests to have “essential” and “long overdue” meetings on those days. The funny thing is that, although writing has been my actual job for several years now, I still seem to have to fight for time in which to do it. Some people do not seem to grasp that I still have to sit down in peace and write the books, apparently believing that they pop up like mushrooms without my connivance. I must therefore guard the time allotted to writing as a Hungarian Horntail guards its firstborn egg.”

― J.K. Rowling

They publish weekly podcasts which are always free to listen to. It is easy, and entertaining, to get a better idea about what they have published previously and what they are interested in publishing more of. Each link to the podcast on the main page contains a written typed version of the stories (there are usually two) that the podcast contains.

One of their focuses is on publishing authors from backgrounds that have been traditionally excluded from Science Fiction. This includes women, people of color, LGBQT, etc.

They publish stories between 2,000 and 6,000 words in length. Please do not submit anything longer or shorter. They pay 6 cents a word for unpublished work and a flat rate of $100 a story for reprints. They accept all submissions through the submission platform Submittable. They accept only blind submissions so please do not include any identifying information on the name of the file.

To learn more visit their website here.

1. Independently acting body parts

His hands snuck around her waist.

Hands don’t act independently. Although editors place a lot of emphasis on showing NOT telling, it is important to take note of how body parts fit into a scene. A suggestion to correct the above-mentioned peeve is:

She shivered when he curled his arm around her waist.

The hands have to belong to someone. Otherwise the original sentence would simply mean that the character has a detachable hand that is capable of acting on its own whim.

Marsden’s plain, brown eyes never once moved off my face.

Another common mistake writer’s make is when characters make visual contact. When writing romance, writers tend to place a lot of emphasis on the first time characters spot each other. Eyes roll or widen or lock. Again, the editor who pointed out the above-mentioned independently acting body part pointed out that the sentence literally translated that Marsden’s eyes were on the character’s face — kind of a like a fly or a spider. To avoid an independently acting body part the editor suggested:

His gaze never moved off her face.

2. Characters Interacting with Each Other

Characters don’t only talk. They shift their feet, fidget with something or turn red in the face.  If you’re not sure, one editor suggests eavesdropping and spying on a few conversations. Take notes if you have to. You will notice that when people talk to each other, they react physically to the conversation, to the environment they’re in, and basically to what is happening around them. Trucks drown out conversation. Dogs bark. Leaves fall on their heads.

When writing group conversations, editors urge writers to consider all dimensions of the character during the scene. Remember characters are not made out of cardboard. They are three dimensional. They move and breathe, they have hard to break habits, and they feel emotions . . .

For example, when writing a group dinner scene, picture a normal dinner scene:

The shy nerd who isn’t sure how to strike up a conversation with his crush and toys with his food,

The couple who constantly glance at each other across the table and exchange secret smiles,

The unsmiling billionaire who doesn’t talk while eating.

Characters don’t just eat during a dinner scene. They look around, they drink wine, they check their phone messages, and they try not to get annoyed with the person sitting next to them. A romantic setting may be described by incorporating scented candles, soft music, a table setting for two — don’t be shy to show the reader what the character sees and how the character reacts. Characters often have things playing in their mind even while interacting with each other — show it. A shy character may recall romantic disasters and may not be able to fully enjoy eating while having lunch with the boss she’s always had a crush on.

If the writer had simply used dialogue tags such as said, whispered, grunted, growled, etc. the reader wouldn’t be able to visualize who was doing what. Unnecessary dialogue tags also weaken a scene.

3. Elaborate Descriptions

Modern day editors suggest limiting descriptions to two adjectives.  Anything above two annoys readers and editors alike.

She swung her long, shiny chocolate-brown hair.

An editor suggested leaving shiny out. The important thing is for the reader to visualize the character and create a mental picture.

4. Increase the tension between characters

Readers expect the characters in books to establish an emotional connection between each other as the story progresses. Something — an inciting incident perhaps — should set the tone for emotional bonding. One romance editor suggests increasing romantic tension between characters through conversation where the conversation is laced with subtle references towards the characters’ impending relationship. This undoubtedly enhances the connection between the characters. Another editor pointed out that characters in a romance novel don’t end up in bed together after a few simple exchanges. They think about each other, they wonder if the other is a suitable choice, they have doubts, they worry about their insecurities — little characteristics that help writers to craft three dimensional characters that readers love. Add generous amounts of tension throughout your novel. The rules may differ for erotica-romance; however editors still look for that special emotional connection between the characters even if they manage to burn off some of the tension between them in bed.

5. Create Real Characters

Characters experience failure at some point in their lives. They are not perfect. Readers want to know what ticks your character off, what scares the breath out of them, what makes them happy, etc. Readers want real, relatable characters who trip, tumble, choke on their coffee, have bad hair days, etc. Editors are more than happy to read about a character readers will connect with. See the following comment from the editor of my NA Novella, Moving In:

“I really like your characters in this one. I think I have told you that I think your readers are really going to connect with Lace. Her freak outs are so realistic, and I think they will find them very funny as well.”

Remember, regardless of whether your characters are paranormal, human, or alien, they must exhibit behavior that readers are familiar with.

6. Limit the Backstory

This does not mean that the reader does not want to know what shaped your character to the point where he / she meets them in a book. The golden rule is not to dump information on your reader. Avoid telling. Backstory can be sprinkled in conversation, in the characters mental flashbacks, reflections or even the scent or taste of something.

The fresh scent of rain wetting the earth reminded Lace of the day Daniel dumped her. The rain washed her tears away and eventually the sun broke through the clouds and dried her face.

The reader can tell from the above scene that the rain made Lace recall her broken love affair.

7. Increase the Stakes For Your Main Characters

What does your character stand to lose or gain from the relationship? A common mistake writers make is that after their characters consummate their relationship, they lose the tension in their story. In fact, the stakes should be higher after making love because once the characters have given their all to each other, what else do they have to give? The post lovemaking stage is crucial for writers because more often than not, many ignore the potential tension such scenes may create.

The character with the most to lose is the one that has the highest stakes. It could be the hero who merely wants a one night affair and ends up with a pregnant lover. He cannot risk the scandal and neither does he want his child to face the same hardships he did growing up. What does he do? Marry his lover or take his child away? Since he was raised an orphan he wants his child to have both parents. What does he do?

In Conclusion

By learning more where editors preferences lie, one can write and/or edit a romance novel to the point where it is much more likely to be published.