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Victoria Howard celebrates The House on the Shore
and Three Weeks Last Spring


Thursday – 6/4/2009
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Joan Hessayon Award

Each year the Romantic Novelists’ Association presents the Joan Hessayon Award to those members who have come through the Association’s New Writers’ Scheme and have succeeded in having their manuscript published.

This year there were seven contenders, myself included. The winner was announced at the Association’s summer party held in London on Wednesday, 13th May.

As the chairman of the Association, Katie Fforde commented, each and everyone of the women up for the award had won.

Congratulations must go to the overall winner, Allie Spencer, for her novel, Tug of Love, published by Little Black Dress.

As for me… knowing that The House on the Shore was deemed good enough to be a contender and seeing it published, is sufficent reward.

Reviews

I thought I would take some time out from working on my current novel to share some reviews for The House on the Shore.

The first comes from Front Street Reviews. www.frontstreetreviews.com

The House on the Shore
Victoria Howard

Reviewed by Ashley Merrill

Victoria Howard has painted her readers a beautiful picture of Scotland with her words and descriptions. Set in modern times, she tells a wonderful love story that is riddled with suspense.

Anna MacDonald moves to the Scottish Highlands to make a fresh start. After ending a bad relationship and leaving her job, Anna moves into a croft that was left to her by her grandmother. She is tired of the city and wants some peace and quiet so she can spend her summer writing a book and also reconnect with her childhood friends.

The last thing on Anna’s mind is meeting a man. Not only does she meet a very good looking American man whose boat breaks down near her croft, but she instantly feels an emotional and physical connection with him. Trying her best to ignore these feelings, Anna finds herself in a heap of trouble. She gets a letter offering a hefty sum of money to sell her croft, which she quickly declines. Soon after, she appears to become a target to someone. This someone is pretty adamant that he wants her dead. She gets shot at, her home gets broken into, and her car is tampered with, among other things. Fearing for her safety, Anna’s friend convinces her to allow Luke, the dreamy American with a heart melting smile, to stay with her until she can find out who wants to hurt her.

As the days go on, Anna and Luke form a special bond and cling to each other. At the same time, Anna’s stalker is upping the ante and Luke will stop at nothing to find the man so that Anna will be safe.

Victoria Howard does a wonderful job with her character creations. In fact, I found myself falling for Luke! She allows you to see inside their world and form a bond with them. I also liked the description of the landscape. Victoria Howard gives just enough description without going overboard.

The suspense of the story was what really captured my interest. I adore a good love story, so with the added suspense Victoria Howard has created an amazing story that will captivate her readers until the very end. I would recommend this story to any romance and suspense lovers. The romance is not too over the stop, so it will not spoil the story for all of the suspense lovers out there!

The second is from Armchair Interviews. http://reviews.armchairinterviews.com/reviews/the-house-on-the-shore

Reviewed by Jenny Saylers

Anna MacDonald has been betrayed! The coveted teaching position she has been waiting to get has been given to the other woman that her boss, and boyfriend, has been sleeping with. In anger, Anna quits her job, gives up her flat in Edinburgh, and takes off for the only place that she has ever felt truly happy–Anna’s late grandmother’s croft, located on the shores of Loch Hourn, in the Scottish Highlands.

The croft is isolated. Anna has no phone, no close neighbors, and only her two border collies for company. Her plan for the summer is to nurse her broken heart and pride back to normal while working on the novel she has been yearning to write for years. She doesn’t plan for company during this time. Especially not the unexpectedly handsome company offered in the form of the slightly rude American who knocks at her door one morning.

Luke Tallantyre is a well-known artist from Cape Cod Massachusetts. Faced with an artistic dry spell, he has set sail for the unknown wilds of Scotland. He has braved the Atlantic Ocean alone, and has come to Loch Hourn. When his yacht develops a navigational problem, he ends up knocking on Anna’s door for help.

Anna is more than a little resentful of Luke’s intrusion. Faced with an attraction she doesn’t know how to handle after her last rejection, she finds him an unwelcome distraction into her hermetic life. However, when an unknown assassin tries several times to kill both Anna and Luke, they find themselves thrown together in an attempt to find out why.

Will Anna and Luke find out who is trying to kill them and why? Will either of them realize the opportunity for true love that arises during the time they spend together?

I really enjoyed this book. The story drew me in quickly. I found myself having to pace my reading in order not to rush through the book. I enjoyed Victoria Howard’s descriptions of the Scottish Highlands, and Loch Hourn.

Watch for the re-release of Three Weeks Last Spring, due out in June 2009.

Armchair Interviews says: Victoria Howard writes a very compelling story.

Author’s Web site: http://www.VictoriaHoward.co.uk

From our armchair to yours…

Backstory

On my recent appearance on the Rony Robinson Show on BBC Radio Sheffield, we talked about backstory or the infodump, and why telling the reader too much, too soon, should be avoided.

What exactly do writers mean when they talk about backstory? Basically, it is filling the reader in on the background of your story, why the action takes place where it does, the subtext of your character’s lives, and the reasons for the big question or problem they have to solve.

Backstory is essential to novels, but the opening pages aren’t the place to go into depth about your character’s past or the places they inhabit. The trick is to give the reader just enough information to make them care, and want to find out what happens next.

You need to think carefully about the opening chapter. Readers don’t necessarily have to know that your heroine has blue eyes, blonde hair, and lives with her aged mother in a tumbledown cottage, or that the hero has two siblings who have green eyes and regularly tap him for a loan.

Think of the opening of your novel as the equivalent of an appetiser—a bit of teasing in order to keep the reader hooked. A couple of sentences here and there, no long blocks. Backstory is showing not telling. Your readers want to launch into the action. They want to see what’s happening. They don’t want to be told.

What about flashbacks – those little scenes where your character starts to think about something that took place weeks/months/years ago? Flashbacks can slow the pace of the story and confuse readers. They are best used in a prologue, but be careful that you don’t tell the reader too much, too soon. There are three primary ways to include backstory in your novel.

  1. Dialogue.
  2. Narrative.
  3. Description.

I prefer to use dialogue. It feels more natural to have my characters talk about their past, or explain their reason for acting in a particular way. But it’s a personal choice and you have to decide what works best for that part of the story.

But how do you know how much backstory to use?

That’s a difficult question, and to a certain extent, the decision is yours. Just remember, too much backstory will make the reader bored and tempt him or her to put the book down. You’ll lose their attention. They may even wonder why they picked up the book in the first place, and that’s the last thing any writer wants.

Joan Hessayon Award

The House on the Shore is a contender for the 2009 Joan Hessayon Award presented by the Romantic Novelists Association. The Joan Hessayon NWS Award is presented to the best debut novel each year to have come through the specialized and highly selective New Writer’s Scheme and been accepted for publication by a recognized publisher.

Distinguished winners have included Marika Cobbold, Norma Curtis, Linda Taylor and Donna Hay. Many other popular authors owe their start in the industry due to this (unique amongst professional UK writers’ associations) facet of the RNA.

The award is generously sponsored by Dr David Hessayon, in honor of his late wife Joan, who was a longstanding member of the RNA and a great supporter of the New Writers’ Scheme.

The Winner will be announced on the 13th May 2009.

March is Small Press Month

What exactly is a small press? The term is used to describe publishers who have annual sales below a certain limit, or who publish a limited number of titles each year. Small presses make up half the market share of the book publishing industry, and present an opportunity for new writers to break into publishing. They should not be confused with vanity publishers or subsidy presses who require their authors to pay for the privilege of having their book published. Small presses make their profits by selling their books to consumers and not to their authors.

What are the advantages of being published by a small press?

1. Small presses have more freedom. They are not restricted by the same economic values and constraints as the large publishing houses.

2. They can take advantage of modern technology and publish a comparatively smaller run of copies, a practice deemed too costly for the large houses, who must sell large numbers of books in order to earn back their advances.

3. They can specialize in specific genres, such as historical non-fiction, poetry, romance, and erotica.

4. One of the major advantages of working with a small press is that an author can expect to be fully involved in the publishing process, from advertising the book, to deciding on a cover.

5. Small presses respond more quickly and often accept unsolicited manuscripts, whereas larger publishing houses will often only consider manuscripts recommended by an agent.

6. Sometimes it is easier to have a manuscript accepted by a small press than it is a larger publishing house, and for a new writer, that has to be good news.

Can small presses compete with the big houses?

Admittedly, it can be more difficult for a small independent publisher to obtain shelf space in bookstores, partly due to the fact that the larger houses often pay for prominent displays for their top of the list authors. But that’s not to say that it’s impossible.

There are many distribution networks willing to fill the needs of the small press, such as Baker and Taylor’s Distribution Solutions Group, Small Press Distribution and the Publishers Marketing Association. There is nothing to prevent small presses signing up with Neilson Book Data or Gardners Books here in the UK. The Internet is also an effective marketing and sales too.

So come along and help celebrate small press book by visiting your local bookstore, or better yet, take a look at Vanilla Heart’s website.

www.vanillaheartbooksandauthors.com/VHP_Bookstore.html.

You might be pleasantly surprised at the range and number of titles available.

Head hopping: to hop or not to hop!

Have you ever read a scene in a novel and suddenly wondered, ‘Who is thinking this?’ Quite often, it means that the writer has hopped into another character’s head and you, the reader, didn’t follow the shift. When this happens, readers will most likely lay down the book, never to pick it up again.

Some well-established romance authors, such as Nora Roberts, Elizabeth Lowell, Julie Garwood, and Lori Wick have mastered this style. But not every author has their expertise or quick-switch style.

For the new writer, mastering the point of view (POV) switch takes time. Just so you know what I’m talking about, let me define POV. Point of view is simply the perspective from which your story is told. This can include first, second or third person, omniscient, limited third person or whatever else is out there.

Head-hopping is not to be confused with multiple points of view. Most books on the craft of writing state that you should only use one POV per scene. However, sometimes it’s necessary to bend the rules. Editors, especially those of category, single title, and suspense romance, are looking for vividly created three-dimensional characters they can relate to, empathize with, or, if necessary, hate. Including both the hero and heroine’s viewpoint not only gives the reader insight into both sides of the developing relationship, it’s also a way to create and maintain, tension, conflict, and suspense. Being able to switch smoothly from one character’s POV at a pivotal moment hooks the reader and keeps them turning pages to find out what happens next.

That said, I’m not saying you should go out and write every paragraph from a different POV. Good writing is important. Too many changes and your readers become confused or just lose interest. They need to bond with your characters, and they can’t do that if you don’t give them enough time with them. Remember; if you must switch POV during scene make sure the switch is smooth.

When you understand the rules, then you can make the right choice for your story, and decide whether you want to be a POV purist, or a head hopper.

To find out which one I am, you’ll just have to read my book!

Valentine’s Day Release

What a busy three months! Life has been on big rush ever since Vanilla Heart accepted my submission for The House on the Shore. Not only did the cover and synopsis appear on Amazon.com and other online bookstores, but it will also be available in libraries in both the UK and USA. WooHoo!!!

The House on the Shore

Set in the Highlands of Scotland, this visually magical tale takes the reader on a journey from the remote shores of Loch Hourn to the singular beauty of Cape Cod.

And for those of you who might be considering buying a copy, here’s a short excerpt:

Her concentration was broken by the shriek of frantic barking. She tore her gaze away from the screen and looked out of the kitchen window. A tall, dark-haired man was making his way up the crescent-shaped beach, doing a weird twisting dance, holding his right arm above his head. With his left he pushed off the two boisterous, snapping collies.

“Oh hell,” she groaned. She threw open the door and shouted. “Ensay! Rhona! Heel!”

The dogs instantly stopped snapping at the stranger’s ankles and ran to their mistress. Anna leaned against the door frame and waited while the figure strode confidently across the grass towards her, his well-muscled body covering the rough ground with long, purposeful strides. His jet black hair showed a little grey at the temples, the cut slightly longer than was considered acceptable for a man she judged to be in his forties. But somehow it suited him.

He stopped a foot from her door, close enough for her to smell the lemon spice of his cologne. Now that she could see him more clearly, she noticed the laughter lines around his eyes and mouth, hinting at a softer side to his character. His body was lean, the outline of his muscles visible through the shirt he wore. A faint white scar creased his right cheek, and she thought it gave his face a handsome rugged look. He gazed at her with dark brown eyes and smiled, slow and warm, and for some reason her breathing quickened.

With just one look she knew he was trouble.

“Hi, there. I know I’m trespassing, but do you think you could ask your dogs not to rip off my thigh?”

Anna drew herself up to her full height, which was barely up to his shoulder. “They’re guard dogs and only doing their duty,” she said stiffly. The dogs sat at her silent signal, but their eyes remained fixed on the stranger.

“I’m sorry to bother you, but I’m having engine trouble and I can’t get a signal.” He indicated his mobile phone.

“That’s because there are no transmitters.”

“Oh, then could I borrow your phone? I need to contact the nearest boatyard for some advice.”

“I don’t have a phone.”

He rubbed a hand over the back of his neck. “Look, I haven’t slept for twenty-four hours and I’m beat. Sandpiper, that’s my yacht, developed a problem soon after I left Stornaway.” He paused as her words registered. “Did I hear right? You don’t have a phone?”

“No, I don’t, so I’m afraid I can’t help you. I suggest you weigh anchor, turn your boat around, and head west out of the loch.”

“Perhaps I should’ve introduced myself. I’m Luke Tallantyre, from Cape Cod, Massachusetts.” He offered his hand. She didn’t take it.

“Anna, Anna MacDonald. Yachts are always straying into the loch at this time of year. Their crews seem to think this is some sort of hostel. Well, it’s not, and I still don’t have a phone.”

“Okay, so where do I catch the bus to town?” His eyes lingered on her face. “Oh, no. You’re about to tell me there isn’t a bus either. Aren’t you?”

Anna nodded. The motion sent sunlight gliding through her auburn hair. “That’s right. Welcome to Kinloch Hourn, otherwise known as the Loch of Hell.”

“The name fits,” Luke muttered. “What sort of place doesn’t have a phone or a bus service in this day and age?”

“How about the remotest glen in the Highlands? Up here, one man and his dog constitute a crowd. And before you ask, there are no shops either, unless you count Mrs McCloud in the village, but she only opens on alternate days. The butcher’s van calls every Thursday afternoon, and the library service visits once a month. I think that about covers all the local amenities. Oh yes, there’s a mobile bank too, but that only comes once a fortnight. The school closed last year. But you’re in luck…there’s a hotel and it has a phone.”

“So there is a God after all.”

“However, its twelve miles down the road in that direction,” she replied, pointing vaguely to some distant place.