Tag Archives: novel

Story and Song: Visual Edition, Part 3

Welcome to the third installment of my blog series that I’m calling Story and Song: Visual Art Edition. Each post will feature a modern/contemporary song from the playlist of The Most Beautiful Woman in Florence, and a piece of artwork that features in the novel. I’ll describe how both fit into the story with a minimum of spoilers!

 

Stream of Passion – “Closer”

This lovely song speaks of passion, art, and connection, so it was a natural choice for the playlist of The Most Beautiful Woman in Florence. For me, this song fit especially perfectly with the scenes in the book when Simonetta is posing for Botticelli’s first portrait of her – the one he paints shortly after her marriage to Marco. It’s a moody and beautiful song, so it seemed to go perfectly with those moments when Simonetta is first aware that her feelings for Sandro, as she calls him, are perhaps more than just friendly, though she doesn’t yet confront them or indeed know how to deal with them.

 

Idealized Portrait of a Lady – Sandro Botticelli

This portrait, widely believed to be of Simonetta Vespucci, was not in fact painted until after her death. However, in the novel I chose to have Botticelli paint the portrait sooner, and have it be the one that Simonetta poses for. I tried to describe it as best I could in the novel. I think it really is a beautiful painting, and I think that Simonetta would have liked it very much had she seen it. So in the novel I had her react in just that way to it, and she is proud that she could contribute to the making of such a piece of artwork.


The Most Beautiful Woman in Florence – Release Day!

The day has finally come! The Most Beautiful Woman in Florence is on sale now in the U.S., and will be available tomorrow (April 26th) in Australia.

 

I’m so thrilled and excited that this book is out in the world at last. As those of you who have been reading my blog over the last few years will know, I had a rather difficult time writing this book, due to second book syndrome and a multitude of other things. Yet perhaps because of that, I am so proud of how it turned out, and I can’t wait for readers to discover it and hopefully fall in love with Simonetta and her story just as I did while writing it.

This release day feels very different from that of The Violinist of Venice. Most notably, I’m much more relaxed this time around, and ready to just celebrate and have fun. The release of Violinist, while exciting and thrilling, was also very stressful and emotional: my book baby was out in the world, and I couldn’t take it back, and oh God, what would happen to it next?? It wasn’t all pleasant feelings. Yet this time, thankfully, I’m not feeling that way. I’ve just been enjoying the process and will continue to do so. After all, I’ve done this once before now. I know that, for better and worse, the world doesn’t stop spinning just because I have a book out. So while I don’t think this will ever stop being exciting, here’s hoping it will get less stressful every time, as it seems to be.

So what’s on tap for me today? I took the day off from my day job, so my plan is to hang out, relax after the pre-release hubub, probably work out, maybe do some reading, and then get ready for the book launch party later tonight. It’s going to be a lot of fun, and I’m planning to enjoy every minute!

I hope you all love The Most Beautiful Woman in Florence. Happy reading!


The New, Great, Challenging Work-in-Progress

As those of you who have read my posts in the last few months will know, I’ve been struggling to decide what idea to choose for my next novel – I had a few that I really liked (and still do like them all). But I have since decided on one – it’s the one both my agent and I were leaning towards – and have been hard at work on it. All I’ll say about it at this point is that it is set in Renaissance Italy, but it’s very different from The Most Beautiful Woman in Florence. It’s very dark and political, and it sticks very closely to actual historical events for the most part.

It is also, without a doubt, going to be the most difficult and challenging book I’ve written to date.

I thought that this book was going to be the second book of my two-book deal with St. Martin’s Press, but it just wasn’t ready yet (and so, of course, I wrote The Most Beautiful Woman in Florence). Once I turned in Most Beautiful, I thought it was going to be my third book, but it still wasn’t ready: my agent liked what I had so far, but felt like it was maybe missing something. So I wrote a different book (which I hope to be able to tell you all more about soon) instead.

I have always intended to write this book, and now, finally, its time has come. I found the missing piece of it in, as it happened, a short story I’d written in college. Then everything clicked and I was on my way. I couldn’t not write it. It’s time.

I wrote about 10,000 words (some of which I had originally written years ago, when I first started playing with this idea) before I realized I needed to face that thing that I’d been avoiding: an outline.

I’m a pantser at heart, which isn’t always conducive to historical fiction. With The Violinist of Venice, my narrator and heroine was a fictional character, so I was able to do plenty of pantsing in having her life take whatever course it wanted and that seemed natural. With The Most Beautiful Woman in Florence, I had just a few facts about Simonetta Vespucci to use as a framework for my story, but I did end up outlining the last third of the book as I approached it, as there were some actual historical events that I was planning to intersperse with scenes of my own invention, and I found I really needed to plot out how all that would happen. But, to this point, that was the extent of my outlining.

For this project, though, I knew right away that I would not be able to write it WITHOUT an outline. As I mentioned above, the plot is largely comprised of actual historical events, and while I know a very great deal about this time and these particular historical figures, I did not know exact dates and chronology off the top of my head. No, that would have to all be written down and mapped out beforehand in a way that I could easily reference as I wrote. Add to that the fact that one of my two point-of-view (POV) characters is a fictional character and that I needed to decide what she was doing and how she fit in with the history, and it was obvious that an outline was necessary.

So I’ve spent the last few weeks – when I’ve had time and wasn’t busy with promotional pre-release things for The Most Beautiful Woman in Florence – pouring over history books and biographies for the chronology of events I was including in the novel, and writing an outline that incorporated all this with my fictional character’s actions. I’m planning to write a separate post about my thoughts on the outlining process a bit later, once I’ve had a chance to actually start writing from said outline, but suffice it to say that this process was both less terrible and more tiring than I thought it would be.

So now the outline is done, and in looking at its sheer length and complexity I find myself more aware than ever of the herculean task I’ve set myself, and the laundry list of challenges I’ve created for myself. I have more history to grapple with and get right than ever before. The events my characters cause and experience are incredibly varied and tumultuous (as anyone familiar with the political history of Italy in the Renaissance will know) and I must capture all that on the page in a way that is compelling and makes for a good story, as well as what seems now like dozens of plot threads and relationships to juggle. I have to make sure my characters develop in the arc that I want across all of this. This is the first time I have attempted to write two POV characters; one is fictional and one is historical, one is a woman and one is a man. It will absolutely be the longest book I have written to date. Oh, and did I mention that this is book 1 in what I am planning as a duology? Something else I have never attempted before.

It is something of a comfort to know that many, many authors other than myself have conquered these challenges in the past. What I am attempting is certainly nothing new in the world of historical fiction, but it is a new challenge for me. I have, since starting, certainly been intimidated at the size of the challenge ahead – I still am. But at the end of the day, that is what makes this project worth pursuing. I don’t want to write the same book, the same arc, the same type of story over and over again. I WANT to challenge myself, because it’s only when I do that I will truly grow as a writer. Each book that I’ve written thus far has been a new challenge for me in some way, and this is just the next one. It is the biggest challenge I’ve set myself to this point, and because of that I know that, if I can get this book right, it will be the best one I’ve written yet.


The Violinist of Venice’s One Year Anniversary

As of today, The Violinist of Venice has now been out in the world for exactly a year. It certainly doesn’t feel like that long to me! But the last year has been an incredible, and at times stressful, journey, and I have learned a lot. Having my book baby out in the world – and not something that belonged just to me – was a definite adjustment. I had a lot of anxious feelings for a while before and after the release, knowing that this thing I had created was out in the world for anyone and everyone to read, and that I was now someone with a higher profile in the world, albeit only slightly so. It’s a weird feeling that really does just take some time to adjust to, and I’m sure other authors will be able to relate.

By the same token, I’ve had the privilege to go to many different kinds of author events and meet readers and sign books. I’ve visited book clubs and discussed the novel, and I always come away from those experiences feeling like I’ve learned something new about my own work, as readers are always casting new light on the characters or plotlines or themes in ways that I hadn’t thought about before. I love when that happens! And I’ve had the honor and the joy of hearing from readers from all around the world who have connected with the book in some way. The fact that my words, that this story that I created and wrote down at first just for myself and then worked so hard on, has really meant something to others is truly the greatest gift and pleasure of being a writer.

I have also learned a lot about how to balance my life, my day job, and all the responsibilities that come with being an officially published author. Around release time I was doing a lot of promotional blog posts and interviews about the book, as well as trying to steadily post some fun Violinist-related content here on my own site. Once the book was out I had some events to work into my schedule, and I was also working on edits for The Most Beautiful Woman in Florence, as well as drafting a new book. It all takes some juggling, and there were definitely moments when I felt burned out. When that happens, I’ve learned to take a step back from whatever I’m working on as much as I can. As hectic as everything may feel at the time, with competing deadlines and multiple projects, I’ve gotten pretty good at planning out my time and getting everything done.

On the first anniversary of the release of The Violinist of Venice, I want to say thank you to all the readers who have reached out with their kind and thoughtful words; thank you to the booksellers who have sold and promoted the book and invited me to do events in their stores; thank you to all the bloggers who have reviewed the novel and helped spread the word; and thank you, thank you, thank you to everyone who bought the book or borrowed it from the library or gave it to a friend or recommended it. I appreciate all of those things more than I can possibly say. Readers are why I can do the thing that I love!

In 2017, of course, I’ll have the release of The Most Beautiful Woman in Florence, and I hope that everything that I’ve learned in the last year will serve me well with the release of that book. And I know that at some point in 2017 I will have some more news to share with all of you!

Wishing everyone a very happy holiday season, and I hope you all are staying safe and warm (hopefully with a good book!) Happy Holidays, and a Happy New Year!


Starting a New Project

In the last few weeks, having finished the work-in-progress that I’d spent the last year on, I did two things: 1) I took a bit of a writing break, of about a month or so (one I at times had to force myself to maintain, and 2) when that was over, I started a new writing project.

As I’ve alluded to in previous posts, I was a little nervous about starting something new this time around, having just finished something that I thought was/is probably my best work yet. Would my next project measure up? Would I love the idea, and love writing it, as much as I had my previous project? With writing, though, comparison is always the thief of joy – even if you’re comparing you to yourself, and your work to other examples of your work. And that isn’t productive or helpful. So I tried to remind myself of all of that and forge ahead with a new idea, one that had been brewing for a while. Actually, this idea was originally two separate ideas that seemed to magically come together to form one whole, filling in each other’s missing pieces.

So what is my process for starting a new novel project? Sometimes I make some notes before I actually start writing: character names, dates/timelines, a few lines that may have come to me here or there. Since I’m a pantser, there’s not too much of this, if at all, though I do make lots of notes as I go: reminders for things I need to look up/research, an idea for a new scene, notes for characters that have yet to be introduced, etc. There’s no rhyme or reason to this; I just jot these things down as they come to me.

Usually, though, the first step is to start writing. With this new project in particular, the opening of the novel suddenly started flowing through my brain as I was laying on the couch one night, reading, so I jumped up and grabbed my laptop and started typing until the words stopped. It’s a great feeling when that happens; when you’re just propelled to write, to drop everything and write. That’s what I always look for as a writer, and I’d venture a guess that others do, too.

Then I keep writing for a while. I test the idea out for a bit, needing to give it time to make sure it really has legs. There’s always a certain level of excitement when you first start working on a shiny new idea, but sometimes – and for a variety of reasons, I’ve found – that excitement can peter out, causing the project to stall. So I always make sure to give it a couple weeks of work to see how it goes before fully committing to the project. Am I still excited about working on it? Am I thinking about it when I’m not working on it? Am I still coming up with new ideas for scenes and character development and plotlines? Do I actually make the time to sit down and work on it?

After a few weeks, once I’m feeling like the project is definitely something I’ll stick with, I send what I have so far – usually the first few chapters, at that point – to my agent to get her take. I do this at the beginning of every project for multiple reasons: to make sure she thinks that the project is something that makes sense for my career trajectory as a whole and specifically for this point in my career; to see if she knows of anything similar that has recently sold and which would make my project a tougher sell; to get her take on the writing and story itself; and, quite frankly, to see if she thinks the project is something that she’ll be able to sell. Of course writing is a labor of love for me, but if I want to continue to be able to publish books, I need to be thinking about the market as well. And that’s one of the many things that an author’s agent can help with.

Sometimes my agent does have reservations on one or several of the above counts, in which case we usually get on the phone and talk it out and make sure we’re on the same page. She’s been doing this a long time and has way more knowledge of the business side of publishing than I do, so I always value her advice and insights – after all, that’s one of the things I’m paying her for. Sometimes, though, she loves what I’ve sent her without reservation and tells me to go for it. Then I keep writing to my heart’s content, and she won’t see it again until I send her a finished draft, which we both prefer. I love that she trusts me to get the work done and doesn’t need to look over my shoulder or check in with me about it; I wouldn’t work well that way. I’m sure perhaps some writers do, so to each their own!

Once my agent gives her blessing, I just keep writing – I don’t usually do any revisions until I have a full draft completed for several reasons, though there have been exceptions to this in the past. There’s usually a few mental/emotional milestones that I pass along the way: when I hit 10,000 words, which is when it feels like I’m not just playing around anymore; 20,000 words, when I realize that this is a real project I’m committed to writing and that this is really happening; and 30,000 words, which is always when a project starts to feel like a real novel to me. Then, of course, after 30,000 words we get into the middle of the novel, which is always the hardest part to write, for me; it’s when I’m in the thick of the plot and need to make sure everything is set up, and when it feels like I can’t see my way out and will be writing the book forever. But having written several novels at this point, I know that feeling is coming and am ready for it. It doesn’t necessarily make it any easier to get through, but it’s helpful to know that I feel that way every time and always get through it.

Now, what about research, you may be asking? Shouldn’t research come before any writing gets done? My answer to that is yes, probably. I always do a little preliminary research before I start writing, to make sure the idea works in a historical setting and makes sense, etc. I have been known to do lots of research as I go, which I don’t necessarily recommend (see above note about revising in the middle of a draft) but for the most part it’s worked out for me so far. The period of The Most Beautiful Woman in Florence was something I had a solid background in before I started writing, so in that instance my research before and as I wrote was mostly a matter of filling in blanks.

This new idea is a bit different for me in that it’s set in a period I’ve already written about and researched extensively (though I won’t say just yet what that is). That’s not to say that there aren’t aspects of this new story I’ll still need to research – there absolutely are – but again, it will be more a matter of filling in the blanks, and in this case I already know where to go to find the information I need.

Maybe this new project will see the light of day at some point, and maybe not. That’s the risk we take as authors each time we start a new project – there are no guarantees. That’s why, as long as I love the idea and am having fun writing it, I can usually block out just about everything else.


On Making, Not Finding, the Time to Write

I’ve done quite a few author events now in the 10 months since The Violinist of Venice was published, and one question I almost always get is, “Do you have a day job?” When I answer that yes, I do (as most authors do), the question that inevitably follows is “How do you find the time to write?”

This is a fair enough question, as anyone with a full-time job and friends and family obligations can certainly attest to the fact that time always seems to be in short supply. But my answer is that I don’t find the time, I make the time. The distinction between the two, for me, is in the conscious effort behind making time. If I just waited around until I had a large, unspoken-for block of time on my hands, I would never have written anything, let alone the four total book-length manuscripts I’ve produced since I was in college. No one – or at least, not many people – in this hectic day and age ever really have blank blocks of time on their hands, waiting to be filled. Something will always come along to fill that time, be it putting in extra hours at the office or family or friends or Netflix. The list goes on.

So in order to ensure that I have enough time for my writing, I carve out that time and firmly protect it when necessary. I don’t have a set writing schedule that I follow religiously from week to week, just because my life really isn’t conducive to that at this point: sometimes my hours at my job change slightly, sometimes I have other obligations, sometimes I have plans with friends. So I take the time whenever I possibly can, which for me of late looks something like this:

-On week nights when I have a free evening, I try to write at least 1000 words. I’ll often designate at least one night in a week for this and not allow myself to make other plans.

-On weekend days I try to write at least 2000 words.

-I’ll often write on my lunch breaks at work. I only get a half hour break, so on the surface it almost seems like not enough time to bother. But boy, do those half-hour sessions start to add up. I’ve gotten to a point where I can actually write 1000 words in a half an hour sometimes, when I just completely focus in and tune out everything else and don’t let myself stop writing.

-When I’m NOT writing – and this is key – I’ll try to brainstorm new scenes or plot points, or just let my mind wander around with my characters and within the world of the story I’m working on. I also always create playlists for my works-in-progress, which I’ll often listen to while at work (when I can’t be writing) in order to keep my head in the game and possibly give me some new inspiration. I’m a pantser – I don’t do written outlines – so this is the most planning ahead I do with my work. And I’ve found that giving at least some thought to what scene will come next or to a plot or character problem before I sit down to write helps me avoid that blinking cursor of doom on the blank screen.

-Something I did recently when I finished up the first draft of my most recent work in progress is that I went on a solo writing retreat. I took a couple days off from work and booked a hotel room with a balcony and a nice view for a long weekend, and I holed up with some snacks and wine and just wrote for a few days straight. I will absolutely be doing that again in the future, because it was SO helpful to take that time and get away from my usual space and its distractions. It was honestly one of the best weekends of my life. Certainly not everyone will have the time or the means to do something like this, but if you do I highly, highly recommend it.

-I have a group of writing buddies that I meet up with most Wednesday nights, and we all write together. This is helpful because we keep each other accountable to show up and get the work done. And while writing is a solitary activity, sometimes it’s fun to have company!

You’ll notice that in the points above I used the word “try” quite a bit. And that’s because that’s what it is, an attempt: I try to stick to these patterns as much as possible, but it doesn’t always work out. Things come up. I have plans with family or friends, or I’ll come home from work and feel exhausted and just in need of a night on the couch. And that is all okay. If you are a serious writer – or artist of any kind – there will be lots of times when you will need to put your work first, and stay in on a Friday night or pass up happy hour with your coworkers. Believe me, that will need to happen a lot. But there will also be times when you won’t want to write that day, or can’t, or need a break, and that’s fine too. Don’t feel guilty when life intervenes. I used to, but I realized that it’s just as crucial to my process that I take a day off here and there.

You’ll need to make a lot of time to write, but do it in whatever way works best for you. Carve it out of your schedule wherever it fits, in fifteen minute increments here and there or chunks of a few hours (though believe me, I know those can be hard to come by). But make that conscious effort to carve out that time, because it isn’t going to happen on its own. It isn’t going to come to you. Soon making that time, even if you don’t write at the same time on the same days every week, will become second nature. You’ll start grabbing whatever moments you can to get some writing in, and that’s when you really get into a groove.

It really irritates me when people say “I’ve always wanted to write a book, but I’ve never had the time”, and I know my fellow writers will relate to that. It’s a frustrating thing to hear, for me, for two reasons: the first being the simple fact that I don’t have any more hours in the day than anyone else. As I’ve outlined above, I don’t have time sitting around unaccounted for any more than anyone else: I make that time, and that takes effort and dedication. The second reason it bothers me is that it implies that spare time is all one needs to write a book, and that is not true either. Anyone who’s written a book has spent years reading everything they can get their hands on, especially in their genre, and tinkering with sentences and characters and plotlines and story arcs and doing research and accepting criticism and trying and failing over and over again to render their story on the page in a way that is just right. Having time to write is crucial, yes, but there are a lot of other ingredients as well.

What I’ve found, though, is that the people who really love writing, who live and breathe words and beautiful sentences and imagery and metaphors, will always find a way to do all of this. They are already making the time whenever they can, because they love to write. They are already disciplining themselves and dedicating themselves to the craft and trying to learn more, trying to grow and get better. They couldn’t stop if they tried.

Sometimes I don’t even know how and when my books get written, when I think about all that I have going on in my life. But they do. They do because at the end of the day, through all the ups and downs, writing is my favorite thing to do in the world, and I will always, always make time for it.


Story & Song: Part 6

Welcome to the sixth installment of my blog series that I’m calling Story & Song. Each post will feature two pieces of music: a modern/contemporary song from the playlist of The Violinist of Venice, and a piece of Vivaldi’s music that features in the novel. I’ll describe how both pieces fit into the story with a minimum of spoilers!

Within Temptation – “Forgiven”

This lovely ballad goes with Chapter 68, which I also titled “Forgiven”. It is hard to say too much without giving some of the story away for those of you who haven’t read the novel, but in this scene, Adriana and Vivaldi are meeting again years after the “main events” of the first half of the novel, and Adriana realizes that she no longer bears him a grudge for the wrongs that he did her so long ago. The lyrics of this song fit so perfectly with her thoughts, with their situation, with the history of their relationship. I would always listen to it when revising this scene!

 

“Cosi potessi anch’io” from the opera Orlando furioso

This is the aria performed by Anna Giro in her role as Alcina in Vivaldi’s opera Orlando furioso, in Chapter 67 of the novel. As Anna Giro truly did originate this role, Vivaldi wrote this aria especially for her and for her voice. As you can no doubt hear, it is beautiful and wistful and full of longing. The lyrics of the A section translate roughly to, “If only I could also have with the one I love the peace that my heart cannot find.” In the novel, as Anna sings these words, Adriana reflects on them in relation to her own life.

I have performed this aria several times myself, and I just love singing it. It is fun to sing from a technical aspect, and fits my voice well; it’s also fun from the performance aspect for the emotion I can inject into it. I wanted to learn it because I knew I would need to write a scene such as the one in Chapter 67, and this seemed like the perfect aria. I also loved the feeling of connection that learning and singing this piece gave me to the characters in my novel. When I sang it, I could pretend, for a moment, that I was a part of the story I was writing.