I’m writing this post on Mother’s Day, after having spent a wonderful day with my daughter, and I’m thinking about my heroine in my current book, ALWAYS EMILY. Emily doesn’t have children of her own, but the hero does. Five years older than Emily, Salem married years ago, breaking Emily’s fourteen-year-old heart. He and his wife had two daughters. His wife is now dead and the girls are at a vulnerable stage, one smack dab in the middle of adolescence and the second just entering into it. When Emily returns to her hometown after years away, the elder of the two girls is in trouble. She is having serious problems at school and with a boy. Emily is thrust into the center because Salem asks for her help. His daughter needs a woman to help her sort through confusing, overwhelming emotions. Things were so much easier when he was handling simple problems like scraped knees. Now, dealing with teenaged girls and their adolescent issues, he feels out of his depth. It was interesting for me to imagine how a woman would feel when having to deal with someone else’s children, when she has had no experience with her own. She…

This past weekend, I taught a class about writing a sex scene for non-romance writers. The Writer’s League of Texas had been so gracious as to ask me to come explain how the mechanics, the terminology, and every little detail of how “those” scenes are created. During the creation of my Keynote presentation, I pulled videos from movies to emphasize my point. We discussed details from when the sex should happen, why, how, who, and what is the motivation other than just getting off. To emphasize some of the points, I used video clips of the many movies I’ve watched and fallen in love with over the years. No, I didn’t show clips of Debbie Does Dallas or How I Did Your Mother, because any well seasoned romance reader knows that’s just the sex and we all really want to see amazing sexual tension. In the over three hour presentation, I showed clips from Don Juan de Marco, Mask of Zorro (with Tyrone Powers), the Mark of Zorro (with Antonio Banderas), Ghost, Pretty Woman, Easy A, 9 1/2 weeks (eating scene), and True Lies (strip scene). All illustrated the different aspects of what’s needed when writing “the scene.” I explained…

I live in fear of making a major historical boo-boo in one of my books.  The tiny slipups don’t bother me so much. Perhaps I referred to a color that wasn’t in existence in 1839 (apple-green chartreuse) or mentioned a breed of animal that had yet to have been bred in 1800 (Persian cats). My fragile world will not shatter. But I bolt up in bed at night, my body drenched in a cold sweat, my heart racing, terrified that I’ve unwittingly committed some grand-scale faux pas along the lines of getting Queen Victoria’s birth or death wrong or tangling up my hero’s title and address (Those blasted titles get me every time) or centering a plot around the incorrect date of an important election (Okay, I admit that I actually did that one.) and I’ll be banished from all good historical fiction society. At some point in the development process, I will have dinner at a Middle Eastern restaurant with my good friend and historian extraordinaire, Nancy Mayer. She is so kind and patient, she lets me gab on and on and on about my book-in-progress. It is so much more fun to talk about my book than to…