I’ve heard authors lament the end of a project. Sending a piece off into the world can signal the beginning of a period of mourning for many creative types. Not for me, though. I practically dance around the house for days after finally finishing a book.

It’s having to choose a new project to work on that makes me absolutely miserable.

If you think that’s because I lack ideas, you couldn’t be more wrong. My problem is the exact opposite: I have too many ideas, and they’re all clamoring to be told. Looking at my idea folder, I see snippets, starts, and various brainstorming notes on no fewer than 232 stories. That’s two hundred and thirty two potential manuscripts, two hundred and thirty two sets of heroes and heroines, villains and secondary characters, all with their own individual histories, baggage, and conflicts, both internal and external. And then there are the subplots, the settings, the potential research that needs to be done.

It’s enough to drive an author crazy.

Is it any wonder I look at my endless list of ideas and panic? Having to settle on one is among the toughest parts of this job for me. I’m sure I’m probably alone in this — at least, I’ve never heard another author complain — but just in case there are other folks out there who struggle with this, here are some of my favorite techniques for choosing a new project and sticking with it:

1. Let deadlines dictate. This one is by far my favorite. If an editor asks for a specific story, or if I’m answering a Call for Submissions with a deadline that’s set in stone, I’m happy. If I know I need to deliver a werewolf story in 2 months, well, that’s the story I’ll work on next. Easy! The downside of this technique is that I end up over-committing. Knowing I work well under deadline means I’m apt to sign up for every opportunity that comes my way just so I won’t have to be left floundering, wondering what to work on next.

2. Journal through the indecision. I have a writer’s notebook I turn to whenever I need to work through an issue, be it a character problem, a sticky plot point, or good old fashioned writer’s block. I’ve turned to this same notebook countless times when choosing a new project. In true journaling style, I start by complaining. I whine about being unable to decide, then begin working through potential ideas. Sometimes, this is enough to set me on a specific course. If a story idea wants to develop as I journal, I gratefully go with it.

3. Ask the Tarot for guidance. I know some of you are rolling your eyes at this one, but I’ve found the Tarot an invaluable tool in my writer’s arsenal. I whip out the cards when I’m struggling with characters and plot, but I also use them to find guidance when I’m feeling indecisive. In fact, this is the technique that just earlier today helped me choose my next project. It really works.

4. Throw a dart at the idea folder. Don’t take this suggestion too literally — especially if you keep your ideas in an electronic folder — but this is another of my favorite techniques. I’ve found myself dithering for days, sometimes even for weeks, unable to choose a project. This technique helps eliminate all that. I simply choose a project and random, and GO. No second guessing, no doubting, and most importantly, no more time wasted.

5. Alternate. I don’t use this technique very often, but I still like it. The idea is simple. If you just finished writing a contemporary, try a paranormal next. If you have multiple publishers, and you just finished a book for one of them, target your next book at another. If you write YA and epic fantasy… well, you get the idea.

6. Write a series. Full disclosure: I suck at this one. I have a number of series I’ve started that I desperately need to go back to. But theoretically, if you’re working within a series and you can focus enough to see it through to the end, you can work your way through the books without having to worry about what you’ll write next for a year or two.

Your turn! How do you pick your next project? You don’t have to be a writer to answer this… I’m curious how you choose any artistic project on which to work.

I also saw a couple of classes coming up in September which caught my eye:

Tech Tips for Busy Writer at the Writer’s U

Show Don’t Tell class at Yosamite RWA chapter

And I just discovered that you have a first chapter sent to your Kindle for free at Amazon! This is the biggest money saver ever – because I’m super picky lately about what I’m in the mood for:) (I swear I don’t get a commission from Amazon – but I do adore my Kindle!)

Now I have the daunting task of unpacking my books and getting my writing cave in order. Mucho fun!

This got me thinking – how do we portray love on the page? Lust/desire/arousal is a physical reaction, and I suppose love can be as well? Is it the actions of what characters do for each other that make us readers believe they’ve fallen in love?

Authors and readers – how do you perceive characters falling in love – in favorite novels or your manuscripts?

I’ve discovered a great tool which some people may call  cheating:) I don’t know if it’s cheating or not, but it was certainly helpful in my latest MS.

I’ve discovered a book called Flip Dictionary which is basically a large thesaurus. Since I tend to constantly repeat a word or two in an MS (and they change with each MS!) the Flip Dictionary is a terrific tool for finding alternative words or phrases and inspiring me into a new hopefully “sharper” prose.

Its also a wonderful way to build up vocabulary:)

Actually “snowflaking” or rather The Snowflake Method  is a plotting method designed by a software engineer turned writer Randy Ingermanson who basically approached it the same way as he would managing a large project: starting from top or high level view and working outward, getting more detailed in the process.  You guys can check out the main idea behind the Snowflake method here.

For those of us who really like structure in our daily madness of writing, this is a terrific tool to get organized and not let our own creativity stifle us. (My pantser friends are shuddering in horror just about now). As a die hard plotter, I tend to freeze up when I hit a plot hole – and using this method, I’m finding my plot-holes before I even start writing.

Since I’m also a huge geek, I jumped at the chance to purchase the Snowflake Pro software – which is basically a “self guiding” plotting method. (While the article about the snowflake method is free for all to use, the software is a little pricey… Though worth the price in my humble opinion, especially since you get free upgrades for life, and if you purchase Fiction for Dummies and get a 50% off coupon)

So far, I’m seriously loving it. I love that everything is one place , and I don’t need to jump back and fourth between my Excel file and m character note cards and my synopsis. I also love that it makes me think in terms of structure and not just random plot points that can happen at any time.

I highly recommend the Snowflake Method as a plotting method, and I’m loving the Snowflake Pro.Do you guys use other software/organization tools you want to recommend?

I can’t say I followed that advice – as brilliant as it was – until last week. But man, did I learn a lot. I used my favorite book: Ice Blue by Anne Stuart as my guide.

Ice Blue is exactly the type of book I’d like to write – edge of your seat romantic suspense with smoking hot sexual tension and characters that I can’t stop thinking about even after I close the book. I have this amazing obsession with assassin heroes – and the women who bring out the human in them.

I outlined the book an Excel file, with columns for scene, chapter, pov, pages in the scene, description of the scene, sexual tension and when I remembered, plot “hooks”. The hardest part was putting the book down to get to the damned computer to plug in the scenes:)

I learned some remarkable things. For one, I learned how to slow things down while keeping the pace taut. (since I write short,  my stories tend to go at a breakneck pace, and a recent very favorable review compared my writing to a  highway where you have to grip the wheel with both hands…ie: Gripping but you can’t take your eyes off the road lol )

I learned how to seriously coil up sexual tension – my favorite part in a romance. And I learned how to interject subplots – without slowing down the pace too much – and keep those subplots relevant (which is always an issue with me – there are some brilliant books  where I skip over the subplots because they don’t have any real connection to the HH until the very end… )

In all, I’m thrilled with what I learned, and looking forward to repeating the exercise.

My biggest problem is getting out of the book long enough to actually absorb technique instead of devouring the story, and this technique allowed me to do just that. What do you guys do to learn from your favorite authors?

1. Throw out the writing books and read what you want to write.
This is from my conversation with thriller author  Robert Gregory Browne at the Book Signing Fair.

2. Get out of the mindset that a story is over just because you typed “the end”. You may be asked to add in a scene or two – and if you’re mentally “done” you’ll have a hard time coming back to that world.
This from a conversation with an Ellora’s Cave editor – very practical I thought.

3. Research is one thing but to really get into the mindset of a certain “profession”, read biographies of people living similar lifestyles.
This was either said byRick Mofina or Barry Eisler- my apologies for not quite remembering which thriller author said this, but brilliant advice non-the-less. It was said at one one of the thriller workshops – and really got my mind whirling. Time to renew that library membership!

4. Feel free to keep the “little darlings”  until the final draft, and let your editor decide which to keep or toss.
This was from a conversation with thriller author Brett Battles about inserting tidbits of your own cleverness into a manuscript and being reluctant to remove them.

5. Read more. (Duh right?) I’ve been sadly lacking in that department.

6. As you read, note or highlight (hopefully on the Kindle) the areas which you feel you could improve on.
This by our very own Lacey Savage

You guys got more tips (from RT or otherwise) to share?

I just returned from the Romantic Times Convention. For those of you who don’t know, this is one of the largest gatherings of romance authors and romance readers. It’s an annual conference, and it takes place in a different city each year. This year, it was held in Columbus, Ohio.

I’m going to skip over my horrid travel experience and just say that the conference was wonderful!

I presented on three panels this year, and they all went very well. By far the workshop I gave alongside Mechele Armstrong, Samantha Kane, Trista Ann Michaels and Liddy Midnight was the best attended. The workshop was entitled THE MÉNAGE PLOT: THE GLUE THAT HOLDS THREE (OR MORE) PEOPLE TOGETHER. We nearly packed the room. There were tons of questions, and at the end people came up to talk to us. A number of them said this was the panel they got the most out of from the entire conference, so I was thrilled. Since the panel was Friday, I left on a high note.

I also attended a few workshops myself — two of which were unbelievably good for me. One was on goal setting and productivity, with Vicki Pettersson. Absolutely amazing workshop. She was engaging, fun, genuine, and she gave me a ton of things to think about. I think attending that one workshop will do more for my productivity in the next year than anything else I could have done. The second was on conflict, and it was given by two historical romance authors: Robyn DeHart and Tracy Garrett. They made me think about conflict in ways I never had before, and I’m not new at this writing thing. Just when I thought I couldn’t get much more out of craft workshops, along comes something like this that makes me dig deeper than ever. I’m very glad I attended both of those. (This just goes to show that you never know where your next critical tidbit will come from. Take every opportunity to learn!)

I also attended other events: the parties in the evenings, the agents’ panel, the editors’ panel, some publisher spotlights. If you have an opportunity to attend an RT conference, or any writers’ conference, for that matter, take it. It’s a fabulous way to network with industry contacts and to learn, learn, learn!

What was the last writers’ conference you attended? If you’ve never attended one, what’s holding you back?

Related articles to check out:

• Quick Romantic Times Recap (whatever.scalzi.com)
• Overheard at Romantic Times 2010 (smartbitchestrashybooks.com)

You see, I don’t plot my books out ahead of time. I like to discover the story as I write, and let the characters tell me what needs to happen next. The problem with this technique is that sometimes, the characters stop speaking altogether. Mine were joyfully humming in my ear… until about 10 pages from the end of the book. I have one scene left to write, one scene in which to wrap up the story. And I have no idea what’s supposed to happen in this scene.

That’s a major problem. I can’t turn in a book with no ending to my editor. But no matter how long I stare at the monitor, or how often I tap my fingers on the keyboard, I still have no idea what’ll happen in that last scene. A major character has a choice to make. He can either say yes, or no, and that will affect the outcome of the story. Both choices are valid. He could go either way. And I have no idea which option he’s going to choose.

Frustrated, I turned to an online class I took in 2009. Holly Lisle’s How to Think Sideways is a fabulous intensive workshop. I’ve gotten a lot out of it, even though I don’t follow the step-by-step plotting process Holly recommends. I remembered that Holly has quite a few chapters dedicated to writing endings, so I thought I’d have a look through some of my printouts to see if anything there might help. And then I came across a brilliant technique.

Holly calls it the “Skip the First Draft Ending“. And it’s exactly what it sounds like. You call your draft “done” without having written an ending. Holly says:

“You are not lying, you are not deluding yourself, and you will be okay. You have finished the first draft of your book.”

Of course, she’s not recommending submitting the story in its current state — far from it! But Holly assures me that after a thorough revision process (which can sometimes take me longer than writing the book itself), I’ll have found the perfect ending for my book.

This feels right to me. I’m going to type “A Clever Ending Goes Here” at the bottom of the last existing page of my manuscript. Then I’ll take a day off, let the story breathe, and I’ll return to the revision process confident that there is a great ending for me out there, and that I’m going to find it.

Wish me luck.

It doesn’t really change anything for me in terms of traditional labels – I’ll still write a contemp today and a Urban Fantasy tomorrow, but now I know how to identify that feeling of “something missing”, and what to do about it:)

Plus, if someone asks me what I write, I don’t need to stammer between “romantic sci fi or suspence or time travel or fantasy” I can just say “Romantic Thrillers in various subgenres”. As long as I’m impressing myself, right?

How did you guys come to figuring out what you wanted to write?