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Two Authors Are Better Than One

Two Authors Are Better Than One

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Published by lovely_salome

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Published by: lovely_salome on Jul 14, 2011
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07/14/2011

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FEATURE
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AgreeingwhatcOnstitutesg{Qatr0rnance*lustasirnportantsyolrrBktllseis0rhowmanyhoursa dayyoucanr:orrwittc aprcject,
romance authorshave turnedto cowritingas ameansof escape.tcanbe a fun,refreshingprocessthatyieldsresults uniqueto both authors'usualstyles.
TheBeginning fa Beautifulartnership
Key elementsmust beinplacebeforeyouembarkonapartnership: equal commitment,a compatiblewritingpace,and a matchedunderstandingof craftand style.Also helpful are similartastes.Doyouhave similar tastesn romances,movies, and/orcelebrities?That's a start.But dig deeper.What is itabout a certainmoviethat excitesyouboth?If onepersonoves Prideand Prejudicefor thequiet,reservedomance sharedby Janeand Mr.Bingley.whilethe other can'tgetenough ofbroodingMr.Darcy and sharp-tonguedLizzie,yourideasmaynevergel.What wefind romanticand sexyis as variedaseachndividual.Agreeing what constitutesagreatromancesustas mportantasyourskillsets orhow manyhours a dayyoucancommitto aproject.Thus,many successfulrofessionalpartnershipsbeganas friendships-thecommonalityof taste.This energyevealed tselffor the writingpairofMoira Rogers(Sabine).Twofriends, Donnaand Bree, had spentyears plottingromancesogether,buttheprocessof writing solonever appealed.After muchpracticeointlylearning their style andcraft, theyrealizedpartnershipwasthe key thathad been missingfromtheirpreviousattemptsowriteontheir own.
TWOAUT|IORSAR
BY CARRIEOFTY
Howdoyouwritewith anotherauthorandmaintainourfriendship?One-halffa cowritingteamexplainshensandoutsoftheprocess
In the summerof2008, myfriend AnnAguirre hada dreamabout agirlwhoturned into aDoberman.Becauseofother writingcommitments,Ann didn'tfeelprepared ogivethe idea atry on her own. Ourfrequentnstant messagingchatsed to somethingsheand I are verygood inflicting onone another:adare.She wouldwritethe heroine'spoint-of-view,andI would writethe big,badhero. For theexcitingweeksthatfollowed, weexploreda dark,apocalypticworld of ourown creationwhich wasnewto me, sincemy solo workis historicalromance.And, almostbyaccident,webecamecowriters.NowwhenI mention ourointpseudonym,Ellen Connor,andour DarkAgeDawningtrilogy,I'm askedone nvariablequestionromauthors andreadersalike:How doyouwrite withapafiner?Icouldonly answerrommy experience,whichledmetowonderaboutother successfulcowritingpartnerships.The entiredea seemscounterintuitive.Weauthorsare stereotypicallyknownforbeingcontrol-freakmastersof ourfictionalworlds.Sharinghose deas-especiallysuchpersonal deas aboutove, sex,and romance-canbe alittle intimidatins.But a number of
30June2011RWR
 
EETTERrA)'lON=
Method to the MadnessEvery author eitherhas an establishedrocessor isstill defining whatthat means. magine,now,leaming thatprocesswithanother ndividual!Ann andI have always split our assignmentsalong characterines. For example, wrotetheheroes or NightfallandMidnight and the heroinefor DaybreakThis assignmentof charactersbecame soprofoundthat one of us mightIM theotherto ask, "What would she sayn this scene?What is sheeeling?" The exchangeofideas meansa near-constantevel of communicationaswe writetoensurecontinuity andthe development of a solidcharacterarc especiallyas we work toward thefinale.While the chapter-by-chapterystemworks formany, the writingpartnershipofIsabel Roman(DarkDesires oJhe Druids) uses aneven moreorganicapproach.Christinedoes99percentofthetypingandgrammar,whileMarissa does 99percentof the fine-tuningof theplot.We bothloveto do research.When wewrite, we doso while onthephoneso that all chaptershave both ourhandsin them."Moira Rogers alsotakes heir cooperationightdowntoeveryline. "Instead oftrading off themanuscript every chapterorso, we doitconstantly,back and forth.Thereprobably isn't aparagraphwe don't both have ahand n."Theoft-discussedopic of voices not asmuchofan issue as many might assume.Ann says,As
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