Our focus at Decadent Publishing is quality storytelling. “We employ some really WONDERFUL editors, and they really care about developing a story and an author to give everyone the best.â€
As Red Sage’s first authors created erotic romance, this is where our heart is, so we want romance stories, which are erotic. Therefore a majority of what we publish will be romance and erotica. We also feel readers want variety. Sometimes you like erotic and sometimes you just want a great mystery or science fiction story or even something else. Surprise us and come up with something completely different!
Genre and sub-genre is unimportant, as long as the writing quality is strong and both the romantic and sensual elements are appropriate for what we publish.
We do not accept literary Erotica submissions. Manuscripts with obvious grammar, formatting and editing issues will not be considered. Make sure your work is critiqued and polished prior to submitting.
Heat levels go from “sweet†to “molten.†For more information, visit http://www.liquidsilverbooks.com/guidelines.htm
It is a new year and January is speeding by. I have not done as much writing as I had planned on. I started a new job and I am getting adjusted to that, but it is still taking more hours than it will once I get adjusted. At least I get to work from my couch or my desk. The problem with working from the desk is that Chewbaca, my dog, thinks I should play ball with him.
I started my alternative universe book the first week of January, got to page eight and got Pax into the new universe. Then I went back to work on it and somehow I had deleted it. I guess it got mixed up with the essays I was grading. I could not find it anywhere. It bummed me out.
I managed to get back to page two, but that is as far as I have gotten. Pax is back in the alley in
If I can get Pax back to the alternate universe, I might start making progress. Next week. I don’t have so many essays to grade, so I hope to get writing done.
I am missing my old job a little less, but that has also been keeping me from writing. Changing jobs is so stressful.
Everyone have a productive and happy month.
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Hi everyone! Check out the exciting online classes offered by the Orange County Chapter of RWA!
“OMG I ♥ It: Writing the YA Teens Want to Read”
with Suzanne Lazear
February 14 to March 12, 2011
Enrollment Information at http://www.occrwa.org/onlineclassFeb11.html
COST: $20 for OCC members, $30 for non-members
If you have specific questions, email occrwaonlineclass@yahoo.com
ABOUT THE CLASS:
The Young Adult market seems the place to be, but how to you not only make your story stand out in the crowd, but write a story teens want to read?
Teens are smart, savvy, and the books they read today are not your mother’s teen fiction.
Come join us and find out what teens expect out of a YA novel and how to write the YA story you want to tell in a way that appeals to today’s teens. Learn about the different genres from paranormal to contemporary and from clean teen to racy reads.
This hands-on class will work on the mechanics of writing YA and how it differs from writing for adults. Topics include creating realistic dialogue, characters, worlds, and plots teens can relate to, tone and pacing, and other differences and avoiding common YA pitfalls as well as what teens expect from today’s YA authors.
All YA manuscripts in all genres are welcome from “I have an idea†to polished and ready.
ABOUT THE INSTRUCTOR:
Suzanne Lazear writes for teens because her dancers made her and she never looked back. Sometimes known as “Lolita Suzanne,†she’s a regular blogger at the Steampunk group blog Steamed! www.ageofsteam.wordpress.com/ and a member of the Los Angeles Romance Writers. She’s never had trouble standing out in the crowd, but wearing a tiara will do that.
Her Steampunk Dark Fairytale for teens, “Innocent Darkness” will be released by Flux in August, 2012. She occupies a small corner of the West Coast where she lives with the hubby, the tot, a hermit crab, and two chickens, and is currently trying to make a ray gun to match her ball gown.
Enrollment Information at http://www.occrwa.org/onlineclassFeb11.html
COST: $20 for OCC members, $30 for non-members
Coming in March 2011
“Mauled Men, Drowned Dames and Crispy Critters; a Body Disposal Primer for Writersâ€
with Jeanne Adams
You’ve axed, shot or otherwise knocked off a key character in your latest book, now what? You have to do SOMETHING with the body! Find out everything you ever wanted to know about the pernicious particulars of body disposal and how to use minutiae of death to throw your characters together or drive them apart.
Jeanne P. Adams knows a thing or two about getting rid of a body, in reality as well as in books…her third book, Deadly Little Secrets (Zebra, Sept. 2010) is already being hailed as “One of the best Suspense Books of the Year!†by Romantic Times. She also is a multi-published non-fiction writer and consultant with twelve years of funeral business experience working both for a cemetery and several funeral homes. In her reading, she’s winced over a variety of mistakes dealing with the story’s dead guy (or gal), which led to this class!
Check out our full list of workshop at http://www.occrwa.org/onlineclasses.html
Want to be notified personally two weeks before each class? Be sure you’re signed up for our Online Class Notices Yahoo Group! Sign up at the bottom of http://www.occrwa.org/onlineclasses.html or send a blank email to OCCRWAOnlineClassNotices-subscribe@yahoogroups.com
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When I was eight years old I spent the night with my grandmother, a handsome woman who, as I look back, was probably younger than I am today but looked 10 years older. She was a German lady who wore housedresses and pin-curled her grey hair. She was proper, punctual and particular but when I woke up the morning of our sleepover, I found her holding onto the back of a chair, shoeless and enthralled by the man on the television. His name was Jack Lalanne.
Jack held onto the back of a chair, too, but he wore a skin-tight jumpsuit that showed off his muscles – all of them. I had never seen a man dressed like that. Even at eight, I knew I was watching something extraordinary – maybe even a little naughty. Watching my grandmother lift her leg ever so slightly, put her arm over her head like a ballerina, bend from the waist so that I could actually see the backs of her knees was awesome. Grandpa was gone. The doors were locked. The only sound was Jack’s voice encouraging my grandmother to do things I never thought she could do. I was privy to something I had no word for and I never told anyone about grandma’s morning with Jack.
Almost twenty years later, I met Jack Lalanne for real. I was an account executive with a major advertising agency and Jack LaLanne Health Spa was my client. Though I didn’t know it then, I was working on an account that was the forerunner of a social and health phenomena of fitness clubs, spas and specialty gyms. Before 24 Hour Fitness, Equinox or day spas there was Jack Lalanne.
We met during a commercial shoot. My job was to make sure we stayed on budget, on schedule, on message and that the client was happy. To this day, I don’t know if the client was happy. Jack, dressed in his iconic black jumpsuit, stood apart and managed only a distracted hello.
He was perpetual motion as he waited for his call: flexing, stretching, moving. And, most interestingly, he talked to himself. Eventually, I realized he was rehearsing his line. He only had one but the man was nervous and that made me curious.
How could a man who inspired my grandmother to take off her shoes and exercise, a man who spoke to people on TV every day be nervous about delivering one line? It took me many years and my own journey as a writer to understand why, that day on the set, Jack LaLanne was sweating. It was because he was not a pitchman, he was an advocate. Jack LaLanne sold best when he sold in his own language and with his own message. That man not only inspired people to exercise but to be their best in every aspect of their lives.
A few days ago, I woke up and found that Jack LaLanne had passed away. I doubt he would have remembered me but I will always remember him. I will remember him as a part of my childhood but I will also remember what he taught me about being a creative person. So, here you go. The lessons I learned from Jack.
Write, compose, draw, speak, work with love and focus.
Always exercise: your mind, your imagination, your skill.
Be consistent. Be a brand. Craft your own “black jumpsuit” so that when people pick up your book or see your picture or hear your song they will know what they’re getting.
Plan your career, do not calculate it. Eventually, calculation will override passion and you will lose your “voice”.
Do not worry about how many people read your work. Creating something that is meaningful to one person is more important than having thousands know your name but not remember your work.
Share your passion. If you have a chance to inspire, to coach, to encourage, do it. Do it with abandon. Do it with energy. Do it without concern that sharing your knowledge will take something away from you. It won’t.
Thank you Jack. I was inspired by your energy, your abandon and your goodwill. I will pay it forward and, when I do, I will think of you.
Have you ever had a cocktail? I remember when I was younger being curious about the mystery of mixing drinks, and watching and learning from my father. Cocktails were these magic elixirs, complex, mysterious, alluring. Cooking held little interest for me, but making the right twist of lemon was an art I delighted in learning.
My father enjoyed a martini and took pleasure in the details. The right glass, the balance of tastes, the brand, crushing the ice in his hand with a spoon to get the right size slivers, the perfect chill, the right additions. Everything had impact. Everything mattered. And when I would taste the drink, I had to acknowledge that indeed, it did.
As I recall, we were a lemon twist family. I don’t think I learned of olives or onions until some much later date, though limes and even an occasional mint sprig would find its way into a seasonal libation.
But the lemon twist was what made the average drink exceptional.
It started with finding a firm, fresh lemon, with unblemished substantial skin. Not for us those thin-skinned lime-look-alikes. A small, sharp knife was needed and a lengthwise strip would be cut from stem to stern. A bit of white was acceptable, but you were looking to get a nice 1/4 inch (finger wide) ribbon of the yellow top coat, covered with tiny pores.
You’d take that ribbon and squeeze it over the surface of your completed cocktail, white inside toward you, the outer skin facing the drink like—my father would gleefully explain—you were squeezing blackheads. And oil did indeed emerge from the peel squeezing, creating a film of lemon essence, an oil slick on the surface of the drink.
You would then gently sweep the perimeter of the glass with the outside of the peel and drop it into the drink (twisting the peel would deliver similar oil-inducing pressure, but is less thorough, in my opinion). As my father noted, one didn’t really taste much after the first sip of a drink. The chill, the alcohol, would often take over, so the fact the oil essence didn’t last much beyond that initial sip didn’t matter. What mattered was that first sip was exquisite, sparkling, aromatic, heady.
However my experience with almost all ordered cocktails is dreadfully disappointing in this area. Most bartenders take the words “with a twist” at face value, and some variety of a curlicue of lemon appears, extracted by an assortment of designer bar implements and it sits decoratively on the edge of your drink. Useless as teats on a bull.
The whole point of a twist of lemon is to add a touch of fresh lemon oil to your drink, for reasons of taste. Not solely to stick a piece of lemon rind in your drink! But almost everyone misses the point. They make a living doing this, and they still don’t have their eye on the donut, the key deliverable, the “beef” and not the bun.
Missing—or just not understanding—the point is not a new issue. It can be a problem for aspiring writers too, who may dutifully following the letter Vs the spirit of instructions. Doing something without really understanding why it needs to be done, what value it offers, can lead you astray. It’s often why editorial instructions, tip sheets, etc. can sometimes be non-existent, minimalist or vague—because the requesters know that some information can mislead instead of inform.
In fact, information can distract you from focusing on the point. As an adviser, you really want the creator to understand that it’s all about achieving the goal: creating the feeling, having the impact, making the experience happen for the recipient. Not (necessarily) about taking each step correctly, following rules, or delivering on the surface requirements, but not the substance. Instructions or information can be helpful, but when it comes down to it, the question will always be: is it delicious? Do I want to keep drinking (or reading, or whatever).
So if you’re having trouble making your text behave, now at least now you’ll know what to add to that beverage you’re going to be fixing yourself!
Do it with a twist.
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More info →A Slice of Orange is an affiliate with some of the booksellers listed on this website, including Barnes & Nobel, Books A Million, iBooks, Kobo, and Smashwords. This means A Slice of Orange may earn a small advertising fee from sales made through the links used on this website. There are reminders of these affiliate links on the pages for individual books.
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