Welcome to the romantic world of Tamora Rose. This blog offers writing advice, inspiration, and behind-the-scenes looks at the stories and characters that bring love to life. Whether you’re crafting your own happily-ever-after or just love reading about them, you’ll find helpful tips and heartfelt insights here. Stay tuned for future book news and upcoming video content.
Monday, May 26, 2025
Writing Romance When You’re a Little Bit Heartbroken
Tuesday, January 26, 2021
Getting Back To a New Normal
So now I will have 2 less people in the house all day every day. My sister is still not back to working in the office and my retired mother will still be home, but it's a start. With the kids returning to school, I can start diagramming what my week will look like. Last week I'd made the decision to return to nonfiction, and I still intend to do that. It's quick and easy and a little annoying but a good way to make some money. But fiction is my first love.
Still, can't dive too deep too quickly. Fiction doesn't work that way, at least for me. I need to ease back into it. I had wanted to return to my Fallen Romance series, but that takes a little more time, a little more research, a little more attention. So I'm turning back to romantic fiction. Historical romance, actually. That's always a fun genre to write and there's quite the market for it.
My idea for right now is still simple. I'll flesh it out later. Just a girl, running away from home, and getting into more trouble than she rightfully should. Formulaic, I know. But it works. It works well enough that I'm certain to find it a home as soon as it's written. How long will that take? Anyone's guess, really. But it's somewhere to start and it should be fun to write.
And I won't have the kids home 24 hours a day to interrupt me. Monday, here I come!
Tuesday, January 19, 2021
Writing Through a Pandemic
And in the meantime, we all have to find a way to manage, to get through the pandemic in whatever way we can. In my case, I went from being at home alone all of the time, to being able to get work done on a regular basis, to having a house full of people at every moment of every day. We've been in lockdown here for nearly 10 months. We live in a multi-generational household that includes my two children, my younger sister, and my aging mother. The boys were usually in school, my younger sister works in an office, and my mother was typically at an appointment or a small gathering with her group of friends. Sometimes she would visit my older sister for a few days. For the most part, I was alone. I could work in peace.
And then the pandemic came. Everything was locked down. My younger sister had to work from home. Schools were closed. Everything was closed and visiting each other was no longer recommended by our public health officials. Eventually, getting together at all with people outside your household was severely restricted. All we could do was stay home.
At first, that was fun. It was great. The kids and I built a barn, a rabbit hutch, and we had a fence installed for our growing hobby farm. At some point, however, I realized I had accomplished little work. In fact, I stopped writing for 4 months. How could I write? I had both my children at home and my house was crawling with my mother and my sister. I couldn't possibly work like this. And it would pass soon anyway. Wouldn't it?
As it turns out, no. I tried waiting it out, but it's now January of 2021 and we're not even close to out of lockdown. I can't not write any longer. I need to get paid, after all. But after months of not writing, it was going to be hard to get back into the habit. Did I have a choice? No, not really, but it would be tricky.
You'll often hear writers moan that we can't possibly write on command. We can't possible just sit down and get it done. I've been one of them from time to time, but it's just whining. I have to get something done. It's not an option anymore. I still have a house full of people and working with all of them wandering around is definitely not easy. And the libraries are closed so I can't wander off and write there. But not working is simply unacceptable.
I'm primarily a fiction writer. Tamora Rose is my pen name for romantic fiction, but I write fantasy as LAQuill as well. Writing fiction really does take some inspiration, and I simply don't have any. So I'll turn back to nonfiction. Not as exciting, maybe, but there's money to be made there and I have children.
It's been a while since I tackled nonfiction, and it's not my favorite. But it's an infinitely easier task than creating stories out of thin air. And it will get me back into the groove of writing every single day. Plus, if I get interrupted for the 9th time in a row, it's so much easier to reengage. I've been interrupted 4 times since I started writing this post 45 minutes ago. Long stretches of detailed plotting just isn't going to happen until people go back to work.
I'm not abandoning fiction. I'll work on my next romance when the house is quiet and the people are still. But right now, I need to write full time. Time to hunker down and get something done. Anything.
Monday, April 1, 2019
At the Beginning: That Dreaded First Chapter
The first chapter. I am not a fan of first chapters. I know they're the hook, the way to draw readers in. I know they are for catching attention, for giving the reader just enough information to want to continue the story. But I don't like them. I find them endlessly annoying to write, though typically a joy to read. I'd rather jump into the meat of the story, a place where I can weave plot and dump exposition because it makes sense and it continues the spell for the reader.
But before I can continue the spell, I have to start the spell. And that's a real bummer. Introducing characters and settings when I already know them by virtue of thinking them up in the first place...it's just so boring. And while I could write the book out of order, that never works for me. I have to start at the beginning or there won't be a beginning. I'll just never go back and write it.
So here I am. About to introduce Sorcha, a girl who's lived in my head for the past six weeks. I know her, I know her story. I want to write her story. But before I can do that, I have to orient my readers to the story I'm about to write. I have to make sure they can find there way.
It's important. I know it's important. But I don't have to like it.
Monday, August 17, 2015
Starting Anew: Finding the Idea
Monday, August 10, 2015
From Here to There: My Own Editing Nightmare
Monday, August 3, 2015
When Editors and Writers Clash
I'll be the first to admit that I'm not great with people. That's why I'm a writer. It allows me to spend my days all by my lonesome and not have to talk to anyone. Except when it comes to getting the book ready to publish. Then there are editors to deal with.
Let me stop for a moment to point out this little fact: I love editors. They have never failed to improve my books, and I'm not just talking about fixing typos and adding in missed words (though I greatly appreciate this, too). I have certain weaknesses as a writer, weaknesses editors are VERY good at hiding for me. For example, I over write. I'll keep going and going and going like an Energizer Bunny with a pen. I've written right past the end of my novels most of the time, and every time my editor will let me know exactly where the story ended. It can't go on forever, after all.
This is just one of the many things editors have done for me, so I love editors. Love, love, love. But I'm not great with people, so actually having to talk to someone about much of anything is a bit irritating. I suck it up because it's part of writing professionally. But I don't love the editing process.
Editors can probably sense this about me, and they're generally very polite and patient as I creep through the process. I've done it a dozen times, but I'm still leery of it. Not because my words will be changed (this is inevitable) but because I'm talking to PEOPLE. Dreaded PEOPLE. Still, I've always worked well enough with the editors in the past. We've meshed and sometimes even bonded over our love of the written word.
And yet this time...I don't know. We're certainly not meshing. She's not unreasonable and I'm not rude or anything, but we don't really get along. Like the coworker down the hall that is a perfectly nice woman and is good at her job but you can't stand her. To be clear: It's not that I can't stand this woman. We just don't exactly get along; there is little rapport between us. If we were working in an office, we'd tolerate each other but our bosses would probably make sure we didn't work together.
But my editor and I have to work together. So what are the options? Well, I guess we could not work together. She could not do her job, and I could not do my job, and absolutely nothing could get accomplished. It's an option. Not the best option, but it is an option.
I suppose she could appeal to her boss, tell him she doesn't want to work with me, and have another editor assigned. I've heard of that happening a time or two (not with me), but that seems extreme. We don't hate each other. She even thinks I'm funny in a strange sort of way. And I think she's a lovely lady (I use that word because she truly strikes me as a lady). Besides, as she's already told me, never in her career has she refused to work with an author, and she doesn't want to start with me.
So where does that leave us? I asked this question of my writer's group the other day (mostly because this is the kind of stuff we talk about) and I was surprised by their responses. Most of them advised me to refuse to work with the editor and demand someone I could develop a rapport with. I had to admit, I was surprised. Where did this attitude of entitlement come from? And I'm not just talking about writers. Why do we feel if something is too hard, or if someone isn't exactly easy to work with, that we should just abandon it all together?
Not meshing with someone isn't a good enough reason to freak out and get all demanding, especially for a writer. Life's not always easy. Things aren't always ideal. In fact, things are rarely ideal. In this particular case, the editor and I don't love each other, but we're both professionals. If she does her job, and I do my job, and we use a lot of email instead of phone calls (because emails can be less grating), then this editing process will eventually go away.
So what am I saying? Mostly that when a writer and an editor have a personality clash, it's time to put on your big girl panties and just deal with it. The editor can't rewrite your entire book, and he or she isn't out to make your life miserable. They're doing their jobs. Writers, myself included, owe them the same courtesy.
Now, if you'll excuse me, I have phone calls to not make. Mustn't talk to people, after all. It would spoil my hermit-like image.
Monday, February 4, 2013
Choosing a Point of View When Writing a Novel
So I've got my story. After spending most of the week fleshing out the plot, I run into my next crucial question. Point of view (also called narrative perspective) is nearly as important as the plot. There are many choices, all of them with their pros and cons. Generally, when writing the types of novels I work on, there are three choices: first person, third person limited, and third person omniscient.
First person, which uses the pronoun I, is great for getting into a character's head. You can reveal all thoughts and feeling your lead character is having and you get to know everything that character knows. The main character is not a mystery. This is great, and would be great, except for the obvious drawbacks, the first of which is limiting the point of view. As a reader, you only get to know what the main character knows. There is no way of introducing any other information (unless I make use of the idea of the Interlude, but these always annoy me).
The other problem is one of suspense. If I'm using first person, then the reader can guess, probably accurately, that the main character is sitting by the fire telling the story after the fact. The main character survived everything that happens. I don't usually like to kill off my main characters, but I do it occasionally and I like to have the option.
Third person limited is not all that far removed from first person. Third person uses the pronoun he or she, but the point of view is still limited (for the most part) to the main character. This imposes some distance between the main character and the reader, and as an author, I don't have to reveal everything the main character knows. This allows for more mystery and some suspense. But I still have a hard time killing off the main character, since we've been mostly in his (or her) head the entire time. Also, this point of view can become boring for some readers, which is the kiss of death for any author.
Then we come to third person omniscient. A good point of view, as far as it goes. I can dip into anyone's thoughts at any time and I only reveal what I want, and only when I want to. I can kill any character and keep the integrity of the story. The problem? This point of view can seem cold and distant, which it is to a certain extent. It also leaves me open to being accused of head hopping, which is leaping from one point of view to another and confusing the reader while doing so. It can be done, but it takes a little more care and patience to do it well.
My choice, as always, must be dictated by the story itself. Looking carefully at my plot, it became clear to me that I only rarely drift away from my main character. With a little careful rewriting I can eliminate these scenes and drift closer to first person point of view. But I don't want to get that close. A little mystery is good for this particular story, since I don't want to reveal the end too quickly. Third person limited, then. But I like the intimacy of first person, so I think I'll do a prologue and an epilogue in first person. The best of both worlds.
When you are searching for a point of view, disregard what's popular and what you might be used to. This decision should be driven entirely by the story, and not by what is currently popular.
Want more information about narrative perspective? They this little video for starters.
Monday, December 24, 2012
The Torment of Revisiting Old Novels and Poems
When I do revisit my older works, I inevitably find things to change. This is great. It means that the book, poem, or article will go off to the editor/publisher as polished as possible. I'm finding things that weren't perfect the first time around and making the entire work better. There can't be anything wrong with this. Can there?
Well, let's talk about the torment of the entire situation. If I read a sentence and can't believe I wrote it, it's a little bit of a blow. Not a big one. I'm a writer, I can cope with changes (whether those are made by me or someone else). Still ... the idea that I could write a sentence that isn't perfect is annoying. Yes, I know perfection is unattainable, but that's not the point. Revising is still not a lot of fun.
I typically revise for three weeks. That's it. I don't make any changes after that unless asked to by the publisher/editor. I should be happy, right? I am. Right up until I read my own book a year later. I always find something I wish I could change. A piece of plot I didn't include. A minor character I didn't flesh out. A word I wouldn't have used. Dialogue that could have been wittier.
In most cases, the work has already been published and it relatively unchangeable. Even if I could change it, it's not usually a good idea to make significant changes. So I have to live with an imperfect work. And that can make me just a little sad.
But there's a bright spot in all of this. When I look back on books written three or more years ago and I note all the things I'd change, all the things I'd do better, I'm heartened. I've progressed as a writer. I'm better at my job now than I was three years ago. And three years from now I'll be better at my job than I am now.
I'm growing as a writer. The torment of knowing that there are things I'd change in past books is lessened by the knowledge that each subsequent book is better than the last. And this is a wonderful thing.
Monday, December 10, 2012
Making Real Life People Into Characters in Your Novel
Or do you? Look around you. Maybe not right now as you might be sitting on your computer in your own home. But next time you're out for a walk or on your way to work, glance around. There are people. More people if you live in the city, but there are still people out in the country. People going to work, people you live with, extended family. We all know some people. And we can observe more still. With so many people around, how can any writer claim to run out of characters for a book?
So this week I looked around. I watched friends and family, I watched people at the grocery store, and I watched families as I took my own children sledding this past weekend. Some of these people probably thought I was pretty strange with my notepad and pen, but that's okay. I watched and I listened. And I had a lot of fun as I realized once again that people are just plain weird. "Truth is stranger than fiction" has never been more real than it was this past week.
But all these people will make great characters. And I had a lot of fun imagining what they'd do in the situations in my novels. It was exciting and entertaining and certainly useful. There are so many different people in the world that I quickly found myself with more characters than I needed. Some of them are neatly written down and stored in my filing cabinet for future use in whatever story I come up with next.
So if you're having trouble creating well rounded characters, look to your neighbors. And your family. And whoever else you happen to encounter. Then insert them into a fictional situation and see what happens. Just remember to change everyone's name so they don't recognize themselves!
Monday, December 3, 2012
The Power of Dreams While Writing a Novel
So this had been a tough week. Too much to do and not quite enough time to finish it all. So what did I do? I took a nap. That's right. Four projects that really should have been finished in November still sitting on my plate, and I decide to take a good long nap. Why? Because when we sleep, we dream. And dreams inspire us.
I certainly needed some of that inspiration this week. Writing a novel is a tricky thing. It needs skill, talent, luck, and inspiration. I can command the skill and the talent, and the luck is usually with me anyway, but the inspiration can run off just when I needed it most. So I used my dreams as a source of inspiration. People in my dreams became characters in my novels. Places become settings I'm proud of. Plots come out of the rather random things that happen in my dreams. And it all comes together, sometimes over several nights (or widely spaced naps).
This is what I did this week. And while it might seem like I spent a lot of time doing nothing but sleeping, I actually got far more done this week than I did last week. If the next four week go as well, I'll meet my goals with time to spare.
Here's hoping.
Monday, November 26, 2012
Happy Accidents When Writing a Novel
This week I ran into a happy accident of my own while writing my current story. Weeks ago, when I had just started on my current novel, I was writing Chapter One (because I was at the beginning, of course). I had a couple of random characters in that chapter whose only purpose was to allow the protagonist to have a conversation with someone of no significance. Having conversations with someone who doesn't matter is what this particular character does, and he does it frequently.
Well, this week I was working on Chapter Twenty-Four. I'm basically halfway though this first draft. And suddenly the characters from the first chapter made a reappearance. They became useful in a way I'd never anticipated. I'd certainly never planned on ever using them again. But they just fit the situation and I didn't have to do much to establish them as characters because they had already been introduced. Okay, so I have to go back and tweek Chapter One just a little (by about ten words). No problem.
The point is that happy accidents result in some of the best parts of a book. No matter how much we plan out a story, it will inevitably surprise us. And this is the best part of writing a novel.
Monday, November 19, 2012
Using Poetry to Fuel Your Writing
After much thought, I realized what the problem was. I wasn't digging deep enough. The emotion wasn't there and without that emotion, this particular scene was going to fall flat and would not contribute to the final novel. And if it wasn't going to contribute, I needed to either cut the scene or fix the problem.
Cutting the scene was not an option, so I had to fix it. I had to find the emotion that would fuel the scene. This is often the key to writing a novel. Of course, it's easy to say "find the emotion." It's much harder to actually do it. After three days of agonizing over this, I turned to the most emotional form of writing I know -- poetry.
I wrote the scene as poetry instead of prose. I let it form in verse and suddenly my brain was engaged. I was digging for the real meat of the scene and leaving behind that which just didn't fit. If there wasn't room for it in the poem, it didn't belong in the prose. Once I had the entire scene written as a poem, I went back and converted the poem into prose. And I am immensely pleased with the results.
Did this take me a little longer than simply writing the scene would have? Well, yes (if I'd actually been able to write the thing in a satisfying way). But the results are more than worth the effort. So if you find yourself in a bind while writing your first novel (or your tenth), try using a little bit of poetry to reengage a sluggish brain.
Monday, November 12, 2012
Write What You're Interested In
I hate this little bit of "advice" that seems to pop up frequently. It really doesn't help anyone. Why should a writer confine herself (I'm a woman, I'm going to use the feminine here; no offense to the guys) to what she currently knows when she can go out and learn just about anything. It's a limiting viewpoint and not something I subscribe to. Especially when it comes to giving advice to students, since they don't know as much now as they will 10 years from now. They could get stuck in a mentality that will never lend itself to the best they're capable of.
So I amended the statement. My exact words were, "Let's change that up a little bit and say that you should write what you're interested in. You can always go out and learn something new." What does this mean? Well, maybe you want to write a non-fiction book on learning to ride horses but you've never even touched a horse in your life. You can still write the book. Get out there and learn to ride and write a book about it.
Doesn't this mean that you're now writing what you know? Well, yes, but you didn't know how to ride a horse before you got the idea for the book. The point is that you should never let the statement "write what you know" direct your writing. Instead, go with your heart. What do you love to write about? Horses? Fantasies? Murder mysteries? We all have things we love, and we should direct our efforts to these areas.
If you can do this, you'll soon find that the words just pour out of you and take their place on the page.
Monday, October 29, 2012
Taking Advice From Others About Your Writing
Why? Because this week I encountered no less then six people, aspiring writers all, who simply cannot take advice. It's really maddening. And I'm not talking about these people taking my advice. I'm talking about them not taking ANY advice, not from anyone. Not from an agent who replied that the work was just too long or the editor who stated that the conversation was just too trite. These aspiring writers simply refused to acknowledge that their writing was anything less than perfect. And these are people who hope to be published!
I'm not saying you have to change your story over every little bit of advice you get, but you have to be open to feedback. As a writer, or an aspiring writer, you have to keep an open mind and understand that advice can often improve your story, hone your skills, and increase the chance of your work making it past the slush pile. The advice of critics can and will make you a better writer, but only if you're willing to hear it.
If someone with experience gives you advice, you should seriously consider it. A publisher, editor, or agent is usually an expert in the field. Others writers who have been published have a good idea of what works and what doesn't. If someone you trust tells you something is just not working within the story, do yourself a favor and really look at ways of improving your book.
And, if you absolutely refuse to accept any advice whatsoever, don't whine when you keep getting those rejections slips. Instead, frame then as a testament to your stubbornness. Harsh? Maybe, but none of us are perfect. I've never written a book that hasn't changed between the first draft and the last, and I'm pretty sure other authors haven't either.
Monday, October 15, 2012
Taking the Vanity Out of Writing
It happens to me sometimes. In fact, it happened this week. I was working on the first draft of a novel that as yet has no title, and I started approaching it all wrong. I started thinking about what my agent would want, what the editor might change, and how the publisher might market the book. Instead of writing a first draft, I was working on what would probably be the third. And I was skipping the most crucial steps, so I began to lose the core of the story I was trying to tell. Not good.
When you're at the beginning of your journey, when you're just starting to write that book, you absolutely shouldn't be focused on getting published. Until you have a workable product, there's no point in worrying about what you'll eventually do with it. So forget about being published. Dismiss the vanity that comes with imaging yourself as a bestselling author. Put all that aside.
I had to. I managed to. After two days of playing agent/editor/publisher, I remembered that I am a writer. My job is to use the power of the written word to weave a tale that's consistent, well written, and has a solid theme and premise. And I have to focus on that job until it's done. First draft, here I come.
Leave your vanity at the door when you first start working on that novel. Don't think about the world or how your neighbor might react to your words. Write a powerful story, regardless of genre, without any concern for how it might eventually be received. There's time for polishing and primping later. Pretend that no one but you will see the story. You'll stick it in a drawer somewhere and eventually, after you're dead and buried, one of your great-grandchildren might find it. Craft the story you need to tell. Later, hopefully with the aid of a skilled editor, it can be turned into something that may eventually sell to the general public. But now is not the time for that.
Once I'd remembered this, my fingers flew over the keyboard. My first draft is coming along nicely, my characters are developing (when they're not stopping in at the local pub for a beer), and the plot is shaping up. Of course, I had to delete the first two days' worth of work, but that's okay. The 'delete' key is there for a reason.