I have a WFW confession. Melissa Senate is a new-to-me author. You know, the one you find out about, read and then see she has been an author for ages. When that happens I feel lucky and annoyed at the same time. Lucky that I have another author to read, admire, interview and get to know – and annoyed that my reading journey did not lead me to her earlier. Live, learn and eat chocolate, as they say (they being me, of course).
Melissa’s insights have really given me a lot to think about. My suggestion is to read slowly – and share your own thoughts in the comments. While you do that — I’m off to write a short synopsis of my WIP!
Please welcome Melissa Senate to Women’s Fiction Writers!
Interview with author Melissa Senate
ASN: Melissa, you’ve been writing and publishing for — like — ever! Can you give us insight into your career, the different kinds of books you’ve written and how your career has evolved?
MS: My first book, See Jane Date was classic chick lit, written specifically for the market. I heard the words Sex in the City meets Ally McBeal, and my heart pinged with joy. (Which, now that I think about it, is the opposite of writing to market—I was just lucky that what made me joyful, what spoke to my heart, is what was Hot at the time). That novel started my career, and I wrote 6 very chick lit novels. The market began changing a few years into my career, but I was too. I was single and living in a New York City 4th floor dingy walkup studio apartment when I wrote my first book. When I wrote my second, I had a newborn and a real bedroom. As my life changed, my writing changed with it. We both matured together (I hope). I think my last two novels, The Secret of Joy and The Love Goddess’ Cooking School are a hybrid of chick lit and women’s fiction.
ASN: The publishing journey – or process – is different from the writing process. What’s your writing process?We talk about that a lot on the blog — obviously whatever you do REALLY works for you!
MS: My last job as an editor (before I became a full-time writer/freelancer), at a very creative YA book packager, required me to create plot arcs and synopses for popular ongoing series, like the Sweet Valley universe. I learned so much at that job (such as how to write a synopsis in the voice of the main character(s), how to structure a book on plot points/highs and lows, story-wise and emotionally, etc. Because of that wonderful training, I’ve become a big believer in The Synopsis. When I get an idea that really “sticks,” I let it gel in my mind for a while and then wait for it to “synopsize” while I’m sleeping, in the shower, out walking, etc. (Best ideas happen when I’m not trying to think.) Once I get a sense of the overall story, I like to write a mini synopsis of the entire book, hitting the major plot developments, major emotional developments so that I completely understand what I’m doing, where I’m headed and why. A lot changes in the actual writing of the manuscript, but I need that blueprint to start writing even the first paragraph. I think that makes me the opposite of a pantser.
ASN: Your latest book, The Love Goddess’s Cooking School, has a lot of delicious food in it. One of the reviewers says not to read hungry (which I found so funny!). Are you a cook or a foodie? Both? Neither?
MS: I’ve always wanted to be both a cook and a foodie, but am neither, even after spending all that time in the kitchen writing Love Goddess. I’ve always envied foodies their incredible appreciation, and cooks their talent. I want to believe you can follow a recipe and it’ll come out magically like Marcella Hazan’s or Julia Child’s, but cooking, being a good cook, is such a true talent. For my main character, Holly, I think that talent lay dormant since she was very young and gave up cooking. So when she got back in the kitchen, when she had to, her talents emerged to make magic. I can make some passable dishes (I do make great omelets, and I did master the few dishes I focused on for recipes in Love Goddess, but a great cook I am not. I do love to eat, though!
ASN: Can you share with us what you’re working on now?
MS: I’m just finishing up a novel that will be published in 2012 but can’t talk details yet. (It is women’s fiction, though!)
ASN: How do you define women’s fiction?
MS: Sometimes I think The Genre, in terms of a marketing label, is chick lit grown up. Chick lit’s older sister who’s learned what’s important to her and is now dealing with life’s issues from a more mature outlook. But umbrella-y, the term encompasses so much, and it’s impossible to pinpoint. Marketing-wise, I think women’s fiction is a specific genre. But so much is called chick lit or women’s fiction that has no bearing on what’s inside the book. A book with a woman at the center? It’s called chick lit. Women’s fiction. But to me, true chick lit, true women’s fiction, is something much more specific. If I had to pinpoint, for me, what defines women’s fiction, it’s a particular kind of heart at the center of the novel. I know it when I read it!
ASN: What’s your best advice to aspiring authors of women’s fiction?
MS: Two things: 1) Read widely. Note what you love and why, and note what you don’t love about what you put down after 30 pages. What’s resonating, what’s not. Why? Examination! 2) Write about what you care about. That’s key.
Thanks so much for having me on the blog today. I’m such a fan of this site!
Thank you, Melissa! I’m so glad you wanted to be part of WFW!
Melissa Senate is the author of 10 novels, including her debut, See Jane Date, which was made into a very cute TV movie, two YAs, and her latest, The Love Goddess’ Cooking School, an Indie Next Pick that Publishers Weekly said “reinvents comfort food.” A former editor and current freelancer, Melissa writes full-time from her little house on the coast of Maine, where she lives with her son. She’s working on her next novel.
I love the definition of women’s fiction as “chick lit grown up.” A lot said in those 4 little words. And I envy the ability to write a synopsis. I would rather experience natural childbirth again. At least with that, it happens whether you want it to or not. 🙂
LOL, Densie–not that natural childbirth is funny. 🙂 I think the key to a synopsis NOT being torture is to write it before you even think about writing a word of the book. That might sound unimaginable if it’s not your process, though. I love how everyone approaches the craft of writing so differently!
Hello from a coastal Maine neighbor, Melissa & Amy! 🙂 Great interview and I look forward to Melissa’s next book. So interesting to hear about how you start with a blueprint — I’m a planner too and I love that term!
Thanks, neighbor! I keep telling myself that with the next book, I’ll try just writing and see where my imagination takes me…
I also love the term blueprint — and the specifics of plot and emotional points being part of it. THAT is a blueprint for a blueprint!!
Thanks, Melissa!
I do want to clarify that being a plotter/blueprinter doesn’t mean I necessarily follow it (especially to a T) when writing the manuscript. In The Love Goddess’ Cooking School synopsis, the main character’s grandmother’s diary entries weren’t even mentioned; I hadn’t thought of including a diary for her until I was 1/2 way through the book, and her diary ended up being a huge part of the book. Another character, a single dad, was a married couple in the synopsis. The synopsis just lets me start out confident in what I’m doing–and then all the magical surprises of character/plot/ideas can make themselves known during the writing of the book.
I totally get that, Melissa! I think of it like making dinner (some nights). I go into the kitchen knowing I’m going to make chicken and when I get there I decide mac and cheese is the way to go. But I’m there – I’m in dinner-mode – I might even make the same green beans. Does that make any sense? I think that having a plan puts you in the right mindset for writing, even if what you write ends up to be something you didn’t expect or plan.
I love the idea of creating a blueprint. I’m not a natural planner (I appreciate Denise’s analogy about childbirth) but I also definitely understand the need for some sort of loose overview when writing anything–a book, a story or an article. Amy, I love your dinner analogy! A synopsis is like a recipe. You start with a plan and a direction, but still manage to throw in something unexpected, something that really helps to spice up the story. Melissa, I’m so looking forward to reading your next book. Thanks for a great interview Melissa and Amy!
I liked this interview, especially the part about defining women’s fiction. My first two books are women’s fiction and yet to define it is very difficult, but chick lit all grown up might be a good definition! But you know it when you see it also makes sense to me. It’s such a big umbrella that it makes it hard to pinpoint. Great thoughts, though.
Patti
Hi Melissa! Aside from sharing the same name, we have much in common. Like you, I find my best ideas when I’m NOT trying to think. As well, I can’t get started on a story until I have some type of “blueprint” or framework. I know that things will change as I write, and I make room for that flexibility, but just having that initial structure provides a bit of a security blanket for me. I guess it’s like I’m giving myself permission to get started since I have a plan that can hold my hand along the way. (Mind games!)
Another novel in 2012? I better get to LOVE GODDESS (on my bookshelf!) so I can make room for your next. Thanks for the great interview, Amy and Melissa!
What a wonderful interview. I always struggle between my neurotic side that needs to plan everything out and my laid-back side that just wants to dive in and do. I love the idea of a blueprint to guide and the idea of writing “chicken” on my blackboard in the kitchen then seeing what I have in the fridge to turn that chicken into something special.
And I just ordered The Love Goddess’ Cooking School!
Thanks so much for these wonderful comments! And Amy, thank you so much for having me visit the blog!