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Edita Petrick and Ericka Scott

Interview: Apr 25, 2008

Wildfire would like to welcome authors Edita Petrick and Ericka Scott.

Edita Petrick

Julie: When a new book comes out, are you nervous about how readers will react to it?

Edita: Strangely, no. Readers have different tastes and if they don't happen to like my book that comes out, I know that chances are they will like the next one�at least that's how my mentality works�because my 'next' one is always different from my 'last' one.

Julie: How long have you been writing? What inspired you to pick the pen up one day and create characters that capture the imagination?

Edita: Professionally, ten years. Prior to that, I wrote mostly short stories�sci-fi and fantasy, and a few were published in now-defunct magazines. I'm probably going to burn in hell for saying this, but I don't get inspired. I�question things and people around me all the time. And when I come to an intriguing question (what if�this or that happened to so-and-so in such and such circumstances�etc.?) then I walk around with the story in my head for a few months until one day it's ready to be written. That's the time when I sit down and write it�all at once. If I stop, that story will not get finished.

Julie: What makes your characters so vulnerable yet strong? Can you describe them to us? What do you do when characters stop talking to you when writing?

Edita: Since my 'story premise' is always conflict-driven, my characters are the ones saddled with conflict and whenever someone faces a conflict, they're vulnerable. I think it's the nature of the conflict that 'defines' their degree of vulnerability. I certainly don't WRITE characters vulnerable. It's how their conflict, and their action/reaction to it, shapes them. Never (another claim that's probably going to see me stoned by other writers) once I have the story and characters in my head, the story plays and people who carry the story roll with it. With me it's not characters talking to me, metaphorically or otherwise, it's ME sliding into each character's predicament and riding with it as their shadow. I've never had a problem 'playing or presenting' myself in many different roles and angles to the outside world�and sometimes even to those who live inside my world, like my kids�who at times claim that "Mom's possessed�again".

Julie: What about the heroines for these determined heroes? What makes them strong enough to capture the heroes heart?

Edita: I write my heroines intellectually equal to my heroes�not circumstantially or any other way but intellectually�what they think and say and how they say it. I always believed that brains in a woman is what makes her appealing, resilient, and a better fighter, no matter what circumstances. I think, at least for me as a writer, what makes my heroines appealing is a good dose of sense of humor. Same holds true for the hero. That's not to say I can't write characters without a sense of humor, but at least one of the main leads is going to have it in any novel I write.

Julie: What do you feel is the most important thing that a first-time authors should know?

Edita: Master writing in ONE pov�and I mean master. And only then experiment with other styles. Once you're sure of your writing craft, consider your writing on par with lottery. You can win it any day, any time�or not at all. Basically it means you've got to stay with it for�well, forever. At some point, you're going to have to stop obsessing about success and just write the best novel you can. Any break you catch: getting a powerful agent, selling a novel to large publisher, getting a 2-book deal, etc., consider it astronomical luck and never, ever rely on it to last. Let the world know that your next novel is going to be TEN TIMES better than your last one, each and every time.

Julie: What is your writing process? Do you outline, fly by the seat of your pants, or a combination of both?

Edita: Out of the mist writer. Only dimly perceive how the story's going to end. Once the story lives in my head for some time, I sit down and write it. I don't have all the details or ins-and-outs. I improvise a lot as I go along but the basic, skeletal framework of the story and people is solid when I'm finally ready to sit down and write it. The reason why I "live and walk" with the story in my head is that by the time I'm sitting down to write it, I KNOW that I will remain interested in this story. You see, very often, a story plays in my head for a while and then just�fizzles out, wafts away. That's why I don't sit down the moment a story pops in my head and write it. Not every story deserves to be written.

Julie: What genre do you want to try your hand at but haven't?

Edita: Just did: erotic romance. The so-called romantica, with strong urban fantasy elements. It was hard work, and in spite of what many readers and writers believe, erotic romance is NOT that easy to sell.

Julie: What do you hope for your writing career in the next few years? Any goals that you have yet to obtain that you have set for yourself?

Edita: I blew one very powerful agent's offer of representation. Extenuating circumstances, definitely forgivable on my side, but I haven't quite gotten over blowing this chance. Of course, the agent now refuses to talk to me�sigh. My goal is to get an agent who is comfortable with all genres and basically doesn't want to limit me to one category. And I am determined to find a large publisher for my fantasy-thrillers, a category that I find more difficult to promote in e-publishing.

Julie: Most people envision an author's life as being really glamorous. What's the most unglamorous thing that you've done in the past week?

Edita: Past week? How about past and present life�.? Glamour is actually boring, whether that means dressing-up or dining or 'doing' whatever scene there is. I have a day job, like many of my fellow authors, and my day starts on a very un-glamorous note: commuting.

Julie: What books are currently on your nightstand?

Edita: Sudden Fiction (short stories), Sue Grafton's O - , Anne Perry, and just finished (again and again) Heinlein's Starship Troopers�I'm analyzing his prose�terse is the keyword here. And I have just finished reading at work, during my lunch-hour, 2 Harlequin Presents; theme was Italian husbands.

Once again, I read them for analytical purposes, structure of the story more so than prose.

Julie: Describe the space where you write.

Edita: My office-library. Window looks out on the street. Our wheaten terrier pups just love to 'hang out' by the window, panting and moaning after every person and dog walking out there. When they settle down they come to sit by my feet as I write.

Julie: Do you prefer writing series books over non series or does it matter?

Edita: I have 'phases' where I write individual books, all hugely different from one another, and then I have 'moods' where I write a series that starts from a novel I particularly enjoy writing�to such degree that I don't want to stop and since length is always a constraint, the novel rolls into a series.

Julie: What's next for you?

Edita: I have to but absolutely have to, finish 3 novels that I have nearly completed but something in life distracted me from finishing them. This is going to be the proverbial Titanic-task. Not sure if I can do it.

Julie: Do you remember the first romance novel that you read?

Edita: Something by Guy de Maupassant, Anna Karenina, and Wuthering Heights.

Edita writes romance, fantasy, mystery and a combination of any two genres. Most of her romantic suspense novels have paranormal elements. Those that don't are romantic thrillers.

She graduated from University of Toronto with a degree in civil-geological Engineering, and spent years working in corporate environment, filled with intrigues and machinations. It certainly helped to shape many of her female characters.

Backlist:
The Cracked Shadow, Cambridge Books/Ebooksonthe.net
Cold Scheme, Cambridge Books/Ebooksonthe.net
Sweet Poisoned Wine, NCP

Coming soon:
The Flaming Tiger, NCP
Burning Spiral, Ellora's Cave/Cerridwen Press
The Coffin Trader, The Wild Child Publishing

Links:
Website

Ericka Scott

Julie: How long have you been writing? What inspired you to pick the pen up one day and create characters that capture the imagination?

Ericka: I've been writing stories for as long as I could hold a pen. However, I started writing romances back in junior high school. The stories were fictional escapades about me and my two friends, Kim and Dawn. The notebook they were in would get passed around at lunch and recess. It wasn't until 1993, when my daughter was born, that I began to really consider writing fiction with an eye to getting published. It took three years before my first short story was published.

Julie: What is your writing process? Do you outline, fly by the seat of your pants, or a combination of both?

Ericka: I am a plotter, through and through. Currently, I'm using Randy Ingermanson's "snowflake" method for plotting.

Julie: How much does reader reaction mean to you as an author?

Ericka: I write for the reader, so it is very important to me. I love getting fan mail and cheer with every good review and reader rating I receive. However, I also know that not every book is for everyone, so I try not to take it personally if someone doesn't care for my writing.

Julie: When you write, is atmosphere important? For example, do you use mood music or candles? Do you need complete quiet to concentrate?

Ericka: I need total quiet in order to really transport myself into the place I need to be to write.

Julie: What do you hope for your writing career in the next few years? Any goals that you have yet to obtain that you have set for yourself?

Ericka: This year I hope to write twelve novellas for e-publication as well as one full-length novel I hope to start shopping around to NY publishers.

Julie: Do you work on multiple projects at the same time?

Ericka: No, I only work on one project at a time so that I can fully concentrate on the characters, setting, and drama.

Julie: There are so many publishers out there, how do you decide who to submit your work to?

Ericka: Good question. I look at the publisher's website and buy several books from them for research. If I know any of the authors published at that house, I'll usually contact them to find out how they enjoy working for that publisher. If I like what I see in terms of editing, cover art, and contract, I then submit.

Julie: What do you feel is the most important thing that a first-time author should know?

Ericka: Rejection isn't always a bad thing. Although it sucks to get a rejection letter, it is an opportunity to take another look at the manuscript with fresh eyes. With each word written, a writer grows in their craft and can probably see a multitude of ways to improve a story written a year ago or a month ago. Having it rejected is a second chance to make it better before it's accepted, printed, and out being judged by the world of readers.

Julie: Dealing with writing deadlines can be a challenge. What do you do to cope with the stress?

Ericka: Well, I'd like to say I'm calm and collected�but I'd be lying. I avoid pushing up against deadlines as much as possible. "Get it done early" is my motto. Either that or I feel like I'm running around with my hair on fire.

Julie: How involved do you typically get with regards to cover art for your books?

Ericka: I hate the cover art forms from publishers. Especially when they ask you what you want on the cover. I'm not an artist; I can't even draw stick people! I have to say that so far the artists I've worked with have been spectacular in their interpretation of my forms. Thankfully, most of them simply ignore what I think I want and give me something stunning that takes my breath away. I'm in awe of their talent.

Julie: What's next for you?

Ericka: My big goal for this year is to finish a full-length novel. I'm hoping to start sending out queries for the proposal in June�so, watch out New York!

Ericka Scott is first and foremost a reader. She'll read almost anything, including the back of cereal boxes in a pinch! She began reading romance and romantic suspense during college when reading anything but a textbook was a guilty pleasure. Now, when she's not reading, camping, or wishing she had a maid, she's spinning webs of fantasy and penning tales of seductive suspense. She currently lives in the high desert of Southern California with her husband and three active children (who think she is the maid). You can find out more about her at www.erickascott.com.

Backlist:
Crystal Clear, Cobblestone Press
Postcards from the Dead, Cobblestone Press
Tinsel Time, Cobblestone Press
Fool's Gold, Cobblestone Press
To Catch a Casanova, Total E-bound

Coming soon:
The Vampire Oracle: Chalice, Cobblestone Press
The Werewolf Whisperer, Phaze
The Stranger in My Bed, Tease Dark Tarot
Twilight's Embrace, Tease Dark Tarot
Song of Seduction, Cobblestone Press

Links:
Website
Blog
MySpace

If you would like to request an interview, please send a query to info@allromanceebooks.com

Until next time!

Julie Cummings
Wildfire Interview Coordinator

Reluctant Witness by Linda Alexander

This story is rated 1 flames. Love scenes are not consummated, or if the love scenes are consummated details are not given.

Much has been written about how legendary actors Robert Taylor and Barbara Stanwyck met. It is known that they were married for eleven years, and considered one of Hollywood's most stable relationships of the time. They first came together in 1936 at the Trocadero night club on Sunset Strip, in the company of Barbara's best friends�her agent, Zeppo Marx (of the Marx Brothers), and his wife, Marion. The exact "how" of it has been lost to history�here's a factionalized account:

Bob Taylor made a face in the mirror, sucking in on his right cheek and squinting his right eye. What the heck, he thought, maybe I should make this face tonight as the lightbulbs flash! What has Don gotten me into?

He shook his head. Bob didn't want to go out. It was yet another prearranged publicity affair, designed for him to be seen�to allow photographers to take his picture from every angle, and plaster his face all over newspapers, fan magazines, and wire services. He was already tiring of the process.

But it was the process. It was what he'd signed up to do when he put his signature on the dotted line of the MGM contract and, with that, he was required to go along for the ride. He was, after all, a star, wasn't he?!

Yep, he was a star. Or so he was told. So all those screaming, fawning, sometimes-fainting women seemed to indicate. How in the world did he bring about such attention?

His reflection smirked back at him. Don't believe it, Arly, it told him. There were still times he could think of himself as only Arlington. That was his name. Don't believe a word of it, Arly. You're still a doctor's son from Nebraska. And you're better off always remembering that you're a doctor's son from Nebraska, not the "Man With The Perfect Profile".

Bob picked up his tortoise-shell comb from the toilette in front of him, so carefully-laid-out by one of the many folks now working for him. As he swept his expensively-cut hair away from each side of his widow's peak, seeing the sheen in his dark strands, he knew the truth. He was a created man. He was no longer his own person, and he'd accepted the role. It was now his job, day by day, to uphold this extravagant, unreal image.

The image, as it looked back at him, finally seemed all in one just-right piece for the evening, so he and it shrugged, and he stepped away from the mirror. His hat and overcoat had been laid out on the bed by his butler, and Bob grabbed both before leaving the bedroom.

"How long have I been waiting, Bob?" his agent asked as he came down the stairs. "I've already had two drinks, and I'm feeling, well, I'm feeling just about right."

"Then I did you a service, didn't I?" Bob replied. "I'll have to catch up, mind you, but we'll both be ready for the evening, and in just the right spirits." He shrugged into his coat, put his hat atop his head, and waved away the house staff's efforts to be part of his departure. "Let's get this show going. Who will I wine and dine tonight?"

***

"Marion, I don't know," Barbara squirmed in her over-stuffed armchair. It certainly wasn't the seat making her uncomfortable.

"Honey, why not? You have to get out for a change. It'll be good for you!" Marion Marx wouldn't give up. Her best friend was having second, even third, thoughts. Marion watched her twirl a lock of silky hair around her left forefinger, her legs tucked under her and her elbow propped on the chair arm.

Barbara's lack of confidence was obvious. The stubborn but somehow sad set of her lips showed lines that didn't usually appear on her soft face. "I don't know," she repeated.

Leaning out the bathroom door to chat with her friend, Marion had just soaked a pair of hose in the sink. She disappeared again to hang the hose on the shower. Back in her bedroom, she dropped hard on her bed and leveled a stare at Barbara.

"Zeppo's made arrangements. We have reservations. You're going with us. End of discussion." Marion fell against her pillows, propping up on one arm. She watched Barbara's reaction, knowing this was the only way to handle her when she got into this mood.

"Before you say anything more," Marion continued, "I know how uncomfortable this makes you. I also know how miserable you are, honey. Ever since you left Frank�"

Barbara turned her head away. The tears were coming.

"It's been hard on you. We're here to help you, and you know that."

"I do, Marion, I do. I don't know what I'd have done without you both."

Marion leaned over to the nightstand and picked up a box of tissues. "Here, sweetie," she handed one to Barbara. "You don't have to worry about being without us. That won't happen. But understand�part of us helping you get back on your feet involves making sure your career stays on keel. You can't let Frank Fay or anything about him take you down!"

"That sonofa�"

Marion's laughter rang out. "That's my girl!" Her giggles slowly subsided. She'd intentionally drawn out Barbara's fighting side. "So, we won't let Mr. Fay get in the way, will we? Zeppo's put together a great night at the club, an evening for you to be seen with the right people." She winked. "Are you ready?"
Barbara dabbed at her eyes. "No�but I'll do it." Hopping out of the chair and going to the dresser mirror, she looked at Marion's reflection over her left shoulder. "Who am I cheduled to meet? Is someone supposed to sweet me off my feet�for the cameras?"

"Oh," Marion's eyes twinkled, "only the most glorious specimen of masculinity in Hollywood, and the world."

"C'mon�"

"Think I'm kidding? Just wait. I've heard he's amazing. His name is R. T."

Barbara headed for the door. "I better get ready then. I've got a lot of work to do if I'm to be ready for the most glorious specimen of masculinity in the world." Her hand on the doorframe, she turned to Marion one last time. "Artique?" she mumbled, almost to herself. "Mmmm�why have I not heard of him? Hope he's not disappointed."

***

Zeppo preferred to drive himself when he had the chance. Tonight, since it was just him, Marion, and Barbara, he helped the ladies into the car�Marion in the middle and Barbara next to her�and he comfortably slid behind the driver's seat. It wasn't too far to the Trocadero, down Sunset Strip, and as they enjoyed the evening's warm breeze, he knew Barbara was nervous. Marion and he had discussed the chat the ladies had that afternoon, and he knew this arranged meeting must be a real winner to encourage his depressed houseguest.

Marion, as usual, chattered about everything and anything.

"Oooh, that new dress I brought home?" she purred, turning to Barbara. "Did you get a good look at it? My goodness, I've never seen anything so pretty!"

Before Barbara could answer, Zeppo quipped, "Yeah, but that's what you say every time you bring home a new dress�oh, every few days?"

Marion ignored him, and both she and Zeppo were happy to hear Barbara laugh at their good-natured ribbing of each other.

She elbowed him, despite their close quarters. "It is quite possible, my dear husband, that a more beautiful dress is around every corner!"

"Your outfit tonight, Barbara, is stunning," Zeppo wanted to turn the conversation toward their friend. "I'm sure you'll swivel the head of every man in the place."

They pulled up to the front of the club. Before Barbara could answer, her door was opened by the valet. "Ms. Stanwyck," he greeted her. "So nice to see you!"

The young man's genuine delight raised Barbara's spirits and while she smiled and thanked him, he reached in for Marion's hand. Zeppo came around to the front of the car and gave him the keys. "Please park in the usual spot, Andrew." With the keys, he had included a wad of bills, which the young valet took with a salute.

"Thank YOU, Mr. Marx!"

Arm-in-arm with his two ladies, Zeppo walked through the front door of the Trocadero. Smoky, dark, loud�the room assaulted them, as it did each time. They were regulars, everyone who worked there knew them and almost always saw the three of them together�especially lately, since Barbara's well-publicized divorce from Frank Fay.

"Mr. Marx, Mrs. Marx, Miss Stanwyck." The club's manager was immediately at their side. "Your table awaits you." He walked a few steps ahead, and with a hand protectively on each elbow, Zeppo escorted the ladies to a familiar spot, just to the edge of the fray but close enough to see everything around them. They turned to the left as they walked, then to the right, as a few cameras flashed. It was part of the usual process, and they didn't even break stride.

The table was in a shadow, along with two others beside it. As the manager made sure they were settled and comfortable, and drinks immediately brought to them, Zeppo looked to his right, nodded, and cocked his head slightly in Barbara's direction.

Marion noticed her husband's distraction, though Barbara did not. She was politely engaged in light conversation with a matronly lady at the table to her left. She was turned toward the other woman, a smile pasted on her lips, a few words of commiseration placed in just the right spots.

As soon as Marion was certain Barbara wouldn't hear, she leaned over and whispered to Zeppo, "Who'd you nod to?"

"R. T.'s table, of course."

***

"You see who's coming in the door, Bob?"

Having just completed his second drink, Bob lit another cigarette. He glanced at the front. "Yeah, Zeppo Marx. And his wife?"

Don leaned forward. "Yes, the Marxes. But do you see who's with them?"

Bob had been around Hollywood long enough to know about the Barbara Stanwyck. He was aware she was the consummate professional. There was no missing that elusive, mysterious allure that followed in her wake wherever she went.

Damn, she was sexy.

"It's Stanwyck."

Don grinned. "That's right." He let it sink in. "So? What do you think?"

"What do I think about what? What the hell�?"

At that moment, Zeppo and Marion were getting settled. Barbara chatted with a woman on the other side of them. Bob watched as Don and Zeppo exchanged meaningful glances, and both nodded at each other as if sharing an important secret.

"Don? Is this why you brought me here tonight?"

His agent was on his fourth drink. "So, what do you think?!" His cigarette was down to a nub, and he opened his gold monogrammed case for another. Reaching over to Bob's hand, he pulled the other burning cigarette tip to meet his own. A deep inhale was followed by a puff of smoke swirling between them.

"Stanwyck?" Bob repeated, the name coming out as an amazed question. "With all the starlets in town�why her?"

"C'mon, Bob. You're relatively new. Your career's on the rise and the boost will do you good. Barbara, now she's solid in the business, yet she's had a string of bad luck, and it'll look great for her to be seen with you." Don put thumbs up. "It's a big win for both of you. Zeppo and I talk, y'know."

Bob took a gulp of a new drink. "I'm sure you do." His grin was lopsided. "So, Miss Stanwyck and I are pawns, are we?"

"Bob, Bob, Bob." Don tried to sound hurt but couldn't quite hide the humor. "You know I'm here for you. I'm doing what's best for you."

Bob's attention was caught by the glint from the diamonds on Barbara's arm. His mesmerized glance followed her wrist as she picked up a cigarette and leaned towards Zeppo, who lit it for her. So entranced was he in the action that he didn't hear Don.

"Bob�Bob!"

"Hmmm? Yes?"

"Ready?"

He was still looking into the light, toward Barbara Stanwyck's profile. She hadn't yet noticed him, so he had a few minutes to collect himself. She wasn't beautiful, but she was such a class act, and there was something�something vulnerable beneath that glamour.
Bob cleared his throat, and rested his cigarette in the ashtray. "As ready as I'll ever be." He ran his left hand through his hair.

Don stood, Bob followed him, and they took the few steps into the visibility of all at the Marx table.

Marion gasped. Zeppo smiled. "Dear?" he asked. "You okay?"

Marion didn't realize she'd made a noise. She'd heard of Robert Taylor, seen him in the newspapers, even glanced him across a room at a recent press function. Yet she'd not, until this moment, seen him up close. No man had a right to be so beautiful!

"Sorry, that was rude of me." She had the grace to blush. Zeppo laughed heartily, and Don grinned. He was used to seeing women react this way. Robert Taylor was his goldmine.

All their eyes turned to Barbara. She hadn't said a word. Hadn't uttered a sound. But she stared. She certainly stared�and Bob stared back. Their companions gave them a few moments of silence to adjust.

"Barbara?" Zeppo finally turned to her. "Barbara, we want to introduce you."

She never stopped looking at Bob. "Oh�okay. Well, I think I'm here to meet someone else but, while we wait, please do introduce me."

Zeppo and Marion exchanged curious glances. "Who else are you here to meet?" Marion asked.

Barbara finally focused on her friend. "Well, you told me this afternoon I was here to meet Artique, didn't you?" Everyone burst out laughing, and Barbara was left with a stunned, almost frightened expression. "What's so funny?"

Bob sobered first. "Miss Stanwyck, please let me explain. You are here to meet me, as I've just been informed. I'm R.T., Robert Taylor�not Artique."

He leaned down, extended his hand, and as their fingers met, everyone else seemed to disappear. Bob and Barbara walked to the dance floor. They fit together perfectly�as it had all been originally planned. Little did anyone know at that time�

Linda Alexander has published four books: 2 novels of dark romantic suspense (Weekends In New England & Until Next Time), and 2 biographies. Her fifth book, Reluctant Witness: Robert Taylor, Hollywood, & Communism, is the biography of the romantic, handsome Golden Era movie star, Robert Taylor. The e-book version is scheduled to be out this month from Tease Publishing. The print version will be out in May.

Backlist:
Weekends In New England, Behler Publications
Dorothy From Kansas Meets the Wizard of X, Publish America
Until Next Time, Publish America
The Unpromised Land, Lederer Messianic Publishers

Coming Soon:
Reluctant Witness: Robert Taylor, Hollywood, & Communism, Tease Publishing

Links:
Website
MySpace
Ryze
Ning

Submissions to The Weekly Sizzle should be sent to Sizzle@allromanceebooks.com. We are looking for original short stories, 1-5 flames, 200-2000 words.

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Sent: Apr 25, 2008