Susan Andersen got me hooked on Contemporary Romance.
Her Baby, I'm Yours was my first Contemporary Romance book in years. I loved it, moved on to her other titles and discovered more writers along the way. However, the one I started with and love most of all is Susan Andersen.
As you can imagine I was well chaffed when I got the go ahead from Susan Andersen for an interview with her.
Read on and you see that she's been lovely.

How did you get started as a writer, who and what influenced you in taking up that profession?

I've always been a reader-- I can't remember a time when I didn't have a book in my hand. I've written bits and pieces all my life, but didn't really feel I had the life experiences to draw from until I was thirty or so. My husband's job entails a lot of travel, and with a young son to care for I couldn't afford to lose myself in big books. (since I tend to be the type of reader who gets sucked in to a story at the exclusion of all else) A friend turned me on to category romances, which I could read in a couple of hours, and after awhile I decided to try writing one myself. I wrote my first book longhand, which is kind of ironic considering my hand always seems to develop a life of its own whenever it has a pen in it. Then I rented a typewrite to type it up. Since I tend to write by correction, this wasn't the most efficient method for me. It wasn't until the soul mate started bringing home a computer from work and taught me how to use it, that I arrived at a really workable method.

Can you recall your first sale, first signing, first award?

Hmmm, let me see, my first sale, my first sale. I came home from work in December of 1988 to find a telegram from Beth Lieberman at Warner Books on my front porch, asking me to call. (she'd been trying to get me by phone and I didn't have a machine at the time) I don't remember my first signing. I didn't join Romance Writer's of America until just before my second book was coming out, so I didn't have signings for my first book. I was too insecure about the legitimacy of my work to put myself forward, which of course one needs to do in order to set something up. My first award was the Reader's Choice Award for Present Danger.

What is the best/worst part of being a writer in the romance genre?

The best part? No commute!! I can work in my jammies if I want to-- although it's rare that I do. The worst part? Having to actually plant my butt in the chair and write. I like most everything about the romance genre, so there's no real best or worst part to that aspect.

How do you think the business has changed over the last years?

The number of places for a new writer to submit a book have shrunk dramatically and the wholesale part of the business has also been consolidated from around the 300 independent outfits that were out there when I was first published to down around 5 or 6. But good writing is always good writing, and I think one way or another a good book will find its way into print. And now electronic publishing is available, although until it gets better distribution I don't consider it all that legitimate.

What do you think of the growing trend of romance writers crossing over into mainstream/suspense? Could you see yourself going that way? For what reasons?

I think it's probably difficult to stay both fresh and motivated when you've written the same kind of book for years on end and/or in large quantities, so I actually understand writers wanting to make the change. At the moment I don't see myself going in that direction, but I can't guarantee there won't come a day when I'll feel the need to tell a different kind of story.

Do you think that the extremely loyal romance fan has a right to feel disappointed and discarded or do you think those sentiments petty?

I absolutely understand a romance reader feeling disappointed when her favorite writer suddenly changes her style. I adored Mary Stewart when I was growing up, and I was so disappointed in the Crystal Cave books, as I never could get into the Merlin stuff when she went in that direction. Feelings are what feelings are, so I don't think the readers' sentiments are necessarily petty. But I also understand a writer's need to expand into new territory if she begins to lose interest in writing the same old, same old.
How do you thing your writing has developed since your first published book? Where do you see yourself going from here?

Technically, I think I'm constantly improving. As far as the content goes, though, I honestly can't foresee where I'll go from here, for each book seems to pull a different emotion out of me, which dictates the nuances for that story.

You seem to edge away further and further from the romantic suspense, is that a conscious decision?

Romantic suspense hit the skids in the mid nineties, I was bounced from my second publisher, and for a while there I couldn't give my stuff away, so yes, at that time I did make a conscious decision to reinvent myself. I wrote Baby, I'm Yours; then, when it was successful, that of course was the type of book both my publisher and the group of readers I'd picked up, which was substantially larger than my RS readership, wanted from me. And I was fine with that, since the relationship has always been my favorite part of what I write, anyway. But I never say never about anything when it comes to writing, for I have no idea what story line might demand my attention somewhere down the road.

Your last book All Shook Up had the more obvious comedic elements missing, it seemed to be far more grown up than the previous ones. Can the reader expect more of the same?

*I* don't know what to expect, so it's difficult to make predictions for the reader. I have a need to tell different books at different times, and each one takes on a personality of its own depending on its needs-- and most particularly on its characters. More grown up, huh? Who knew? I'm too close to my work to quantify the small nuances that differentiate stuff like that.

Do you plot your book or do you rely on gut instincts?

I started out writing strictly by the seat of my pants. But as I began to sell on proposal (a preferred method since it advances the writer money to see her through writing the book) I had to learn to write a synopsis. Which, let me tell you, has got to be one of the most painful processes in the world. It's so left brained, it practically makes my eyes bleed. It's also an necessary evil, since it's probably the best selling-tool a writer has. In any event, in order to sell on proposal, one has to --gasp-- actually have some idea of what's gonna happen in her book, so I began to do more plotting up-front. In all honesty, I don't think I could do that without the aid of my brainstorming partner, Caroline Cross, who writes dynamite Silhouette Desires and is a much better plotter than I am.

Do you write with your audience in mind?

No. I write strictly for myself. I have an inner critic that first and foremost I must please, so I don't worry too much about what anybody else thinks… until the book is actually published and out in the world. Then it's a little like holding up your baby to be admired, and worrying someone will offer you a banana for your monkey instead. Which, trust me, happens with monotonous regularity.

Do you have a strict routine for writing?

I have a daily page count that I try, and usually fail, to satisfy. But by this point in my career, I have a fairly decent grasp of my process, and since I also have a life, I set myself reasonable goals.

How do you go about research?

It varies. I've interviewed experts, done library research, used the internet. My very favorite method is gathering information from an expert in whatever field I want to cover. It lends that aura of authenticity that nothing else can.

When you create a character, do you use visuals/celebrities? Where do your characters come from and how much control do you give them? How much of yourself is in any of your characters?

I rarely use visuals, and I've never used a celebrity to create a character. I'm not a visual person, so my people simply start to form in my mind as this hazy collection of characteristics, that little by little take on a physical dimension. Some writers say they see their stories unfolding like movies. I seriously envy that, but unfortunately that will never my process. It usually takes me a good five or so chapters to truly figure out who my characters are, but even when I think I've got them nailed they never stop surprising me. And how much control do I give them? Hahahahaha! I don't give-- they take. I might believe the story will go in a certain direction, but then a character will say or do something that takes it somewhere entirely different. And there are probably bits and pieces of my sensibilities, experiences, or emotional reactions in all my characters.

What is it with some of your characters' fascination for the seedy and gaudy, the back alley culture?

:)What's that Don Henley lyric-- "I am a good girl, I've been one all my life?" What can I say, it gives me a cheap thrill.

What is your favorite story line/theme to read and write about?

Dunno-- there're just so many it's tough to narrow it down to only one.

You are not afraid to introduce controversial issues such as drug abuse, domestic violence, adoption and abortion. Are they tools for an exciting plot or/and messages to the readers?

Nah, I'm a storyteller, not a reformer. These issues are all a part of life, though, and while I adore the fantasy elements of romance, my personal vision is littered with bits and pieces of reality

What were the mistakes you've made on your journey towards being published?

I set my career back by years by failing to listen to my editor. When I got the call for my first book, I was working on a historical. Warner, of course, wanted another contemporary from me after Shadow Dance-- my editor told me it was better to build my audience in contemps before I branched out. But I insisted on finishing the book I was working on instead of starting a new contemporary for her… and by the time I'd done so, the Popular Library imprint was being disbanded and I was out the door. Who knows what direction my career might have gone in had I but listened. There was quite a gap between the '89 book and my next, which didn't come out until '93.

What were the weaknesses of your unpublished manuscripts?

Oh, man, what weren't? I wrote 3 manuscripts that will never see the light of day, and for very good reason. They had plot problems, logic problems-- but the biggest problem was probably the lack of development in my voice. The manuscripts were a terrific learning tool, though, and it's interesting, because there are definite sparks of my voice even in those early attempts. It's rough, but it's there.

How much do you think can the craft of writing be learned and how much is born-with talent?

I'm probably the wrong person to ask this question, as I'm one of those have-to-do-it-myself kinda babes. I'm not big on how-to books; neither am I particularly aural, so lectures don't do a thing for me. Yet I've got friends who swear by their craft books. So who knows?

What was the best advice you were given as an unpublished author?

Since I didn't find RWA right away, I wasn't given advise as an unpublished writer. I did it pretty much on my own. But my own best advise is: persevere. Believe in yourself and keep writing no matter what anyone tells you. God knows there are rejections in this business, both before AND after you're published. So give yourself a day to grieve when you receive one. Wallow, cry, scream, eat chocolate. Then plant your butt back in the chair and get back to work.

How does it feel to know your work to be translated and read all over the world?

Way kewl.

Your books at Avon have been the first to be published with the new cartoon covers. How do you feel about them? Do you judge a book by its cover?

Everybody judges a book by its cover. I'm the last person who ought to do so, since I've had some real stinkers myself, but of course I do it anyhow. A friend gave me Cold Sassy Tree to read in the late 80s, and I didn't care for its cover, so it sat on my coffee table for about 3 months. Finally, one day I picked it up, flipped to the first page… and was immediately sucked into the story. As for Avon, I LOVE my covers. I believe Baby, I'm Yours was only Avon's second cartoon cover -- Rachel Gibson had the very first-- and it was so unique that it garnered loads of attention. Booksellers shelved it face out and displayed it prominently, which is always a plus. They were a huge boon to my career.

Having been published by Warner and Kensington, how much does it mean to you to be with Avon/Harper Collins?

Everything came together for me at Avon/HarperCollins, so I VERY much like being with them. Micki Nuding is inarguably the best editor I have ever had, they've moved me quickly up the lists, their art department is tops, and so is their sales staff. And most importantly, I don't think any other publisher at this moment understands marketing romance better than they do.

What are your comforts reads? What's on top of your tbr pile? Anyone new recently discovered you want to share with us?

I'm a huge fan of Janet Evanovich, Laurell K. Hamilton, Theresa Weir -- they're always automatic buys. Suzanne Enoch is a writer whom I feel has been woefully undervalued-- I love her stuff.

When you pick up a new book, what do you look for? (Author, setting, period, theme, sensuality…)

I usually chose by author, but my tastes are pretty eclectic, so a lot depends on my mood of the moment.

If you could star as a heroine in your own book, who would you want to write it and why?

Janet Evanovich. It would be fun to be a kick-ass character…that all the really hunky guys want.

If your book were up for sale as a movie adaptation who would you want to direct it and who should star in it?

I'm afraid I'm not up on the hot new directors, so I haven't a clue who I'd pick. I don't really know which stars I'd choose either, since my characters are simply themselves. On the one hand it would be difficult to see them with different faces being interpreted far from the way I'd envisioned. On the other hand it would be a trip and a half to see them brought to life.

What can you tell us about your upcoming releases?

Obsessed is a reissue of my '93 romantic suspense, about an emergency room doctor who inadvertently becomes the obsession of a serial rapist. Our hero is a police detective with jealousy issues.
Head Over Heels is the first of a trilogy featuring 3 Marines. This is Cooper Blackstock's story. He comes to Fossil, Washington under false pretenses, determined to clear the name of his half brother, who's been accused of murdering the sister of our heroine, Veronica Davis. Ronnie is also back in the town she couldn't wait to leave twelve years earlier, to take care of her niece and oversee the sale of the family honky tonk.

Susan Elizabeth Phillips had her son record a soundtrack for one of her books, what would be on your soundtrack?

Jonny Lang's Rack 'Em Up
Shaun Mullins' Shimmer
Eric Clapton's River of Tears
Mary Chapin Carpenter's Stones in the Road
Sarah Brightman & Andrea Bocelli's Time To Say Goodbye
T-Bone Walker's Blue's Rock
Andrea Bocelli's Canto Della Terra
Etta Jame's At Last
Patsy Cline's Sweet Dreams
Harry James' Harlem Nocturne

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