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Friday, October 22, 1999 THE OAKVILLE BEAVER 21 Aits & Entertainment An Oakville Beaver Feature Editor: CAROL BALDWIN, 845-3824 (Extension 254) Fax: 337-5567 Romancing the novel Trying to become a published romance writer is not for the thin-skinned or tender-hearted By Carol Baldwin ENTERTAINMENT EDITOR L P h o to by B a rrie E rs k in e Writers Marie MacNeill and Karen Jackson, both graduates of Lynda Simmons' romance writing course at Sheridan College, and their manuscripts. ynda Simmons is more than a romance writer, she's a guru to many of the students she teaches at Sheridan College. Her graduates often form critique groups to con tinue the endless learning process involved in writing a novel and getting it published. Those who are seri ous about their writing not only stay in the group, but listen to the advice of their fellow would-be authors. "Everyone in the critique group reveres Lynda. If you want to have the last word say, l.ynda says.. quips Marie MacNeill, one of Simmons' students who has been in a critique group for over a year now. MacNeill and Karen Jackson both took a writing course from Simmons at Sheridan. They are both in the same critique group now, and could not imagine trying to perfect their skills without the group's feed back and constructive suggestions. Jackson has had a short story published and is now in the throes of a full-length romantic-comedy novel. MacNeill is finishing what she calls a "woman's fiction" book. For Jackson, the group's suggestions have helped her polish some of the chapters in her book so she could enter a Harlequin romantic-comedy contest for its Duet line of novels. "They're looking for new authors. So, of course, a light went off in my head," she says. "Fortunately, this critique group was great...reading my synop sis. . .So, I'm crossing my fingers." Maintaining the humour in romantic comedies is a unique challenge, says Jackson. With the help of her critique group, she has managed to enhance her plots and come up with situations that keep the comedic voice ever present. "You have to have a lot of plot.. .a lot of stuff going on. Sometimes what makes romantic comedy funny is the situation. It's the set-up," she explains. "A lot of times it's not just the comedic voice that's important, it's the situation. It has to be funny, too." The critique group, she says, has kept her on the straight and narrow, with their honest and positive comments. "They say, T think you're losing your momentum;' or 1 was falling on the floor reading that' You bounce it off people a lot and see how they're reacting, because sometimes it's difficult when you're sitting alone*.and you don't know if it's working or not," she says, explaining that Simmons emphasized the group critiquing process in her classes. "She let us sit in on one of hers, and then we start ed one on our own," adds MacNeill. Their group of nine covers a wide range of novel genres. "I'm in a romance writing group as well, so all I hear is romance," says Jackson. "It's nice to hear dif ferent things that are being written...It helps you think sometimes, when you're back at your termi nal." Character and plot development, she says, are common to all forms of novels. Whether it be science fiction, fantasy, historical novels or romance, the writers in the group offer sound advice to each other. "Everybody has a different strength and you're waiting to hear what they're going to say," says MacNeill, stressing that none of those in the critique group are harsh or cruel in their criticism. "All the critiquing we do, and I think we're all very good it we learned from Lynda (Simmons). She did enough critiquing for us and made us interact in class. She sharpened our skills." Jackson agrees, stressing that in order to write, you have to read. And you have to be ready to take criticism and rewrite. "We don't criticize each other and we don't (See The' page 22) THEATRES Changing The Way Canada Sees Movies £ im c a n e W IN S T O N (P S) FPI-THU155.1430), 719 945 BATS (M) (2 SCREEN S) FR1155,225. (538) (5:4* 940,1015,11:40,12:15 SA T115.125,210,330, (520), (5:40), 725.730,940,1905,11:40.12:15 SU N115,125.3:10,3:30, (5:20), (5:40), 725,7:50.940,1015 M O N -T H U155,225, (520), (5:40), 725, 750,940,1005________________ FIGHT CUS (R) (2 SC R EEN S) (N OPASSES) I1 1:45,211 (4:45). (525), 755. ft35. 1050,11:35 SA T1.45.310, (4:45), H i 755,910, 1110,1210 C HU RC HIL L S U N1:45,310, (4:45), 215,735,910, 1025 M O N -T H U1:45,200, (4:45), (525), 735, 920.1025 T>* STORY O F US (AA) :2 SC R EEN S) I1155. 239 (5:15) (5:40), 7:30,900, 955.1020.1215 S A T1:00.230,315, (5:15). 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