ACR: What was your journey like from writing your first romance novel to making the transition to writing mainstream women's fiction? |
 FR: The journey from my first book, FALLEN ANGEL, to my first mainstream, THE TURNING POINT, has been an eventful one. When I started writing, there wasn't a specific market for African-American romance books. hankfully Letitia People, publisher/owner of Odyssey Books, came along and changed that in the early 1990s. However, soon after FALLEN ANGEL was published in October 1992, the company went out of business and I was left looking for another publisher. I had no idea when I sent FOREVER YOURS and THE BARGAIN (in the same envelope) to Kensington Publishing Company in 1993 that FOREVER YOURS would co-launch Arabesque Books in 1994 or that THE BARGAIN would be selected for the Denise Little Presents line and come out in 1995. The biggest and least expected event in my publishing career was having INCOGNITO, my sixth book, selected to be made into the first BET-TV movie in 1999. I was stunned. I kept asking my editor if she hadn't made a mistake.
|
ACR: Please explain how you craft and shape the plots in your novels? Please be specific.
|
|
FR: The most important tool I use to shape a storyline is a detailed character sketch. Since I try to start each book with conflict, I have to know why my characters act or don't react, what makes them who they are. I pay particular attention to their childhood. I strongly believe that this is where we are shaped. For the outer trappings, I have stacks of books and magazines on everything from flowers to lifestyles to the interior of a jet. I also use the Internet and telephone for research. When I wrote UNTIL THERE WAS YOU and needed to know about the Santa Fe Police Department, I called and asked the officer on duty about their jurisdiction, policy and procedures, uniforms and patrol cars. |
ACR: How do you deal with writer's block? What's the "Francis Ray" secret? |
FR: I continually strive to do better in this area. When I hit a difficult patch in my books, I'll use any excuse to leave the computer and wander around the house, bothering my family. My daughter is aware of this and helps keep me on track. At the computer once again, I write, aware that I will probably toss out most of it. The important thing I've learned is to keep writing. The longer you stay away, the more difficult it is to return and get the momentum going again. |
ACR: What was the journey that led you to writing professionally?
|
FR: I never thought about writing until I read a novel by Katherine Woodiwiss. The characters were simply wonderful. She hooked me on romance. Before then I had read only mainstream fiction. Once I discovered I wanted to write I joined my local RWA chapter and met some fantastic ladies who became friends and critique partners. Two of those ladies, June Harvey and LaRee Bryant, were invaluable. I was also fortunate to have Elizabeth Lowell/Ann Maxwell as a mentor. Ann is in a class by herself.
|
ACR: What, would you say, has helped your career more than anything else? |
FR: Besides supportive editors, what has helped my career the most is that major publishing houses finally recognizes the market potential for African-American books. This is a time of unprecedented growth in the industry for us. I think it's fabulous!! |
ACR: Please cite a positive and negative change to come about as a result of publishers publishing African-American novels. |
|
FR: As I've said, the positive change is that publishers are more aware of the African-American market. The negative thing, I feel, is that our books remain pigeonholed. I don't read by color. I know many others who don't. A good book is a good book. Until all readers can see past color when selecting a book, I think we both lose.
|
ACR: Why does Francis Ray write and what message is she trying to convey through her writing?
|
| FR: It's important for me to write because I want to show that African-American men and women do have high morals, do love and want what is best for their children, do live happily ever after. I get so tired of the stereotypes on TV. Sure we have problems -- who doesn't? -- but we work through them. We live. We love. I try to show that in each book though the characters I create. My characters have flaws, as all people do, but most of them are good, decent people. |
| ACR: What's your honest take on the contemporary AA literary scene |
| FR: I think the overall AA literary scene today is fantastic. It's finally our time to walk onstage. I can't read all the books, but I do support them through my local black bookstore, Black Images. I read what I enjoy -- compelling plots with intriguing main characters involved in monogamous relationships that end happily. With all the things life throws our way, I like to think that good eventually triumphs. |
| ACR: Would you please give The Romer Review a sneak peek into your writing process? |
| FR: I do a synopsis for each book. It may be as short as one page for a 25,000 word anthology or several pages for a 100,000 word book. Whatever works for each particular story. Obviously, I build as I go, developing the main characters and secondary characters, fleshing out the story. I need that outline to make sure I don't get off track. I always complete detailed personality sketches for my main characters. |
ACR: What has been the most difficult book you ever written? Why?
|
FR: THE TURNING POINT was the most difficult books that I've ever written and the one I'm proudest of. A few years back I was diagnosed with a macula hole in each eye. If left untreated it could have led to blindness. After surgery my vision didn't clear as my retina specialist had predicted. I panicked. I was an emotional wreck. Eventually things turned out well, but then I began to think, what if my vision hadn't returned? Out of that came Dr. Adam Wakefiled, a famous neurosurgeon. Gifted, handsome, arrogant, Adam had to learn that he did not rule his own destiny. |
| ACR: Since The Turning Point was your most difficult book to pen and emotionally as well as personally meaningful to you, would you please analyze it in terms of craft and style? |
| FR: In comparing THE TURNING POINT to my other novels, I think it has more character development and more realistic problems. Adam, the hero, is blind and angry at the world. Lilly, the heroine, has run away from her abusive husband and is scared of her own shadow. They both have a long way to go before they come into their own. |
| ACR: Was the message you convey in The Turning Point precipitated by a personal experience? If so, please elaborate. |
| FR: The message that I wanted to convey in THE TURNING POINT is that we often t hink that a situation is the worst thing that can happen to us. In many case The message that I wanted to convey in THE TURNING POINT is that we often ts it leads to something wonderful. Adam thought his blindness was the worst thing that could happen to him; it wasn't. It made him a better man. The same thing went for Lilly. Because of her abusive marriage she learned to be strong and independent, step by shaky step. Having been face down for twenty-two out of twenty-four hours after surgery for eight weeks, I'll never take my sight for granted again. There are turning points in all our lives that either make us stronger or weaker. Only we can decide which. |
| ACR: Based on lessons you have learned thus far in your illustrative career, please give aspiring writers some pearls of wisdom to help them achieve their writing dream. |
| FR: The message I would give to an aspiring writer is, first of all, write. I hear so many people say they want to write, but they haven't written a word. Second, don't write because you think you'll earn a lot of money; write because you have a burning desire to tell a story. Third, study how-to books on writing and build a library. If you don't have Techniques of the Selling Writer by Dwight Swain, please buy a copy and study it until the pages are tattered. Fourth, read in all genres. Fifth, set realistic goals. Sixth, and this is so important, learn now not to compare yourself to anyone else. It's detrimental and a waste of time. Instead, write the story that only you can write, polish it until it gleams, then send it off. Seven, seriously consider an agent, but learn about the publishing business yourself. |
| ACR: Please speak about the genesis of the idea for Somebody's Knocking At My Door and how it grew into the writing of the novel. |
| FR: Somebody's Knocking At My Door grew out of The Turning Point where we first met Kristen Wakefield and Rafe Crawford. They were both young, emotionally wounded and searching for their place in life. Both needed that someone special to help them find their way. That Kristen came from a loving, affluent family and Rafe was abused by his truck-driving father gave the story added depth and added hurdles. In trying to help each other they grew stronger and helped themselves. |
| ACR: What did you learn while writing this novel and how did it impact your life? Please be specific. |
| FR: I learned a great deal. Besides the enormous research I did on the dynamics of abused children, I also had to do research on Free People of Color in New Orleans and the city itself. In trying to research Kristen's job as an assistant to the curator of an African-American museum, I was privileged to view many great paintings and beautiful cabinet pieces made by African Americans. I thought of all the long solitary hours it would take to make a cabinet by hand in the 18th and 19th century and Rafe's profession was born. He would devote the same time and care to his work because that would be his only legacy and he wanted it to be the best. Of course, I knew nothing about cabinetry and had to do more research. This can also be attributed to Kristen and her ambition to have a definitive collection of 18th and 19th century paintings by people of color. It entailed more research, but I was very pleased with the results. |
| ACR: In what way is this novel special and most meaningful to you? |
 FR: Somebody's Knocking is special to me because I wanted to explore family dynamics, good and bad, and how it influences a child's adulthood. It was extremely important as well to show that it's not where you start, it's where you finish that counts. I love writing about strong Southern people who overcome adversity with strength and courage. Never give up, never quit striving to be the best you can be...no matter who tells you different. |
| ACR: How do you feel about all of the accolades you've received for Somebody's Knocking At My Door? Were you surprised, did you expect them, please elaborate. |
| FR: I'm very pleased with the success of Somebody's Knocking. And yes, I'm very surprised. I wonder and worry with each book, so I'm humbled and feel very blessed that people are enjoying the book. If I may, I'd like to take this time to thank readers and booksellers for their support. Without them this would not be possible. |
