Thea Candee: When did you first realize that you were a writer? Or that you wanted to make writing your career?

Lauren Bach: My mom has a letter I wrote when I was eight or nine. She was in the hospital and I wrote that I'd send her the latest chapter of my new mystery - so I knew early in life that I liked creating stories. But I didn’t decide to pursue publication until I was an adult. Then I went through that awful stage where I wanted writing more than it wanted me.

TC: How long did it take you to become published? Did you ever start to give up hope that you would one day become published? If so, what made you persevere?

LB: I received my first rejection letter in 1984, but had been writing for a few years before actually submitting something. I probably gave up hope a million times before selling. The problem was staying quit. Ideas haunt me. I'd quit one moment and an hour later I'd be searching for pen and paper again. It often felt like I had no choice but to persevere.

TC: When did you find out that LONE RIDER was being published? Can you describe the feelings that you had?

LB: I learned in late June 2000 that LONE RIDER had been bought by Warner. I was absolutely overwhelmed – couldn’t breathe. I was at work at the time and only two people there even knew I wrote. I went straight to the bathroom and threw up, then stayed there and cried for about thirty minutes. When I could talk, I called my husband. While I was extremely happy - I think my biggest reaction was disbelief.

TC: Can you describe the publishing process to give an aspiring writer an idea of what it entails?

LB: After LONE RIDER sold, I did revisions twice for my editor. Once those were complete, the manuscript went to my publisher’s copy edit department. Several weeks later, I received my beautiful manuscript covered with funny red marks and yellow Post-It notes. The notes were questions the copy editor raised - the red marks were typesetting instructions and proposed changes. I went through those one by one, accepting, changing, explaining, then made a copy and returned the marked-up manuscript. A few weeks later, I received the unbound, first-pass pages (typeset galley sheets.) I compared these to my copy of the manuscript and proofread it. About six months before the release date, I received my cover art...and danced with joy at seeing it. At that point I started worrying about stuff like getting a website designed, getting author photos done, planning promotions, printing bookmarks, scheduling signings, etc. About four months before the release date, I received copies of my ARCs. That really made me nervous. And of course, while all this was going on for LONE RIDER...I was writing SLOW HANDS.

TC: When starting a new story, do you keep to a rigid outline of where you want the story to go, or do you have a basic idea and let things happen?

LB: I do a little of both. Since my stories usually have a suspense element and subplots, I tend to do more plotting and outlining up front to get an idea of where my problems are. (I always have unforeseen problems in my plot.) Once that's done, I start writing text. I’ll start off following my outline, but by the time I hit "the end" it’s usually taken major detours. And always for the better.

TC: In your debut novel, LONE RIDER, you touched upon the subject of Stockholm Syndrome. Tess, the heroine, is forced into captivity and gives up her will to escape and believes that she will die without the protection of her captor, Dallas, the hero. I found this to be an extremely fascinating storyline! What brought about the idea for using Stockholm Syndrome as a conflict device?

LB: Tess and Dallas had an obvious attraction that was squelched as soon as it became apparent Dallas was part of a criminal gang. Stockholm Syndrome was a way to play on and expand that attraction in spite of the fact Tess was being held against her will. It also provided Dallas with a means to keep Tess safe even though it meant manipulating her will – which in turn deepened their conflict.

TC: While I enjoyed the originality of the conflict, why didn’t you delve deeper into the aftereffects that Tess suffered from in her ordeal with Stockholm Syndrome?

LB: Two reasons: In the interests of maintaining the story pace - and to get my hero and heroine reunited sooner - I condensed the issues of recovery. Also, Tess was looking for a way to explain away the attraction she felt for Dallas - an attraction she felt was inappropriate. I wanted to raise a question in Tess’ and the readers’ minds about whether that attraction was real...or merely a lingering affect of Stockholm Syndrome.

TC: How do you come up with your storylines? Do ideas just dance around in your head or do you read an article or see something that you loosely base your stories upon?

LB: I have an imagination that would scare most people. Or drive them nuts. <G> The majority of my storylines hit me out of nowhere and are pretty full blown. Well, actually, they're over blown - fairly wild and convoluted. I have to pare them down into something manageable and believable. I’m also a vivid dreamer, so some ideas take root from provoking images from my dreams.

TC: Do you use a critique group and if so, what kind of information do you get from them?

LB: I have two, separate, critique partners that I work with one-to-one. We have been working together for years so the comfort level is very high and they’re both exceptional writers, yet both different. They are great at telling me when I've dropped threads, when my writing is too passive, when something isn't believable...or when I've cheated and taken an easy way out. Neither one hesitates to say, "this sucks - you can do better." They help me rein in those wild, unruly thoughts that tend to creep into my story. They also tell me what's good and what's working. It's nice to get positive reinforcement, too.

TC: LONE RIDER, your first published novel, was well received—did you feel any anxiety towards publishing your next story? Were there any fears that you might only have that "one" book in you? (Which you don’t—I can assure you!) LOL

LB: By the time LONE RIDER actually hit the shelves, my second book was already turned in, so I knew I had at least two books in me. <G> My anxiety runs in the opposite direction. I worry that I won't have time to write all the stories I want to, or that I’ll never be good enough to write the ones that seem beyond my capabilities right now. I also worry that I’ll be pigeon-holed in writing just one type of book. I love paranormal elements and would like to write in more than one sub-genre.

TC: SLOW HANDS, in my estimation, had the perfect blend of suspense and sensuality, how do you keep one side from overshadowing the other?

LB: Thanks for the compliment! Very honestly, it's more instinctive than it is planned. The minute I start to worry about one element over the other the writing becomes difficult. Or stilted. I consider myself more a romance writer than a suspense writer, so I'm always a little surprised by the blend. In my mind, I’m writing about two people in love. Period.

TC: The characters in SLOW HANDS, have a past together: The hero, Alec Dempsey must come back to his hometown, a place he would have happily never set foot in again, to protect the woman he loved and left behind ten years ago, heroine, Keira Morgan. You created such wonderful and complex characters in this book, how do you manage to bring the characters to life? How do you give them such depth? What are you thinking about your characters as you write your story?

LB: Characters are very important to me. I spend a lot of time in the beginning figuring them out and falling in love with them. I'm fascinated by what's in their past that has made them who they are today. I know the traumas and joys my characters suffered...or need to suffer to grow and be better people. But the concept of keeping backstory to myself was tough for me to master. I wanted to tell everything about a character in one massive info dump. I've learned that it's not quantity but quality that makes a difference; that being selective in what you show is best. As far as depth, well, I'm usually experiencing whatever my character is experiencing so I’m writing from the gut. If they're angry, I feel testy. If they're sad, I keep Kleenex handy. Don't even ask about love scenes... <G>

TC: What characteristics must your heroes have? What about your heroines?

LB: My heroes have to be sexy and honorable. Same with my heroines. Both have to have a tremendous capacity for love – in all its glory and all its pain. Beyond that, I'm open to anything. <G>

TC: So far, LONE RIDER and SLOW HANDS both feature "undercover" law enforcement heroes, are these the types of stories that appeal to you in your pleasure reading? Who are some of your favorite authors or stories?

LB: Undercover ideas appeal to me as a writer, but not so much as a reader. I think I would burn out writing them AND reading them. When I read for sheer pleasure I like historical romances. I still reread my old Woodiwiss novels. Some newer favorites are Robin Schone and Liz Carlyle. In non-romance, I also have a nice selection of Dean Koontz.

TC: Where do you find the time to write? Do you have a certain time and place or whenever the mood strikes?

LB: I usually write every weekday - but that doesn't mean I'm always creating actual story text. Sometimes I'm plotting, outlining, brainstorming, or just making notes on a story or idea. Or I’m doing research.

TC: Would you describe a typical day in the life of Lauren Bach?

LB: I'm a morning person - usually up by 4:30 or 5:00. My Mr. Coffee has a timer and wakes up ten minutes before I do. I drink coffee at the computer and check e-mail until it's time to wake my husband. After he leaves for work, I push the thermostat way up. (He’s part Polar Bear and I cannot write when I’m freezing!) I dash back up to the computer and finish reading e-mail – if any – then I sit and write. I usually write nonstop until hubby comes home, though I do take breaks through out the day to eat, to stretch, to check e-mail. When the weather’s nice, I frequently pack up my writing, a picnic, and take off for a nearby reservoir to write.

TC: Are you working on a third book? Can you tell the readers what the story is about and when it will be available?

LB: Yes, I'm working on a third book, but I don't have release details yet. I'm also working on Franny's story - one of the character's from SLOW HANDS. I adore Franny and she has a touching backstory and a surprising intensity. I hope readers will want to see her story at some point, too.

TC: Can you give any guidance or words of advice to aspiring authors?

LB: My best advice is obviously to persevere. Cry, rant, rave, and scream whenever you need to, then pick up your pen and start again. Beyond that, it's to never stop improving your craft, and to join some type of writing organization for feedback and camaraderie. Writing is a solitary enterprise and I think there is much about it that only another writer understands. And only another writer can truly empathize with the pain and frustration that aspirants go through.

TC: Do you have a website where readers can get more information?

Thanks again Lauren for taking time out of your busy schedule to answer my questions, and I look forward to your next release.

Thea Candee