BIO:

Erica is a best-selling author of multiple novels across several genres. She also writes under the pen name Tess Hudson, and writes Young Adult books under the name Liza Conrad. Her books are sold internationally and have been translated into several languages.

Erica’s books have been noted in US Weekly magazine (where they were twice selected for the “Hot Book Pick”), Cosmopolitan (which declared Spanish Disco “hilarious”), Women’s World and American Girl magazines, as well as countless newspapers and online sites. Her books range from Rock My World, for teens, to The Roofer, a dark mob saga set in Hell’s Kitchen. She is especially noted for her romantic comedies. In addition, she writes for the action line Bombshell, where she gets to write about heroines who save the day.

In her supposed free time, Erica is an avid poker player (soon to be chronicled in the teen book The Poker Diaries) and enjoys entertaining at home with her rather eccentric circle of family and friends and extremely disobedient pets. She likes her martinis with green olives, and considers Coke the "nectar of the Gods"--oddly, she orders both at the same time.

FAQ:

How did you break into writing novels?

I was an editor and publishing industry consultant, and I wrote on the side. I met a great agent out in L.A. when I was there for a book expo. Eventually, I sent him my first novel, Spanish Disco. He read it and laughed . . . and sent it to Red Dress Ink. They hadn't even launched yet, and frankly, I never heard the term "chick lit" before. I wrote a comedic novel, but this new "genre" was getting on the map. I ended up loving my editor at Red Dress Ink, and ultimately, my agent sold her six books. I had an idea, meanwhile, for a dark family saga about the Irish mob. I knew it wasn't right for Red Dress Ink, but it was bought in a three-book deal by MIRA (in the same publishing "family"). It came out in May 2004. I've been writing full-time for a couple of years now.

What sort of writing schedule do you follow?

Unfortunately, I don't have a lot of discipline. I write when I feel inspired. On a good day, I can write 40 pages. On a bad day, I can write two sentences and then play solitaire on my laptop and screw around on my email all day.

How do you handle writing across more than one genre?

I am blessed with creativity and cursed with a manic mind I find difficult to "turn off." Basically, I started writing across genres because my brain worked that way. I would come up with ideas and felt passionate about them, and the next thing I knew, I was writing three books at the same time. It works for me, though I don't necessarily recommend it.

What genre do you prefer to write in? Comedy or suspense?

I don't really have a favorite. Comedy is great fun, but then when I finish a comedic novel, I think, "Thank GOD I don't have to be funny anymore." Then I sink into some dark, depraved writing with people cutting up other people or heroines with tortured pasts. Then when I finish one of THOSE books, I think, "Well, thank God I don't have to write such dark, depressing stuff for a while." Somehow, it works for me to be able to challenge both sides of my creativity.

How can I break into writing?

Tenacity, drive, and luck. I don't have a magic formula. I have an agent who believed in me when I didn't have a single novel to my credit . . . and now 19 novels later, as of this writing, he still believes in me. My meeting with him was chance. But it was also the culmination of many years working my tail off at the craft.

What writers do you admire?

Patrick McGrath, the king of Gothic, is now my favorite modern writer. I also like Michael Chabon, Elmore Leonard . . . It's very hard to choose. Most of the time, I read nonfiction--usually comparative religion or philosophy.

Any advice for budding novelists?

Study your craft. Hone your dialogue. Join or start a good writers' group. As for the dialogue thing . . . I have been criticized for my characters cursing and some of their language, but I tell people that's how these criminals talk. They say the f-word as easily as they breathe. Dialogue is not how YOU would talk, but how THEY would talk. Most importantly, dialogue is NOT conversation. Its purpose is to propel your story.

Romantic Times said you put the word "fun" in dysfunctional. Why do you write about such eccentric families . . . or even criminal families?

Criminals have families, too! I don't know . . . I think eccentric characters or characters who have a lot of gray in them . . . who are neither all bad, nor all good . . . are the most interesting characters of all. God . . . I use a lot of ellipses!!

Please feel free to submit a question for this page and check back . . .:erica@ericaorloff.com