Showing posts with label writing romance. Show all posts
Showing posts with label writing romance. Show all posts

Saturday, July 28, 2012

The hero and heroine—making that connection

There is that defining moment in a romance novel where the hero and heroine finally make a connection. In my new release, Daughter of Night, I used a thunderstorm to help bring the hero and heroine together. Weather can be a useful writing tool and in this story, it was a way to force two people that didn’t really care for each other together in an unexpected situation that brought them closer. It’s those unexpected moments that are the most magical.

100_0115

Here is a snippet from that pivotal scene from Daughter of Night, my new Historical fantasy romance from Mundania Press.

Blurb:

Their destiny began in ancient Anatolia.

Becuille is a daughter of Night and a servant to the Great Goddess, created to wield Her vengeance. Callileon is a prince of the Hatti, who may be the one she was sent to punish.

When love finds them, they are cursed by the gods and surrounded by tragedy, which even the Fates are powerless to change.

Excerpt, Rated PG:

Another terrace lay below the Upper Courtyard. Curious, she walked down, inhaling the scents of straw and animal smells associated with stables. A sudden forceful wind almost knocked her down and large raindrops fell from low-bellied black clouds gathered above the palace. A loud crack of thunder caused her to jump and lightning danced from the sky, dangerously close.

With nowhere else to run for cover, she ducked into one of the stables just before another dangerous bolt landed nearby with a loud crack. Turning, she was surprised to find Callileon kneeling in the straw, stroking the head of a panting horse. Becuille jumped back, startled to be so close to one of the frightening beasts.

“Inaras, I need your help. She is having trouble giving birth.” His voice rang of desperation and Becuille thought she saw tears shining in his eyes.

That he would shed tears for a beast touched her in a strange way. “I...I will go for help.”

His hand shot out, gripping her forearm in a strong hold. “No, there is no time. Please, Inaras...” His pleading gaze bore into her.

“I do not have magic with the beasts. I cannot help you.” She was in fact terrified of horses, remembering how the northern invaders had ridden down from the mountains on the backs of the snorting beasts, their hooves stamping, their large teeth gnashing. She still had nightmares about them trampling people to death underneath their dangerous hooves. But this beast did not look so threatening now, writhing in pain on the ground.

The animal's soft nose touched Becuille's hand, her soft brown eyes pleading for help. She experienced a pang of compassion for the suffering beast. Callileon’s distressed expression revealed how much he needed her. The prince would never beg her for help unless he had no choice. By helping him, she could gain his trust. “Tell me what to do.”

“I will need you to keep her calm while I help the foal out,” he said. “Stroke her head and talk softly to her.”

She gazed down at the horse and tentatively reached out, stroking the animal’s head. “Does she have a name?”

He caressed the horse’s head. “Blaze, for the splash of white on her head that looks like flames.”

“Blaze, you will be healed soon. Callileon here will help you,” she whispered, stroking the splash of white on her head. The horse let out a strangled neigh and attempted to move.

“You need to keep her calm,” Callileon said, giving her a hard look.

“I told you I have no talent for the beasts and the storm is frightening her.” Another loud clap of thunder shook the stable and a fierce wind wailed through the row of stables.

“Sing to her, Inaras.” Shouting over the noise of the storm, his voice strained with frustration.

She felt like a fool for not thinking of singing as a way to calm the beast. Singing a lullaby in the Cretan language, she gently stroked Blaze's head as she would a small babe in a cradle. The horse relaxed under the spell of her voice, neighing softly.

****

Kelley Heckart, Historical fantasy romance author

Captivating...Sensual...Otherworldly

http://www.kelleyheckart.com

http://kelleysrealm.blogspot.com/

http://twitter.com/CelticChick

http://www.facebook.com/pages/Kelley-Heckart/111838455604

Daughter_of_Night

Buy links for Daughter of Night:

Mundania Press (in ebook formats and trade paperback):

http://www.mundania.com/book.php?title=Daughter+of+Night

Amazon Kindle: http://www.amazon.com/Daughter-Of-Night-ebook/dp/B008OCANEO/ref=sr_1_14?s=books&ie=UTF8&qid=1343182822&sr=1-14&keywords=kelley+heckart

Barnes & Noble Nook: http://www.barnesandnoble.com/w/daughter-of-night-kelley-heckart/1112220212?ean=2940015001952

Buy links on author website: http://kelleyheckart.com/daughter_of_night.html

Thursday, June 28, 2012

Romance novels—Always a happy ending?

Do romance novels always have to have a happy ending? I was thinking about this the other day because some stories just don’t end well. I suppose then the stories wouldn’t be labeled as romance, but as tragic romance. Would romance readers want to read a romance that doesn’t end well? The Greeks had tragic love stories, one of which was Artemis killing her lover by accident, and then there is Romeo and Juliet, one of the most popular tragic love stories.

artemis_orion

I have a book coming out that is part of a past lives series. This is a tragic romance because the first time the hero and heroine meet their story doesn’t end well. This has to happen so that they can be reborn and have their happy ending in the other books. I would compare this story to a cross between the Iliad and Romeo and Juliet. It’s a tragic romance set against the battle between the Titans and Olympic gods. My heroine is a vengeance goddess, one of the Erinyes, so that is a clue that this story can’t end well. Even though I knew I had to write a tragic ending, it wasn’t easy for me to do. I decided to add an Epilogue to give my characters the happiness they deserve, and also to please readers, and myself.

Personally, I don’t mind reading romances that don’t end well. Sure, it’s sad when someone dies and the romance ends in a gloomy cloud, but sometimes these heartbreaking stories stay with me longer than the stories that end well. Maybe it’s the cynic in me, but too many happy endings don’t satisfy me.

I realize a lot of romance readers would disagree with me. They need to have that happiness at the end of the romance novel. I don’t want to mislead readers so I’m thinking of putting a warning on this book since I normally write romance with happy, or happy for now endings. I wouldn’t want to get a bunch of hate emails. Or maybe I wouldn’t mind.

Kelley Heckart, Historical fantasy romance author

Captivating...Sensual...Otherworldly

http://www.kelleyheckart.com

http://kelleysrealm.blogspot.com/ Check out my long hair hotties!

http://twitter.com/CelticChick

http://www.facebook.com/pages/Kelley-Heckart/111838455604

A Greek vampire, Celtic kings, vengeful goddesses, an ancient faery curse…

AS_HeckartKelley_Cat's Curse_EB_Final_print coverAS_HeckartKelley_BeltainesSong_EB_FinalAS_HeckartKelley_WintersRequiem_EB_Final-245x378

All three books of my Dark Goddess trilogy are available in Print and Ebook. Set in Dark Age Scotland, I mixed history with a Samhain/Beltaine myth that revolves around an Irish clan and the goddesses Brigit and Cailleach.

http://kelleyheckart.com/BookShelf.html

Saturday, January 14, 2012

How Do You Write Your Stories?

My great friend and critique partner asked me today, How do you write your stories?

That's an interesting question that, I realized after a year of writing I now have a definitive answer for.

Having just completed my third full length manuscript it occurred to me that I have, albeit inadvertently created a style of writing that works for me.

People ask, are you a plotter or a pantser? I don't necessarily think I'm a plotter, but I wouldn't call myself a pantser either. I'm a unique hybrid that works with my style and personality.

When a story begins to form in my mind, the first thing I do is meet the characters. I want to know their names, have a general idea of what they look like and their basic personality. I begin to understand their flaws and how those flaws affect them. I want to know their past and how they look at the future. To me my characters are what drive the story, because I base the plot around their strengths and weaknesses to build conflict and tension.

Then I give them action.  I plot out the major turning points of my story, including the black moment and resolution. But I never put those points on paper. It's all in my head.

Next I write the first couple of chapters. It could be one or three, but by this time my mind is already spiraling ahead in the story to the next place with the most tension, usually a first kiss or sex scene. Because I'm not a firm believer in delayed gratification, I typically write the scene right then.

After I finish, I pick up where I left off and continue to write until I reach the scene/chapter floating out there. This helps me build in tension and conflict along the way, setting up for the "money-shot" scene I've already created. I continue this process through the length of the book and typically the last chapter I write is the fourth or fifth chapter from the end.
 

Am I an odd ball in my process? Does anyone else do this?

So I pose the question to you, how do you write your stories?  I'd love to know. Leave a comment


Wednesday, August 17, 2011

Trick Yourself Into Writing More

Right now, I’m pretty sad. I don’t know why. Maybe it’s a blood sugar issue or I miss my girlfriend or I’m depressed because I haven’t yet won a Nobel Prize for literature. No matter the cause, I’m using this little ball of pain bouncing and grinding its way through my chest. I’m using it to write.

Two years ago, I started a new book for one reason: I was sad. On a Friday night, I had hoped to see some good friends, but they couldn’t make it. Nothing Earth shattering, but it stung. So that night I took that little pill of pain, used my suddenly free time, and started writing Poisoned Star. I concentrated on a futuristic universe filled with powerful starships and even more powerful aliens. I wrote about a boy in love who longed to see a girl who felt no one could love her.

Whenever I feel sad, I write. Now don’t get me wrong. This isn’t about me trying to expunge the feelings. I’m not out to write some cathartic poetry filled with depressing imagery. No, I want to take this bit of pain and use it as a motivation. For whatever reason, when I’m sad, I write well. It sharpens my focus and helps me concentrate. That might not be true for everyone.

Being a writer routinely comes down to discipline, but knowing yourself and when you write best can be incredibly useful. For example, I’m a morning person. I know I can be most productive before noon.

Last year, I wrote three novels in about three months. Each piece was longer than eighty thousand words. Sure, they were rough drafts and will require a lot of tinkering like pretty much all rough drafts.

How did this happen? I admit it, I’m a workaholic, but even then we’re talking about writing six or seven pages a day while teaching three classes and working half-time as a tutor. I was able to get this much done for one simple reason: I had my mornings off.

I didn’t go to work until one o’clock which meant I could wake up around seven and write until ten. Those three hours meant I accomplished a lot. I also trimmed back on my free reading and I did some writing at night too, but I knew when I could be most productive. When that time opened up, I took advantage of it in a big way.

It’s not just time you can use. Place can be a pretty big deal too. Like right now, I’m sad, but I’m also sitting in a library. This is a great place for me to write because I can enjoy the white noise. The librarians are chatting, people are typing at the bank of computers, pages are getting turned, and a printer is beeping somewhere behind me. I like white noise. This helps.

I’ve had students who say they write better with music or when they’re hungry. There are a thousand variables you can use to manipulate to trick yourself into writing more.

Tuesday, June 28, 2011

Zombies, in romance?

Romance readers never fail to surprise me. I’m still bewildered about the popularity of male/male romances, not made popular by gay readers, but by heterosexual female readers. And now zombies are popular in romances. I can’t get the disgusting image of a brain eating, groaning, slobbering zombie out of my mind. This is not the ideal hero or heroine of a romance novel—at least in my opinion.
th_Zombie_Scream_by_cbergling
Can you imagine anyone kissing or having sex with a zombie? Eew. At least a vampire or a werewolf can hold a conversation and look normal enough to be a romantic lead. Blood drinking vs. brain eating—I would pick blood drinking over brains any day. There is too much of an ick factor involved with zombies. This may be something that affects me personally because I was traumatized by watching the original Night of the Living Dead when I was a child. Nothing frightens or disgusts me more than a zombie. “Barbara, they’re coming for you.” I hear this dialog in my nightmares.
th_hungry_zombie_avatar
I haven’t read any romances with zombies, but the only way for a zombie romance to work for me is if the hero and heroine are human and not zombies. Maybe zombies terrorize them or maybe they hunt zombies. But I don’t want to read about zombies having sex with other zombies or with anyone. Keep the zombies in horror novels and leave romance to the hunky vampires and werewolves.
Kelley Heckart
'Timeless tales of romance, conflict & magic'
http://www.kelleyheckart.com
http://kelleysrealm.blogspot.com/ Check out my long hair hotties!
http://twitter.com/CelticChick
http://www.facebook.com/pages/Kelley-Heckart/111838455604

Saturday, May 28, 2011

Do vampires make good heroes?

I have been wondering about this lately because I am working on something new and might want to draw a link between vampires and werewolves. So I started comparing the two to see which would make a better hero.

The oldest vampire myth, which is Sumerian, talks of a horrible creature called the Ekimmu, a vampire-like creature that resembled a reanimated corpse. Souls that died in a violent way in ancient Sumeria were believed to come back as vampires to torment the living.
twightlight_vampire
Modern romance novels paint vampires in a much different light and I don’t know if I’m buying it. Sure, these modern vampires are a lot better to look at than their ancient, hideous counterparts, but maybe it’s an illusion so they can easily lure their victims. In Twilight, 200-year-old Edward pretty much stalks teenage Bella. That’s kind of creepy. Vampires are undead, natural predators and they are loners who prefer to hunt and live alone. Is that the essence of a hero?
jacob_werewolf
Werewolves are human for the most part and they are alive. Wolves are social animals, run in packs and they mate for life. If I were a Twilight fan, I would have been in the Jacob camp. He just seemed like a better match for Bella and made a more believable hero.

Which one makes a better hero? Vampire or Werewolf?
Kelley Heckart
'Timeless tales of romance, conflict & magic'
http://www.kelleyheckart.com
http://kelleysrealm.blogspot.com/ Check out my long hair hotties!
http://www.facebook.com/pages/Kelley-Heckart/111838455604
AS_HeckartKelley_WintersRequiem_EB_Final-245x378
Three different women, one ancient curse…

Friday, April 15, 2011

(Don't!) Start at the Beginning-Part 3

On the 15th of each month I’ll be chatting about writing craft.

Welcome to part 3 of my first 3-part series here on NN, where we have been exploring the beginning of a novel—and why you might not want to start your story there.

In the last two parts of this series, we talked about ways to hook readers by cutting out back story and launching into Chapter One in media res. Today let’s explore why introducing characters can undo all that hard work spent firing up that hook-tacular chapter.

Part 3: Never Introduce a Character

I can practically see your wide-eyed—or possibly narrowed—expression at this notion. How can there be a book without characters? There can’t be, of course. I’m not suggesting that you don’t have characters, just that you don’t “introduce” them. Introductions are where the story stops completely to give a head-to-foot overview of the character that just stepped onstage, complete with a fashion review and a psychological profile. Introductions can last a couple of paragraphs or a couple of pages, but in either case it can pop the reader out of their immersion in the scene unless it’s done properly.

So how do new characters join a scene already-in-progress if they can’t be introduced? The answer depends on the type of scene, the book genre, and the viewpoint character.

Let’s look at an example:

Joy is on the run from a wild tornado. As she zig-zags through a field to avoid rocks, debris, etc., she almost crashes into a man who is also intent on escaping the twister. They take off together in search of shelter.

Do we halt the escape and introduce this guy? Should they stop and shake hands in front of the tornado, hair whipping so wildly that they can’t even see one another while hollering names and cataloging vital statistics? Does the heroine segue into a slow motion mental recap of Mr. Hottie’s attributes?

Hardly! Joy barely has time to notice one or two quick things about the new guy. Later, when they are hunkered down in a rickety old barn, she'll pick up on strong arms and the intoxicating, male scent that is a legal requirement for all romance heroes. His reactions and clipped dialogue reveal something about his personality under fire, too. When it’s all over, they find out each other’s names, but it's not until they’ve gone separate ways that Joy finally has time to process just who was shielding her with that hot, powerful body.

Another example:

Joy and Blythe, the hot ski instructor she just met, are holed up in a tiny shack that is buried in snow after an unexpected avalanche thwarts her first skiing lesson. (Yes, Joy’s a vixen who’s always getting herself in a fix.) They are stranded for many hours while covered head to toe in ski gear. With all that spare time, do we do a full, expository reveal on Blythe?

Yes and no. Sure, romantic heroines have an uncanny knack to think with their libidos even when in dire peril, but just how attractive can two people be when their only exposed features are red, runny noses and chapped lips? How much can she fathom about his gorgeous bod when it’s encased in all that puffy, quilted nylon? And while I expect things might really heat up for the sake of shared body heat, she won’t take advantage of their quality time to query Blythe about his childhood or ab workout routine—their brains aren’t functioning on that level while they’re busy freezing to death.

On the other hand, let’s say Joy and Blythe are sitting around a mesmerizing campfire. It’s been a long, sweaty day of watching him flex and tease her during a cattle roundup on her western ranch holiday. We need a little break from the action and a gradual buildup of sexual tension to the crescendo that finds them shedding clothes and inhibitions in the dirt. Do we stop and “introduce” him? Not quite, because by now readers have picked up quite a few tidbits about Blythe. Still, it’s a good time to add personal details and history to boost the emotional connection that will ignite their established chemistry.

Romance writing practically demands full disclosure of characters--from the angle of their jaw to the length of their toenails. As such, the heroine cataloging attributes while she gawks at the hot guy who just walked into the bar definitely has its place! But just like spooning out back story instead of “introducing” it up front, readers don’t need to know all about a character up front to appreciate the story—in fact, it can take some of the fun out of discovery. Leave some mystery to keep pages turning. Knowing when and where to dole out tidbits is a clever tool you can use to intensify or lighten the tone of a scene. So the next time a character is gazing in a mirror or checking out the newcomer, ask yourself whether you're "introducing" them. Resist the urge to drown folks in the details all at once. Your readers will love you for it.

I hope you found this three-part series helpful. Next month, I’ll be starting a new series—on Feng Shui for writers. Until then, here’s my question for you: what do you prefer? Knowing everything about a character up front, or finding out juicy little tidbits along the way?

Tuesday, March 15, 2011

(Don't!) Start at the Beginning-Part 2

On the 15th of each month I’ll be chatting about writing craft.

Welcome to part 2 of my first 3-part series here on NN, where we will explore the beginning of a novel—and why you might not want to start your story there.


Part 2: Banish Your Back Story

Ever wish there was a sure-fire way to light your story’s firecracker so that it explodes off the page right from chapter one? In Part 1 last month, I discussed one way—by starting in media res to get things rolling. For Part 2, let’s go back to that all-important opening “hook.” Most of us who have studied craft know of this Holy Grail quest for the line that will magically light the match for literary dynamite. But just as important as catchy words in the opening sentence is the precise moment in time the words are taking place.

In my time working as a submissions editor, I came across a little truth that I’d like to toss out here:

The optimal opening hook often starts 1/4 of the way or more into the author’s “big picture” of the story.

One of the best ways I saw for otherwise engaging writers to land in the rejection pile was to send in stories that began with back story. “Prologues” are a notorious tip-off, as are tales that open with the character’s eyes fluttering open, shutting off the alarm clock, etc.

Why? Prologues usually contain an information dump of back story that readers almost never need/want at that point. Some of that back story the reader will never need. All that info is vital to the author, of course, so they get the mistaken impression that the reader has to have it up front, too. Not so. It’s far more interesting to start off when the character is up to some high jinks that make the reader question, question, question, then dole out the answers gradually while the plot is on the run or requires a temporary break in pacing.

This brings us back to last month’s idea of in media res. If you’re having trouble with this concept, banishing back story (until later, and in small doses) is a good way to find the perfect “middle” moment where the tale actually begins.

All that said, my own writing must be devoid of opening volley back story, right? Um, ::cough:: I’m getting better, but have been infamous for dragging out the back story in Chapter One. I can think of two manuscripts in particular I could not get happy with after several rewrites. I finally realized I’d started off with back story—three chapters’ worth for one and almost a full chapter for the other. Out they went. Talk about “killing your darlings!” Painful stuff, but necessary if we want to tell our readers a story rather than ourselves.

In Part 3 I’ll be talking about why we should never introduce our characters. (Hang on! Don’t get out the pile of rotten tomatoes just yet.) Meanwhile, I hope you’ve found this month’s installment useful, and here’s my question for you: As a reader, at what point do you like to hear the MC’s whole story? And do your novels reflect that as a writer?

Monday, February 28, 2011

Older Heroine, Young Hero

I realized that all of my heroines so far have been older than my heroes. I’m not talking about a 40-year-old woman and a 25 year old man. My heroines so far have been supernatural creatures like faery women, goddesses and vampires so they are usually hundreds of years old. My heroines so far are also experienced sexually so they usually do the seducing. I guess they would be super cougars.


Why did I do that? I wasn’t even aware of what I was doing at first. I’m not older than my husband and I don’t go out chasing younger guys. Younger guys are nice to look at, but I like older men. I was thinking that maybe an older woman and a younger man might be a fantasy of mine. At 40 something, I could be a cougar. It does kind of sound like fun even though I wouldn’t act on it. It would even be a better fantasy if I were an ancient vampire hunting for young prey. Why not? There are weirder fantasies.

I was wondering what readers thought about the older woman/younger man scenario. A lot of romances have virgin heroines. And oddly, the book I am working on now has a virgin heroine. I wanted to try something different. It is kind of fun reliving my virginal days to create this heroine.

So what’s your preference? An older, experienced woman or a virgin?

Kelley Heckart
'Timeless tales of romance, conflict & magic'
http://kelleysrealm.blogspot.com/ Check out my long hair hotties!



Tuesday, February 15, 2011

(Don't!) Start at the Beginning-Part 1

Hey, everyone! I’m excited to be joining forces with the Nocturnal Nights gang. My (pen) name is J. Rose Allister, and on the 15th of each month I’ll be chatting about writing craft. As good things come in threes, I’ll be doing three-part series segments--hence my three little piggy graphic.

In honor of new beginnings here on NN, my first 3-part series will explore the beginning of a novel—and why you might not want to start your story there.

Part 1: In Media Res

Remember when stories started at the beginning? “Once Upon a Time…” If a tale could be likened to a winding road, the author set the reader’s feet on the edge of the map at the start of chapter one. Characters were introduced gradually, scenery and premise was intricately painted, and the whole “before” scenario was carefully constructed so that the aftermath of exciting events later was that much more of a contrast.

Not so much these days.

Many publishers want fiction that starts off in media res, which in Latin means “in the middle of things.” These markets are looking for work that sets the reader’s feet in the middle of the map. Characters start off on the run, and then things get wilder.

So how exactly does this translate onto page one? Here are a couple cool opening lines that demonstrate this “in the middle” concept:

The man in black fled across the desert, and the gunslinger followed.
–from THE GUNSLINGER by Stephen King (and my favorite opening line of all time)

I’d been waiting for the vampire for years when he walked into the bar.
–from DEAD UNTIL DARK by Charlaine Harris

Example 1 starts in the middle of a hot pursuit. The reader is off on a merry chase to catch up, and later learns the gunslinger’s quest has been a lengthy one. Example 2 dives right into a long-awaited moment for the main character—and raises more questions than it answers. Thumbs up.

Sounds simple, but starting in media res is no easy matter. The “middle” approach gets even dodgier when we’re talking romance, where the traditional formula involves meeting the characters, letting them meet, fall in love/lust/preferably both, and then throwing some curve balls at 'em before they get to Happily Ever After. How can that angle work with in media res?

In example 2 above, the vampire mentioned is about to become her love interest—when they meet on page 2. (Not chapter 2!) In my book KATA SUTRA, I open with the male lead getting aroused thinking about the “annoying” female student who winds up as his lover in fairly short order. SINFUL ELLA AND THE WOLF opens with the heroine standing naked in a window, being bathed by a male house servant while her eventual mate watches from outside.

Am I suggesting that all romances/novels MUST cut to the chase with characters already acquainted and banging it out by page 2? Certainly not. But romantic stories that fly fast to the juicy stuff (which can mean sexual chemistry and tension, not just hitting the sheets) is a popular sell with pubs and readers alike these days.

In parts 2 and 3, I’ll be talking about why the way we introduce our stories and characters to ourselves in the first draft is often not the best way to serve them up to the audience. Until then, I hope you’ve found the idea of in media res an interesting one to chew on. My question for you: What do you think of stories that leap in with a bang? Rarin' to go, or too much too soon?

Friday, January 28, 2011

Romance vs. Reality

Hi all, I am a new blogger here at Nocturnal Nights and will be posting on the 28th of each month about writing romances in the genres of fantasy, paranormal, historical, mythology, and whatever else comes to mind.

A little about me: I write Celtic romances for Awe-Struck, Freya's Bower and Noble Romance. My lifelong passion for Celtic mythology and storytelling inspired me to write novels with fierce warriors, bold women and otherworldly creatures. I also edit for a small press publisher. 
My current home is Arizona with my husband and two dogs. Three of my favorite things are men in kilts, sunrises and anything dipped in chocolate.

I look forward to getting to know the other authors and readers at NN. Now, on to my post for today:


Writing romance can be tricky, at least for me, when it comes to deciding how far to take the fantasy and where to draw the line at reality. Usually when I tell someone I write romances, I either get a snicker or a big smile. The big smile almost always comes from a man. And I understand why some people snicker at romance authors—some romances are trite and too ridiculous to be believable. But what makes a romance trite and ridiculous to some is appealing to romance readers. They yearn to escape from reality by reading about a hero and heroine that fall in love, and despite obstacles, have a happy ever after or happy for now ending.

The trick is to find that balance between romantic fantasy and gritty reality to write a compelling romance. How does a romance author write a romance that isn’t too realistic or too unbelievable?

I thought about this when I saw a commercial for the online dating site called Zoosk. With sexy music playing, two half-dressed lovers run to each other in the bedroom and smack heads, then the woman bumps her head on the bed frame and they fall over a chair. Not the ideal romance scene, but in real life romantic moments aren’t perfect. I try to bring some of that realism into my sex scenes. In one book my hero and heroine break the bed frame. This adds some humor and realism to the romance. Moments like that can also reveal something about the characters, how they act in an embarrassing situation. 

I also avoid using purple prose, especially in my sex scenes. (Purple prose is a term of literary criticism used to describe passages written in prose so overly extravagant, ornate, or flowery as to break the flow and draw attention to itself). Every author should avoid the purple prose lure.

Another way to prevent a romance from being ridiculous is to avoid writing situations that are too unbelievable and can cause readers to roll their eyes. The one that bugs me the most is the virgin heroine who feels no pain and climaxes with ease her very first time having intercourse. No way. And this comes from experience. 


By keeping a balance between fantasy and reality, a romance can be convincing without losing the romantic fantasy aspect for the reader. After all, imperfect characters are more interesting and they can still have their happy ending.

Kelley Heckart
'Timeless tales of romance, conflict & magic'
http://kelleysrealm.blogspot.com/ Check out my long hair hotties!





















Wednesday, January 26, 2011

In the Zone with Zee: The Original Dilemma: Show, not Tell!!

Hey beautiful people

26th of the month, and I'm back on Tabby's Nocturnal Nights for the monthly Agony Zee advice column. Usually, I feature 2 queries sent in by writers with 'issues & dilemmas', but today I'll have only one topic up. Why? Because it is a quintessential aspect of writing, made even more resonant in the field of writing romance. You guessed it - how to show and not tell in your story.

On this note, here's today's column:

---------------------------------------------------------------------------------------------------

Dear Agony Z


I keep being urged to “show, not tell” by my crit partners. They say what I give isn’t enough, but I don’t understand, since I do give descriptions and explanations. Can you please enlighten me here?


Signed — The one who doesn’t get it.

****

Dear I-don’t-get-it,

“Show, not tell” is probably the first line you heard when you joined this career. It is probably the most passed-around piece of advice in writing. It doesn’t really get better with time either though, sometimes droning into a sort of litany you get fed up with.

However, there has hardly been most precious advice in writing. In essence, it is what writing is all about. Anyone can string a few sentences together to give an account of a happening. The author, though, goes further, bringing life to this episode. How? By “showing” and not “telling.”

Let’s go to the roots of this statement. “Show” v/s “tell”. What does it imply? Let’s take an example.

The sky was a clear, powdery blue, and the brilliant sun hung like a golden orb in its vast expanse, bathing the world below with bright rays that could blind the eyes when it reflected off water.

It was summer.

Both of these sentences say the same thing, but which one held more appeal? Anyone can tell you it is summer, but what can you as a writer provide your reader with what summer is like? While the first sentence “shows”, the second merely “tells”.
This can also work into planting the setting and giving your reader a feel of where the story takes place. Your story can take place in summer in England. Good. But where in England? Summer as seen in London is very different from summer as seen in the country. Another example could be what summer is like in a dry area like Las Vegas and summer in a humid place like Miami.

“Show, don’t tell” can deepen your story too, and present your writing voice, as well as your character’s mindset. Take the following statement:

He was as sinful as chocolate.

You can use this to describe your hero, but frankly, any woman can tell you a man is as sinful as chocolate. What does the woman you’re writing about, your heroine, think? Say you have two women vying for the same man. Both can describe him as in the above statement, but do you think this would ring true? How about giving your reader more? This can be done by “showing” them what each thinks of the bloke in question, without simply “telling” what he is like.

One woman can say – he was as sinful as chocolate. Like a Mars bar. All hard and dark on the surface, but take a bite and you get to the heart of him, where he was soft and sweet, with just the right amount of sugar merging with the melting bitterness of the dark cocoa coating that held him as the whole he was.

The other woman could say – he was as sinful as chocolate. Almost like extra rich, 70% cocoa extra dark Lindt slabs. Polished and so smooth on the surface, with a crispiness that remained even after you’d taken a bite. It didn’t end even when the delectable concoction started to melt on your tongue, when you got that potent rush of bitterness that stung the taste buds, making you crave more even as you wince. And then the hint of sugar kicked in, soothing and bringing bliss disproportionate to the sharpness that had just invaded your senses. That’s what he was like, an addiction she loathed yet one which she always gave in to when he overcame all her defenses.

In the above paragraphs, you take the same sentence and expand on it, bringing a uniqueness to the story, to your voice, to each character. It can wrap your reader in a world where they hang on to your every word, where they get lost in the meanders of your pen.

How do you do this? By “showing, not telling.”

Now, let's say you need to describe something - bed sheets. Different people will 'feel' the sheet in different ways.

Look at the following examples, and see how many different women are portrayed through one single description:

Like a soft summer breeze drifting along her skin...

The sensation of smooth white sand trailing along her fingers, reminiscent of a the drifting grains inside an hourglass...

Like the skin of a man after showering off the exertion of exercise, smooth, cool, yet with a hint of lingering warmth that permeated all the senses...

Now let's use something else - a brand. What, and how, can you show with a brand?

Many will say dropping the brand name itself in your work is enough to show, like this:

She was dressed in a Chanel suit. – This shows she has money.

But like with chocolate above, you have this superb springboard to use to bring uniqueness to your work, to immerse the reader even more into the story and characterization.

Look at these examples using the Chanel suit:

She was dressed in a Chanel suit, the tweed, lapelled jacket reminiscent of the first creations of Coco Chanel.
– This shows that the suit is old. Either she clings to old stuff (Miss Havisham-like), or the suit can be an old discard she bought in a second-hand store.

She was dressed in a Chanel suit, the tweed, lapelled jacket reminiscent of the first creations of Coco Chanel, except for the bright, vibrant colours of the fabric and its crease-free treatment which left the lapels crisp even after long, drudging day.
– This shows a brand-new suit, as the crease-free treatment is a new concept and the colours a trend of recent seasons. She has money and uses it to regularly update her wardrobe. She is fashion conscious and consequently, can be thought to be a sophisticated, cosmopolitan woman.

She was dressed in a Chanel suit, the bright colour of the fabric competing with the sparkle of the Swarovski crystals and the blinding gleam of the platinum jewellery at her throat, ears, wrists and fingers. The bling factor was echoed in her strappy silver sandals and the chunky, heavy metal chain on her custom-made, lizard-skin Birkin. An Hermes scarf trailed out of the bag’s opening, the pure silk showing ladders in its weave where the delicate fabric had caught on the gigantic Tiffany diamond ring on her left hand
– This paragraph shows you a woman who has money and loves to flaunt it. However, the fact that she combines so many brands and is so much a show-off highlights that she may be new money or trying hard to show that she has the moolah. She is also a fashion victim, which can suppose a neurotic personality and a ruthless one at that too. Or, it can show a woman who is not self-assured at all and wants to fit in desperately, but awkward and trying too hard, manages to compromise all her chances.

A few details here have helped to present a different picture at every single example. Yet, we started with the same woman and the same suit.

You 'show', and it's this 'showing' that 'tells' your reader what you want to convey.

There you are - 'show, not tell'. I'd love to hear your comments, and if this article was helpful.

-----------------------------------------------------------------------------------------------------
Got a question for Agony Zee? Drop her a line at zeemonodee@hotmail.com with your concern/issue/dilemma.

Zee Monodee
Author of stories about love, life, relationships... in a melting-pot of cultures

Zee is an author who grew up on a fence - on one side there was modernity and the global world, on the other there was culture and traditions. Putting up with the culture for half of her life, one day she decided she'd stand tall on her wall and dip toes every now and then into both sides of her non-conventional upbringing.
From this resolution spanned a world of adaptation and learning to live on said wall. The realization also came that many other young women of the world were on their own fence.
This particular position became her favourite when she decided to pursue her lifelong dream of writing - her heroines all sit 'on a fence', whether cultural or societal, in today's world or in times past.

Hailing from the multicultural island of Mauritius, Zee has been writing for close to a decade and has had 3 novels published so far (under other pen names). After a stint in the publishing industry, on the 'other side of the fence' as an editor, her goal today is to pen wholesome, fulfilling stories and help fellow authors, whether as critique partner or as freelance editor.

Find out more about her by checking her blog

Sunday, December 26, 2010

In the Zone with Zee: Of Men and Heroes...

Ever had a writing dilemma and wondered where you could take it to get some advice? Ever wondered why there isn't an 'Agony Aunt' of the writing business?

Well, look no further, because Agony Zee is now here to answer your questions!

Every 26 of the month, Agony Zee will be dropping by Tabby's Nocturnal Nights to attend to questions, queries, and other related writing/publishing dilemma faced by the 'common of mortal writers'.

So on this note, here's today's column:

-------------------------------------------------------------------------------------------------------

Dear Agony Zee


My husband is threatening to divorce me if I don’t cut down on my writing. Writing is my life. What am I to do?


Signed – Desperate wife

****

Dear Desperate wife,

Your husband doesn’t understand that writing is your life? Turn the tables on him – see if he can live without the Sports Channel and that six-pack of beer in the fridge. Would be good to give him a dose of his own medicine, don’t you think? Cut the TV cable, and dump the beer in the toilet. Serves him right!

Frankly though, that’s not the way to go about it, though it would bring instant gratification.

When we become writers, writing, and this exhilaration of putting words and stories down, provides us with the same high as a junkie’s fix. We come to depend on it, thrive on it, crave it almost always. Very much akin to an addiction.
We’ve all heard of the ‘strange’ symptoms to be wary of when someone close to us is getting dependent on drugs. Don’t make the mistake to think writing cannot take over your life like drug addiction would. In a way, it’s even worse, since you’re not doing anything illegal.

Put yourself in your husband’s shoes – when you make writing your life, what becomes of him? Relegated to the sidelines? Dumped like trash? Forgotten like a bad memory? Erased like a misspelled word?

When you’re thinking about this wonderful hero you’re creating, at the joy and love he’ll bring to your heroine, take a minute to pause and ask yourself whether you’re not as worthy as this heroine too. Don’t you deserve to be loved and cherished? Of course you do! One advantage you have over her – you already have your hero, and that’s your husband.

Fictional relationships and fulfillment don’t bring us personal satisfaction in our hearts, the part that needs human touch and human love to thrive. Recognize this and let your husband give it to you. You’ll only lose otherwise.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Dear Agony Zee,


My hero refuses to come out of the box. What am I to do?


Signed, Frustrated with men.

****

Dear Frustrated with men,

There is nothing more annoying than a man who refuses to bend to our ways, even worse when he happens to be the hero we are creating.

So, he’s in a box, and doesn’t want to come out. What can we suggest for you?
Tempt him, tease him, tantalize him. Lure him with Oreo cookies. Leave a pack of beer by his box, and snatch him when he comes out for the treat. Poke a hole in his box, at eye level, and then walk outside the dreaded cube wearing sexy lingerie.

Another option – drop him. Have your heroine take a look around her. Maybe there’s this cute neighbor/colleague/delivery guy who has the hots for her, but whom she doesn’t notice. Get her to open her eyes, and take good stock of what surrounds her.
This in turn, can make your reluctant hero wake up from his warp zone and see what he may be missing on.

On the real note though, when your hero refuses to come out of the box, something is wrong in your approach as a writer. A hero is a vital component of any romance, and one that isn’t working should be revised.
Another thing to remember – characters shouldn’t work for you. You as the writer work for them. You tell their story. You relate how they tackle life and its ups and downs. You paint their take on the world. Not the other way round, as many seem to believe.

A reluctant hero? Find out what makes him reluctant. Maybe the heroine is not his type of girl. What would it take to get him to consider her as a possible love interest? Poke, prod, dig into his psyche, and then use this to up your conflict and plot.

Use every avenue to exploit the possible interaction between him and your heroine.

And sometimes, the unsuspecting guy you have lurking in the sidelines is your real hero. Try giving him a chance too if the ‘obvious’ man is being too pig-headed.

----------------------------------------------------------------------------------------------------------

Got a question for Agony Zee? Drop her a line at zeemonodee@hotmail.com with your concern/issue/dilemma.

Zee Monodee
Author of stories about love, life, relationships... in a melting-pot of cultures

Zee is an author who grew up on a fence - on one side there was modernity and the global world, on the other there was culture and traditions. Putting up with the culture for half of her life, one day she decided she'd stand tall on her wall and dip toes every now and then into both sides of her non-conventional upbringing.
From this resolution spanned a world of adaptation and learning to live on said wall. The realization also came that many other young women of the world were on their own fence.
This particular position became her favourite when she decided to pursue her lifelong dream of writing - her heroines all sit 'on a fence', whether cultural or societal, in today's world or in times past.

Hailing from the multicultural island of Mauritius, Zee has been writing for close to a decade and has had 3 novels published so far (under other pen names). After a stint in the publishing industry, on the 'other side of the fence' as an editor, her goal today is to pen wholesome, fulfilling stories and help fellow authors, whether as critique partner or as freelance editor.

Find out more about her by checking her blog

Monday, September 20, 2010

The Wacky Misadventures of Four Romance Writers Run Amuck



WARNING: This post breaks most of the writing rules. Every rule broken was done on purpose.

Chapter Three

The four women pushed on past the carnage of the decimated bear. Fur and entrails dripped from the forest around them.

"That’s just gross!" Brenda picked up her dainty booted feet and gathered her silky drac cape closer.

Tabby tried to put on a brave front, while forcing back her rising nausea.

"Let's get a move on, ladies. Ya'll are on my last nerve."

Cindy did a little heebie jeeby dance and dashed past the bear parts strewn about. Strange hissing sounds came from her. Looking like a foil wrapped baked potato, she ran past Penny.

Rolling her eyes, Penny skillfully avoided the worst of the goo.

"Ok, does anyone have a map?" Penny asked.

The forest around lit, with the four separate cell phones accessing the web for links on  how to get through the forest of writers block.

"Lions and tigers and  ... Oh, no more bear," Brenda laughed.

Penny and Tabby smiled, thinking the worst must be behind them.

"I got a bad feeling," Cindy said.

"Nonsense, the map on my phone said all we have to do is press on." Penny told them all.

Tabby wrinkled her dark brows. "Mine said, close my eyes and take a nap."

"The map I found said, go read my favorite book again," chimed in Brenda.

"Yeah, well, I think they're all full of crap. My map said you have to do a little dance." Cindy sneered.

Penny walked ahead of the group, eyeing the quiet forest looming around them. "Cindy is right. Something is not quite right…"

A small sweet voice called out from the distance.

"Grammy." Its haunting sweetness called to Penny. Her body swayed toward the sound.

"Ri?" The voice beckoned, luring Penny into the darkness of the forest.

"Help me, Penny. Help me." The voices changed, echoed eerily. "Edit this, crit that."

The forest morphed into huge dancing punctuation marks. They swirled around her, forming a spinning hypnotic image. Lilting music filled the air. A long squiggly line like those under a misspelled word coiled and danced like a cobra to a flute. The words, it must be perfect, formed in the leaves of the trees, and held Penny spellbound. She began to chant.

"Backspace…backspace… backspace."

"No, Penny. Don't. It’s a trap!" yelled Tabby. She moved forward to stop Penny from the siren's song calling her.

Tabby almost made it to Penny, when her ankle was grabbed by a shiny blue wire.

Wild shrieks ripped from a Tabby's throat. The forest around her was suddenly alive with wires in a myriad of colors, all weaving, and twining around Tabby. She tried in vain to free herself from the electronic ambush. It tugged and pulled at her, hanging her like an ornament in the branches.

Brenda screamed. She wanted to help her friends from the traps that held them. Looking down at the forest floor beneath her, rich dark soil sank into a pit under her feet. The smell of sweet flowers and ripening fruit invaded her senses. From the dirt below, she heard the faint crow of a renegade rooster. It was too late. The soil crept and crawled up her legs, sucking her down into its depths.

Cindy stood like one of the trees around her, frozen in place by terror. How could she help the others? She leaned one way then the other. Unable to fully commit to helping any one individual, she helped none. Just then she was knocked to the ground by a pair of kids' sneakers. One after the other she was pelted by shoes and laundry. Grocery bags wound around her wrists and ankles, and one gagged her. The only sound from her was the muffle grunts when she was stomped on by the endless pairs of kid's shoes.

It looked like it was over for the four. Each one tangled and pulled under by their own personal demons. When it seemed darkest, and our girls were beyond help, four pulses of light glowed. From the light nearest Penny stepped four people. Two looked like they belonged in an ad for corporate life. Mick held his hand out to help Jo step into the spongy forest floor.

"This isn't exactly the best place for these heels. They're Italian."

Mick, ever the gentleman, picked her up in his muscled arms. Behind them came another couple. The woman's arms, laden with delicious smelling baked goods. Raef ran his hands through his hair.

"Not again… Penny... Penny… "

Grace moved toward Penny. "She is in some sort of trance."

Mick, carrying Jo, walked in front of Penny's unseeing eyes.

"Penny? Honey?" Jo reached out to put a gentle hand to her shoulder.

All four turned toward the abyss of the forest were the haunting voices and hypnotic punctuation held fast to their Penny.

"Grace, toss me a fresh loaf of bread," Raef said.

He caught the warm loaf and waved the fragrant bread beneath Penny's nose.

Then together both couples yelled, "PENNY!"

Waking from her dream, Penny shook herself. For the first time, she looked into the faces of the four.

"You had us worried there," Mick told her, readjusting Jo in his arms. He leaned toward her and whispered in her ear.

"Do you think you could write a pair of gym shoes into Jo's bag?"

Penny smiled, and seemed to relax in the safety of her characters.

"Sure Mick. I just did."

Jo looked into her large purse and pulled a nice pair of jogging shoes from the depths. Grace dumped the rest of the baked goods into Raef's arms and went to help Jo.

"I love those pumps. Where did you get them?"

"Macys, twenty percent off. They are comfortable and they make your calves look great."

"You know, I am moving to a small town. Do you think we can go shopping before I move?"

"We have to bring Penny. She is the one who picked out this skirt. It was one of the things that caught Mick's eye," she laughed.

From the second pulse of light nearest Tabby emerged Zan. His tanned skin glowed as if he stepped from a Giorgio Armani commercial. The wind ruffled the half-open silk shirt tucked into his well-tailored trousers. At the site of Tabby, trussed up like a Christmas turkey, he smiled revealing his pearly white fangs. Caprice came up behind him. Her small golden sequined, shift dress glided over the curves of her slinky body. She scrunched her perfect face when she saw the state Tabby was in.

"Move it, angel boy. Can't you tuck those things in to get through the door?"

"Woman, don’t give me your lip."

Lyric and Craigen stumbled from the light.

"Dearest Lord," Craigen exclaimed, rushing to Tabby's side. His mouth fell open as he circled. Tabby hung in the trees by her arms and legs. She was wound tightly with wires and cords from electronics of all kinds.

"Ge ma oot off here," Tabby mumbled. Her eyes flashed angrily, the blackberry stuffed in her mouth making her words difficult to understand. Craigen pulled a small glowing dagger from his belt he wiped the blade across his denim clad leg.

"How the hell did you get yourself into this mess?" Lyric asked. Her arms crossed over her dark business suit.

She threw Craigen a surprised look. "Well, what are you waiting for? Cut her loose. You too, Choppers."

Zan's deep chuckle brought a blush to Caprices face.

"You going to help? He asked her. His smoldering gaze undressing her in his mind.

Caprice looked away from him. Her face burnt with thoughts of Zan. "Let the FBI chick do it. I just had my nails done." For effect, she blew on her perfectly manicured fingers.

Zan leaned close to her sniffing the air around her.

"Those better be dry by the time were though here, or you're going to smudge them on my back."

"Cut the crap, Sauvé, and help me get our Tabby out of this," Craigen said.

Lyric pulled a well-concealed switchblade from inside of her blouse. She cut the wires imprisoning Tabby. Craigen's brows came together in concentration. Each slice of his dagger, gently done with care for Tabby's safety. Zan sauntered up to Tabby. His gaze locked with hers. He moved with deliberate sensuality. Dipping his head toward Tabby's neck, his warm tongue pulled a wire from her skin and his fangs sliced it cleanly. He growled and went after another.

"Good Lord vampire, you're not being graded on this." Lyric smirked.

Caprice stamped her Prada flats and warned Zan with a look that could have lit the sun.

Zan laughed and shrugged his shoulders. "I can't help it. I'm that good."

Tabby finally breathed a sigh of relief as the three of them freed her from the last of the wires. Craigen pulled her into his comforting arms, and kissed the top of her head.

"All safe, precious."

Brenda's head was just slipping beneath the shifting dirt. Her hands clawed wildly at the ground. Mel threw himself to the ground followed closely by Breeana. The two of them desperately tried to dig her from her impending grave. Mel shoved his hands deep into the earth and pulled with all his might. Brenda's head pulled free of the ground. She sucked in a huge breath, choking and spitting dirt from her mouth.

"What the hell is this?" Breeana pulled a potato from beneath the ground.

A rag tag group of vampires dropped down beside Mel and joined in the fight against the dirt that was still trying to pull Brenda away.

Kal watched from the sidelines. A plate of nachos balanced in one hand. The other hand dipped a chip into the cheese and popped it into his mouth.

"Kal! … A hand here? Mel complained.

Kal passed the plate of nachos to Ace and pulled a small garden shovel from his back pocket. He joined the crew of vigorously digging vampires.

"Ace!" yelled Mel.

"What? Save a human or a plate of nachos?"

"Ace," the others warned.

"I'm thinking," he snarled back.

Sin swore and fell back as he pulled a screeching rooster from the dirt.

"What the bloody hell is this?" He directed the comment at Breeana.

"Why are you looking at me?"

"You’re the vet."

"So, I didn’t put the damn rooster there."

Mel tugged harder, readjusting his grip under Brenda arms. Brenda cried, her arms wound around Mel's neck.

The small silver shovel in Kal's hands pitched the dirt away from Brenda's body. The speed of his hands helped uncover her. Mel continued to tug her from the cloying ground. Sin and Black's grasp on Brenda helped Mel pull her from the ground.

Breeana let out a blood-curdling scream as the head of a small miniature horse broke free of the mud and reached out to bite the back of Brenda's jeans.

Brenda and Breeana shrieked in tandem as the horse's teeth tried to pull Brenda back into the ground.

Kal thumped the horse on the face with the garden shovel.

"Stop that. You'll hurt him," Breeana moaned.

"He is trying to eat Brenda," Kal exclaimed. "What do you want me to do, give him a reward?"

"Kiwi, let go," screamed Brenda as her legs flayed to gain purchase on the shifting ground.

At last, the group of vampires pulled Brenda from the dirt and dragged her away from the pit where the horse and chicken still eyed Brenda. An evil laugh echoed from a group of raccoons at the edge of the forests, strawberries, and raspberries clutched in their paws.

"That is just freakin weird," Kal said to Mel

Ace threw the empty plate toward the raccoons, scattering them.

Wiping his hands on his jeans, he crouched down where Mel still held Brenda in his muscled arms. His large hand picking chunks of mud from her hair.

Brenda wiped her mouth on her dirty arm and immediately spit the dirt from her mouth.

"Ack.".

Ace looked into Brenda's dirt smudged face.

"You’re a mess, human."

"Thanks for the help, jerk," Brenda grumbled. "Just wait," she warned, pulling debris from her scraggly tangled hair and smoothing the bedraggled cape over her legs.

The last of the lights flared as an endless horde of people spilled forth. Miles, barefoot, skipped to where Cindy was drowning beneath shoes, laundry, and backpacks. The trees around them jingled with the sound of car keys. Each key lit with an address... an eerie sick green light cycled on and off in the branches, spelling out the words taxi. Andros pulled a pulse rifle from his belt and one by one picked off the car keys from the branches. They dropped harmlessly to the forest floor.

Miles leaned over Cindy, flashing her a bright smile and a wink.

"Got yourself in a bit of a pickle, eh?"

Georgia shook her head and began to pull the shoes off the heaping pile.

Tally took a laser scalpel and carefully started to cut away the plastic grocery bags from Cindy's wrists. The pungent odor of burning plastic tainted the air.

Miles pulled out a tennis racquet and began to toss shoes in the air and swat them away…yelling, "Fore," as he did.

"I've got a hell of a serve," he boasted. Georgia laughed up at him and gave him the next shoe to smack.

Rory set up a perimeter around the whole group, signaling to a group of commandos to lay low and keep their eyes open.

Jonas stood behind Andros and scored his shots.

"4.5, 3.7," he laughed

"Close your face, boy scout."

"Like you know what a boy scout is," Jonas smirked.

"I am capable of reading your human script. Now let's get that fool out of the way and see if we can't uncover Cindy."

Andros and Jonas joined Miles in pulling the hundreds of shoes off her. Once free, Andros held out a hand and pulled Cindy to her feet. Dusting herself off, she surveyed the group around them. Each of her fellow writers was pulled free of their troubles by the very characters each created. The voices of the characters refused to be ignored. The humans, vampires, and aliens gathered around their writer and jealously guarded them. Now flesh and blood, none of them would go unheard. Whatever lies ahead in the dangerous forest of writers block, they would all go as a group. There was safety in numbers, and the characters were not about to let the forest swallow them up. Even if it meant holding the hand of their writers, this dedicated and boisterous group would not be put back on a shelf.

"Let's head out. I'll take point," said Rory. An enormous gun, skillfully handled. She aimed into the dark recess of the forest.

"We're all in this together, and need each other," Tally put in. Her gentle look passed over the whole, strange lot of writers and characters.

"Me wanker is yodeling. I've got to drain the hose," Miles remarked.

Andros, shaking his head, walked past him. "Idiot."

By Cindy Pahl

Saturday, September 4, 2010

Brenda Dyer Interview

1)    WHAT WOULD YOU LIKE READERS TO TAKE AWAY FROM YOUR STORY?

I would like my readers to come away with a sense of satisfaction of a story well told—LOL, or shown as we writers are always prodded to do. But more than that, I hope my readers feel the deep love my hero and heroine share. Also, I would love for readers to think of my characters even when they are finished the book. Think of them and smile.

2)    DO YOU HAVE ANY OTHER PASSIONS BESIDES WRITING? IF YES, WHAT ARE THEY?

I love gardening. I get so much joy out of it. For me, a perfect summer morning starts with my coffee out on the deck, looking at all my flowers, smelling the different fragrances, and watching the bees and hummingbirds. I also like to grow my own vegetables. I get such satisfaction from making a raspberry pie from my own raspberries, or having fresh peas from the garden, or potatoes. I love it!

Another passion of mine is drawing and painting. I'm terrible at drawing people—unless they are cartoons. I stick to animals usually: horses, birds, and wildlife, like deer or raccoons, but let's not talk about raccoons, lol. I'm at war with them right now over my raspberries.

3)  IF YOU HAD ONE WISH, WHAT WOULD IT BE?

One wish, huh? Well, if this was real life, I would have to say world peace. LOL, makes me sound like a contestant for Miss America. But since this is for the interview, I'm going to say my one wish would be for my novel to get published and for readers to LOVE it. LOL, I guess that's two wishes, eh?

4)    WHAT IS YOUR FAVORITE TV SHOW? WHY?

This is an easy question to answer. The show Supernatural. The reason for this is simple: two hot—and I mean hot—guys fighting evil. Sam and Dean Winchester fight all manner of paranormal creatures. This is right up my alley!

5)    ARE YOU A CAT OR DOG PERSON? DO YOU HAVE ANY PETS, AND IF SO, PLEASE TELL US ABOUT THEM.

I'm a cat person. We have four. Their names are: Author, Tinkerbell—we call her T—Neens, and a beautiful black and white cat we rescued. We named him Lucky. Along with our cats, we have two miniature horses named Kiwi and Ebony, a miniature goat named Cody, chickens, two budgies, and fish. I think that's it. Let me go check . . . . yep, that's it.

6)    WHERE ARE YOU FROM?

I live in Canada on Vancouver Island. It is located on the west coast. I absolutely love it here—well, except for all the rain we get in the winter. The weather here is very mild. We rarely get snow in the winter, which bugs me cause I love snow, but I'm sure I wouldn't if we had it month after month. The summers are beautiful.

7)    WHAT INSPIRED YOU TO WRITE YOUR FIRST BOOK?

What inspired me, hmmm? Well, I guess what inspired me was a romance novel I read—it was fifth in a series, my favorite character—and I was so disappointed with the way it ended so I wrote my own ending, lol. Then something really strange happened. Ideas started popping into my head. Not about the novel that had annoyed me, but something totally different. I ran with it, and before I knew it, I was writing the rough draft for my MS. I've never aspired to be a writer, in fact, I hated creative writing back in high school.

8)    IS THERE A MESSAGE IN YOUR NOVEL THAT YOU WANT READERS TO GRASP?

You know, I never thought there was a message in my novel until I read this question. And yes, there is a message I would like readers to grasp. Tolerance for other races and how damaging rumors and lies can be. In my novel once upon a time, vampires and humans shared the earth as friends—two different species working together in harmony. That fell a part when when demons—housed in human bodies—whispered lies to humans, saying the vampires were trying to kill them so they could take the earth as their own. Humans believed these lies and turned their backs on vampires and started executing them until vamps went into hiding. The world went downhill from there. Vampires and humans became estranged from then on.

9)    NAME ONE PERSON THAT YOU FEEL SUPPORTED YOU OUTSIDE OF FAMILY MEMBERS.

You!

10) WHAT WAS THE HARDEST PART OF WRITING YOUR BOOK?

The hardest part of writing my book has been the whole thing, lol. Writing doesn't come naturally to me. It's hard work, but I so enjoy it.

11) DID YOU LEARN ANYTHING FROM WRITING YOUR BOOK, AND WHAT IS IT?

Yes, I learned that I can accomplish anything if I set my mind to it. I know this sound cliché,  but it's the truth.

Thank you very much, Tabby, for giving me this opportunity. I enjoyed it very much.

It was great to have you Brenda.

Tabitha