A Fly on the Wall

I have this uncanny ability to wonder into bookstores at the most opportune moments. I never check local papers for authors appearing at local bookstores, but it appears I have a homing device that clues me in on such occurrences.

This past Saturday I wondered into a local bookstore and found a large crowd waiting in line for a book signing. The author was Homer Hickam. Mr. Hickam is a native of West Virginia who grew up in the coalfields. His book entitled Rocket Boys generated the 1999 movie October Sky. As a boy, Hickam launched a rocket from a coalfield, and later became a NASA rocket scientist. He has a new book release called Red Helmet. The book tells the story of a Sonya Hawkins, a wealthy and beautiful woman, who falls in love with a coal mine manager, and has a rude awakening when she reaches the coalfields from the streets of NYC. Sonya’s marriage gradually unravels, and a tragedy strikes causing Sonya to don the novice red miner’s helmet and go deep within the mine. Inside the mine, she learns more about herself than she ever imagined possible. While Hickam visited Huntington this weekend, he launched a scholarship program for Marshall University. You might recall the movie We Are Marshall starring Matthew McConaughey. It was about a fatal plane crash in 1970 that claimed the lives of the coaches and members of the Marshall Football team. This scholarship benefits the same University depicted in the movie.

I did something at this book signing that I have never done before. I stood in a corner and observed. I’ve attended book signings before, but I’ve always participated, this time I wanted to be an observer. I’ve found that in some situations you can learn so much more from observation and speculation. In this instance, I couldn’t have been more on target. I watched each individual’s face as they approached Hickam. As at most book signings, their expressions signified awe and gratitude for work well done. Hickam never wavered. He graciously signed each individual’s book, and spoke to them a few moments. He also did an interview with the local news. At certain points during the process, I saw fatigue in Hickam’s expression, but the smile never left his face and he remained the same gracious author. I was impressed, and couldn’t help but wonder what it feels like to attain that kind of success. How launching a rocket in a field as a boy led to the man sitting in front of me. I wondered how it felt to obtain success and then bring it home to where it all began.

I am struggling to write my first WIP. This man has six published books, is a former rocket scientist, and has a movie based on one of his books. What kind of determination does it take to obtain that level of success? If I gained nothing else from observing this man, I received a large dose of inspiration. I thought about how I have grumbled to myself in the last several weeks about the rigors of writing a book. I asked myself is it that difficult, or am I defeating the purpose before I ever begin? This man obviously has put forth a great deal of time and effort to obtain his place in the literary world, as well as use his extreme intelligence to improve space science. In observing Mr. Hickam, I was able to put my own goals in perspective. When God gives me skill, I shouldn’t grumble if it takes hard effort to produce a product of that skill. I need to thank him for it, and view it as a privilege to use it for achievement.

The most important denominating factors for achievement is determination and the belief in one‘s self. I view writing a book like losing weight; nobody can diet for me, just as no one can write my WIP. The desire comes from an ideal that you can do anything your heart desires as long as you want it badly enough.

I believe that the culmination of success is not reached just because you publish, for at that point, the real test begins. You must maintain your game. You have to prove to the world that you’re not a one-book wonder.

This weekend I observed an enormously successful man, and couldn’t help but think how it felt to be sitting on his side of the table. I can’t imagine walking into a bookstore and observing my book upon a shelf, or opening the newspaper and reading my name on the NYT bestseller list. I want to know what it feels like to become a full time writer. I want to be able to give part of my success back to my community. Overall, I want to achieve a dream.

I hope I get the chance to live that dream, and I hope that when I do, I handle it with the same gentle graciousness that I saw displayed in Homer Hickam.

What are your aspirations of success? When you become successful, do you plan to do more with that success than publishing more books? If you are already published, how did it feel to learn you succeeded, and do you feel a tremendous amount of pressure to maintain that success? Do you believe in the power of observance?

Conflicts in Conflict

The past months have seen big adjustments in my WIP. It’s changed from straight-up Regency to paranormal Regency with a bit of a whodunit thrown in for good measure.

When I undertook this endeavor, I assumed there would be some WIP backlash. It started immediately when I had to axe out 50 pages that just didn’t fit anymore. It’s better now, I think, but that did cause me some teeth gnashing and other such general pain.

The most recent snafu came up this week as I was getting a sliver together for the pirates to critique. I’ve stumbled across a conundrum. I find myself with so many plot threads that I hardly can keep them from twisting into an unrecognizable ball of literary goo.

“Writing is a journey,” I repeat to myself yogi/mantra style.

It just happens that this journey includes a mystery plot, my heroine’s internal and two external conflicts, my hero’s internal and external conflicts and the set up for another story, in case I choose to use it. Hardly JK Rowling-esque plot weaving required but it’s more than enough for me.

Before the revision, this was a lot easier because 1) my conflicts were mostly internal, 2) there were only two conflicts: his and hers. Now, with all these additional external shenanigans going on, it’s complicating my life. Or, more specifically, it’s complicating my characters’ lives in ways that is complicating my life.

I do think that these new external conflicts make my story better. And, on the bright side, they seem easier to progress than the internal ones, so that is something.

The only way I’ve figured out how to keep track of all of this is to list out my conflicts, pretty much as above with a little more detail, and then after I write a scene, read back through to make sure there’s growth in each specific conflict.

But, I’m not sure it’s working.

So, wenches, HELP! Which type of conflict do you think is easier to write? Which is more important to the story’s overall success? Any suggestions for how to keep multiple conflicts straight and moving forward? And, do you think external conflicts enhance your plot or not?

Show Me

There have been many times in my life when emotion has taken over. When I no longer have control over what my mouth is saying and everything that I’d held inside for so long came front and centered. There is nothing like those moments, vulnerable and exposed to the one who’s either caused you pain or you’ve loved like no one before them. It’s in those moments that we realize who we are inside.

For some of us emotion is not easily said aloud but easier shown in small gestures that are often overlooked. It’s easy to say the words, “I love you” if you don’t really mean it. Words are often regaled as the emotion behind the person but without these gestures behind the meaning, it truly isn’t worth the last turnip on the turnip truck.

I’ve often thought about those gestures behind my characters. What makes them act the way they do? What makes you engage the character? Visualization of the scene, gestures that seem real and not overbearing. You really have to analyze every day life and those around you in order to get an understanding of this. To me this is one of the most important jobs of a writer. I want you to feel like you are in that scene. Like you can feel the motivation behind my character’s actions. If you can’t physically feel that emotion draped between the words, sentences, paragraphs, then I’m obviously not conveying it the right way.

I can think of a few writers that do this and do this well. Janet Evanovich (Yes, I am obsessed) and Pamela Clare (Here is me on my knees worshiping the fiction ground they both walk on) just to name two of them. I adore dark heroes. The darker the better. But that’s what makes their redemption so much sweeter in the end. The dark heroes know how to do the gestures behind their actions. For them, it’s the only way they can truly express their feelings without feeling overpowered by the moment.

It’s the small gestures that, to the reader, tell you everything you need to know about the relationship between two characters. There is no telling of these emotions, there is no need. As a reader, you sense that connection between the hero and heroine. Without that connection, I wouldn’t be a reader of their fiction. Plain and simple. I don’t need to be told of the emotion. Seriously, any schmuck can say the words “I love you” and grin like an idiot and that still doesn’t mean, to me, that they actually care or genuinely love. They are saying the words. There can be all the basis in the world behind them, and they still might not mean anything without the gesture of love behind it.

What do I mean by gesture, you might ask? To me, the gesture of love and emotion is showing me you mean it. By not just saying it, you truly feel it. Nothing will separate us. Not obsessive or overbearing; but that one true deep emotion that happens once in a million years. To me, P. Clare and J. Evanovich do this in spades. P. Clare just has this wonderful way of writing the emotional gestures behind the action. My favorite example of P. Clare’s gestures is *spoiler for Hard Evidence* when Julian steps into the line of fire and takes several bullets in the back for Tessa. Yes, he’s a FBI agent, but it’s the moments afterwards. The way Julian reacts. The tenderness between them when Tessa cries for him that truly shows you the gestures behind the motivation and emotion. It’s complex. It’s raw. And it’s truly awe-inspiring.

Julian is a different breed of dark hero. A man who truly doesn’t know his worth because he was never taught. There was no trust in his heart. No love in his life. My heart pitter-patters at the thought of Julian, dark sunglasses, 5 o’clock shadow, lean hips swaggering towards me. You can just tell that Julian is all action, no talk.

Not to mention J. Evanovich’s character Ranger (R. Carlos Manoso). All of the words that come out of Ranger’s mouth contradict his actions. The way he unabashedly tells the truth no matter how painful it is to hear it. He tells it straight. He makes no apologies. He’s hard and unforgiving. And it takes a special sort of love to understand him. If you hear the words come out of Ranger’s mouth you can take it to heart. He thinks about what he says before he speaks. Every word is weighed carefully. Don’t say things you don’t mean. But there is a sneakiness about Ranger as well. Qualifiers. Contradictions. Keeping at arm’s length.

Looks that tell a different story. Actions that show exactly what he feels.

Take for an example: In Twelve Sharp *spoilers for Twelve Sharp* the book is about Ranger’s daughter with whom he has little contact with. When asked about it, he speaks of her clinically, without emotion, detached. But his actions tell a different story. He exudes his every resource to find her. Spends countless hours awake, searching, hunting, tracking down leads. He enlists Stephanie to help him. And when he sees his little girl’s smiling face on the TV and a picture of him, listed as armed and dangerous, you see his mask slip and the emotion becomes very raw and painful. And even then, Stephanie knows that his daughter is just not another expense in his budget, but a real emotion he keep close to his heart and never shows to anyone.

There are a thousand examples I could use of J. Evanovich’s Ranger character. She’s the perfect manipulator of the actions speak louder than words scene writer.

So, in your opinion, who is the master of these sorts of gestures? What sort of characters suck you in and never let you go? Has there ever been a scene that just stuck out for you and stayed with you long after you sat the book down?

And I know that I told Hellion that this was going to be Eric Bana week, but I got stuck on Julian and Ranger. I get sidetracked very easily.

PS. Eric Bana I adore you. You are so hot with your 5 o’clock shadow and wicked bedroom ways. I am the pirate wench of your dreams. Not to be confused with a siren who will cause your ship to steer off course and crash. As Quartermaster it is my duty to guide you with my ultra fabulous sense of direction, which may or may not include getting you out of your trousers and into my private quarters.
Sincerely, Q. Sin.

Plotting for Dummies

I subscribe to Urban Word of the Day, which if you don't subscribe, you should. It's damned hysterical. I subscribed upon learning the word: "mantastic", which is basically like the word "fantastic" with some testosterone to Bruce Willis it up a few notches. They always use the UWOTD in a sentence, so you're not looking stupid when you show off your new knowledge. "Following his fifth keg of beer, Kevin ripped the horn off of his pet narwhal, and then nailed his porn-star girlfriend for hours. Subsequently, he felt mantastic." I mean, it really makes you want to run out and use that word, doesn't it?

Last week's UWOTD Keeper-of-the-Week was: WSD.

I hadn't heard of this acronymic little gem yet, and was amused to learn it means: Write Shit Down.

Clearly genius.

Saturday, Sin and I held our RWR face-to-face critique meeting. Sin is, what you might call, a commitmentphobe. Or maybe she's is too committed. After all, if you put something in writing, she thinks it can't be changed again. (Therefore if she doesn't so much as revise as scraps the whole thing and starts again from scratch.)

Being I'm content to fix Sin's phobias rather than mine, I whipped out my newest writing obsession, my storyboard that I drew my precious straight lines all over, and forced her to give me plot points to the book she's supposedly going to submit to the Golden Heart. (I say supposedly because she mentions this one as her GH submission and writes on her paranormal instead.)

We filled in the blank storyboard, despite Sin's screaming refusal to do anything so tedious as put a story plot in storyboard/synopsis form. It was a success! It worked, much to Sin's chagrin. It's worked twice for me so far--though I'm going to have to recreate one and replot it some to make it better.

Why did it work? Because we WSD.

Now, the storyboard isn't really anything. It's twenty blocks (a 5x4 grid), assuming you're writing a 400 page book. 1st block: Hook; 2nd block: Inciting Incident; 4th block: Point of No Return; 5th block: Turning Point 1. (At least that's how I've set up my blocks at any rate; I'm combining this storyboarding with the 10 Essential Scenes from The Writer's Little Helper.) In the 4th row, I have a blank block, the CRISIS block, two CLIMAX blocks, and The End block.

5th block as we said is Turning Point 1; 10th block is Turning Point 2, which is a BIG EVENT block--the halfway point of your book and a big reveal of something; 15th block is Turning Point 3; and 20th block is The End.

Marnee is fond of the four-act structure--so basically everything that happens in row two is COMPLICATIONS and everything that happens in row three is CONSEQUENCES.

Then it gets more complicated with color-coding your post-its and such, but it's like a game! I never knew plotting could be a game! And you can glance at all you have and go: "Well, this is revealed here, so we probably need a hint somewhere around...here." And you scribble a note and plop it in a square where you think it will go. If you're not happy with it, you can move it around. It's more fun than a regular synopsis.

Even Sin could do it. Even though she didn't want to.

And yes, this is the same storyboarding that Manda at RV was talking about. It works. It really works! It's mantastic. So go get yourself some posterboard and post-its--and WSD.

So what is your favorite Urban Word of the Day? (Mine used to be "Sweet.") How do you feel about committing your plots to paper? Storyboarding or synopsises? Which is better?

Emotionally Speaking

When I’m not sitting behind my keyboard, or helping my eight year old with vocabulary words, I most likely can be found in the operating room. Just like any of you, there are some things I enjoy about my job better than others. I chose nursing as a career for the same reason I want to be a writer. I love the emotional aspect of both professions. In nursing I love bonding with my patients in the preoperative area before I take them back to surgery. Most of the time my patients never remember who I am because they are sedated before they ever see me. It doesn’t matter to me that I’m usually never named on a patient survey as a nurse who delivered quality care. It’s rewarding enough to know that I reduced their anxiety before they drift off to sleep. A little gesture such as holding their hand, or telling them that I will be with them during the entire surgery is enough to alleviate a lot of the anxiety that they experience. I treat my patients the way I would want to be treated.

The same applies to my writing. I write what I like to read. I love books that include emotional scenes that grip the heart. I give the best of me to my readers. I love writing emotion and I want it to be evident in my writing. As writers we all deliver with pride, what we do best. It doesn’t matter if what we write well, is humor, suspense, erotica, or inspiration, we excel when we are in our element. In these moments the words flow, and you become one with the keyboard.

Movie directors use actors to create a scene that provokes the most emotion for viewers. With one touch, one expression, or one tear, they can tell the story without dialogue. As writers we don’t have the liberty of cinematography, but we do have the beauty of words. If we do our job well, we can produce just as much of an impact, and possibly more than a director on a movie set.

Even though I will never be a real movie director, in my world I direct my character’s actions on the page. I’m as happy as a pig in mud when I’m knee deep in emotion and angst. There’s something about creating a scene that can evoke emotion, and make your readers want to either throw the book across the room, or grab the nearest Kleenex. To me it gives the story substance, instead of a plain cheese pizza it’s like ordering a meaty supreme.

Here’s a slice of my pie…

He was everything in a man I didn’t need, but like a pair of designer shoes-he was addictive.

He took a step toward me and I totally expected him to kiss me, but he stopped a millimeter away from my lips.

“I’m not sleeping on the couch tonight. I want to keep an eye on the outside, in case you have a visitor.”

I nodded and willed him to step away before I made a fool of myself. I was tired of being strong. Tonight I needed his strength and he had more than enough to give. It didn’t matter if he was on the couch or in my bed.

I needed him.

I leaned forward and rested my forehead on his lips. His hands skimmed up my arms and into the hair at the base of my neck.

“You okay?” He asked.

I pulled away and looked into his steel blue eyes. “I’m good.”

He nodded, and walked away. He reached the door and turned to look at me. “Call me if there’s a problem.”

The door clicked shut behind him and I was alone. I didn’t know what scared me the most, the stalker getting to me, or starting to feel dependent on Maverick. I clicked off the lamp next to the couch, walked over to the window, and pulled the curtain back. I saw him slip inside his truck and flash his lights. I slowly stepped away from the window, and let the curtain trail through my fingers.

I swallowed the emotion lumped in my throat. For the first time in my life I felt vulnerable, and I didn’t like it. My life was compartmentalized and this was screwing with the system. I looked at the sheets tucked perfectly on the couch, topped with a pristine white pillow. I walked over and sat down, closed my eyes, and leaned my head back against the cushion. I inhaled and caught the clean, all male scent of Maverick on the sheets.

A tear slipped out of the corner of my eye, and I let it go.


Do you like writing or reading emotion the best? If you don’t like writing emotion, what do you feel you write well?

Why Writing Contests Are Like Foreplay

I haven’t entered any contests yet, but I’ve been toying with the idea in the past week or so. Every time I look at RWA’s monthly newsletter, I find another contest that requires only the first 25 pages of your manuscript. They offer all kinds of enticements: valuable feedback, cash prizes, notoriety, and the possibility of having your work read by people in the business. And, the story doesn’t even have to be completed if you only send the beginning. I’ve got plenty of beginnings!

It sounds like writer’s heaven to me.

If you don’t win, it sounds like it could maybe leave you with feedback (maybe useful, maybe not), less money in your pocket, the same lack of exposure, and that horrible feeling of being a loser because now people in the business saw what you are left believing to be a giant pile of crap with your name all over it.

And, that my friends, sounds like writer’s hell.

That’s why contests remind me of foreplay. The nice dinner, the movie, and even some heavy petting, can still give no firm indication of what the feature presentation will hold in store. The package might look provocative, but that doesn’t guarantee a satisfactory end result.

Although, if I mention the fact that most contests cost money (in some cases a lot of money) and try to make that leap to my analogy, I flirt with prostitution parallels and well, that’s nowhere I wanna go. So, consider simile over.

I know that many people have gotten their start from contests. Requests for fulls or partials, even book deals from judges. There are also ways to polish up your work to make it contest ready. But, I’m not certain it fits my goals right now.

Any experienced wenches out there? (Boy that sounded dirty). What have you found to be the upsides and the downsides to contests? Any war stories/sage advice? If you’re not a writer, ever won anything good? (I won a Senseo coffeemaker once. They said I had to pay for shipping and handling though. I opted out. Hey, that hardly feels free to me.)

On the Road Again

I tell you- there is nothing like a vacation in the winter. Take it from me. After four months of total crap weather, a girl needs to get away before she withers into winter’s deep dark depression.

I always get a little stir crazy come February. Tis true that I’m ruled by Jupiter and like to roam about the country a bit, but there is something about knowing spring is right around the corner. I’m showing the impatience of my zodiac sign.

So to curb this impatience, I just feed it some spring like weather and hightail it to Phoenix (Arizona) for a week every February. In the winter, I can understand why my family feels the need to live in the desert. Cold to them is 60 degrees in the sunshine. Cold to me is… well, like living in the Arctic Circle where it never stops snowing and never shows the sunshine.

This year I resolved to do a bit of work while motoring around the busy streets of Phoenix and the surrounding suburbs. I already know my way about. I know which streets to take, which ones to avoid. What areas are popular and what are not. I know where the best places to eat are. I know the highways. But do I really know the “heart” of this city I’d like to write a series? No. Not really at all.

I love to people watch. I love to experience a city just by wandering around casually and stumbling onto everything day life. Listen to the sounds. Smell the atmosphere. There is something that’s inspiring about a city you know nothing about. So for a couple of days instead of playing the vacationer, I played the resident. I did nothing but what my normal routine would be back home. I got up. Early. Slipped my glasses on and went in search of coffee (which I had to make). Took my coffee to the shower (but did NOT drink it in the shower. Gimme some credit wenches.) Did my normal top secret bathroom routine, which includes many layers of war paint. Turned on the TV in search of the local news to scope out the traffic and on which roads. Jotted down notes on scenes I could possibly see. Motored out to the rental and took a drive. I had to experience traffic. City traffic. (Gotta tell you Hellion, I think we’ve got them beat.) And went back to the house. This is where my routine gets a little screwy because I wasn’t working. But I was thinking about what my heroine would be doing. That was fun. Can’t tell you though, top secret and all that jazz.

At night, I’d go for a run in the neighborhood. Since I was staying with my grandmother, it was safe to be on the street at 8pm. I took in the palm trees framed by the twinkling stars in the vast desert skyline. The way the mountains were framed in the distance and the streetlamps gave them an eerie glow. The way the cold mountain breeze rustled through the orange tress. The smell of flowers blooming, fresh cut grass, dirty water rushing from lawns and into the street. There is something calming about the night here. Things are not rushed. It’s almost peaceful. Border line relaxing once the sun falls behind the mountain peaks. And then I knew, while running down a dark, quiet street with the streetlamp coming up on my right, the dry culvert running through the side street just ahead of me, that this was the right place to start my next series. The city is almost schizophrenic in its ability to completely make a 180 from sunrise to sunset. And that’s what makes a great city to write about. The ability to draw the reader in (even if you have to fudge a bit to get it quite right) it still has the outline to which you base every scene on.

So my question today: Have you ever traveled to check out a city you wanted to base your WIP from? Fictional or fact, it doesn’t matter. We all choose location for a reason, so what was your deciding factor? Readers, does it thrill you to read a book and know the city or does it do nothing for you?