Showing posts with label Renee Simons. Show all posts
Showing posts with label Renee Simons. Show all posts

Wednesday, October 5, 2016

Wednesday's Writer's Tip - Writing ABC - A is for Action and many more #MFRWauthor #writing

Not sure this will succeed but I'm going to try and see if I can find one thing for each letter of the alphabet that applies to writing fiction. With a little help from my friends and fellow writers,

A is for Action - Action is essential to a story. We've all read stories when we're pushing for the writer to give us some action. Now my take on action doesn't mean there has to be a car chase or some equally physical bout of fighting. Action can be softer but there has to be some kind of movement. A good argument can be action so can thinking about what has or will happen. The action cam be how one character responds to another and what steps they are about to take. Showing these steps toward reaching a goal can be action even though there are nothing high speed.

Action can also cause problems and to make the reader weary. Some stories seem to be all action. The characters are never allowed to take a breath. Nor does the reader have this respite. They may finish the book totally exhausted mentally and wonder why they chose this author.

Writing love scenes are definitely a place where action enters the equation. I read a book where the active love scenes continued and continued and continued. I found myself skipping pages. to get past the love scenes happening in two chapters out of three. This also applies to other kinds of action. I've read books where the characters argue or discuss heatedly a certain problem. But they do this again and again in chapter after chapter.

So one has to remember Action is important to a story but there are other elements that also unite with the story. One thing I have when I've gotten that rotten rough draft down is to start rewriting and when a segment of the story seems boring, and if it bores the writer, think of the poor reader. Then I know it's time to throw in a little action to make the slow scene work.

What do you think about Action and do you have other things concerning writing starting with A is for...

A is for Adventure and Anticipation  - Roberta Grieve Adventure - it's always an adventure starting a new novel. You may have an idea of what's going to happen to your hero and heroine but as the story develops things start to happen hat you hadn't anticipated. Anticipation - that's another A.

Never thought of these two. Not only is adventure the start of a new project but some stories are filled with Action and Adventure, What do you think?

A is for Art
A is for art. The art of writing. I was pleased when the board for our local Art Hop recognized writing as an art when they included local authors in the festival. Writers don't paint on canvas, but they do create scenes and characters for readers to "see" on the pages of the story. When viewing a sculpture or painting, emotions flood through me--delight, dislike, wonder, calm. Don't we as authors create emotions for readers--love, hatred, wonder, fright, peace? Art is creating and writers do create scenes and emotions, if not in sculpture or wall hangings, but definitely within the reader's mind. J.Q. Rose at http://www.JQRose.com 


A is for Antagonist: a person who actively opposes or is hostile to someone or something; an adversary.
As writers, we know a good antagonist – call him/her or it villain, nasty character or what you will – are necessary to put in the way of our leading characters getting what they want. An antagonist need not be thoroughly evil. In fact, the more sympathetically they are written, the more real they become rather than just a cookie-cutter villain.
An antagonist need not necessarily be a person, but a character’s alter-ego: good versus bad as in Dr. Jekyll and Mr. Hyde. Or it could be the environment, think movies such as Reese Witherspoon’s Wild or George Clooney and Sandra Bullock’s Gravity. In a fantasy the antagonist could be any type of ‘he who must not be named’ – what fun to create your own version of J.K. Rowling’s Voldemort.
The stronger you make this character, the more blocks he/she puts in our leading characters’ way, makes for a much more interesting and unforgettable read.

Victoria Chatham

http://bookswelove.net/authors/chatham-victoria/
www.facebook.com/AuthorVictoriaChatham
http://victoriachatham.blogspot.ca.

A is for Atmosphere
Renee Simons Just think about that classic cliché, "It Was a Dark and Stormy Night." Sets up the atmosphere for a mystery or an adventure story and puts the reader in the middle of the scene.



Renee Simons

Books We Love Ltd.

https://www.amazon.com/author/bookswelove.netsimons.php


Visit Amazon.com's Renee Simons Page and shop for all Renee Simons books and other Renee Simons related…
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A is for Anti-Hero Via Kathy Fischer Brown
Anti-hero An archetype that can be traced back to Greeks and Roman literature and theater, but took off in the 19th century as the Byronic hero. These guys are not always morally correct; they usually serve their own interests, and often act as a foil for the hero. In movies, Clint Eastwood's early spaghetti western characters and his later portrayals in movies such as "The Outlaw Josey Wales" and "Unforgiven" show a man who is a loner with a past who ends up doing good out of circumstance rather than intention. In modern literature, he is Salinger's Holden Caulfield or Kerouac's Dean Moriarty...or those lovable rakes and bad boys across numerous Romance genres, who are reformed in the end through the love of a good woman.
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Thursday, June 7, 2012

Thursday - Who I'm Reading - Renee Simons


I've been reading a lot of books. Always have and always will. I'm are-reader and some books I've read many times. Even though I know the story when I re-read I'm also learning how to hone my craft. Had a hard time this week deciding whose books I'd feature here but today Renee Simons gets the nod. Renee writes romantic suspense and they're all contemporary. I've read four of her books. One isn't available on Kindle yet, but when it is I'll buy and read again. What do I learn from reading someone who was a critique partner until she moved?

Renee has heros that I would like to know in real life. They are facing problems that could destroy their lives or the lives of people they love. Are her heros the only thing I see when I read her books? Renee's heroines always match her heros in strength and character. This is something I admire. Having heros and heroines as equals is a plus when reading her books. The villains aren't small potatoes either. They may be bad but they're also human. This takes a skill and pulls a person from page to page.

So if you like romantic suspense try Eye of the Storm, Safe Haven and Dearest Enemy. I enjoyed them.

Saturday, March 17, 2012

Saturday's Chapter - Eye of the Storm - Renee Simons

Stormwalker is one of my all time favorite heros. Have read this book several times.

Chapter 1


The man sitting on the corral fence had killed her fiancé. He belonged in prison. And two months from now, she would send him there.
Reigning in her fury, she walked toward former Marine Major Michael Stormwalker, who watched a mare and her filly nuzzle beneath a brilliant South Dakota sun. Pretty as it might have been, the scene left her cold.

Stormwalker also seemed at odds with the idyllic setting. Every aspect of his posture radiated the edgy power of a man alert to any sign of threat. Beneath a black leather vest, his broad shoulders hunched as if he waited to spring into action. Long, powerful legs tapered to ragged boot heels resting lightly on the bottom rail. Smoke from his cigarette streamed past a rugged profile nearly hidden by the satiny black hair falling across his cheek. Massive, brooding, he personified danger. He was exactly what she expected of a stone-cold killer.

Until he faced her. His startling sea-green eyes warmed with appreciation and the ghost of a smile turned up one corner of his mouth. Expecting curiosity, even a hostility echoing her own, she found his undisguised interest both disconcerting and infuriating, his admiration an unwelcome intrusion. Her hands curled into fists and she shoved them into the pockets of her linen jacket. She would not allow herself the luxury of anger when all her energies must be directed at bringing this man to justice.

As if reading her thoughts, he let his gaze turn cool and detached. "You're Zan McLaren."

"Alexandra McLaren," she said. Her steady voice pleased her.

"Sorry. Your brother always calls you that."

"My brother can."

The smile returned. Some women might have considered it a sexy smile. She, of course, did not.

"You have your brother’s concise way with words,” he said. “Do you also share his objectivity?"

"Is that a family trait?"

"If it isn't, I can't trust you'll do the right thing."

"And that is. . .?"

"To get at the truth even if you don't like what you find."

"What if you don't like what I find?" she asked.

"An informant tipped your brother that I’d been set up by a mole buried deep in his beloved Federal Security Agency. That new information allowed him to negotiate my release. I may be outside a cell, but unless I can restore my career and reputation I might as well be back there."
He braced his shoulders. The movement told her that being "back there" had no place in his plans.

We’ll see, she thought. "Who restores Dar's life?" she asked.

"I wasn't responsible for his death. Not even the Navy Tribunal could make that charge stick." His eyes narrowed. "Look, you'd have to be a saint to help someone you believe committed treason and killed the man you loved. So if you can't, I'll understand. I'll find another way."

"As far as I'm concerned, you're guilty on both counts." She took a slow breath to calm her pounding heartbeat. "But I'll search until I find the truth. Is that objective enough?"

He seemed to be evaluating her response. And well he should, she thought. Only a fool would accept her at face value. He was no fool.
"Why did you come here if you think I'm guilty?"

Someone had to pay for Dar s death. She straightened to her full height and met him eye to eye. "I want to be the one who sends you back."

One eyebrow raised. "You're honest."

"I try."

"You don't mind being on the reservation?" he asked.

"I think this so-called new information is a crock and I intend to prove it. Where I do my work is irrelevant." She matched his penetrating gaze, steeling herself against the wicked gleam in his blue-green eyes. What matters to me is your spending the next 25 years behind bars.

Breathing a sigh of relief, she turned and started up the street toward the newspaper building. She'd managed to get through their first meeting with her composure still intact. Almost.

"Where're you off to?" he called out.

He strode toward her. When his long legs brought him to her side, she did nothing to hide her annoyance. He raised one hand palm out.

"I'm not checking up on you," he said. "I thought if we were headed in the same direction we could walk together. That's all." He repeated the gesture of a moment before. "That's all."

His proximity left her too conscious of his powerful build, too aware of his quiet but potent masculinity. She gave herself a mental shake. His smiles and magnetism would never change the fact that the man had deprived her of the love of her life..

"I'm going to see the newspaper editor," she said.

"Same here."

She shrugged and they walked north beneath a sun drenched summer sky. The air floated light and dry without any hint of humidity to give it weight. Their steps raised small puffs of dust that settled on the tips of her boots, dulling their spit and polish shine.

Several people passed, greeting Stormwalker warmly, nodding politely in her direction. When a man in his forties stopped to talk, pleasure softened the major's features. They spoke in Lakota, freeing Zan to look at the houses lining Thunder Valley Reservation's main street.

Some were well-kept, the grounds surrounding them tidy. Others showed signs of the poverty and apathy of their occupants. Paint had peeled, brick facing lay strewn on the ground, broken windows had been mended with cardboard or plastic sheeting. Like bizarre and rusting sculptures, remnants of worn-out machinery and vehicles dotted the landscape.

Zan felt something smack softly against her toe and looked down at a battered soccer ball. A boy watched her. Somewhere off to her right a screen door slammed. A horse whinnied in response, setting a dog to barking. She kicked the ball back to the youngster. He scooped it up and cradled it under one arm, his face expressionless except for the laughter dancing in his dark eyes. A familiar yearning tugged at her. She and Dar had wanted a big family.

"Sometimes I think about having one of my own," Stormwalker said.

"A soccer ball?"

"A kid."

"I did, too. . .before. . . ." Before you killed the dream, she thought.

Anger and sadness washed over her in unbearable waves. She had to distance herself from the man who had caused them or be overwhelmed. She turned, but had taken only a step or two when she felt the gentle pressure of his hand on her arm. Though momentary, his touch lingered on her skin with the warmth of a soft desert breeze. Why hadn't the bitterness churning in her gut protected her against its effect?

"I'm sorry for what you've lost."

His voice seemed to echo her pain. She stared at him without responding.

"I know you don't want to believe this," he said, "but I'm innocent. I didn't compromise either the agency's or the nation's security. I didn't trade secrets for money. And I did not kill Dar O'Neill. By the time you're finished here you'll know the truth. I guarantee it."

The sincerity that burned behind his eyes and vibrated in his voice might have given her pause if she didn't know better.

With a calm she didn't quite feel she countered, "I'm just as positive that when my two months are up, you'll be on your way back to prison."
All emotion fled behind the mask he assumed. Satisfied she'd made her point, she walked away. Once again, he matched her steps.

"Why are you still here?" she asked.

"I have a message for you from your brother."

"Couldn't you have told me sooner?" She really didn't want an answer and held up a hand as he started to respond. "What did he say?"

"He wants you to get in touch with Ken Becker."

"From the agency? What's he doing here?"

"He retired some years back. He's running the probation department in town and acting as liaison between us and the Federal Security Agency."

Apparently, the mole in her brother's organization worried him enough to send him to the outside for help. As head of the FSA, the decision was his to make, but she wasn't sure she agreed with the move. Any more than she'd agreed with his assigning Dar to the case that had gotten him killed. Reversing direction, she started for her car.

"Change your mind about going to the newspaper office ?" Stormwalker asked.

"For the moment."


With its top down, the MG sped along the highway. Zan gripped the wheel with a white-knuckled ferocity born of rage. Her pulse pounded with it; her lips flattened to a thin, tight line. How she hated dealing with a man who'd killed with impunity, who'd violated every principle of loyalty and honesty she lived by. Hated this world of intrigue and the fact that she'd allowed her brother Mac to drag her back into it when she'd promised, vowed never to return.

Yet here she was, about to plow through the very agency databases she once maintained, on a search for evidence of Stormwalker's innocence or, she hoped fervently, guilt. Because she'd refused to set foot inside the Virginia compound, Mac had okayed Thunder Valley as a work site. If the mole followed Stormwalker there, Zan would provide backup in a confrontation. Big Brother had decided that "covering the major's butt" was a small price to pay for the chance to return him to federal prison. A lot he knew.

The brief first encounter with Stormwalker had taken every ounce of self- discipline she possessed and still had nearly broken the back of her restraint. So how could she hope to function during the next eight weeks? She slammed her palm against the steering wheel. What did eight weeks matter when measured against the five years since Dar's death?

She would harness her rage so it worked for and not against her. She would turn around negative emotions and use them to achieve something positive. No problem. She could do that. She'd done it. More than once.

The knowledge calmed her. For the first time, she glanced at the speedometer. She'd been tooling along at 85 in a 65-mile-an-hour zone. She adjusted the speed downward. Not in time, however. In the distance, but closing fast, a siren blared. She parked on the shoulder and waited for the sheriff's patrol to pull over. The deputy walked back to her car and did a quick, visual check.
"License and registration please, ma'am."

Zan handed over her identification. He examined the contents of the black leather folder and grinned at her. "Hey, there, Officer McLaren, you should know better."

"You're right, Deputy. I should."

"Well, at least I won't have to listen to any dumbass excuses on this one." He walked around the car, as if checking the plates, then returned. "Where you headed?"

"Just cruising around."

"Cruisin' and then some." He shook his head. "Why's the New York police in such an almighty hurry?"

"I'm not on the job. Just on vacation."

"You ain't gonna enjoy it much from the ass end of a ditch. So I suggest you slow things down just a mite."

"Thanks for the warning, Deputy." She gave him a questioning glance. "It is a warning?"

"This time, and only 'cause Kenny Becker asked me to watch out for you. If you don't abuse the speed limit with this little hot rod of yours, we'll get along just fine."

"I'll watch myself. Count on it."

With a momentary thought to why Kenny had announced her arrival to the sheriff's department, she turned the key, waved and put the car in gear to finish her trip to the town of Crossroads.

At Town Hall, a security guard pointed her in the direction of the Cabot County Probation Department. One flight down and to the right, Zan saw the sign that said, "KENNETH BECKER/KNOCK ONCE AND ENTER." She followed directions.

The man behind the desk looked up and smiled. He'd been a mainstay at the agency, hardworking and loyal, completing every assignment in an efficient, if unimaginative, way.

"So here's where you've hidden yourself all these years," she said as they shook hands.

"This is a pretty sweet deal." He flipped his wire rimmed glasses to the top of his head, where they rested precariously on his disheveled and thinning sandy hair. He pointed to the general area of her midriff. "How's the injury?" he asked.

"Healing. How did you find out?"

"Word got around you'd been shot on the job. Everyone knew you'd joined the NYPD after O'Neill was blown away."

His choice of words stung, but death was a reality all agency field operatives accepted without melodrama.

"And here we are, back in service of the FSA," Becker said.

"I guess my being on recuperative leave was too good an opportunity for Mac to ignore," she said.

Kenny shrugged. "He needed you. He would have found another way to get you."

"So much for being in control of my life." She gave a short, bitter laugh. "I see he 'unretired' you."

"I'm just helping out during the current emergency."

"You could have refused."

"You heard enough talk around the McLaren dinner table to know that when the big boys issue an invitation, you show up in your best bib and tucker."

"I can't believe you approve of Stormwalker's release or his being here."

"Mac would have had to call in a bunch of favors to manage that. He wouldn't have gone to the trouble without good reason." He handed her a sealed packet and a blue manila folder. "You'll have to sign for the package. The folder's mine. Would you care to take a look at the major's stats?"

She opened the folder and went straight to transcripts of his court martial. They contained information about Dar's death that had been held back from all but those directly concerned. She had not been one of them.

Her cursory reading revealed little in the major's favor except his denial of guilt and his own version of events. She needed more time to go through the thick file.

"Can I borrow this?"

"For a day or two; then you'll have to return it."

Zan rose. "I met a deputy sheriff on the way here, 'Winter' I think his name tag said. Do we want the locals to know I'm here?"

A flush dusted Kenny's pale cheeks and his lips thinned for a fraction of a second. "Only Deputy Winter. You never know when you'll need backup."

The husky quality in his voice told her she'd hit a nerve. Did he think she'd questioned his judgment? She smiled. "I would have thought that was you, Agent Becker."

His answering smile failed to reach his eyes. "Not any more. I'm retired. Remember?"

While she could only guess at the source of the sour note, it certainly was there. "Thanks for the consideration. I'll see you day after tomorrow." She scribbled her initials on the receipt and held up the folder. "To return this."

Eager to get at the material Mac had sent, she completed her errands and headed back to the reservation.

Her camper stood beneath a lone cottonwood tree so it would benefit from the shade and still be convenient to the utility poles behind the newspaper building. As she made the turn, she spotted Stormwalker towering over the newspaper editor in the doorway of the long, red brick building. She parked in the shadow of the camper and walked around to the two men.

Mike Eagle was leaning against the door frame as she approached. "Can I help you with something?" the newspaperman asked. His frigid tone reinforced the feeling he would give that help with reluctance.

"I just wanted to let you know that the power and light people will be out day after tomorrow to run a line to the camper and the phone installers the day after that."

"You're not wasting a minute, are you?" the man asked.

"I have a lot to do in a short period of time."

Stormwalker looked from Zan to Mike. "I didn't know you and Ms. McLaren knew each other, Uncle."

"Oh, yeah. Though I can't say I like her bein' here."

"I had no idea you were related," Zan said.

"Not by blood," Stormwalker said. "But we function as an extended family on the rez. He's been a second father to me most of my life, and like a brother to my mom."

"Yeah," Mike said, watching Zan with suspicion. "His parents and I go so far back you could say I knew him before he was born. After five years in prison, he's finally home and I don't want him taken away again. But then, we discussed all this when you first got here."

"Yes, we did. And I told you then I would do my best to be honest and fair."

Mike Eagle's skepticism showed on his face. "I've seen many examples of the white man's justice, and it's neither honest nor fair."

"I understand how you feel, Mr. Eagle. Frankly, if I'd known how close you are to the major, I wouldn't have put you in such an awkward position. So if my being around makes you uncomfortable, I'll find somewhere else to work."

"If you're here I can keep an eye on you."

"Is that important?"

"The only way I'm gonna feel safe is to know what's going on. So, you go ahead with your plans." He raised a hand. "But the first sign you're screwing up my nephew's life, you're outta here. You got that?"

"Fair enough," she replied. "I'll make sure the workmen don't disturb you too much." She nodded to Stormwalker and left.

As he watched her go, an errant beam of sunlight caressed her hair, turning it the color of burnished copper. He looked at Mike, who was examining him. "What?" he asked.

"You trust her?" the older man asked.

"Maybe. You obviously don't."

"No further than I can fling a rattler."

Stormwalker grinned. "I'm surprised you'd give her even that much working room."

"Only because of the way you look at her."

"And how's that?"

"Like a hungry mountain lion contemplating his next meal."

Stormwalker's gaze followed the woman down the street. He watched the subtle sway of her hips and the long denim-clad legs. "I don't think one meal would do it, Uncle."








Friday, March 16, 2012

How She Does It - Renee Simons

Renee is an old friend and critique partner I've lured back into writing. So far her books are good suspense and great love scenes.

We all know there are six elements in writing fiction and often fact. Who, What, When, Where, Why and How. I believe the first five lead to the sixth which for me is the plot. What's your take on this?

Hmm -- interesting question and oddly, something I'm pondering for the first time. Who - the characters (h&h, villain, secondary characters). What (who's doing What to whom, and do they like it), When -- present, future, past, or all three; Where -- setting(s); Why - motivations and How -- absolutely, the plot -- How do all the elements come together to tell a story that we hope will engage readers and keep them coming back for more. I'm going to embroider your six elements and hang them over my desk.

1. How do you create your characters? Do you have a specific process?

Once I get an idea for a story I begin to imagine how I'm going to tell it or, more accurately, who is going to tell it. I do a lot of "what ifs" and let my mind run around within the possibilities of the story idea. That's when characters start emerging from the general fog and basically stand around twiddling their thumbs until I zero in on what it is I want them to say and do to make the story happen. That's not very specific, I know, but that's how it happens when one is too undiciplined to PLAN.

2. Do your characters come before the plot? Do you sketch out your plot or do you let the characters develop the route to the end?

I think that when the characters precede the plot and then take the story where it must go, things work out better for me. My favorite stories are character-driven and I try to concentrate on that. As a fly-by-the-seat-of-my-pants writer, I have only a vague idea of the story, which seems to grow like Topsy. (who remembers her?) I wish I could sketch the plot, but when I do, I lose interest in continuing. I have to say, this gets me in a lot of trouble and, no doubt, takes me three times longer to write the story than if I'd been more deliberate in the beginning.

3. Do you know how the story will end before you begin?

From the outset, I always know how the romance will end--happily or at least on the cusp of... In a general way or a specific one? As for the rest of the story, be it the mystery or the element of danger encountered by the h&h, or the problem they must solve, that is more vague. The resolution of those and other plot elements develop as the story progresses.

4. Do you choose settings you know or do you have books of settings and plans of houses sitting around?

To me, the fun is learning about places I've never seen or been to before and that usually comes from research. Sometimes, though, I'll visit a place after I've chosen it, such as touring Boston while writing Safe Haven, which takes place there. Come to think of it, the Cape Cod setting in that book was based on a place I used to visit on vacation. After Colton's Folly was published by Silhouette, my husband and I went to South Dakota and visited a reservation that was hauntingly like the one I'd created for the book. I was dumbfounded that I'd achieved such realism from research-fed imagination. But that research was extensive and my emotional involvement in the story and characters was consuming. As for house or room plans, if theiy're sitting anywhere, they're in my head; but I will look for examples to make sure I'm being accurate as far as a particular style or cultural element is concerned. Although I have been known to put a house in an unexpected place, such as the Victorian mansion that is the focus of my current work in progress which takes place in a New Mexico ghost town.
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5. Where do you do your research? On line or from books?

My research is done through both, though books are my major source. I have an extensive non-fiction library filled with books I've collected over the years and can access for info. On occasion, I will add to this collection if I'm researching subject matter that is new to me.