Wednesday's Writer's Tip - Climax Decision and more

The climax of a story means the character has made a decision. The decision pushes the focus character toward the resolution. There is more to the climax than the decision. The climax also means action. The character can't just decide what they will do, they must act. This action should be triggered by emotion and may not always be what is the logical way to go. If the character is going to reach the goal he or she has dreamed of the action the writer sees may throw the reader into wondering why this is done.

When writing, I face this challenge every time I end a story. Sometimes readers don't like what happens in the resolution. Remaining true to the character is the way to go. When writing Code Blue the climax of the story and the heroine's action stunned my critique group. My character acted on emotion and did something that was true to her nature and not a logical choice. But this has been one of my best selling works and I haven't heard anything about the crisis situation from readers.

So when reaching the peak of a crisis remember though the character makes a decision, they must act and the action is an emotional response. The emotional action may not be what a reader believes is the good choice but it must be the right choice for the characters.

Tuesday's Inspiration triggered by John Gardner

Re-reading On Becoming A novelist always inspires me. What I read last night once again made me think. "The novel's unashamed engagement with the world--the myriad details that make a character come alive."

Details is were a writer makes the world and the character come alive. Using the specific for example the vast shade created by the tree becomes the vast shade created by the massive oak. Or the sun shone through the trees. Sunlight dappled the ground filtering through the stand of maples. Choices of words can bring the setting into view and draw the reader into the world the writer had created. For me, this was a lesson hard learned. I often wrote about hospitals and from working in one the familiarity didn't translate into words or translated into lists. Lists don't draw a reader in.

Take bringing a character into a scene. He was tall with broad shoulders, dark hair and green eyes. The reader might see this character, or they might not. But to say something like. He towered over the other men in the room. Then later to add His dark hair nearly matched the beads of jet around Miss Mary's neck.

Adding touches of reality will draw the reader in and bring them into the world where the character resides, even if the world is truly one of the imagination where no one but the characters reside. Using terms like hardwood or conifer trees and then go on to build a picture in the reader's mind.

So engage your reader with specific. The car becomes a sedan, a low-slung sports car, a rattle-trap or many other choices that make the car real and thus making the world you're creating become real.

Meandering on Moday with Janet Lane Walters

Another Monday and the first meander is about having a website designed. I am not and never was a visual person. I do not know what looks good. I never even find pictures of heroes and heroines and think they look like those I'm writing about. I've had two websites, The first one the company stopped hosting and the second grew too expensive. Not there's a third. I'm letting the designer have her head about how this will go and I'll be providing some of the words for the site. Once it's done, I'll do a shout out and have people do a critique on it. Perhaps there will be some suggestions for this visually handicapped person. What I think of is in words and the few times I remember dreams, it's the words I remember, not the pictures.

Second meander is about many hands. Am on a conference committee and we gathered to get bags ready for the coming conference. Not sure how many people were there but the time was fun socially and the work completed quickly. The food was great. Perhaps I'll begin to associate the faces with the names before long.

Third meander is about my writing. Am really wanting to finish Rekindled Dreams and move on to the next ones in the lineup but one can only work as fast as one can. Spoke to my friend Jane Toombs yesterday and though we weren't really talking craft but as I was telling her about the story two things popped into my mine. One is the initial love scene has to go and be changed because this is really the hero's story. He's the one who has the most involved. A man searching for a family that's been denied and lost by his own actions. The talk made me realize that the ending I'd devised will be the right one.

3 blog visit Sunday discoveries by Janet Lane Walters

http://annerallen.blogspot.com/2013/09/the-ebook-market-no-author-should.html

http://babettejames.com/2013/09/30/courting-in-regency-england-not-a-spectators-sport-guest-post-by-georgie-lee-author-of-engagement-of-convenience/

http://giannasimone.blogspot.com/2013/10/what-to-include-and-how-much.html?zx=349cd09aa390b3ab

Saturday's Excerpt from Eve's Amulet by Carole Avila

Excerpt from Eve’s Amulet, Book 1:

Franz’s soldiers raised their weapons and put her in their sights, but Carmena didn’t back down. She leveled her rifle at the lieutenant’s chest. It was futile to hold the man at gunpoint when the rest of his armed squadron had him covered, but she had to buy time for her ranch employees to hide their best income-producing animals.

“Miss Luebber. Well, ain’t you the big sugar?” Franz tipped his hat. His gaze roamed down the line of her form-fitting gauchos, his eyes lingering on the bodice of her cotton blouse.

“What the hell do you want this time, Franz?”

“I was jest wonderin’ where all yer purdy horses were at.”

“I sold nearly all of our stock before you could get your stinkin’ filthy hands on any more of them.”

“Now, that ain’t a polite way fer you to address a military officer, is it?” The lieutenant leaned against the saddle horn. “Why, accordin’ to the Republic of Texas, I got me a perfect right to confiscate yer stock. President Jones knows it’s better ta let some of his constituents lose a few horses and steers in exchange for military protection.”

“I’m sure the president doesn’t encourage the military to steal private property for personal gain.”

The lieutenant pushed up the rim of his hat and more dirt clumped in the creases of his forehead than his neck. “Surely, Miss Luebber, you understand how we’s protectin’ the citizens of this great republic from sufferin’ at the hands of them no count Comanche Indians to the west—” He pointed north. “—Cherokee to the east, and them Mexicans to the south, who still think Texas belongs ta them. Why, I’m doin’ you a favor. The less you have, the less them Indians is likely ta steal from you. Y’all should be showin’ me how much you appershiate what I’m tryin’ ta do fer you.”

The heavy weapon remained steady in her hold. “Spare me your bullshit, Franz. You’re just a pathetic four-flusher interested in filling up your own purse.”

Hardened eyes locked onto the woman. “Corporal Boyce, McFaddin. Please help Miss Luebber here with that terrible heavy gun.”

Carmena confidently raised the rifle and pointed the single barrel between the lieutenant’s eyes. “I’m warning you, Franz.”

“Well, now, the way I see it, if you shoot me, my men will shoot you and take e’vra animal that’s left on yer property. No doubt yer ranch hands will come an’ rescue you but a course, they’ll have ta be shot for innerferin’ with the law.”

“You’re not the law. Not here or anywhere else!”

Franz slid off his horse and took a single step toward her. He peered into the barrel of Carmena’s gun and stopped. “Cureton, Tankersley, Burnell! Take a look around. I recollect seein’ a couple of youngins out back last time we visited. In fact, that little girl looked like she was just startin’ ta ripen up.”

The three soldiers scuttled toward the back of the house to search for the children.

Carmena clenched her jaw and curled her lip. “You’re a disgusting pig!”

Franz noticed the infinitesimal droop in her shoulders. “Lower your weapon, Miss Luebber, and no one’s gonna get hurt.” He nodded to Boyce.

Boyce glanced at the Winchester, formidable in her hands. His steps were reluctant and heavy up the stairs. Carmena didn’t flinch. Her well-aimed one-shot rifle focused on no one but Franz. The young soldier apprehensively pushed the steel barrel downward. Carmena never saw his apologetic eyes as her own were clouded with fury.

Boyce whispered to the enraged woman, “I’m sorry, Ma’am. Jest doin’

Friday's How She Does It featuring Carole Avila

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

 

I agree that you have to have all these elements for the plot, but I think you can start either with asking these basic questions, then answering them or start with creating the plot and building on from there.

 

In a short story I wrote for a Christmas anthology, Christmas After All, the very first line that popped out was about a girl who didn’t want to be alone on Christmas. I knew the premise of the story was [Who]–a girl who didn’t want to be alone over [When]– the holidays. [Why]–because her parents are out of town. [Where]–is she spending the holidays? [What]–happens to change things? [How]–is her dilemma solved? But I didn’t consciously ask these questions. I just started typing and the questions formed and answered themselves.

 

1. How do you create your characters? Do you have a specific method?
I don’t have a specific method for creating characters. I dream most of my books, and the characters come to life on their own. Other times, as I create a new story on my computer, characters pop into my head and become more developed as I write and edit.
 
There is a story I wrote called Pulitzer (currently being edited) where I took what I thought were some of the worse behaviors or personality traits in people, including myself, and highly exaggerated each trait in my characters. The main female character is all about plastic surgery because it’s the only way she can be beautiful, and the male character is what I think I would have been if I were a wealthy, handsome, and well-built man who knew it (he’s vain and uses women). One of the sub-characters is extremely shy and another character is a writer who just can’t seem to get his work off the ground. (Hmmm…)
 
In Eve’s Amulet, Book 1 (published by Black Opal Books,) I used facets of other people’s personalities to determine the character and their behavior once I knew who the character was and their place in the story. I knew that Carmena would be insecure and lazy–me when I was younger–and wanted her to develop her courage and feelings of responsibility–what I am striving to be as I grow older. Carlos wanted her but instead of being her caretaker, he needs to be taken care of–a man from a former relationship. Captain Sanders is old fashioned and doesn’t mind taking care of a woman. (I haven’t met this guy yet.) Angela is bossy and has strong political viewpoints–this facet of her personality is a close relative, but Angela’s caring and “soft” side is yet another woman I know. Her husband, Javier, speaks his mind but is more of a follower–someone from my past. Jesse is the old sweetheart, who pleases people and has strong work ethics, speaking up when things don’t feel right–that would be one of my uncles.
 
I wrote a short story that won an award called Welcome Home in which I wanted to write from a teenage boy’s perspective. That was an interesting experience and I think I pulled it off.
 

 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?

Like I said, most all of my stories come in my dreams so they arrive as a complete package. With Eve’s Amulet, Book 1, I was having two books edited by two different people and needed something to write. I sat at my computer and literally prayed that I’d receive the words for a new story. It flew out, and the characters developed over each chapter, becoming stronger in their personalities, and then some as I edited.

 

3. Do you know how the story will end before you begin? In a general way or a specific one?

If I dream my story, I know exactly how it will end. But sometimes, as with Window Romance, which will be submitted for publishing soon, I only got part of the story each night. “Chapters” were added in my dreams for 7 days in a row. With Eve’s Amulet, I had absolutely no idea how it would turn out. I didn’t even know it was going to be a time travel book, a series, or that the first book would be based in the Old West until I got to a particular chapter.

 

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

In my dreams, I “see” the settings, as in Eve’s Amulet. I knew the story took place in a Spanish mission style home. In Window Romance, I knew by the fall leaves that I was back east and that the area was very historical. In the dream I saw the colonial exterior and interior hardwood floors, hand tooled banisters in the narrow stairwell, and carriage house in the backyard. In Pulitzer, I knew right away the story took place in New York but each character has a different living environment—some in houses and others in apartments, but setting is not as critical for the supporting characters in that particular story. So no, I normally do not choose settings that I’ve lived in or visited.

 

Localities, now that’s a bit different. I travelled through Virginia where the family in Window Romance lives, and I passed through New York where some of my characters live in Pulitzer.

 

5. Where do you do your research? On line or from books?

95% online. It’s so much more convenient, however, once in a while I may find a book at the local bookstore about a certain geographical location or time period that interests me, and I will purchase it if it will support my book. The biggest problem for me in doing online research is that not all sites are reliable. I had a few errors in Eve’s Amulet (corrected in the second printing) because I didn’t triple-research my data. (I’m definitely not blaming all the errors on poorly researched sites—after a while, I just couldn’t see my own errors!)

 

6. Are you a draft writer or do you revise as you go along and why?

 A bit of both, actually. I may type a paragraph, and if it doesn’t “feel” right, but I can’t seem to fix it, I may wait until I get a bit of inspiration while working on yet another part of the book–then, I’ll go back to the part that needed additional editing. I wrote Eve’s Amulet as a straight draft, no changes until I started editing.

 

Some paragraphs need no change at all while others challenge me to be more creative. I may dream my books, but that doesn’t mean I get them word for word. Sometimes I’ll see a scene like a movie with no sound and have to describe it. Each time I go through a completed draft, I’m constantly editing and revising. Knowing when to walk away and call a work complete is still a lesson I’m learning, and I know there’s so much more to learn.

 

Thank you, Janet, for allowing me this opportunity to share about my writing process.

Just A Few Lines from Mystic Mountain by Tricia McGill

A few lines from Mystic Mountains by Tricia McGill

"So, you're filling out a bit, I see." He tightened his grip just below
her breasts. "A full belly hasn't improved your temper though. Now, be
still, little bundle. I'm your master an' I have the right to do as I
like with you."

"Do as you like?" Isabella squirmed away from him. With violently
shaking hands she straightened her skirt. Her cheeks flamed when she
looked up to see he watched her every movement closely, as if it was his
right. The twinkle in his eyes made her temper rise. "I'll kill myself
if you take what you see as your rights. Anyway, what would you want
with the likes of me when you have so many other women chasing after you?"

"Oho, so you've heard the tales of my exploits with the fair sex, have
you? I feel I must set you straight on that account. There aren't that
many. But you're right on one thing. I wouldn't fancy you in a fit. I
prefer my women to be amenable." He placed his hands on his hips,
returning her stare with the arrogance that set her teeth on edge.

"Then I'm saved from a fate worse than death, for amenable I'll never
be." Isabella stepped out of his reach. But to her horror he made a grab
for her, grasping her hand. She tugged but he refused to release it.

"Now then, which fruit did you want?" he asked, his tone now quite
pleasant. "Perhaps I can reach it without resorting to climbing the tree."

Isabella stared at him, then pointed to a bunch within easy
reach for him. "That one, and those there." She breathed a small sigh of
relief when he finally let her go then reached up to pluck them.

"Hold out your apron," he ordered, dropping the apples in. "There, will
that satisfy Thelma?"

Pulling free the cloth tied round his neck, he used it to wipe his brow.
As he retied it he watched her like a cat stares at a cornered mouse.

"I ... I think so." Isabella gathered her apron to her chest and turned
to flee, but he caught her by the arm again.

"Bella. Satisfy my curiosity, will you?"

His soft tone made her suspicious. She watched him cautiously. "How?"

"Are you happy here in my household?" he asked softly, those strange
eyes of his searching hers.

"As happy as any woman can be working for an Englishman." That was a
dreadful lie, for she'd seldom been happier.

"You're not yet a woman, Bella. You have a lot to learn about how real
women behave."

She disagreed, but wasn't about to go into that argument now.

Mystic Mountains is available here:http://www.amazon.com/dp/B00EFE5UL6
< http://www.amazon.com/dp/B00EFE5UL6>

Thursday's Opening Scene from All Our Yesterdays - Egypt by Janet Lane Walters

Lines of Fire (The Guild House - Defenders Hall)   Free October 3 to October 7
                                       
A Double Opposition is free from October 1 to October 5 A Double Opposition

Havens, Affinities Book 2 is free from October 1 to October 4  http://amzn.com/B00BEZKO38
                                      
Egypt the first of the lifetimes

Seshat stood at the entrance to her workroom built against the wall of the villa. She stared into the garden. Though chaos ruled the Two Lands, in this house at a distance from Thebes, only echoes of the troubles were heard. How fortunate that her father, Nomarch Sehetep, had distanced himself from the politics of both halves of the divided land.

She heard her younger sister giggle and watched her run toward the workroom. "What have you done now?"

"Spied on Father," Tiy said.

Seshat shook her head. Tiy hovered between childhood and womanhood. She delighted in mischief.

Seshat left the doorway and reached for the tallies of the recent harvest.

"Don't you want to know what I heard and what I saw?" Tiy's warm brown eyes sparkled with mischief.

"Tell me."

"We have guests. From Thebes. Oh, Seshat, they are the most handsome men I have ever seen. They seek father's support. One of them wants the Double Crown. Maybe he will choose you as his wife and ignore Nefru."

Seshat sighed. If she were chosen, Nefru, daughter of their father's dead first wife, would be furious. Though Seshat's mother had been a princess of a past dynasty, Nefru denied the claim. Seshat sighed. Anyone seeking Sehetep's support would choose the oldest daughter. Since no sons had been born to the house, Nefru's spouse would claim the nome when Sehetep left this world.

"We're to eat the evening meal with them," Tiy said. "Nefru stamped her foot when she heard. When these men see you, they won't look at her."

Seshat shook her head. That would bring spiteful attacks from her sister. Besides, Seshat had no desire to leave her father. Wasn't she his right hand and his star to comfort his last days? She lifted a quill and began to record the number of baskets of harvested grain.

Before she finished the tally, Bastet, her aging maidservant, entered. "Come, child. You must make ready for the evening."

Seshat put her quill and papyrus aside and followed Bastet to the bathing room. After washing, her skin was rubbed with scented oil. Bastet combed and braided her hair. Not for Seshat the shaved head and the hot, heavy wig. The maid applied kohl to make Seshat's gray eyes appear more luminous and darker.

"What will you wear?" Bastet asked. "These men have come from Thebes. You don't want to appear a country girl."

Seshat chose a robe of fine linen that covered her body from beneath her breasts to her ankles. The broad straps formed a vee as they crossed her shoulders. For jewelry, she selected the necklace her mother had left her. The electrum semi-circles of the collar were inlaid with lapis. Carnelians dangled above her bare breasts.

"Will you wear the crown?"

Seshat shook her head. She was sure Nefru would wear her finest linen tunic and adorn herself with jewels. Her wig would be ornamented as well. A subtle touch is best, Seshat thought.

She and Tiy entered the large hall where their father, sister and the guests waited. Sehetep smiled. "Daughters, come and meet our visitors. Seshat, how like your mother you look. She was the loveliest flower in my garden. You are indeed the star to delight my last days."

Nefru's lips thinned. She glared. Rings glittered on her fingers. Her armbands were studded with gems. The nipples of her heavy breasts had been colored with henna.

Seshat ignored her sister's displeasure. She kept her eyelids lowered as her father drew her toward the guests. "Mermeshu, Commander of the Army, and Intef, his advisor, my daughters, Seshat and Tiy."

Seshat glanced at the men. Both wore kilts and tunics. A jeweled pectoral gleamed against the pale linen of Mermeshu's tunic. The men were taller than her father. Mermeshu had the arms and shoulders of an archer. Though of slighter build, Intef seemed fit. She shuddered. His eyes had the coldness of a serpent.

Mermeshu's dark eyes captured her gaze. As though to see her better, he smiled and stepped back. Her skin felt hot. A throbbing low in her belly brought an urge to touch and be touched by him. Her nipples tightened. His smile broadened.

In that instant, Seshat knew she desired this man for all eternity. Hathor, goddess of love, bring him to my side. Fill him with desire for only me. Let him see my beauty and my grace. Bring him to me.

Nefru clapped her hands. The serving maids set the individual tables before Sehetep's chair and the stools for the others. Since this was the main meal of the day, course followed course. Beef, lamb and goose were served with lentils, carrots and spinach. Wine and beer were lavishly offered. The meal ended with melons, figs and dates. Though Seshat ate, she tasted nothing.

Mermeshu and Intef spoke of the Hyksos who controlled the north and of the troubles in the south. Many men competed for the Double Crown, but only one could wear it. Mermeshu had come to ask for men, supplies and coins. He believed with the army's backing, he could win the crown and drive the usurpers from the land.

Bits of conversation entered Seshat's awareness. For twenty years, the land had been torn asunder by men who wished to be pharaoh. Then came the Hyksos with their chariots and armies. Only a united Egypt could repel them.

Seshat had no care for tales of war or warnings of battles to come. Her body thrummed with a desire she didn't fully understand.

When the meal ended, Nefru signaled the slaves to remove the tables. "Mermeshu and Intef, would you like to stroll in the gardens?"

The men rose to follow her. Seshat paused beside her father's chair. "Do you wish me to play the harp?" Though she wanted to join the others, her first duty was to him.

"Go to the garden." He patted her cheek. "Star of my last days, you have your mother's heart."

Seshat kissed him on the forehead and strolled into the garden. Nefru walked with a hand on each man's arm. Tiy was nowhere to be seen. Had Nefru sent her away? The trio paused beside the pool.

"Alas, my father has no sons or male kindred," Nefru said. "The husband I choose will be fortunate. All this will be his."

"And your sisters?" Mermeshu asked. "Have they no share in your father's wealth?"

Nefru snorted. "Daughters of concubines have no standing. They will be grateful for what I give them."

Intef laughed. "Don't you mean what your husband gives them?"

Nefru smiled. "He will be so entranced with me, he will do as I wish."

Seshat joined them. Anger sizzled through her veins. "Nefru, you can insult me but not my mother. She was wife to our father, duly witnessed in the temple."

Nefru giggled. "I'd forgotten. She was only second wife and brought nothing of value to the marriage."

Wednesday's Writer's Tip - Building the Climax plus free books

A Double Opposition is free from October 1 to October 5 A Double Opposition

Havens, Affinities Book 2 is free from October 1 to October 4  http://amzn.com/B00BEZKO38

The climax of a story equals decision time for one or more characters in the story. Can they reach their goal or goals? Do they take the easy way or go the longer and harder route to reach what they desire? Much depends on how the character or characters have been developed and exactly what the goal is. Goals can change as characters develop and the climax may not be what you envisioned when the story began. Levels may have developed. So how do climaxes fail?

The focal character doesn't have his back against the wall.  There is a decision he or she must make that is ignored. This will leave the reader scratching his or her head and asking Why.

The focal character doesn't face a decision that will test his or her principles. If they have hated something during the entire story and yet as the climax develops they refuse to make that moral choice, the climax will fall short. I'm struggling with this at the present moment with a story and I know I must have the hero do the final betrayal of the family who has rejected him. Not easy but it will happen.

There are two ways the character can choose to take. At this split in the road means the alternate to the easy way isn't appealing, how can the character choose to take that route? So make the hard path obtainable with a bit of struggle for the character.

The goal is too trivial. Make the goal essential to the character's happiness and well-being.

So when reaching and building the climax, question what the character or characters really want and how hard they will work to gain what they desire.

Tuesday's Inspiration - On Becoming A Novelist by John Gardner

Before I begin writing about what inspired me years ago and what inspires me today, I'll list the free books today.

A Double Opposition is free from October 1 to October 5 A Double Opposition

Havens, Affinities Book 2 is free from October 1 to October 4  http://amzn.com/B00BEZKO38

Now to the real part of the blog. The first thing a novelist may need or not is called verbal sensitivity. Now this was and is something I've struggled with. That's choosing the right word for a story and for a character. There are people whose prose flows with similies and metaphors. I've always stood in awe of them. When I began writing I realized this wasn't my forte. For me it's choosing the right verb, the right adjective and being specific. I also realized that I needed to increase my ability in this area. For some people lush writing is natural but this can also be over done. All those lovely figures of speech flow endlessly until the gist of the story is lost under the flow of words. Other writers are so sparse in this area that the writing becomes boring. Mr. Gardner says there are writers with a tin ear and others who are verbal musicians.

For me, I try to fit in the middle. I don't always succeed. But I have trained myself to have a sharp ear and eye for language. As a minimalist this means being specific. Sure I err here sometimes but so do my friends who are maximalists. Losing a reader in the almost poetic flow of words can lose writers but so can choosing just the facts. So becoming a published author comes with learning and continuing to hone verbal sensitivity.