Tag Archives: creative writing

Kindle Unlimited for a Limited Time!

Good Hello to You All!

I have missed this blog, so I thought it was time to come back to it. Once upon a time, this was my diary, my timeline, my therapist, my outlet, and a number of other things. I see no reason not to continue that trend. Just a quick update for now:

HELLBOUND is available for a limited time on Kindle Unlimited! Yes, I know that’s ironic! Please consider downloading it. If you haven’t signed up for KU, they usually have a free trial, so you could technically read HELLBOUND for super free!

Click here to be redirected to Amazon. (Yes, we hate Amazon, but capitalism demands that I use every platform available to me. Grrr capitalism.) But hey, look at this awesome cover art! Feel free to follow the artist on Instagram. She’s @sofiamercuri.art

I, too, have a large number of artistic endeavors and social medias! This is likely unrelated to my relatively newly discovered ADHD. Rather than link everything, here’s a nice convenient linktree instead. Thank you in advance for your support! More updates and rambles to come! (Oh, and if you prefer Barnes & Noble/Nook, that’s in the linktree, too.)

Bye for now!

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The Subtle Art of Subtlety

Hello! It’s been a while, but I’m still here. I’m bursting with the need to talk about one of my favorite romance authors. And then maybe next post I’ll talk about another one of my fave romance authors who isn’t that good at writing. Weird, right? It’s the truth that you can learn a lot about what not to do from other people’s mistakes. But first I want to talk about Julie Garwood. As a published romance writer (see how I subtly plugged myself there), I have realized that it’s time to de-stigmatize romance novels. They get so much crap, and for a long time, I was right there slinging arrows with the rest of society. But the fact of the matter is… romance novels are entertainment. People make fun of Rom-Com movies in a similar way, and it’s like… why? People seek emotional catharsis from their entertainment, and many genres provide that without worrying about winning Oscars or whatever. Look at the Fast and Furious series. You think people are watching that for the scintillating dialogue and believable drama? No. They’re watching it to see Vin Diesel do a flying headbutt or to see someone drive a car out the window of one skyscraper and into the window of another. Entertainment doesn’t always have to be believable. It doesn’t even have to be well-written. But you know what? Julie Garwood is a good writer. AND she writes romance! To prove this, I’m going to point out two scenes from my favorite series of romance novels. The first is from Killjoy (2002). This romantic thriller asks you to suspend your disbelief as you follow two characters on a death-defying journey through the mountains as they evade a hired killer. This story belongs to the enemies-to-lovers sub-genre, so towards the beginning of the book, the narration is all about how the leads are frustrated with each other. This includes the following snippet:

…she had vowed that, if he survived, she’d kill him, just for the sheer joy of it.

The title of the book is hidden in that sentence! Isn’t that so cool? “She’d kill him, just for the sheer joy of it.” You think Julie Garwood did that by accident? Heck no. She was having some fun with this. And I appreciate that. But that’s not the kind of subtlety I want to talk about today. No, I want to talk about relationship development and showing-not-telling. So now we’re going to look at Sizzle (2009). In this book, FBI agent Sam is grilling grad student Lyra for details about her life. Someone is trying to kill her, so he’s trying to form a list of suspects. He asks about past relationships, and she says she ended her last serious relationship some time ago. He presses her for her reasons for the breakup, and the narration reveals what she truly thought about her ex.

Not to be bored to death, she thought but didn’t say. In all the time she had known John, she had never heard him laugh really hard, the kind of laugh that brought tears to your eyes and took your breath away.

That quote is from chapter twelve. Then, during a car ride in chapter twenty-six, you get this brief line:

He [Sam] burst into laughter that made tears come to his eyes.

A dozen words. A dozen (and change) chapters later. And right there, you know these two are meant for each other. Because Sam does exactly what Lyra’s ex never did: He laughs so hard that tears come to his eyes. But here’s the thing about subtlety… it’s tempting to counteract a subtle moment with a not-so-subtle lampshade. Garwood doesn’t hang a lampshade on this moment, and I respect that. She doesn’t add narration about Lyra noticing the laughter or feeling a certain way. She just moves on. This accomplishes a few things.

1. Garwood isn’t insulting her readers’ intelligence. If she’d hung a lampshade on it, it would have sent one or two messages. “You aren’t perceptive enough to pick up on this” and/or “Look how clever I am!” Neither of these messages is good.

2. It shows that the two characters are meant for each other. No telling required. The narration doesn’t need to do that heavy lifting because the characters’ actions speak for themselves.

3. It makes nerdy readers (like me) feel proud of themselves for noticing it. Yeah, I’m not afraid to admit that I felt like I’d earned a medal or a cookie for picking up on this. I should be afraid to admit it, and you should definitely feel free to make fun of me relentlessly. But the truth is out there.

As I said above, you can learn a lot from what authors do wrong, but you can also learn plenty from what authors do right. Julie Garwood writes sexy novels, but she doesn’t sacrifice anything in doing so. Her characters are well-rounded, the conflict is compelling, and the relationships feel real. I am a huge fan, and I can’t wait for her next book.

Other places to find me:

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Character Bible Part 3 – Rath*

I’m going to say right here and now that I am not going to be updating very frequently (as if you couldn’t already tell) because I’m ghostwriting a novel at the moment.  Writing a full-length novel is pretty tiring, so I don’t exactly finish my work for the day and then go, “Boy, I can’t wait to sit down and compose a blog post!”  It’s more like, “Boy, I can’t wait to just lie here like a damp potato until I get hungry enough to roll out of bed and forage for food in the fridge!”  Plus there’s the constant fear that this book idea won’t hold up, and then I’ll have done all these posts for nothing.  You know, the usual stuff.

That being said, here’s what I know about Rath*, whose name absolutely needs to change.  It was supposed to be a play on “wrath” with the inclusion of “Ra,” because he was originally supposed to be some sort of shadowy memory of the Egyptian sun god.  It’s a long story, but basically the first idea of this book was that this “planet” would be occupied by ancient ideas that had lost power.  Something really dumb like that.  I abandoned that idea long ago, so “Rath” has to go.

My inspiration for Rath* came from a couple different sources.  His look and personality is a little bit based on characters like the Prock from The Last of the Really Great Whangdoodles (no picture available) and a demon from The Phantom Tollbooth known as the Terrible Trivium.  Pictured here:

Terrible Trivium

The running theme is we have a well-dressed, smooth-talking, third-hyphenated-descriptor type of character.  Now, since I decided that we’re looking at a slave race on a prison planet, the “well dressed” bit probably has to go.  But I still see Rath* as a smooth character who is a natural leader and who easily takes things in stride without showing fear or doubt.  That’s why he’s the leader of the wee rebel group.

Joss throws a wrench into things for just this reason.  Because she becomes like a daughter to Rath*, (I’m gonna stop putting asterisks on his name because I think you get it) she makes him start second guessing himself.  Some of the rebels in their group actually see Joss as a weakness, and they resent her for turning their leader soft.  They still work with her, of course, but there is underlying tension.  This is one of the ways I’m going to attempt to avoid the Mary Sue cliche with Joss.

Rath and another character, Thea, have basically the same origin story.  Rath is part Delliakite, and Thea is all Delliakite (You’ll see her later).  They came from the same cell block, as it were.  I wrote out a tentative backstory for them, but it’s too much like District 13 from The Hunger Games, so I’m reworking it.  Basically they tried to rebel and it had horrible consequences so they ran away together to live off of the Overseer’s radar.

I don’t have concept art for Rath because I am really bad at drawing at the best of times, and drawing a human/alien hybrid is probably beyond my ability.  I’m afraid he’ll come out too cartoony.  Maybe I’ll attempt it one day, but today is not that day.

Oh, Rath has powers.  Unlike Paxton, the loser.  It’s unclear how much of this is just really good psychological manipulation and how much is really happening, but he has shadow powers.  He can disappear into shadow and manipulate shadow so that it gets really dark in certain areas, and he can use shadows to grab people and trap their legs and stuff.  He’s kind of like a phantom in that way, where he plays on people’s fears.  But heart of gold blah blah blah.

At some point in the story, Rath gets captured and put in the super scary prison thing.  I’ve been calling it “the tomb.”  It’s basically where prisoners get a small probe on their heads that traps them in their own minds, slowly driving them crazy.  They’re sealed into closet-sized rooms and left there for indeterminate periods of time.  Rumor has it (in the book) that the inventor of the brain device tested it on himself, and went insane as a result.

Anyway, so Rath gets captured, and it just so happens that Paxton’s mom ended up in the same prison.  So the rest of the gang has a reason to work together with Paxton.  See how that works?  And then Paxton’s mom can stay alive so he doesn’t have the typical superhero origin story.

Okay that’s enough for today.  Next time maybe I’ll do Thea so you know what a Delliakite is.  I can already tell you that ensemble casts are hard, so I’m probably going to axe a character or two.  We’ll see.

Bye for now!

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