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

Thursday, July 24, 2014

A Blast From the Past





By now, I think we've all heard of Throwback Thursday... the day of the week designated for posting pictures from years past so our social network can see how cool/young/hot/smart/popular/accomplished we were and hopefully still are.

I like this idea. Not because I want people to see how cool/young/hot/smart/popular/ 
accomplished I was (I was never really any of those things--not really) but because it reconnects us to our past in a very real, very visual way. 

Today a casual Facebook friend of mine posted what I thought was a super fabulous version of Throwback Thursday... a beloved book cover from her childhood.

Seeing it, I thought to myself: Self, that's a kickass idea. You should steal it.

So I did.

 Here's my version of #TBT, Lit-style.




This book got me through some pretty tough shit, growing up. 
Now you're thinking... it's a book about dragons. How the hell did that help you growing up?

This book isn't about dragons--not really. Not to me anyway. This book is about a young woman who is reviled and ostracized from her homeland and through that pain, finds the strength to not only fight back, she finds a purpose bigger than herself and learns to fight to protect it.

Anyone who ever wondered where I draw my inspirations from for my Sabrina Vaughn character can find it all right here, in the pages of this book because Aerin, the heroine in this story, never quits. She never stops fighting--through loss and love and betrayal and heartbreak... she never stops fighting. 

that's my jam.





If you've never read it and you like dragons and shit (or if you just like a good story with a strong female protag), I suggest you do...

you won't be sorry.




Monday, March 31, 2014

The Plot Doctor is IN!



Holly writes:

Maegan- 

I’m more than ¾ of the way through my book. I’ve always known that this is merely a first version—that it will require multiple rewrites. Recently, it’s occurred to me I want to add a character, develop one or two current ones differently, switch part of it to a close third POV from my current 1st person POV, etc. Here’s my dilemma—do I finish the book now, “pretending” I’ve fixed all this stuff? Or do I quit now, go back, start my re-write? One problem with that is, the problem I’ve had all along—I never know what’s going to happen next. So for me, the advantage to finishing the book knitting in (or sticking in, more like it) the revelations I’ve had will probably reveal to me even more stuff I need to fix in the beginning and throughout. In other words, I don’t want to kill my momentum, so “close” to the finish. As always… your opinion is much appreciated and valued!

Hi, Holly ~

First of, congratulations for being so close to your goal! You're in the home stretch--be proud!

As for your question... Whether you should go back and start your re-write now or wait, is really a personal preference. If all you were doing was switching the POV for 1st to 3rd, I'd say do it now but it sounds like you're trying to capture ideas as they occur to you. That's kind of hard to do when you're bouncing around in your story. Difficult but not impossible...

As a writer, when I know that something is wrong within my story, I find it almost impossible to move forward until it's fixed. I will stop all forward progress and work on the problems until they are fixed. I'm a linear writer. I've never been able to write scenes out of sequence or just "pretend" that a problem is fixed and move on from there... mostly because I know I'll forget what needed to be fixed in the first place!

If waiting is what works for you, then I say wait. Just make notes on what needs to be fixed and where and you'll be fine.

Good Luck!

Maegan

Tuesday, August 27, 2013

Mail bag!

It’s official. I’m closing in on the last 10k words of Sabrina’s next book, a sequel to Carved in Darkness, so I finally have a few minutes to breath... although I'm pretty sure my editor would strongly disagree. Anyway, I wanted to take a few minutes to answer some readers’ questions about the new book and well… me.

Do you have a title and release date for the new book?
As I’m sure I’ve mentioned before, Carved in Darkness was not my original title for Sabrina’s first book. That brilliant title 100% belongs to the creative genius that is Midnight Ink. The working title was, although appropriate, boring. Same goes for this one. The working title for book #2 is The Muse and I’ve got my fingers crossed for another spring/summer release, 2014.

Have you written any more books I can read to hold myself over until Sabrina’s next book comes out?
Nope. Carved in Darkness is my first book, written or published.

Will Michael be back in the next book?
Yes. I left things unresolved between them because quite frankly, there is no way I’d be able to resolve their issues/relationship in one book. Michael and Sabrina have a long, bumpy road ahead of them but they’ll get there in the end. I promise.

 Is the entire series going to be about Sabrina or are you going to bring secondary characters into the forefront?
Carved in Darkness was originally intended to be a standalone novel but as it usually happens after you spend years and years of your life with a group of people who live in your head, when it comes time to let them go, you just can’t do it. You find that they have more they want to say and do and you feel compelled to let them… I have 6-7 novels planned out in my head. Some of them feature Sabrina, some of them feature Michael… and some of them feature secondary characters. Let’s hope everyone gets a chance to have their stories told.

Do you have a twitter account?
Yes… you can find me on twitter @thrilllingwords. Or you can just go to my website and hit the button.

Where have you been hiding?
In the suburbs outside Phoenix, Arizona, buried under a pile of kids.

Seriously, I’m an Arizona native married to her high school sweetheart with 4 kids (two biological and two adopted). After a lot of soul searching and false starts I finally admitted that the only thing I ever really wanted to do in life was write… and be a criminologist. Oh, and Olivia Newton-John. I really, really wanted to be Olivia Newton-John when I was younger. The Olivia Newton-John thing never would’ve work (for obvious reasons) and while criminology fascinates me, school has never been my thang, so writing it is. This way I get to study what I love (crazy freaks!!) and do what I love (write about crazy freaks!!) all in one felled swoop. And I still occasionally watch Xanadu and pretend I’m Olivia.



Have a question? Hop on over to my website www.maeganbeaumont.com and drop me a line, I'd love to hear from you!

Monday, June 24, 2013

Plot Doc to the Rescue!



Holly says:

Maegan ~

I’ve done it this time. I’m my own protagonist. I’m up a tree. I’m in a corner. There is no way out. I’m screwed. Heeelllppp!!! Here’s my deal: I need to fix some stuff throughout my book, giving my protag a major case & having her comment/work on it throughout. I sort of alluded to that a while back, didn’t follow up so well. So how do I weave that in? Do I go back & write it in now, or just draw a line in the sand & tell people to pretend it’s there? 2) I left last time that Todd is on the way to Ollie’s. What the frick happens when Todd gets there? He’s got some ‘splainin’ to do as to why he ditched her for dinner, but we’re not going there yet, he’s going to dodge that & she’s going to leave it alone for now. Does he get derailed going over there? He gets called out on something? Or, he comes over? What did Araceli tell him? I’m thinking that perhaps she was dating a cop.  Araceli probably makes some snide comment about Todd being Ollie’s squeeze & how stupid it is to date cops or something, and Todd gleans from that. Or maybe not even that—just that she was dating someone right before this happened, and Todd thinks there might be something to it. Or… something else? Any ideas? As always, thank you in advance for your guidance. You are, quite simply, awesome! 



Hi, Holly!


Let me see if I can help... for those who are reading, I'm going to give a little plot synopsis to get them up to speed:


Ollie (our female protag) is an assistant DA and the daughter of a disgraced and disbarred lawyer... who just happens to be a register sex offender. When her father, with whom she hasn't had contact with in years, is viciously murdered and her estranged sister is arrested for the crime, Ollie wants to believe she's innocent. It's only when other defense attorneys, all of whom are were able to win high-profile cases, start turning up dead that she knows for sure. In order to save her sister, Ollie must find and stop a relentless killer who will stop at nothing to see that justice is served.


Okay. I'm going to address your questions/issues, point by point:


1) I think that giving Ollie s high-profile sex crime case is a great idea! It works for two reason: It will tie in with her issues with her father and if you play it right, will go a long way toward developing her story-worthy problem (coming to terms with what her father did). It will also give us a direct line to the killer... Ollie's opposing counsel could be on the killer's hit list. What if it happens to be a really good friend she met in college, or a former lover (this would be a GREAT complication)--that way the stakes are raised for her even higher. I'd go back and do an extensive re-write if I were you to add these things in--sooner is always better than later.


2) Todd (A cop and Ollie's long lost boyfriend who's made a very unexpected and unsettling re-appearance) will make a fantastic red herring! His sudden re-appearance in Ollie's life, in the mists of all these killings, should make her (and the reader) questions his motives and innocence. Thinking that Todd might be involved in some way (even if he's not) will up the stakes for Ollie even further, especially if she still has feelings for him. 

When he arrives at her house, there needs to be tension between them. His standing her up for dinner should bring all their old issues roaring to the surface for Ollie and she needs to hit him with some pretty hard questions (where have you been for the past five years? why did you come back? what do you want with me now? What did you talk with my sister about?) and his answers need to be vague enough to raise her, and our, suspicions... and then when the tension is at it's peak, he needs to get called away. If he leaves her house under murky circumstances, this will further our suspicions and his status as a possible suspect in Ollie's mind. Of course the questions pertaining to her sister and the case should take precedent over the one pertaining to their personal entanglement. Your story problem should always be the most important  thing on the page. Once it's established, nothing should derail your protag from solving it.

3) the idea of having Araceli (Ollie's sister) involved with a cop is a good one... just don't reveal which one just yet because this could potentially end up being a major clue into who your killer is and you want to save that revelation until the very last possible second. Reveal it in stages. When Todd asked her why she was in town the day of her father's murder, she could tell him that she was "visiting a friend" but she could say it in such a way that alluds to whatever is going on between her and her "friend" is more than just lunch and shopping. Then we can see Ollie pursue this angle... and then she's the one to discover Araceli's "friend" is a cop. Once you roll a "plot rock" down hill, it should never stop moving, gaining speed and mass until it's no longer a rock--it's a boulder and once we reach our climax, it slams into your protag with the force of wrecking ball. It destroys everything. Maybe even find out that Araceli is involved in her father's murder after all (either by choice, coercion or unwittingly). This would be a HUGE twist, finding out that after everything Ollie went through to prove her sister's innocence, that she actually was guilty to some degree. This would ultimately destroy Ollie... but in the aftermath, allow her the find the strength and resolve to finally achieve her story-worthy problem, which is forgiveness. Through forgiving her sister, she'll find the same for her father and finally be able to put her anger to rest and truly move on.


I really hope this helps, Holly! This sounds like a fantastic story you're telling! Keep me informed--I can't wait to see where your story take us.

Are you stuck on your plot? Don't know what your next story step should be? Got your protag backed into a corner with no way out? Give me a shout, I think I can help! Just go to my website: http://www.maeganbeaumont.com/ and click on the "CONTACT" icon. I'd be happy to answer your questions on my blog.

Sunday, June 16, 2013

The Devil in the Details



By: Maegan Beaumont

He rolled up the make-shift tarp he’d laid out on the kitchen floor and placed it in a trash bag along with the dress. Undiluted, he poured the ammonia onto the kitchen floor and chair. While ammonia didn’t destroy DNA, any evidence gathered there would be corrupted by the chemical and rendered useless. The ammonia was strong-smelling, so he opened a few windows for ventilation. The early afternoon breeze made the chore of cleaning up his mess almost pleasant.

—Carved in Darkness

It took me nearly three weeks to write this paragraph. It wasn't writers’ block or a computer crash that bogged me down—it was my almost obsessive need for accuracy.

And it wasn't just this passage I nitpicked. It was the entire novel. I scoured the internet. I read books. I logged onto forensic forums. I emailed cops and asked them what I’m sure they thought were inane and possibly dangerous questions. I spent what felt like an entire summer in handcuffs because I was trying to teach myself how to pick my way out of them. After cutting myself in a kitchen mishap, I soaked the wound in salt water (If you've read CARVED, then you understand the significance). I've even gone so far as to have a very distraught friend of mine drive me around in the trunk of her car... all so I could be sure that what I was writing was as close to the truth as I could get it. Don’t get me wrong, I ask my readers to suspend disbelief on a regular basis but I can do so because I know one simple rule: 
The most effective lies are found buried in the truth.  

So, yes... I do lie. I do make stuff up, I write fiction, after all... but readers are smart.  They know things, because they read, and they don’t like it when a writer is too lazy to do their research. I know this because as a reader, I feel exactly the same way. I don’t mind being lied to as long as I know the writer took the time and made the effort to make me believe the lie.

The key to great fiction isn't writing what you know--it's writing what you can make others believe that you know, and that takes work. Hours of research. Reading and reaching out to people who can lend authenticity to my writing, but when a reader asks me if I've ever tortured someone (yes, someone really asked me that... and the answer is no) or a reviewer mentions how impressive my attention to detail is, I know it's worth it.

So, my question is: How important is accuracy in writing to you? How do you feel about shoddy research? How do you feel about writers who don't take their research seriously?




"Prepare to be overwhelmed by the tension and moodiness that permeates this edgy thriller. Beaumont’s ability to keep the twists coming even when the answer seems obvious is quite potent."
 ~ Library Journal



http://www.amazon.com/Carved-Darkness-Maegan-Beaumont/dp/0738736899/ref=pd_rhf_ee_p_t_4_S33D

Maegan Beaumont is the author of Midnight Ink's Carved in Darkness, book one in the Sabrina Vaughn thriller series, on sale now.

Tuesday, April 30, 2013

News & Updates

I've been neglectful again... but this time I have a pretty good reason--or should I say reasons. 

I'm roughly 1 week from my official release of my debut novel, CARVED IN DARKNESS and things are getting crazy! I mean one-armed-juggler-in-a-three-ring-circus kind of crazy. Between kids and husband, promoting the release while trying to write book #2 in the series (I'm approximately 60k words in!), I don't have time to breathe, much less blog, but I want to share my news so I've finally managed to grab a few minutes (It's 6am, I have school lunches to make and the kids are running around banshees, but whatever) to blog.

Over at Beth Groundwater's today! She's asked some fantastic questions about the book, my writing process and what keeps me sane. Beth writes the Claire Hanover gift basket designer series (A REAL BASKET CASE, 2007 Best First Novel Agatha Award finalist, TO HELL IN A HANDBASKET, 2009) and the RM Outdoor Adventures series starring river ranger Mandy Tanner (DEADLY CURRENTS, 2011, an Amazon bestseller, WICKED EDDIES, 2012). The 3rd book in both series will appear in 2013. 

Hit the link below to check it out:

 http://bethgroundwater.blogspot.com/2013/04/todays-mystery-author-guest-maegan.html

And don't forget to drop me a comment to say "hi"!


















In other exciting news, If you happened to order a trade paperback of CARVED IN DARKNESS from Amazon (they've already sold out once and looks like they're about to do it again!), chances are you've already received your copy. I hope you're as happy with the finished copy as I am... if so, I'd be thrilled of you took a few minutes to rate CARVED and leave me a brief review. I'll even make it easy and leave the links!

For Amazon:
http://www.amazon.com/Carved-Darkness-Maegan-Beaumont/dp/0738736899/ref=sr_1_1?s=books&ie=UTF8&qid=1367330833&sr=1-1&keywords=carved+in+darkness


For Barnes & Noble:
http://www.barnesandnoble.com/w/carved-in-darkness-maegan-beaumont/1113557699?ean=9780738736891

I also received a darn good review from Kirkus Review:

http://www.kirkusreviews.com/book-reviews/maegan-beaumont/carved-in-darkness/

As busy as I am, I haven't forgotten that it's all of you who've made it possible. Thank you for supporting me as a writer!

And do forget, I still answer writing problems! If you're a writer and stuck on your plot, give me a shout at:

thrillersandkillers@gmail.com 

Thursday, April 4, 2013

Les Edgerton Guest Post: Dialogue!







Check out this great guest post, via Kristen Lamb's Blog by my mentor and friend, Les Edgerton, on how to write effective and believable dialogue. Great advice from an outstanding writer!



Tuesday, March 19, 2013

What Hangs in the Balance


Like most things in writing, villains are a delicate balance. Not enough evil and you get this:





Too much evil and you get this:




The most effective villains are like this:



See what I mean? Delicate balance.

The weird thing is, though... true villains aren't balanced. They've leaned too far over the edge and lost their footing... or maybe they just swan-dived into the abyss. Either way, they're free-falling down a deep, dark hole. 

And they like it. 


They presents well. They look normal. They smile and talk. Give their seats up to little old ladies on the bus and rescue cats out of trees. They have children and drive minivans. And all the while, they harbor darkness.

Not that we don’t all harbor darkness—we do. We all have thoughts and desires we would never act on because not only do we know the difference between right and wrong, we respect it. 

We're balanced.

In order to write an effective villain, we have to knock ourselves off balance. We have to be willing to go there. You know, there. We have to be willing to search out the dark spots we keep hidden and poke at them until they bleed. To get the page a bit dirty, to scare ourselves silly. To dangle our toes over the abyss.

There have been times--many times--when I've written something and afterward wondered if there was something fundamentally wrong with me. My husband blames (for lack of a better word) my childhood. He's probably right.

Whatever the reason, I'm thankful for my keen sense of balance because no matter how many times I dangle my toes, I'm able to right myself without falling. 

And now, just for fun, some of my all-time favorite villains:




















and last, but not least...





who's your favorite all time villain?












Maegan Beaumont is the author of  Carved in Darkness, available through Midnight Ink, May 8th, 2013

Tuesday, February 26, 2013

Kid in a Candy Store

When a writer lands on a story idea, it usually happens one of two ways. It's either like being hit by lightening or like watching a seed germinate. Either way, once the story takes root, your head starts to swim in The Sea of Possibilities...


This is good--possibilities always are, but if you're not careful, you start to look like this:


or like this:


and then, eventually like this:




Having a fiction writer's imagination can be both a blessing and a curse. We spin straw into gold but sometimes, we get carried away. Every idea we have is a good one, every plot twist we come up with is absolutely paramount to the outcome of the story (or so we fool ourselves into believing), so we pile it on. We're gluttonous. Greedy. We have what I call Kid-in-a-candy-store-itis.

Before we know it we're working plot points for a paranormal, dystopian, sci-fi western about a half-vampire, half-werewolf who falls in love with a time-traveling mermaid... which, by the way, has absolutely nothing to do with our initial story idea.

Just remember to keep it simple. With roughly 1,100 years between us and the first printed page, an original plot is damn near impossible. Originality comes from our voice. Don't let it become cluttered and bogged down by an over active imagination or you'll end up like this guy:


  And remember: friends don't let friends write paranormal, dystopian, sci-fi,westerns about a half-vampire, half-werewolf who falls in love with a time-traveling mermaid.


Tuesday, January 22, 2013

Fade to Black...


A few months ago, I flew to Chicago for the annual client conference held by my agent. It was my first time attending, having only been picked up officially that August, so I was a bit out of my depth. I was in a strange city full of complete strangers. I had absolutely no idea where I was going or who I was going with. If you know me at all then, you know that these are things that usually send me into a tailspin… but I maintained. 

I was very proud.

As we were waiting for the train to take us into the city for dinner, I listened to people talk—“Hi, I’m blah, blah. Blah, blah has been my agent for 2 years.”
“Oh, I know you. My name is blah, blah. I’m with blah, blah.”
(not trying to be disrespectful—just don’t want to use names… or maybe I just don't remember them.)
“So, what's your name and who are you with?”
It took me a few seconds before I realized someone was talking to me.
“Ah… My name is Maegan Beaumont and I’ve been with Chip for a few months.”
I sounded like I was introducing myself at an AA meeting, but I managed to get the words out without any nervous stuttering. Suddenly, the young woman standing in front of me whirled around and after a few seconds of scrutiny, said, “You’re Maegan Beaumont?”

Oh. God. What did I do? The juvenile delinquent in me was screaming—No. No you are not. Deny, deny, DENY!!

“Yes…?”

She smiled. “I joined the agency the same week Chip received your manuscript. It was the first thing he gave me to read. I couldn’t get past the first five pages. I still think about it,” she said. “I’m pretty sure it scarred me for life.”
I didn’t know what to say. What did that mean? Was it really that bad? Before I could say anything, she saved me from imploding.
“Oh, no. It was really, really good… but it was too intense for me,” she said. “Most writers have this fade to black moment where they choose to leave the rest of a graphic scene to the reader’s imagination. I kept reading your work, waiting for the fade to black… but it kept going. I kept reading, waiting for it. Fade to black… I kept thinking, when is it going to fade to black? Fade to black. Dear God—FADE TO BLACK!!” She mimed flipping through pages, her eyes as wide dinner plates.



She stopped and smiled at me. “I took it back to Chip and said, “It’s really, really good and really, really disturbing. Here you go—you should read it. And now you’re here.”
I had no idea what to say—again. I felt like an apology was in order but I swore to myself a long time ago that I’d never apologize for anything that I’d written. Maybe I should offer to pay for her therapy…

She turned out to be the one person I really connected with in Chicago. We split a pizza and she admitted that I was nothing like what she expected. I took it as a compliment. We really didn’t talk about my work again (although, she did ask me if my husband was afraid to go to sleep around me...) but her reaction has stuck with me. Four months later and I’m still thinking about it.

Fade to Black.

I’ve tried writing that way but it felt… almost like a lie. What I’d put on paper was not what I really wanted to say—the problem was, what I really wanted to say was pretty freakin’ disturbing. I was worried what my family would think. I was worried how, if it was ever read by the general public, I’d be regarded (remember, nice girls don’t write about torture…). Would the parents of my children’s friends think I’m a depraved lunatic and keep their kids away from mine?
I was afraid of offending someone. I was afraid of disappointing everyone. I was afraid of what people would think.

I was afraid.

But you can’t write with fear—not if you want write with honesty and passion and all the things that make a book worth reading. Good writing isn’t always pretty or pleasant. It isn’t about what people want to hear. It’s about what you have to say. As soon as I realized that, I was able to let go of all that worry and doubt and just write. Instead of fading to black, I kept the lights on. I threw open the doors and windows and wrote.
And what I wrote scared me. Not the actual content… but it scared me that the words came from me so easily.  That I was able to go there without any real effort at all. I felt the strong desire to delete it off the page before anyone else saw it. I didn’t. I considered cutting it from the book. I didn’t do that either. I’ve come to recognize that feeling this way is a sign that I’ve written something that will affect people. And if we’re not affecting people with our words, then what’s the point?

Truth is, there’ll always be people who will be offended. There will be some who are disappointed or disturbed by the things I write. Who will see me differently. Who will build pre-conceived notions about what I’m really like. And as much as I wish it weren’t so, I can’t let any of that dictate what I write. I’ll go crazy if I do…

So write what you want. Say what you need to say, in the most honest way possible. Don't let fear or doubt decide what you put on paper. You deserve better than that, and so does your reader.

Fade to black. Or not...

It's totally up to you.


















Release date: May 8, 2013

Monday, January 14, 2013

Guest Blog: Lois Winston

Today, I'm fortunate enough to be hosting the fantastic writer behind the Anastasia Pollack Crafting Mystery  series and fellow MInker, Lois Winston.  Lois is going to give us a very insightful look at where plot and characters come from. Take is away, Lois!



Where Characters and Plots Are Born

“Where do you get your story ideas?”

“Are any of your characters based on yourself or people you know?”

The above are the two most frequently asked questions I hear from readers. There’s a writing axiom that states, write what you know.  To some extent this is sound advice, but it’s also extremely limiting advice. I have a good friend who writes stories populated with vampires, werewolves, selkies, and other assorted weird creatures of the paranormal world. My friend is neither a vampire, a werewolf, nor a selkie, and I have it on good authority that she’s never met any such creatures. So obviously she’s not writing what she knows from first-hand experience.

In my Anastasia Pollack Crafting Mystery series my amateur sleuth protagonist is a debt-ridden, recently widowed magazine editor whose home is populated by her two teenage sons, her “Russian princess” mother, a cantankerous communist mother-in-law, and a menagerie of pets, including a Shakespeare spouting parrot. Much of her problems stem from having believed a man who turned out to be a lying louse of a spouse.

Write what you know

To some extent. I have designed needlework and other crafts for various magazines, and I did work as a craft book editor for some years. My two sons were once teenagers. And I was saddled with a cantankerous communist mother-in-law. However, that’s where the similarities between me and Anastasia end.

My husband is a nice guy who is still very much alive. My mother, although half Russian, never claimed to descend from the Romanov dynasty, and due to allergies, we have no pets. I’ve never even come across a Shakespeare spouting parrot. Most of all, though, I don’t constantly stumble across dead bodies. And if I did, I’d leave the investigating to the police.

So where do I get the ideas for the stories I write? From the world around me.  I’m a die-hard news junkie who has always believed that truth is stranger than fiction.  That belief is reaffirmed every time I pick up a newspaper or turn on the evening news.  I’ll hear a news byte or read an article, then give the event a “what if” spin.  The voices in my head take over from there, and the next thing I know, I’ve got the plot for another book.   

The plot for Revenge of the Crafty Corpse came about after I read an article on a nursing home murder involving two ninety-something roommates. A lover’s triangle caused one woman to permanently dispatch her rival. I was well aware of mercy killings in nursing homes, but one resident killing another seemed quite rare to me. Upon further research, I discovered not only wasn’t it all that uncommon, but the motive for such murders often had something to do with romantic jealousy. 

Who knew nonagenarians still had sex? That one article planted the seeds for both a plot and a murder victim. I created Lyndella Wegner, a ninety-eight year old know-it-all with a penchant for scandalous craft projects and even more scandalous behavior. When she turns up dead, Anastasia’s mother-in-law becomes the prime suspect. Of course, Anastasia being Anastasia, she can’t leave the investigating to the police. As much as she dislikes her mother-in-law, she knows the woman isn’t a killer. So Anastasia sets out to find the real killer, hopefully before she crosses paths with any more dead bodies. Or becomes one herself.




To buy Revenge of the Crafty Corpse, go to:











Award-winning author Lois Winston writes the critically acclaimed Anastasia Pollack Crafting Mystery series featuring magazine crafts editor and reluctant amateur sleuth Anastasia Pollack. Assault With a Deadly Glue Gun, the first book in the series, received starred reviews from both Publishers Weekly and Booklist. Kirkus Reviews dubbed it, “North Jersey’s more mature answer to Stephanie Plum.” The series also includesDeath By Killer Mop DollandCrewel Intentions, an Anastasia Pollack Crafting Mini-Mystery.Revenge of the Crafty Corpse is a January 2013 release. 

Lois is also published in women’s fiction, romance, romantic suspense, and non-fiction under her own name and her Emma Carlyle pen name. In addition, she’s an award-winning crafts and needlework designer and an agent with the Ashley Grayson Literary Agency. She’s also the author of the recently released Top Ten Reasons Your Novel is Rejected. Visit Lois at http://www.loiswinston.com, visit Emma at http://www.emmacarlyle.com, and visit Anastasia at the Killer Crafts & Crafty Killers character blog, www.anastasiapollack.blogspot.com.

Sunday, December 30, 2012

Here it Comes... 2013.

 
 
      I'm one of those annoying people who don't like to do anything unless I can be relatively certain that I'll succeed at it. This has everything to do with my paralyzing fear of failure and almost nothing to do with the fact that I'm a know-it-all asshole who hates to lose (I do hate to lose and I am a know-it-all, but I'd like to believe that I'm not an asshole about it... most of the time).  
     Anyway, I was watching my husband make me eggs (I have a GREAT husband!) and babbling on and on about my new years' resolutions and I thought to myself, if I really want to stick with it, I'll have to blog them... because the only thing I hate worse than failing is failing in public. So here they are...
 
My Resolutions for 2013
 
 
1) When my husband goes to the gym--I go too.
2) Limit my coffee to 2 cups a day.
3) Write 700 words a day--minimum.
4) Plant an herb garden.
5) Be on time.
6) To blog at least once a week.
 
 
     If you know me at all, you know that #2 and #5 are going to be the hardest for me to stick with but I'll post pictures, periodically, of my success... and if I don't, feel free to ridicule me.
 
     Leave me a comment telling me your goals for 2013.
 


Wednesday, December 19, 2012

Motivation, Hitchcock and Why Cheaters Never Win


I was watching The Girl the other night and something Hitchcock said to Tippi Hedren has stuck with me. I can’t stop thinking about, even days later, and how it plays to the vanity of Hitchcock (specifically) and writers (in general).
In the scene where Hedren (played by Sienna Miller) and Hitchcock (played by Toby Jones) discuss her character’s motivation for going into the attic alone, knowing there would be birds there, (they were filming The Birds at the time). Hedren asked, “Why would Melanie go into that attic all alone?”
Hitchcock replied, “Because I want her to.”

Because I want her to.
While a cinematic genius like Hitchcock might be able to get away with that, for a lowly novelist like me, writing takes a bit more work. Just because I want my characters to do something, doesn’t mean I should make them do it. There has to be a reason my characters do and say the things they do and it's my job to give them that reason.
It's called motivation.
Motivation is what a writer weaves throughout a plot to bind it tight. Motivation is what makes even the implausible seem possible. Even the most unlikely seem inevitable. But what is it? A traumatic past? Money? Love? Revenge?
I can’t simply decide I want my protagonist to rob a bank or rescue a bunch of kids from a burning orphanage. There has to be a trigger that sets them on the course. Are they days away from losing their home to foreclosure? Is their child in need of a lifesaving operation and the insurance company refuses to pay. Did they lose a loved one to a fire? Did they grow up in an orphanage themselves?
These are seeds from which future action grow and if you want your novel to feel real, they must be planted. From these seeds should sprout a chain of events, fed on emotion and tended by circumstance, that will inevitably lead your protagonist to a place where the life-altering decisions they make are the only ones that make sense.
Look at it this way...
If a novel is a vehicle, then motivation is the fuel in the tank. It makes us move and takes us places. Maybe even places we never had any intention of going. Place we don't want to be... places we have a hard time visiting. If there's no gas in the tank, that vehicle isn't moving. But if you put the wrong kind of fuel in the tank then your vehicle breaks down completely. It becomes an undriveable hunk of crap that noboby wants to drive. Or read.
When Hitchcock sent his character into that attic full of live, pissed off birds, he wasn’t sending the character—he was sending Hedren. He allowed his personal motivation to color the actions of his character… and in doing so, changed the movie completely.
It was no longer about the story itself at all. It was about Hitchcock’s desire to punish Hedren for finding him repulsive. In punishing Hedren, Hitchcock gave as a peek behind the curtain. Even though we may not have known it at the time, we saw a writer at work and that is something your reader should never see.
The stories we write should be seamless. Our characters should be fully formed, with their own set of experiences that give their choices weight and purpose and the conclusion those choices lead them to should seem inevitable.
Anything less would be a cheat—to myself as a writer and to people I write for.