A Cowboy This Christmas Anthology

 It is hard to believe we are already more than halfway through November! In my part of Canada, we have had a wonderful and relatively snow-free fall, but Christmas is just around the corner and who knows what that will bring. 

As always, writing has taken a lot of my time, and this year I was part of a short story project. It was fun to return to the short story format, which is where I started my writing. Together with eight other Alberta authors, we came up with A Cowboy This Christmas. Each story is infused with holiday magic and is likely to steal your heart. You can find it at:

https://www.amazon.com/Cowboy-This-Christmas-Romance-Anthology/dp/1777755522

OR

https://www.amazon.ca/Cowboy-This-Christmas-Romance-Anthology/dp/1777755522

Round Robin Blog July

This month we are looking at how important Character Arc is to our stories and how it ties into the plot or story arc, and do you usually give some time and story to character arcs for secondary characters?

A story without a good character or story arc is like a straight piece of string. Boring. Uninteresting. Then tie a few knots in it here and there, and it becomes a different beast. Why is the knot in that place rather than in this place? Why is that knot bigger than the others? Does its size mean something important in the plot or an ‘aha’ moment for the character? And what does that squiggly little knot between two bigger ones indicate? Could it be a red herring slipped in there to catch the unwary?

The plot arc is the story’s shape, while characters have internal and external arcs that can create conflict. At the beginning of the narrative, Character A may be lacking in confidence. He or she thinks they are useless, unlovable, and ordinary. Then events test them as the story progresses, and we see that character overcome their ‘negative press,’ the false image they have of themselves, and by the end, they see they are useful, lovable, and extraordinary.

Secondary characters in a story are there to bring out the best in or give support to Character A, which doesn’t mean that they are less critical. They still need a good backstory, and the author needs to make them as well-rounded as Character A and not a caricature. They need names, strengths, and weaknesses, the same as Character A. While we might lay out every aspect and nuance of Character A for our reader to get to know and understand him or her, we don’t need to see that for the secondary character, even though the author will know it. Secondary characters are great for discovering facts, as Lord Clifton instructs his secretary Edward Pargetter in my book His Dark Enchantress.

Lucius tapped his forefinger against his lips, his eyes narrowing as a scheme began to form in his mind.

“That could be most fortuitous, as long as the under-secretary is not one James Horace.”

“If you wish, I could make enquiries as to whom exactly my cousin is attached.”

“I do wish, Edward, and it must be done as discreetly as possible. I also wish you to discover who else Lady Darnley has invited to dinner. Now, will I be signing my life away if I do not read these damnable letters?”

“You’ll never be sure, Sir.” Edward handed him a freshly trimmed pen.

Because Edward has been employed by his lordship for some time, they have developed respect and liking for each other, as indicated by Edward’s quip. In the same book, Lord Clifton relies on his head groom, Mr. Noble, and coachman, Mr. Tockington.

“We’ll do the same as in Folkestone.” Determination made his voice grim. “Noble, I want you and Tocky to make enquiries at the Full Moon and the Flood Tide. Edward, find the White Horse and hire a horse for me and a carriage for you three and our equipment. I’ll ask the landlord here for the quickest route to Lille.”

Edward was the first to return and he and Lucius waited impatiently for Noble and Tocky.

“Perhaps they are unable to make themselves understood,” suggested Edward.

Lucius shook his head. “I doubt it. Noble speaks passable French and Tocky appears to be able to make himself understood anywhere. Plus, with coin available to pay for a round or two of drinks, they may be gleaning more information than we expect.”

Secondary characters will have a different perspective on Character A, understand and maybe appreciate their likes and dislikes. They can help the reader build up their image of the main protagonist, like peeling an onion in reverse. They might be more like the person on the street, someone the reader can easily relate to, rather than a lord of the realm, hot-shot sports hero, billionaire, or whoever your Character A might be.

Now, visit my fellow bloggers and see what they say on the subject.

 

Anne Stenhouse http://annestenhousenovelist.wordpress.com

Connie Vines http://mizging.blogspot.com/

Diane Bator http://dbator.blogspot.ca/

Helena Fairfax http://www.helenafairfax.com/blog

Marci Baun http://www.marcibaun.com/blog/

A.J. Maguire http://ajmaguire.wordpress.com/

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea

 

Round Robin Blog - Emotional Wounds

 

 

This month our topic is emotional wounds for our protagonists – and how to help them learn to cope with and accept those wounds.

 First, what is an emotional wound? We likely all have one or more, to some extent, and it is the same for the characters we create.

 Wounds can be caused by an event or series of events, by a person, particularly someone close, be it a friend or family member, from either a parent or parents, or a (usually older) sibling. It might be caused by a careless comment heard in passing, one that our character hears at a vulnerable point in their life. Rather than let it go, our character hangs on to it until it becomes ingrained in them, colouring their thoughts and feelings in a negative way.

 However, much like an alcoholic who cannot recover until he or she recognizes their condition and makes the personal choice to overcome it, our characters are unlikely to recover from an emotional wound unless they look into themselves and choose to make changes. As their creators, we authors can start by building a believable backstory for the characters. The deeper the wound, the more complex the character, which can then lead to creating a strong character arc.  

 What is your character’s greatest fear, and why? Answering the why can be the path to overcoming the fear. Perhaps your character was bullied as a child. Not having the physical or mental strength to overcome it at the time the event(s) occurred might mean your character has difficulty standing up for himself or herself. A weak person making a bold decision can be the start of a change in that character.

 One of my characters was overshadowed and controlled by her mother – until the mother was out of the picture. My character’s first step on her path to healing and growth was stepping alone outside her front door. Mother/daughter or father/son wounds are often the strongest, deepest wounds to heal.

 Perhaps your character has a physical flaw which they have been teased about or otherwise made aware of. This might make them not value their self, to make them think they have less to offer than the next person. It might make them unlovable when what they want most in life is to love and be loved.

 Another of my characters dealt with her father’s murder by tracking down the murderer. The villain in one of my short stories suffered abuse as a child, which led to him being an abuser and ultimately committing murder.

 This is an extensive and complex subject, and I have given only brief examples of ways in which characters can be wounded. Because I write historical and contemporary romance, my characters' wounds are usually resolved through love. Idealistic, maybe, but the genre known for its happy-ever-after endings still leads the market.

 Now to visit my fellow bloggers to see what they have to say on the subject.

  

Connie Vines http://mizging.blogspot.com/

Dr. Bob Rich https://wp.me/p3Xihq-2W9

Fiona McGier http://www.fionamcgier.com/

Marci Baun http://www.marcibaun.com/blog/

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea

 

 

 

 

 

 

 

 

 

 For our April topic, we are discussing how authors breathe life into their characters. Every author has their own methods. What works for one doesn't or won't work for another. This is my take.

 

Love ‘em or hate ‘em, a writer’s characters can make or break a story. An author may base them on someone or several someone’s they know, or they may be complete figments of that author’s imagination.

Whichever way an author approaches character building, there are some tried and true methods. I’ve been fortunate that most of my characters have come to me almost fully formed. I can see them. I know their names, but I must get to know them after that.

I have always been methodical, and the method that works for me is the character-building questionnaire. Some may call it a developmental worksheet or character arc plan. Beyond hair and eye colour, what is the character's physical type? You may have a tall male character, but how is he tall? Is he proportionate, or does he have a short torso and long legs? The same applies to a female character. Do they find their height awkward and stoop or otherwise try to disguise it, or are they proud of it and stand with shoulders back and head held high?

One of the most delightful heroines I ever came across was Winnifred Gardner in LaVyrle Spencer’s Spring Fancy. Win blinks with one eye. Not winks, but blinks. How can a reader not be intrigued by that distinction? Or how about Catherine Cookson’s ‘Mallen streak,’ that section of white or grey hair in an otherwise dark head that marks the Mallen men? Then there’s Rex Stout’s PI, Nero Wolfe, who rarely leaves his home and has his sidekick Archie do the legwork for him. Many of Georgette Heyer’s aristocratic heroes are proud, cold, and bored men whom Society believes the worst.

What causes Win to blink with one eye, or why does Nero Wolfe not like leaving his home? The Mallen streak is a condition where the hair follicles are devoid of pigment, a harmless but distinctive condition. And what does hide behind the proud, cold, and bored facades of those Regency rogues and rakes?

Knowing everything I can about my characters, and maybe finding out even more as I write them into life, helps build a better character and story. None of the characteristics are presented as a laundry list. More dropped into the narrative through dialogue or introspection. Is a character’s hair colour more important than the fact that she’s particular about the shape of her fingernails? That would depend on the story’s genre and what part either feature might have to play as a clue or red herring.

I will conduct a character interview if I get stuck at any time. I have lists of questions and pick six or seven. Sometimes the answers come quickly. Other times they take a long time to surface. Those questions the character does not want to answer tend to dig the deepest, but when the answers come, they can be an ‘aha’ moment and make the person on paper burst into life. All these facts, the weighing up of strengths and weaknesses, likes and dislikes, hopes and fears, may not appear on the page. However, they have helped me, the author, get to know my characters better and in doing that, presenting a more realistic cast in my books.

And for more ways to breathe life into characters, check out what my fellow bloggers have to say.

Anne Stenhouse http://annestenhousenovelist.wordpress.com

Connie Vines http://mizging.blogspot.com/

Diane Bator https://dbator.blogspot.com/

Dr. Bob Rich https://wp.me/p3Xihq-2TY

Fiona McGier http://www.fionamcgier.com/

Marci Baun http://www.marcibaun.com/blog/

A.J. Maguire http://ajmaguire.wordpress.com/
Helena Fairfax http://www.helenafairfax.com/blog

Judith Copek http://lynx-sis.blogspot.com/

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea

 

 

 

  

The Viscount and the Orphan

 

AVAILABLE HERE

THE VISCOUNT AND THE ORPHAN by Rosemary Morris

Gabriel, Viscount Cavanagh, is a gambler, womanizer, and bankrupt. His grandfather, merchant Adam Maynard, will absolve him of his debts if Gabriel agrees to marry Adam's wealthy orphaned ward, Dorinda Davenport.

Sixteen-year-old plain, plump Dorinda, fueled by romantic notions from the novels she reads, considers Gabriel a knight in shining armour who will whisk her away from the orphanage to a life of love and luxury.

Nothing could be further than the truth, and this story’s eventual truth has a stunning twist. Along the way, Gabriel and Dorinda grow as characters. Gabriel's friend Avery is an engaging foil and the 18^th Century historical detail, as always with Ms. Morris’s books, is on point. You will surely enjoy this tale if you like historical romance, or romance in general.

 

This month’s Round Robin topic asks how can contemporary fiction keep up with our swiftly changing world, politically, socially, or technically. Or how do you keep your stories located in time?

It is a good question, but one that does not affect my writing. My genre is historical romance, so while I delve into the 19^th century, I don’t worry so much about any of those topics. Politics a little, the social world a lot, and technicalities hardly at all. 

The technicalities of the time were about the craft involved in producing furniture, of making the best clocks and carriages. There were theories on how to breed the best carriage horses or hunters. As Juliana Clifton discovers in His Ocean Vixen, weapons vary in weight and use depending on whether it is a rapier or cutlass. Beyond maybe creating an image of what a pair of Manton’s duelling pistols looked like, describing Captain Morris’s pistol crutches in Hester Dymock, or mapmakers’ instruments in Charlotte Gray, technicalities are not at the top of my list. 

The social scene makes much more impact on my novels. The Regency era was well known for its strictures. From the correct time of day to visit friends and acquaintances and the length of the visit to the rules and regulations for riding and driving in Hyde Park, Society was rigid. Confusingly, morning calls were made between one and four o’clock in the afternoon. This was because the whole period before dinner was referred to as morning.

 A visitor would send in a calling card via a footman. The caller would be invited to join her if the lady of the house was receiving visitors. Visits were usually no longer than thirty minutes, less if other visitors arrived and the first visitor would then leave. Each visit was long enough to be polite, and short enough not to outstay one’s welcome.

A lady could only venture out alone in a closed carriage. Other than that, she would travel in the company of a gentleman or chaperone. If a single lady happened to be found in the company of a single gentleman by chance, the most likely outcome would be a proposal of marriage to save the lady’s virtue and satisfy her parents.

Other than referring to battles and incidents during the Peninsular Wars, politics rarely rears its ugly head in my books. Politics has no place even in the two contemporary western romances I have written, nor will it in my current work in progress which is another contemporary romance. I will leave that to more skilled authors than myself. I am looking forward to reading what my fellow bloggers have to say. Find them here:

 

Connie Vines              http://mizging.blogspot.com/

Dr. Bob Rich               https://wp.me/p3Xihq-2QS

Anne Stenhouse          http://wp.me/31Isq

Helena Fairfax             http://www.helenafairfax.com/blog

Skye Taylor                 http://www.skye-writer.com/blogging_by_the_sea

 

 

Thanks to shepherd.com for promoting my book His Unexpected Muse, Book 3 in my Berkeley Square series. You can find it here https://shepherd.com/best-books/that-end-with-happy-everafters-for-any-era.

The above are the books I selected for my book list that accompanied the promo. It is free for authors and worth taking a look at. You might like to check one of their new features at https://shepherd.com/bookshelf/storytelling.