Villains: What Makes Them Memorable?

What makes a good, memorable bad guy? This is a question I’ve often asked myself for my own writing, and today, I will attempt to answer it.

After some thought, and reading, I’ve come up with a few reasons:

·         Morals

·         Character Development

·         Quirks

·         Acts

Morals

Morals. Some villains do things for selfish, personal reasons, like, for example, Scar from Disney’s The Lion King (Based off the Shakespearian play ‘Hamlet’). Scar was next in line for the throne, “…until the little hairball came along.” So what’s he do? He attempts to kill both his brother and Simba. Then he ends up destroying his home when he does become king. But he doesn’t believe he should step down when Simba challenges him years later, despite overhunting and causing the Pride Lands to die. Granted, Scar is a bit of a one-dimensional character, but his motives were clearly selfish.

Other villains, however, reach for higher goals. They are motivated to create a better world for those around them, or stop something “terrible” from happening to the world. They become heroes in their own eyes, never thinking what they’re doing is morally wrong but, instead, necessary. Like the hero, they have motives and are fighting for a cause they believe is right.

For example, in the Hero’s Journey plot, (examples of this plot are J.K. Rowling’s Harry Potter, J.R.R. Tolkien’s Lord of the Rings) the villain is often given an ambiguous or incomplete prophecy that says the world (or a major part of the world, such as economics and trade) will be affected or destroyed. So, as the hero moves to fulfill this prophecy, the villain tries to stop the hero and keep the world as it is.

To find your villains morals, find out his purpose in the story. Is he trying to stop a prophecy, trying to help the world? Or is it a more personal matter that creates this character into a villain in the hero’s eyes?

Character Development   

Villains can also be memorable because of the way he or she is written. We, in a way, understand the villain just as we might understand the hero. In Jodi Picoult’s court drama, Nineteen Minutes, Peter Houghton—a boy who, one day, begins shooting in his school due to physical and verbal bullying—is portrayed as a villain by several victims and distraught parents of children involved in the shooting and by the court, yet Picoult writes of Peter’s experiences as a victim to let the reader see his side of the story, what motivated him to bring a gun to school and shoot several students. In this way, by the end of the novel, I felt sympathy rather than the horror I should have felt. In a way, I understood the character’s motives.

Basically, develop your villain just as you would your hero. Know their past, their family, favourite color or food—anything you can think of that’s relevant to the story—and use it to flesh your villain out, making him or her a competent, worthy villain to do battle against your hero.

Quirks

Quirks. We all have them—the way we might chew our pens when we think, or when we crack our knuckles when we fidget, or maybe pace when we are nervous. Likewise villains might have similar quirks or habits that distinguish them from other villains or heroes. Like Darth Vader’s raspy breathing in “Star Wars”, or the Joker’s maniacal laughter in the Batman movies.

To find your villains quirks, this is where you get to have some fun. Depending on your character and the feel you want for the villain, this could be a way for him/her to stick in your readers minds, especially if the habit or quirk is...a bit odd for what he does.

Acts

The first thing I think of when I think of villains—remembering them based purely on acts—is the shark from “Jaws”. Personally, I only saw a bit of the film, but it was enough to swear me off that film since. Like the saying 'Actions speak louder than words'; this should be true for your villain. He or she can’t be all talk and no show. There should be something physical, something that sets the book in motion and causes your hero to react, causes them to try and stop it. Whether it be as simple as an argument or as catastrophic as a murder, your villain has to act, do something scary or at least something your reader (and hero) dreads. And, in this way, you get a story—a series of actions and reactions that build to a climax, where the hero finally proves his worth.

I challenge you to flesh out your own villain. Try and find out their morals, quirks, to develop them, to find out their acts and justify them. Hopefully, building up and fleshing out these particular points, you can create a memorable villain, who is every bit as real as your hero.

Thanks for reading!

- Maddie

   

       

Guide to the Art of...

Hey everyone! I've been invited to guest blog on a friend and fellow author Julianne Lynch's site. So please stop over and have a look. This post is spicier than my usual but you should enjoy it ;)

Guide to the Art of Sex

**Minerva is Ree Vera. Just an fyi. Haha**

Backstory: How Much To Add And When To Add It

So this is my first official post as a member of the For The Love Of Writing Team. *Snoopy dance* Originally, I wasn’t planning on doing a blog as a member until May, when the blog was scheduled to officially add me, but there was an opening for a post today, so I figured, why not move in early? :D. I asked around to see if there was a particular topic readers wanted to hear about, and a request came in asking about backstory, namely, how much to add, and when it should be added in an MS. I’d recently read up on this topic to help with my own writing, and here's what I found.  

First, lets clear up what backstory is. Backstory is an incident in a character’s past, or, more specifically, something that happened before the story started. Backstoery is sometimes necessary. It can add insight into a character’s motives or give context to a later event that can’t be fully understood without background on it. Yet, in much of the research I’ve done on this, I found that a lot of writers, publishers and agents frown on backstory, especially if it’s early in the book. Why is that, you ask? On her blog, "Story Sensei," in a post on Backstory, Author Camy Tang has this to say:

“When opening a novel, your reader cares more about what's going on right now than what happened in the past. At the start of a book, the reader isn't invested enough in the character to care about what happened to them previously, but later in the story, the reader will be intrigued enough by the character to want to know. As a writer, you need to be careful when and how you bring backstory into the story.”

Most of the time backstory, particularly long descriptions of it, is not as important as you might think. It tends to be boring, it kills tension, and it slows the progression of a story down. Also, relying on backstory to create sympathy for a character or build a character early in a story is a common newbie mistake. Likewise, using it solely for the purpose of world building is a no no. Backstory should only be added if and when it answers a pressing question that has built up in the reader’s mind over time. When deciding how much and when to add in backstoy, it should always be information that the reader absolutely cannot understand the story without. Early in a story, readers should bond with a character through their current actions and dialogue.

But wait a minute, Raven, you say. But how is the reader supposed to understand why my MC is running down the street terrified if they don’t know her entire family was killed right before she runs? My answer: Why do they need to understand the whole story? Why do they need every detail? A few thoughts from the character’s mind, a few quick references can be enough to let the reader know what happened without giving every agonizing detail. Also, hinting at it without telling the reader exactly what happened creates mystery. It creates questions. Showing her fear, her hurry, blood on her clothing, or how the area she is running through makes her feel will spark questions. So rather than reading a long detailed description of what happened, or a flashback that comes way before the reader has become invested in the story enough to care, the reader is wondering, why is she afraid? What happened to her family? Why is she running through the street in the middle of the night? Woah, why is she covered in blood?! The reader isn’t plodding through pages and pages of previous events, asking, why in heck is the author telling me this now? Instead, they're holding the book with white knuckles, hardly able to breath while they sit on the edge of their seat waiting to find out why.

It’s important for writers to keep in mind, readers don’t need to “get it” right away. At least not everything. As long as you give enough to avoid confusion, it’s okay for readers to wonder why things are happening, to play catch up for the first little while. As long as you eventually answer the questions you raise, and give enough for the reader to keep going, the backstory probably isn’t needed until later.   

In his book, Writing the Breakout Novel, Writer and Literary Agent, Donald Maass helps authors bring their novel from midlist to the coveted bestseller status. As I so often have, I recommend this book to any writer, regardless of skill level, or the stage they are at in their writing career. The book details exercises that, by going through them with a completed manuscript, helps writers edit stories more effectively. Having this book is like having a personal editor at your side while you go through your MS. Only it’s free, and you can call on him anytime you like, by simply picking up the book and going to the appropriate topic. When it comes to backsory, Maass asks you to take a portion of your MS which offers backstory early in the novel, and move it to chapter 15. This works on the same principle Camy Tang’s blog does. What happened to a character previously will matter far more to the reader after they have become a part of the story and begun to care about the characters. In most books, by chapter 15, a reader will have bonded with a character enough to want to know what made them the way they are. At least they will if you’ve made effective use of the current surroundings, events, actions and dialogue.

From a personal stand point, when it comes to backstory, I find it easiest to just write the story however it comes out and then worry about whether the bakcstory you have is needed in the editing stage. It’s easiest to see how taking it out or leaving it in effects the story when the whole MS is laid out before you. This way, you see all the ways the information is tied into each event. Oftentimes, information you thought was important in the writing stage is found to be not nearly so imperative in the editing stage. Also, I find my best writing happens by accident, a twist or a surprise event that isn’t planned, and you never know when you might find a good way to quickly forgraph an event earlier in a story, in such a way that the reader is surprised when the connection is made, rather than including pages of backstory that build up to said event. Readers like to be surprised, and personally, I love those “Aha!” moments, when I read something that seems like a mundane comment or a passing incident that only later shows itself to have a profound meaning. It’s that awesome moment when several small clues offered throughout the story suddenly make sense. Something happens later in a book, and you think back to an earlier action or dialogue from a character, the connection clicks, and you go, “Aha!” Since the nature of backstory is the offering of information to the reader about events that happened before the story started, adding too much in too early ruins potential “Aha!” moments that would otherwise make the story more exciting.

When you do bring in the backstory, it’s also important not to information feed, that is, adding it in simply because the reader needs to know it. It should disappear into the landscape and become part of the action. There are three ways to add backstory:

1)      Flashbacks

2)      Discussion

3)      Narrative

Note, though, that each of these methods should be used with care. Each of them pose their own unique problems if used in an ineffectual manner.

Flashbacks:

Like any information in a story, this should be used only if and when the reader needs the information most. Using flashbacks is frowned on for new writers especially, because they are so often used to convey information the reader doesn’t need, or before they need it. They are also notoriously used in poor fashion. Flashbacks are difficult to do without having the “telling” feel that reminds readers they are reading a book, and not part of the story itself. The key to good flashbacks is to start and end with transition openers and closers that feel natural, and to use riveting words that create lots of tension, offering only the barest minimum of details. See Camy’s blog for good examples of this.

Discussion:

This is where backstory is added in through dialogue between characters. Again, be careful here. The information must be given in a way that isn’t too obvious, otherwise it makes readers feel like you’re spoon feeding them. Readers need to feel as if they are discovering the information as part of the story, and at a time when they are dying to get answers. Draw it out, make the answers come in pieces throughout the story, and keep the reader reading with more unanswered questions.

Narrative:

This is when you summarize an event rather than playing the whole thing out before the reader. This is the riskiest one to do, because narrative, by it’s nature is “telling.” Everyone knows that old meme, “Show, don’t tell.” In actuality, there are instances when it’s okay to tell, when you want to convey important info in a quick way without slowing the story down. Uses of narrative should be short, a paragraph or two at most, and again, if it’s backstory, used when they answer a most pressing question. And again, be careful not to spoon feed the reader. Incorporate the information through dialogue if you can, and make it as much a part of the action as possible. Choose words with heavy impact, and only add the most essential details.

 In short, when used the wrong way, backstory is boring, slows the story down, frustrates readers and takes them out of the story, but when used effectively, it can enhance the reading experience, make the story more riveting, and draw your reader in, ensuring they always come back for more.

Until next time everyone, write on!

Raven

Celebrate!

Yes that's right. For the Love of Writing now has 51 followers! I have been happy dancing all morning long. Some in my mind, some for real. Heh heh.
I wanted to do a quick post and thank everyone who has taken the time to follow this blog. Especially those of you who have been following from the start. Back when it wasn't FTLOW. When it was just a jumbled mess of ideas still waiting to take root.
This blog has gone through more than a dozen changes and the fact that y'all have stuck by really means a lot.
I do have an announcement to make. Since we're on the subject of change.
This blog was created with the idea of it being a haven for writers of all kinds. With that in mind, the blog will be having new authors come on board. So please give a welcome to:

Madelaine Bauman
D.F. Matthews
Raven Clark
Michelle4Laughs
There will be a team page going up soon where you can see a little more about these great people. Not only great people but great writers.

So what's in store for FTLOW?
Well for one, there will be more posts on a regular basis. I know I tend to slack off and with the way technology is repelled by me...weeks often go by without a peep from this blog. That is definitely something that will change. OH and if you haven't yet, please 'like' our Facebook Page :)

More updates will come this week so keep an eye out!

Happy Writing!

FEATURED AUTHOR: Raven Clark

April's featured author is Raven Clark!

Ree Vera: So happy that you're here Raven. Tell us a little bit about yourself.

Raven: Raven Clark is a pen name that came to me out of nowhere. I fell in love with it, to the point where I feel more like Raven than me. LOL.I use it because, aside from hating my real name, and thinking it's incredibly boring, I like my privacy. I like knowing that no matter what happens with my books, I will be able to maintain my privacy and continue to be me.

I started writing at the age of 12. I'd always been an avid reader, but never thought of writing before that. When I was 7, I saw the movie Superman for the first time. After seeing Christopher Reeves fly, I wondered what it would be like to create my own superhero. Almost immediately, my very own superhero scrolled into my head. But I still didn't consider writing. Then when I was 12, I had this fantastic teacher who drew four pictures of creatures and put them up on the board. He told us to choose one and write a story about it. 5 pages later, I gave him my story. He read it and then looked up at me and said, "You should be a writer." And the rest, as they say, is history.

I write primarily epic fantasy, though I have dabbled in urban fantasy and sci fi. I love adding romantic elements to my stories. I write fantasy because I find contemporary fiction too limiting. I love the freedom of creating whole new worlds for readers to get lost in.


Ree Vera: What is your style and why should people read your writing?

Raven: Because I go out of my way to be original, and because I'm not satisfied with just writing a book that will do well. I study the craft constantly, looking for ways to make my writing and my stories better, and I won't be satisfied until I create plots, characters, and worlds that are truly memorable, the kind that stand out in your head long after the last page.


Ree Vera: What are you currently working on?

Raven: My main project is Children of the Dragon, the first book in my Shadowsword Saga. I am also working on another project in a different genre under another pen name.


Ree Vera: Is there a place people can view your writing? Or would you like to include something at the end of this interview? Like a snippet or something.

Raven: Unfortunately, my work is not available to the public at this time, due to publication issues. But I've added a snippet from Children of the Dragon. It's still very much a work in progress, and rough, but it's there.

Thanks Ree, for doing this. I always enjoy being on your blogs.

Thanks y'all for taking the time to read about this great author! Be sure to hop over to her Facebook page and check out the posts on her own Blog. She has a knack for details in a way you won't believe.

Website/Blog
Facebook





Part of Chapter 2 from Children of the Dragon (wip)

**It's impossible to give a clip from the middle of a book like mine without a little background for context, and I already used the start on here once. So for background, Helena, our hero, (who is human and therefore not allowed to have magic) has seen a vision of a Dragonlord attacking her and decides to go to the one Dragonlord she trusts to help her without reporting her for having magic. Though trust is a relative term with any Suvia Kyan, but especially him. They have a trust/not trust sort of relationship. Dragonlords, or Suvia Kyans, are half human, half dragon - they look human, but they are bigger, and they have dragon magic, senses, agility and strength.**

When Helena didn’t answer him, the Dragonlord tightened his grip on her arm like a vise. “I asked you a question, woman. What did you do that needs Commander Kyas’ attention?”

Helena shook her head. “I didn’t do anything, My Lord.” She fought to keep her voice steady. The rank smell of onion on his breath made it difficult not to turn her face away.

The Dragonlord glared at her. Her mind raced. She could only think of one viable way to get to Kyas. Although more risky than faking a crime, it was better than revealing her powers.

“We had a bit of an argument, and I ran off. I shouldn’t have done such a thing, when he is always so good to me.”

“Explain yourself.”

“I’m…I’m his usik, you see.” Is it the right word for a woman romantically involved? She had heard it used by Suvia Kyan men when they spoke of their human conquests. “I have to get back before he grows angrier with me. Could you do me the kindness of taking me to him?”

The Guardsman’s eyes flashed with suspicion, but then his lips broke into a scornful smile. Her stomach twisted with humiliation under his nasty glare. Did I make a mistake? What does the word usik actually mean? He seized her elbow and she forced a neutral expression on her face.

“Come on then. I wouldn’t want to keep you from explaining yourself.” The Suvia Kyan’s tone brimmed with anticipation. “Someone ought to speak to Commander Kyas about being so lenient on his women. He indulges them with far too much freedom.”

The Dragonlord dragged Helena down the street and through a shortcut between two shops. Within perhaps ten minutes, they were out of Cheapside and in Mansion, Marin’s higher-class district. He weaved through the crowds of partiers, and the Suvia Kyans who patrolled them. Helena struggled to keep up with his stride, afraid her arm would come out of its socket if she didn’t. She longed to snarl at the man to release her, but kept her silence.

In short order, Helena found herself in front of a large, stately, marble-white hotel, the name The Golden Chalice embossed along the upper floor balcony. Hatred welled up in her at the symbol branded across the oak doors as the Dragonlord dragged her up the steps. Comprised of two inverted crescent moons, the inikon named the hotel a Suvia Kyan place of business, forbidden to humans except those who served as Kayadin.

Helena staggered behind him as the Guardsman pulled her through the doors and across the marble floor of the lobby. Dozens of humans, all dressed in traditional, coarse white robes of slaves in service to the Dragonlord race, rushed about the lobby. They scurried the faster at the growled commands and threatening looks from their masters. All wore pastel sashes about their waists.

During Autumnfest, generous Suvia Kyans allowed their Kayadin to dress in costume with the other humans, and some even gave a night off. No such generosity here. Disgust coiled in her gut. The Kayadin went about their work in silence, heads bowed. None of the slaves dared look at her.

The Guardsman marched Helena past the front desk, offering a nod to the Suvia Kyan attendant on his way to a winding staircase. He yanked Helena up the steps behind him and she winced at the strain she felt on her arm. Unnerved, it occurred to her just how strong Dragonlords were. How much damage would he cause if he summoned his dragon?

“You know,” the Dragonlord said, “were you my usik and you got away from me—which you would not—I would whip you until you howled.”

A shudder racked her frame at the menace in his tone. Helena tried to pull free of his grip but he yanked her the harder up the steps. Pain shot through her shoulder and she bit back a wince. The Dragonlord stopped on a landing halfway to the top of the stairs, and Helena glanced up to see a row of double doors leading to a dozen suites. A golden banister ran along the wall up the stairs. Is Kyas in one of those rooms? Can he hear me?

He turned to her and shook his head in disgust. “I am not surprised Commander Kyas would have chosen you. He has always had odd tastes, including a taste for insubordinate women. You may be beautiful, but you are far too self-possessive for your own good.”

Helena suppressed a gag as his fowl breath filled her nose. The Dragonlord seized her chin and forced her to meet his eyes.

“Do you know what we do to women who forget their place?”

Helena twisted, but his fingers bruised her cheeks. She’d play a role to get to Kyas, but not to the extent that this man could handle her so.

“Let go of me,” she snarled.

“Hardly the way a usik behaves.” Suspicion radiated in the Watermaker’s voice. He seized a fistful of her hair and yanked her head back.

Desperation roiled in her. Helena rose her voice just enough to be heard beyond the first floor. “I would never behave this improper with Lord Kyas, but I don’t think he’d take kindly to one of his officers handling me. Release me now, or My Lord will make you wish you hadn’t gotten out of bed this morning.”

“If in fact he really is your Lord, and you really are a usik.”

“What in the Great Dragon is going on out here, Galik?” A deep voice rang out from above them.

Galik’s head spun around and he released her. Helena glanced up.

Kyas Danshar leaned out over the banister at the top of the stairs. The double doors to his room stood open behind him. His chiseled features looked weary, probably from a long shift patrolling the city. His golden eyes narrowed in annoyance with the disruption Galik had made.

Helena hid her relief at the sight of him, even as familiar attraction, unnatural in its fierceness, heated her blood.

Kyas was dressed in full uniform, in the process of clipping on one of the shoulder clasps for his cape. If only he didn’t blow her cover…

His gaze fell on Helena, then shifted to Galik. His mouth tightened and she had the impression that he’d seen Galik handling her. Understanding crossed his features and she knew he’d heard everything, including Galik’s use of the term usik. She gave him a pleading look. Please, please tell me you’re getting this!

A smile of amusement played at the corners of Kyas’ lips. Helena’s heart plummeted. Oh, he wouldn't.

After a heartbeat, Kyas’s voice filled her head.

Do you trust me?

Worry bubbled inside her, but Helena quashed it and braced herself. Do what you have to do.

Before Galik could register the look they exchanged, Kyas’ features changed. His jaw clenched with a threatening hardness. “So you saw fit to defy me, I see?”

Helena blinked up at him, startled by the convincing anger. “I…”

“Commander Kyas.” Galik turned and marched her up the steps “It looks like I caught you on your way out and just in time.” Helena felt a twinge of worry at the smugness in his voice, that of one about to uncover a conspiracy.

“You have allowed your kindness to run away with you, Commander Kyas. Your usik seems to have forgotten herself.” He pushed her at Kyas so that she stumbled across the space toward him.

Kyas stepped forward and caught Helena under the arm before she could fall to the floor. “You forget yourself as well, Galik.” His eyes blazed. “I am quite capable of disciplining my own women, thank you.”

“I’m sorry, Commander, I thought…I was sure…” Helena could hear the confusion in his voice.

Without warning, Kyas’ strong hands tightened on Helena’s arms and he jerked her to him. Her eyes widened. Two heads above her, his granite-like features twisted into a look of fury.

“And you. Did you think you could get away from me, woman?” He put his face in hers, intimidating. “Did you really think I would let you escape my bed before I was finished with you, slave?”

She stared at him and her face heated. Slave. His bed. Oh no. Behind her, she could feel Galik’s gaze, watching for any sign of a ruse.

Lower your eyes! Do it! Now!

Much as she loathed to show him any submission, the urgency in Kyas’ thoughts left no room to ignore his words. She jerked her head aside, eyes downcast.

“Well, what have you to say for yourself?” When she didn’t reply, he shook her.

“I’m sorry,” Helena breathed. Her chest heaved against the cool steel of his breastplate.

“I’m sorry, what?” he snapped.

Confusion swam over her until she heard him in her head, his voice touched with amusement.

You have to say it, girl, otherwise, he’ll get suspicious. You chose the part of usik, so you must to play it out. You have to say ‘Master,’ and you have to say it fast.

Helena flashed a glare at him. She saw the gleam in his eyes before she lowered her gaze. I hate you.

No you don’t. “Yes what?” Kyas bit out.

He’s loving this. Rage boiled in her. It took all her will to force fealty into her voice. “Yes, master.”

“Commander, if I may speak freely for a moment?” Galik’s voice shook, despite the casualness his words implied.

“I’ll have words with you as soon as I deal with her.” Kyas turned Helena toward the bedroom, but instead of sending her into the room, his huge hand seized the back of her neck in an impression of force.

“I have been more than generous with you, usik, but perhaps you need motivation to remember your place, hmm? In there and await your punishment.” Kyas shoved her toward the doors.

Helena stumbled into the room and forced herself not to glare over her shoulder at him. A few paces inside, she froze and stared at the middle of the luxuriant bedroom suite. Oh, creation save me. His bed. Why did I do this?

A four-poster affair swathed in gold and green silks, the bed dominated the room, reducing the finely carven oak desk and nightstand at either side to a footnote for all their elegance. Opposite the bed, a set of glass doors with thick velvet green curtains led out to a wide terrace. I won’t be able to escape that way.

“What are you standing there for?” Kyas growled. “On the bed, now!”

Helena’s breathing filled her ears. She forced her legs to bring her across the room and dropped onto the side of the bed. Kyas yanked the doors over as he began talking to Galik. Helena had a feeling he left them open a crack on purpose. The men’s voices drifted from the hall and she strained to hear.

“Commander Kyas, I think you need to keep a stronger hand on your women,” Galik said. “And while we’re on the subject, your Kayadin, too. I see the way you treat them with such lenience. Your kindness is… admirable…but it could cost you a great deal.”

Helena widened her eyes. Was Kyas’ behavior toward her what Dragonlords considered kindness? What barbarians! Confusion warred with her surprise at the threat; if Kyas wasn’t careful, he could find himself in trouble for his compassion toward women, and perhaps toward her as a human. As a commander, wouldn’t Kyas’ rank put him beyond contestation? She was missing something, but what?

“Perhaps if you had sworn her to the Oath of Silence the moment you bought her, you would not find yourself in this mess, Commander,” Galik added now. “There are things about our race humans mustn’t know, which makes allowing a slave to escape a serious offence.”

Helena heard a thump near the door, as if Kyas shoved Galik against the wall. “Galik, shameful as the incident with this woman is for men of our position there are plenty of compromising situations I have found you in, which could find their way to the Dragonwatch Board of Directors.”

Galik snorted. “Like what? You don’t have anything on me, Commander.” But his voice sounded strained.

“I know you’ve been stealing bags of white snuff after raids and selling them.”

“How did you—”

“I have my ways,” Kyas said. “If you say anything about this, the Board of Directors will hear of your little operation. I doubt Chairman Colgar Jassar would care if one of his most highly decorated officers let a freshly purchased slave leave his hotel when she hasn’t been with her master long enough to know much more than his name.”

“You surprise me, Commander. I had you pegged for the noble hero. Very well. You got out of this one. But I know there is something going on here. Sooner or later you will make a mistake, and when you do, neither your rank, your obscene wealth, nor all your political connections will save you.”

Helena heard him stumble and she knew Kyas had shoved him off. “Nice to see we have an understanding. Return to your post at once.”

The tension left her muscles as she heard Galik move toward the stairs. Until Kyas spoke.

“You had better be in that bed by the time I get in there,” he said as he opened the doors.

Helena swallowed. He’s just keeping up the act until Galik is gone. He sounds so real!

Kyas swept into the room without looking at her, his cape a swirl of crimson around him. He moved to shut the doors and stopped. He rounded on her and Helena’s mouth dropped at the look of anger on his face. His huge shoulders tensed.

“You cause so much trouble for me,” Kyas snarled. “I’ll teach you to behave like that!”

Mystical white light flashed from his fingers and became a whipcord that stretched between his hands. Helena bolted to her feet. He swung the whip with a loud crack against the floor.

Helena tried to back away, but lost her balance and fell onto the bed. They were alone now, Galik was gone, but the angry look on Kyas’s face didn’t change. He stepped toward her and his fist tightened on the whip.

Sunday Poetry: Unspoken

by: Lucy R.

Unspoken

We may have only this one night

We both know why we're here

We've danced this dance for quite some time

And held back out of fear

But time is up for this charade

Our decision has been made

I won't ask why you wear that ring

And you won't speak her name

Kiss me with those lips once more

I need to feel your touch

I've dreamt of this for so long now

I've needed this so much

Guide my body, show me how

We both want this

The time is now

Press against me in just that way

I'll pull you closer

We know this game

Don't speak those words

Don't promise more

For now this is all

I'm asking for

by: Lucy R.