How To Use Free Mind, Part One: Creating A Simple Plot

It’s been a while since I blogged, and I thought I’d start blogging regularly again. The idea for this 3-part blog series came to me randomly while using the free mind map software called “Free Mind”, which you can download here (it lists the versions by operating system).

I’ve found mind mapping to be an effective way to just get an idea down on paper, without worrying about structure or character development or anything specific about the story. When you mind map a plot in particular, you just focus on the basics first and anything specific later.

The basic things you’d need for your mind map are:

·         Title

·         Main Character(s)

·         Conflict

·         Theme

·         Setting(s)

·         Genre(s)

 

For an example, I’ll show you the mind map process I’d use if I were to mind map an old story I wrote years ago, back when I had no clue what the rules of writing were. If I were to rewrite it now, it would need a major reworking of both the plot and the characters. But for the sake of the mind map example, it will also allow me to keep it simple.   

The story, at its core, was a coming-of-age fantasy (specifically, portal fantasy) novel, about a girl named Lucille who discovers a mystical doorway in a forest and a wolf chained by that door. The wolf—a shape shifter—explains that he has been waiting for years and years for someone to set him free and for that someone to journey back to the world beyond the door, and help him vanquish the evil. Now, we have our basic idea.

Opening Free Mind, you should get a blank mind map. If not, go to File> New to get a fresh mind map.

In the middle of the page you should get something like this:

 

 

 

       Click that circle and you should be able to edit the text inside the circle (called a “node”)

Here’s where we insert our title: SAPPHIRE PRINCESS. Depending on your novel, the title will be different. If you are still trying to figure out your title, put: WIP in the node bubble. To help figure out your novel’s title, I wrote a previous blog post on finding titles here.

Next, right-click that bubble and you should get a lot of options. Click the option with the light bulb, labeled ‘New Child Node’. A line should appear with a text box.

Label this text box: Main Characters.

 



Next, who are your main heroes? Do you have a name for them? If so, right-click the Main Characters node and click New Child Node (or press: Insert, on the keyboard) however many times to insert one or more main characters. In this case, I have at least four main characters: Lucille, who is the main heroine. Her mentors—the wolf-shifters—Akoto and Silver and, finally, the main villain, Resmiel.

Within each character’s text node, write as many attributes about them that you know. Age, gender, race, odd clothes or physical looks, favorite color or pet, anything specific to them within the story like powers, or their past, or their role within the story—anything that comes to mind.

If you can’t figure out something or if there is a reason for that trait important to the book, write the question or elaborated answer in a child node connected to that particular trait, like in the example below:

The next thing you should put in a node is: Conflict. Conflict could be as simple as your character missing the bus and having to get to their destination another way, or as complex as saving the world from alien invaders. A few questions to ask yourself when considering the different threads of conflict are:

·         What or who will your characters face in the story?

·         What will your hero have to face in regards to the villain?

·         What will he/she need to come to terms with?

·         What will tear her down, both physically and mentally?

·         What will be her goal/goals within the story?

·         What or who will stand in her way, in regards to succeeding those particular goals?

Create a child node from Conflict to include each main character. Then create nodes from their names, put a possible conflict or conflicts, and add additional details (in more nodes) if required. Some conflicts will involve each character or will be between two characters (such as the main hero and the villain). For this example, I’ve just done a few regarding the character Lucille.

 

Creating a new node from the title node, the next thing you will detail is: Theme. Theme is possibly the most challenging thing to boil down in a book. What are we trying to say, beyond all those perfectly constructed metaphors? What are we trying to tell the readers? What does this scene, this character, this idea, object or symbol contribute to the overall book, to the big picture—the theme of the book? Your theme could be anything from racism, to good vs evil to love conquers all…so long as the scenes and the plot reflect it.

Next would be Setting. Where does your story take place? What time period? What’s the name of your city or town or fictional world?  What details about the place(s) are important? Put them in nodes if needed.

 

 

Finally, the final node you can add is: Genre. What is your novel? Where would you put it on shelves? Would it be a paranormal romance? A fantasy? A historical? A science-fiction novel? As each genre has its rules and requirements regarding plot, it’s important you know what exactly you’re going to write. You can’t have novels straddling too many genres, otherwise it gets confusing for both readers and publishers to know exactly what group and to whom this book is marketed for.

 

Hopefully this process, while time-consuming, will be helpful in creating a sort of outline and a plot for your novel.

Stay tuned for part two of this series, How To Use Free Mind, Part Two: Figuring Out Character Conflict.

 

Thanks for reading!

- HC



Foreshadowing

Foreshadowing, as defined by Dictionary.com, means “to show or indicate beforehand; prefigure.”

Foreshadowing allows for the writer to turn rather innocuous or unimportant details into something that carries significance at the end of the work because of the way they move the story along and/or affect the characters. Two things are key: Atmosphere and symbolism. Atmosphere allows the reader to get a feel of the mood, what emotions they should feel for the character and what sort of importance this place or overall mood has on the character itself.

Foreshadowing often works hand-in-hand with the symbolic meanings of things, people or events according to that characters universe; or with the characters own desires and fears, as a way for the writer to “tell the future” of that event or character without spoiling the journey.

But in order to foreshadow future events, you must first have a plan. A set up. Like building a house, you must have a foundation before you can begin on anything else. With foreshadowing, your foundation is what you want to foreshadow. Do you want to foreshadow a death? A character having to face a fear? A character having to do something in order to reach his goal? Or maybe you want to foreshadow a big revelation that throws everything off track?

A good film that shows a form of simple foreshadowing and a character overcoming his obstacle to continue his journey, is Disney’s The Haunted Mansion. In it, the main character’s son is afraid of spiders and won’t squish one on his bedroom window with a rolled up magazine. Later on in the film, the main character and his daughter are trapped in the mausoleum where they had to search for a key to solve the mystery of the mansion. When the door closes, trapping them inside with zombies that have come alive, wanting the key back, the son must open the door. Only problem is, big spiders crawl out of the door and he doesn’t want to get near them. In order to save his father and sister from the zombies, he has to face his fear of spiders and open the door.

Whatever it is, you must scatter clues early in the manuscript in order for any future events concerning those clues to have any sort of impact. In her blog post about foreshadowing, blogger Debz Hobbs-Wyatt says: “…Don’t draw the reader’s attention to something, some aspect of a character’s personality, like a phobia of spiders, if you don’t draw on it later.”

It might take a few drafts, but, if done subtly, foreshadowing also allows you to reveal things about a character, using bits and pieces of backstory to foreshadow reactions and fears that may lead to certain decisions and actions later in the novel.

Foreshadowing can incite many emotions but there are three chief emotion “types” of foreshadowing:

1. Doubt/ Dread: The foreshadowing that incites doubt or dread, like any scene in the novel, should fit with the character and situation. This type should be foreboding, incite worry for the character.

An example of that type of foreshadowing is shown in Suzanne Collins’s YA dystopian fantasy, The Hunger Games, when Katniss tells her little sister, Primrose, that she won’t be picked for the Reaping and sent to die in the Hunger Games, where children are forced to kill each other for the entertainment of the public. The reader feels Katniss’s dread about Prim being chosen for the Games—but this foreshadows Prim’s name being chosen and Katniss’s choice to go in her place.

2. Excitement/Anticipation: This type is the kind of foreshadowing that makes people curious as to how things connect, how this symbol, event, or character, associates with the rest of the story. Most often, this foreshadowing is used to indirectly suggest an outcome for a character or event.

An example of this type of foreshadowing occurs early in Robert Jordan’s epic fantasy, The Wheel of Time, in book one The Eye of the World. In it, Moiraine, an Aes Sedai—a magician who can wield the One Power—tells Egwene, an innkeeper's daughter from the village of Emond`s Field who can wield the One Power, that she “…may go far. Perhaps even the Amyrlin Seat one day, if you study hard and work hard.” The Amyrlin Seat, while also being a chair where the head of the Aes Sedai sits, is also the title given to them, likened to a king or queen. Much later in the series, just as Moiraine said, Egwene does become leader of the Aes Sedai order.

3. Surprise/Shock: This type of foreshadowing often comes with a huge revelation or an event that the character didn’t expect. With a reader, the foreshadowing specifically for that moment will often come during the second time reading the novel as they see what led up to the climax, what clues they were given by the writer to try and piece together the character’s journey.

An example of this is in J.K. Rowling’s Harry Potter and the Prisoner of Azkaban, the third novel in the Harry Potter series. For this example, I’ll only be using the events from the film adaptation as it’s been a while since I’ve read the novel and do not currently have it on hand. In both the novel and the film, Hermione seems to be taking two classes at the same time and managing to be present for each. Ron and Harry can’t figure out how she can be in two places at one time. It’s revealed near the end of the film, that Hermione has been using a Time Turner—a device that allows the user to go back in time—in order to take two classes in the same time slot. Using the Time Turner, Harry and Hermione travel back to save a supposedly “dangerous” Hippogriff, named Buckbeak, from being slaughtered. Using Buckbeak’s ability to fly, the pair are also able to retrieve Sirius Black, Harry’s godfather, from Azkaban.

Earlier in the film, the event that foreshadows the use of the Time Turner itself, is when Harry, Hermione and Ron visit Hagrid and, somehow, end up being hit with thrown snail shells. When the Time Turner is used, Harry uses these shells (in much the same manner as before) to get the attention of his “alternate timeline” self, thus changing the outcome of many events.

Have you noticed examples of foreshadowing in the books you’ve been reading? If so, what are some of the types you've seen?

- HC

Editing Blues

Due to technical difficulties, I'm posting this topic for Ree Vera.

- HC 

Ah, the internal editor. We try so hard to resist it. We fight it, smother it, and do our best to just plain ignore the urge to let it have its way. Until at last…our MS is ready for that final thing. (dun dun dun!)

Editing.

*cue horrified scream*

Every writer, at one point, must go through it. I mean—our goal is to one day publish our work, right? And you can’t do that without some sort of editing.

Well, you could….I guess.

So I’ve been going through some major editing blues. I’m not usually one to get defensive when it comes time for editing, but this go round really had me on the edge. So I thought I’d share what I’ve been going through…

WHY?!

The shock.

The: ‘You want me to do what?!’

The: ‘Pfft. You can’t perfect perfection.’

I mean come on. You’ve labored on this story for so long that I’s like….it’s your baby. There is absolutely nothing wrong with it. Don’t they know amazing when they see it?

Haha. Yeah.

There is no perfect first draft. No such thing.

I GOT THIS

Oh the blind confidence. You take a look at those suggested revisions and think it’s going to be a piece of cake. Cross a few t’s, dot a few i’s…no big deal. How bad can it be?

OMG!

Then you see it. The bleeding plot holes and loose threads. Dry dialogue.  Overused clichés. Wordy chapters , misspelled words, and all those damn commas you can’t seem to stop using cuz you’re a junkie and need help!! *breathes* Ahem. Sorry. Where were we?

IT’S GOING TO BE FINE

I loved being in denial. LOL. I really did. Those loose threads? Pish posh. Nobody will notice. They’ll be so amazed by my story that even that character I kinda forgot about won’t even be an issue. I’ll just make a few minor adjustments and…voila!

I QUIT!

So many corrections. You look at  your MS and it seems like once you find one thing wrong…a billion other things come into sight. It’s awful! Or so you think. So I thought. I even thought about just throwing in the towel. Giving up. It was a brief notion, but a notion just the same. I read, watched movies, skyped, and pretty much everything except think about writing. Or editing. I think I even cried.

Ok, yeah, I did.

*sad violin music*

I say this because I don’t want you to think you’re doing something wrong if you feel like this at some point. Being a writer doesn’t make you superman/superwoman. You’re still human. It’s okay to get a little desperate cuz it happens. Just don’t let it get the best of you. Pout. Cry. Scream if you have to.

Then move on.

ANGELS IN DISGUISE

Friends. Writing Peers. Loved Ones.

They help you when you’re feeling down. Whether it’s a shoulder to soak with your tears or the kick in the pants you need (but don’t really want)…they’re so important. As writers, it’s so easy to withdraw. To isolate ourselves. We think and see things differently. Get lost in our own world.

Don’t get so lost that you lose those ties with the ones who truly care. They’ll be your saving grace.

HOPE

I got that pep talk and felt inspired. So with renewed hope and confidence, I pulled out that MS and got down to business.

EEK!

All this dawdling had taken two weeks off my time limit. So I would have to get to business fast. Some long hours and a couple of red eyes later….the revisions were done. I hit send and leaned back, relaxed….

DAMN IT

Yeah….there are more revisions needed. It’s a process. But I’m not going to freak out.

Too much.

So are you at that stage yet? Editing? Have you experienced anything like this?

Or maybe I’m just crazy after all…who knows?

Happy Writing!!

~Minerva Ree Vera

Forked Roads and Man-eating Bears: Character Decisions

Decisions, decisions…

Characters have to make decisions—ones that set them on a journey at the start of the novel—otherwise there would be no story to tell. It’s usually a minor goal, something the character wants to do at first, before something—like an event or person—forces them on the overall focus, the overall goal for the novel itself.

For example, if a man—a reformed ex-con—decides to work as a janitor at a high school, he might come to work one day and find a body in one of the stalls. This spurs a whole new complication for your character: Is he guilty or innocent? Who really did it and why?

Connected to—or caused by—this minor goal, might be what’s called the inciting incident. The inciting incident is defined as the event that sends your protagonist out into the world, ruins or changes his current situation, and forces him to find answers—to answer the questions that this incident brought on, or to change things for the better. In our example with the ex-con janitor, finding the body in the stall is the inciting incident.

Likewise, character decisions must cause jeopardy and sacrifice or set in motion the inciting incident. For example, in Suzanne Collins’s dystopian fantasy trilogy The Hunger Games, Katniss Everdeen’s decision to go hunt illegally, to provide for her family, puts her at risk with the law. This decision (minor goal) helps when she is later put into the arena for the Hunger Games, to survive and fight others to the death—thus helping to save her family and world from poverty and oppression from the Capitol (overall goal).

In Christopher Paolini’s first high fantasy novel—book one of The Inheritance Cycle—Eragon, the elf Arya sends the dragon egg away via magic, from the main villain of the book (minor goal), but this event gets herself captured. The main hero, Eragon, finds the egg which begins his journey as a Dragonrider, to help bring down the tyrannical king, Galbatorix (overall goal).

Using yet another fantasy novel, in Tamora Pierce’s romantic fantasy series Song of the Lioness, the main heroine, Alanna of Trebond, decides to switch places with her twin brother, to dress as a boy, in order to allow him to go to the City of the Gods to train as a mage, and for her to travel to the castle to become a knight (minor goal). This decision puts her at risk, because she could be killed if her gender and disguise was ever found out. In the other novels of this series, Alanna’s knighthood allows her to protect the king and restore order to the world around her (overall goal).

Please note that this character decision-making can be applied to any genre—I was just using the ones off the top of my head—many of them being fantasy.

Most novels nowadays—regardless of genre—should have the character’s decision appear at the start or within the first chapter. Set your character on a journey and make them fight or suffer to reach their goal. Force them to change it, making a minor goal into something much larger, on a much larger scale—or force them to abandon that original goal entirely in order to fulfill this bigger, overall goal that should become the bulk of your novel’s focus.

Think of your character’s decision as a forked road metaphor. On one path, it’s rainy and cold but empty. On the other…maybe a huge man-eating bear lies somewhere on that path? Which path will he choose to reach his goal—to get home? The easy, raining one? Or the man-eating bear path?

Let’s say he decided to take the easy route—he’d get a little wet and cold, sure, but his path is clear, right?

Now, what if, on that easy path, you—the author—decided he needed a challenge to overcome? You don’t want your novel to be a simple, boring read do you? Let’s put the man-eating bear in his way—what is he going to do next? Run or fight?

Either way, this “easy” decision just shook this character’s world, changed his current situation, and forces him to face something much bigger them him—just as the inciting incident in your own novel must do.

When trying to decide your character’s decision that drives the novel’s plot, think of this metaphor. The minor goal in your novel—in this case, trying to get home—must be connected to, or cause, the inciting incident to appear. Pretty soon, that rainy route home should leave your protagonist confronting a giant, man-eating bear.

What happens to your hero next is up to you.

How To Create a Powerful Character Sacrifice

Sacrifice. For such a simple word, it carries a lot of power. And that’s what your own character’s sacrifice should do—be powerful, even if it’s simple; be memorable and resonate with readers long after they’ve closed the book.

But how do you do that?

A question you could ask yourself, while developing your novel, is: What is the character’s goal? Basically, what does she pride herself most in? What does he want most in the world?

A characters goal could be as simple as wanting a specific Christmas gift—like the protagonist of the classic movie A Christmas Story (1983) who, despite his family and his teacher’s claims that he’d shoot his eye out, wants a Red Ryder BB gun. Or the character’s goal could be as difficult and complex as destroying an object to save the entire world from destruction—such as Frodo’s quest to destroy the One Ring in J R.R. Tolkien’s Lord of the Rings trilogy.

Once you’ve found your character’s goal, define what stands in their way. What obstacles deter her from her path? What delays him from reaching his goal? This is where the antagonist comes in. Now, the antagonist in this case could also be an object or event—not just the main villain in your novel. In a scene, the antagonist could be your car not starting on an important day, a bad snowstorm, or when a monster appears.

Now, it’s important to have the main villain cause most of the trouble but, sometimes, the hero and villain have to be apart for some time—whether it’s because they are in different areas of the world, have different hobbies, or it wouldn’t work in the novel for the hero and villain to be in the scene together. Whatever the reason, the hero and the villain must deter each other and make things worse for each other—thus making things worse for them both. Which can play a big part in raising the stakes.

You’re probably asking yourself what do stakes have to do with character sacrifice? A lot. Good questions to ask while figuring out your stakes are: How can this get worse? Or, what if?

To raise the stakes for your character, the character must make choices and those choices must have consequences. What if her marriage ended and he got custody of the kids? What if the bomb went off and killed innocent people? To continue raising the stakes, making your character’s story stronger, beliefs must be put into question—and the character has to act against those beliefs. What if your character believes war is wrong and yet must incite rebellion to stop the enemy? What if your character must lie to save someone yet thinks lying is wrong?   

To continue raising the stakes in your novel, the character’s internal conflict must be at odds with the external conflict. The internal conflict refers to to personal, mental, or psychological conflict, whereas external conflict deals with the surrounding world—such as a storm or a war. Success in one conflict may mean failure in the other.

Raising the stakes—making things worse and more difficult for your characters—makes the hero stand out. What your hero must do, what he has to risk, to reach his goal, makes your normal main character worthy of the title “hero.” So, another question you could ask for your character’s development, is: What must my character do—what must he risk—to reach his goal, to get what he wants?       

There’s a reason the most powerful kind of sacrifice is self-sacrifice. Everyone, at some point, is afraid of death or not reaching their goals and, when someone gives up everything—even their goals, it speaks volumes. To create a powerful sacrifice for your main hero, create anything significant for the character, a source of support or happiness—family, friends, a cause, or an attribute. Then let them make a choice: What is most important? What is worth dying for? Put them in a situation where they must give up everything, or at least give up their goal, for their cause or to save those most important. Even if they don’t die, the hero will be changed forever from this act, their sacrifices will be powerful, and thus the book will be—to your readers—memorable.

Thanks for reading!

- HC

Rebooting Clichés

After finishing Suzanne Collins’ THE HUNGER GAMES, a YA dystopian novel, it made me think of how the author had managed to make her characters suffer, provide a good pace and write excellent, grabbing hooks while also keeping the story fresh. Original. Now, maybe it’s not as original as I thought--maybe it’s like an awful lot of dystopian fiction out there? Granted, it’s been a while since I’ve read YA or scanned the bookstore shelves for something to read—but it was enough to keep my interest, enough to want to finish the rest of the series.

 I’ve often wondered why I’ve passed through the library or bookstore, looking for something and eventually leaving almost disappointed. I think I’ve finally figured out why: the originality of ideas are slim.

A strange question that’s bugged me all week, while trying to brainstorm an idea for a possible NanoWriMo project, is: How do writers twist things to make possible clichés or overdone ideas fresh again?

Now, I know everything’s already been done. It can’t be helped that something you came up with follows a pattern—whether due to the genre, characters or situation, but something you can help is the uniqueness of the idea. Putting your own spin on it, twisting the cliché into something that readers haven’t heard before or into something relatively new.

Only question is: “How?”

One way is to play around with the cliché. Figure out what makes it cliché and overdone and try to do the opposite or change elements of that idea to create something that is fresh such as the damsel-in-distress becoming the heroine. Another way is—depending on the requirements of your story—is there a way to blend genres or to mix two different pieces of an idea together to put a new spin on the plot itself? A good example of this is the series of Shrek films done by Dreamworks, using clichés to create comedy. You can also use clichés and change them to fit a more serious or dramatic subject matter or genre such as the TV show Heroes—taking the cliché of the superhero and making the characters almost super normal, with no idea how deeply they are connected, or in some cases, that they exist.

However, clichés also appear when creating inhuman characters or entire races of creatures, not just in plotting. When designing new creatures or new races for your world, consider blending animal and human traits in unexpected ways. However, if this creature is to become a major character or have prominent parts in the story, your readers have to be able to relate to him or her—so it’s important to humanize the character.

An excellent example of humanizing an alien or a human with otherworldly abilities is Spiderman. Alternately, the creators could have had Spiderman look like a spider, however, they chose to keep him a human, but gave him spider abilities such as climbing walls and shooting webs from his wrists.

This method of creating a new species and, if needed, adding humanizing traits, allows for a fresh spin on the typical use of creatures that may have either just been used as pets, methods of transportation, or as weapons. Plus it works well with the world-building of your story—with this new creature the myths and origins can be created by the writer, and thus enriches the novel’s culture with something possibly unheard of.

While trying to avoid clichés, questions you can ask while creating your novel, are the typical: who, what, where, when and, most importantly, how? Who is your character? What or who are they searching for in your novel? Where is your novel set? What time period is it set? How do the events relate to each other and the characters themselves?

Also, ask yourself the big question: “What if?” What if the bomb went off? What if one of them dies? What if one of the characters had a terminal illness? What if he or she had this habit? The possibilities are endless. One way to make otherwise cliché things new again is to add something unusual or unheard of to it, to put the theme in a new light or maybe tell the story in a new POV (point of view).

Another important question to ask yourself is: “Why?” Why did you choose to tell the story this way? Why use this POV and what purpose will this character serve? Why blend these two genres or elements, what purposes will they serve in the scope of your novel? Asking why as you build your novel, with the intentions of twisting and changing clichés, will help determine if the idea works, whether or not the changed cliché helps or hinders your intents and direction for the story.

But what if you can’t find a way to mix the plot or change a cliché? Story generators and sites such as Seventh Sanctum and Chaotic Shiny can help with jogging the creativity. Another resource to look in when considering clichés, and changing them into something readers haven’t seen, is mythology and fairytales. Perhaps take a fairytale or a myth and add a modern twist to it or (if writing primarily fantasy) use the myth/tale in such a way that may pay homage to the possible inspiration of your novel. An example of this would be likening the tale of Little Red Riding Hood to a serial killer, the specifics of his victimology and the types of trophies he may collect (such as red clothing).

These are among the various methods you can try out and consider while creating your novel. Asking these questions and using the resources available, will help you battle clichés, change them and, ultimately, enrich the novel—making things new and unique or giving your story a fresh view—for your readers.

Thanks for reading!

- HC

Book Review: In The Shadows

To be wrong about someone can be disappointing, but what do you do when that person is someone you love and thought you knew everything about? That is what Giselle Bergman must find out in Julieanne Lynch's book In the Shadows. The author introduces us to Giselle right from the start and it is not hard for the reader to connect with her. At eighteen years old Giselle is pretty much your average teenager and one nearly everyone can relate to. Regardless of how imperfect her family may be, Giselle really has a lot going for her. Her family loves her, she has a popular boyfriend, and is best friends with a boy who would do anything for her. What more could a girl ask for? It is soon discovered that things are not always what they seem. That some people are not who they appear to be. And that no matter how normal her life may seem at the moment, high school romance drama included, Giselle's life is about to change very suddenly. Catapulted into a life she never asked for or even believed existed, Giselle soon finds herself submerged in a world made from the stuff of nightmares and forced into making decisions that will change the course of her future in drastic ways. Her once ordinary life is filled with chaos and betrayal and a new bloodlust that rages through her constantly. She is also forced to realize that if she wants to survive in this new life of hers, Giselle will have to awaken the darkest part of her. A powerful part of herself that she never knew existed. Until now.

Typical and washed up are what usually come to mind when you hear the word vampire. It is easy to see how this could be considering the latest craze and all the hype that has come along with it. After reading In the Shadows by author Julieanne Lynch, however, one cannot bring themselves to utter such words. Readers are instantly aware of the darkness that almost flows off the pages. We are beckoned and enticed by the author who sucks us deep into her characters' world to make us see and feel as they do. The author's simple and down to earth style is refreshing. There are no dressed up words to take away from the story but there is an elegance in her writing that speaks or itself. In the Shadows is a fantastic read that will leave you breathless the entire way through. There is not one page of disappointment in this book except the fact that it ends and leaves you thirsting for more. This is one book you do not want to miss.

 

Buy it now!

 

On Amazon and on Smashwords!!

Saturday Shorts: Bedtime Ritual

by: Michelle4Laughs

Smiling at his reflection in the mirror, Jorge raised his toothbrush. Brooks and Dunn blared on the radio as he slid in socks and not much else across the floor, toothbrush flying.

Marguerite came in and wet her toothbrush. After applying toothpaste, she pointedly held the tube high and shut the lid before putting it in the drawer and closing it with one hip. Then she spun the dial on the radio passing Lady Gaga and stopping at a Nickleback classic. Brushing away, she closed her eyes and absorbed the love song with a sigh.

Jorge frowned in disgust before reaching around her and returning the station to its origin.

Toothpaste running down her chin, Marguerite’s eyes popped open. She twitched the dial back and then blocked the radio with her body.

Jorge released his toothbrush to attack the ticklish spot along her ribs.

Spraying toothpaste, Marguerite ducked wildly away from him and, still giggling, spat in the sink.

He caught her in a hug from behind, bending to place a wet kiss on one bare shoulder. Their eyes met in the mirror. Smiling, Jorge raised his eyebrows suggestively.

Marguerite’s own eyes sparkled as she switched off the radio.

by: Michelle4Laughs

Saturday Shorts: Victory is Not for the Weak

By: Michelle4Laughs

With head high, Claire approached the cave. The stench of the dragon wafted out to her and her eyes turned for one last look at her village tucked in the valley far below. Like a deserted ruin, it stood burnt and devastated. The dragon had taken her family. The young men of the village had perished one by one, their spears broken against its impenetrable scales, their bodies feeding its belly. The rest of the villagers hid in fright, knowing it would return for them.

She squared her shoulders and chewed her last handful of frothos berries. The berries would give her an edge the others lacked. Her belly full, she entered the cave, taking small steps until her eyes compensated for the darkness. The smell forced her to press a hand against her nose.

Even knowing the outcome, her hands shook and sweat ran down her sides in a clammy rain. Two steps turned to ten and then twenty. Her white dress clung to her legs as she trailed down the tunnel, counting. Once she’d hoped the dress could be a bridal gown. She mustn’t let down her family. Her own audacity made her tremble.

The cave opened out before her and she heard the raspy breathing. A scratching sound and the giant head reared high, contemplating her presence with huge green-slotted eyes. Scales scraped against rock as the beast levered itself to its feet, accepting its own ponderous weight. Great bat wings lay tucked against its humped back. It made no move toward her.

“Do you see your doom in me?” Claire whispered in wonder. She held out her empty hands, willing the shaking to stop. Carefully, she took two steps closer. “Go on,” she cried. “Do what you do!”

She approached until she stood directly under the beast, making no hostile move. Overhead, she could see the dragon’s fangs, its row upon row of razor teeth. The same teeth had feasted upon her father and mother, making a sport of hunting them as they ran in terror. Should not revenge feel sweet? Facing the great beast, she discovered no savor of triumph.

The frothos berries caused her stomach to cramp. Soon now. Even the smallest child knew to avoid them. With their red color and pleasant scent, they attracted the hungry, but a handful could poison a full grown cow. The amount in her stomach could do much more damage.

It hovered over her hypnotically. She noted the size of the dragon’s mouth insured it could finish her slight body in one bite. Slowly her fingers curled, the pain would be as nothing to the glory of saving her village. With a scream to attract the beast, she turned and ran. The white dress made a tempting target. Crashing footsteps lumbered behind her and the ground shook.

At the tunnel entrance, the beast struck. Claire made no attempt to evade. Her eyes drew one last look at her home. Saved.

By: Michelle4Laughs

Bits O'Wisdom: Why Write Fiction?

Fiction:

a. An imaginative creation or a pretense that does not represent actuality but has been invented.

b. The act of inventing such a creation or pretense.

Why do I write fiction? (No, it's not a dumb question.)

Actually, it's one that has been asked of me more than once. I'm sure I'll keep hearing that question as I continue down this sometimes manic journey called Writing.

It doesn’t matter if it’s the news, some kind of reality show, etc…Reality doesn’t allow us to imagine how our lives could be better. How they could be more. It doesn’t expand your imagination.

Reality tells us what is.

Fiction causes us to wonder, what if?

Reality is trees with green leaves and flowers that bloom in spring, while squirrels scamper happily up their trunks.
Fiction is those same trees giggling as the squirrels have a happy chat with the leaves about the spotted elf that lives just beyond the hill.

Reality is an accident scene where someone has fallen victim to black ice.
Fiction is a high speed car chase down a deserted highway as an escaped mental patient gives the grieving family member of his last victim a run for his money.

Reality says: It’s not possible.
Fiction asks: Why not?

Fiction gives us the ability—the power, the tools—to dream. In fact, good fiction (cuz there really is no excuse for bad fiction…come now) is how dreams are made flesh! It’s what gives our dreams drive and sends us on a quest to question what is ‘normal’ or what this world tells us is ‘good enough’ and dares us to search for that best part in us...that best part in our imagination.

Why do I write fiction?

Because fiction is what allows us to examine possibilities that don’t exist. It gives us the chance to explore beyond what could be and should be and is; beyond our world to a better one.

That's why.

Why do YOU write fiction?