Welcome to my online journal! Please join me while I discuss the writing process and life as a Florida resident. I look forward to hearing your comments in return. Now, let's go shmooze!
Note: Effective immediately, please change my blog address on your sites and in your bookmarks to: http://nancyjcohen.wordpress.com
Archetypes are recurrent themes in literature and film. Which ones ring your bell?
AMNESIA: is he/she married, a parent, a missing bride/groom, presumed dead? Did she kill someone? Did someone try to kill her? Is she a witness to a violent crime? Is he an undercover agent who got hurt by the bad guys? American Dreamer, The Bourne Identity
BRIDES: marriage of convenience, fake fiancé,are recurrent themes found in many works of literature and film. és, mail order bride, virgin bride, runaway brides/grooms, green-card, royal, shot gun, jilted, terms of the will, mismatch. Runaway Bride, Father of the Bride, Wedding Crashers, Sleepless in
CHILDREN: abandoned, lost, adopted, biological, inherited, stolen, secret baby, true identity unknown, switched-at-birth, kids playing matchmaker for single parents.
DISGUISE: secret identity, switching places: True Lies, The Prince and the Pauper, The Scarlet Pimpernel, Freaky Friday
FISH OUT OF WATER: Enchanted, City Slickers
MAKEOVER: The Ugly Duckling, The Princess Diaries, My Fair Lady
MISMATCHED COUPLES: Bad boy/Good girl, Cowboy/Lady, Pirate/Princess, Wanderer/Homemaker, May/December, Duke/Governess, mentor/protegé, opposing occupations, boss/employee. Romeo & Juliet, Beauty and the Beast, Six Days Seven Nights.
REUNION: former lovers, estranged spouses, lost love, thwarted romance, divorced but still in love.
SINGLE PARENTS: struggling unwed mothers, clueless divorced dads, inexperienced surrogate. Three Men and a Baby, Baby Boom
TWINS: switched identities, mistaken identities, trading places to fool people and having the tables turned on them instead. Parent Trap, New York Minute
Think about the books on your shelves at home. Do you tend to repeatedly buy the same types of stories? Does this tell you something about the plot devices that appeal to you?
Try picking out a couple of your favorites and mixing them to create a new
story.
Effective immediately, I am switching my blogs to the following address:
http://nancyjcohen.wordpress.com
Please bookmark the new site and visit often!
Today at The Stiletto Gang, I discuss research and how it pertains to fiction writers. Please stop by and share your techniques or observations:
YOUR AGE BY CHOCOLATE MATH
DON'T CHEAT BY SCROLLING DOWN FIRST!
This is not one of those waste of time things, it's fun.
1. First of all, pick the number of times a week that you would like to have chocolate (more than once but less than 10).
2. Multiply this number by 2 (just to be bold).
3. Add 5.
4. Multiply the result by 50 -- (I'll wait while you get the calculator)
5. If you have already had your birthday this year add 1759... If you haven't, then add 1758.
6. Now subtract the four digit year that you were born.
You should have a three digit number.
The first digit was your original number, (i.e., how many times you want to have chocolate each week).
The next two numbers are YOUR AGE! (Oh YES, it is!!!!!)
THIS IS THE ONLY YEAR (2009) IT WILL EVER WORK, SO SPREAD IT AROUND WHILE IT LASTS.
We had in exciting weekend in Orlando. Thursday evening, we ate dinner at the Stonewood Grill, located on the corner of Conroy and Dr. Phillips. We found the menu choices to be varied, the prices reasonable, and the atmosphere comfortable. We would definitely return.
Friday found us in Winter Park where we checked out the Albin Polasek Museum and Sculpture Gardens. Polasek, originally from Czechoslovakia, emigrated to the United States and made a name for himself as a painter and sculptor. He worked in mediums of wood, stone, clay, and bronze. Many of his sculptures can be seen around the country while some of his early models are on display at the museum. You get to tour his house which is very simply designed facing Lake Osceola. He was a handsome man, twice married, who left the legacy of his house for the public to enjoy.
On our way home, we went down Fairbanks via the usual route toward I-4. But as we approached the ramp to go west, two policemen blocked it off. Figuring there might have been an accident on the highway, we veered south on Orange Avenue toward Princeton. That ramp, too, was blocked. Proceeding along, we tried for the next entrance to I-4, downtown by Ivanhoe. But as we headed in that direction, we ran into a blockade, cops with guns, and emergency vehicles with flashing lights. We turned on the radio and learned there had been a shooting at the Gateway Center, and there it was, straight in front of us. Another workplace tragedy. Fortunately for us, we could get on I-4 here, but we could not go west. So we went all the way east in the opposite direction, got off at Altamonte Springs, drove west to 429, and finally headed south to Windermere. Getting home was an adventure in itself and took over an hour longer than usual.
The next day, we fared better. I attended the Central Florida Romance Writers meeting where sci fi romance author Linnea Sinclair was the guest speaker. I’d invited Linnea to stay over at our condo the night before, so we had a wonderful chat about the publishing industry and a nice dinner at Bonefish Grill. Linnea’s talk about Opening Hooks was well attended. She said that you shouldn’t only have an opening hook at the beginning of your story, but also at the beginning of every chapter. She discussed the categories of openers and then reviewed some examples.
We grabbed a quick lunch at Panera Bread in the Fashion Square Mall where the meeting took place, then drove to the Altamonte Springs for the mass book signing called Romancing the Holidays sponsored by Barnes & Noble and CFRW. Twenty authors met readers and signed books for three hours on Saturday afternoon. A portion of the proceeds will be donated to the Adult Literacy League. I was lucky to sit between author Grace Kone who writes mystery and romance like myself, and Lucienne Diver who doubles as a literary agent and YA author. Other authors who attended from my home chapter, FRW, included Traci Hall and Bonnie Vanak. And of course, I was glad to see so many of my Central Florida pals: Terry Odell, Dara Edmondson, Catherine Kean, Pamela LaBud, Nancy Robards Thompson, Michelle Young, and many others. Thanks also to Lorena Streeter, CFRW president, for helping Dara and all pull this event together. (Forgive me if I’ve left out someone or spelled a name incorrectly).
Grace Kone and Nancy Cohen
Finished with business, I set off for the last day of the Epcot Food & Wine Festival on Sunday. This time I tasted some new dishes: Beef Stew (Austria, $3.25); Spanikopita (Greece, $4.00); Chocolate Lava Cake (Ireland, $2.75); Veal Meatballs (Germany?). It was all delicious, and I’ll definitely attend next year.
Band at Epcot using cooking utensils as instruments.
Please watch for my guest blog on Research and The Muse at The Stiletto Gang on Friday.
Gulp. One of my writer pals pointed out that I am committing a grammatical faux pas on a regular basis in my work. I am using "ing" phrases incorrectly. While these phrases imply simultaneous actions, the way I employ them makes the action impossible. I hadn’t even realized I was culpable of such a grievous misdemeanor. None of my editors have pointed out this flaw to me, nor did the members of my bimonthly critique group. How had this foible slipped past us all?
As I am doing edits for my futuristic romance, I seek to eliminate this glaring evidence of my crime. Here are some examples from this story along with my corrections. Look for these phrases in your manuscript. Quick, check for them now, before the Grammar Police get you!
Turning off the water, Silver pushed the button for the drying vents.
Silver turned off the water then pushed the button for the drying vents.
Jumping to his feet, he sauntered over.
He jumped to his feet and sauntered over.
Grabbing her sack from the floor, she slung it over her shoulder.
She grabbed her sack from the floor and slung it over her shoulder.
Closing in on her apartment complex, she slipped into a stream of other night owls prowling the streets.
As they neared her apartment complex, she slipped into a stream of other night owls prowling the streets.
Dodging around the corners of skyscrapers, she plunged in and out of geometrically designed avenues.
She plunged her scooter up and down geometrically designed avenues and looped around skyscrapers.
Peering over her shoulder to check for signs of pursuit, she narrowly missed the dive-bombing aircar.
Intent on checking over her shoulder for signs of pursuit, she narrowly missed a dive-bombing aircar.
Jerking her body, she righted herself and swooped north just in time to avoid hitting a flyby night train.
With a lurch, she righted herself and swooped north just in time to avoid hitting a flyby night train.
Spotting her apartment building, she zoomed in for a landing at the rooftop pool.
Her apartment building loomed into sight. She glided in for a landing at the rooftop pool.
Descending an interior stairway, she paused at the landing to her floor and cracked open the door.
After descending an interior stairway, she paused at the landing to her floor and cracked open the door.
Motioning to Jace to follow silently, she crept toward her [apartment] number.
She motioned for Jace to follow then crept forward.
Thrusting Silver aside, he stalked into the block of space she called home.
He thrust Silver aside and stalked into the block of space she called home.
Opening the window with a grunt, she leaned outside.
With a grunt, she opened the window and leaned outside.
Flinging the door wide, she stepped inside the darkened interior.
She flung the door wide and stepped inside the darkened interior.
****
CONGRATULATION to Suzy Roy who won my weekend newsletter signup contest!
Nancy Cohen – post #10 http://mysterygal.bravejournal.com/
Judging by their collective girth, G. Winston Howard's caterers were as likely to eat a party spread as they were to prepare one. Julius Rosen's face, dwarfed by his pudgy chins, pinked up when Milla pulled her eyes away from his paunch. A button was missing there, he knew, but he plowed ahead anyway, summarizing how he and his wife had landed the catering contract for Howard's high dollar ball.
"Frieda had no idea it was his sister." He laid a meaty hand, with fingers like sausages, on his wife's stooped shoulder. Milla noticed that the free end of his watch band was held down with a blue rubber band. "Damn lucky Frieda was having a good day." He chuckled. "My little woman's not always so charitable, even for a good cause. Offered to cut our regular prices in half. Anyway, she must've made a favorable impression 'cause next day we got the call. Old Howard gave us the job."
Frieda's sour look told Milla that either she was having another generally uncharitable day or that Julius' account of how they came to work for Howard wasn't altogether true.
Milla wondered how the Rosens really got on G. Winston Howard's radar and the identity of the woman who negotiated the deal. G. Winston Howard was an only child.
Next Clue Location - http://writeitanyway.blogspot.com:80/
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As authors, we’ve heard this refrain often enough. Many years ago, when my husband and I attended a dinner party, his boss’s snooty wife said to me: "You haven’t had enough experiences in life to write about them yet." Duh. This adage doesn’t mean you have to be an aircraft mechanic to write about a jet pilot as a hero. What this phrase means is we must tap into our own emotions to portray them in our characters. Have I ever felt embarrassment, hurt, fear or envy? These are what we mean by Write What You Know.
I should have said to this lady, "Haven’t you heard of research?" Certainly I knew nothing about being a hairdresser when I chose salon owner Marla Shore as my sleuth. So how did I learn? By trailing my stylist around the salon, interviewing hairdressers, visiting a local beauty school, subscribing to Modern Salon magazine, attending a trade show. Research, baby!
So how come I’ve never written books about a nurse, since my own background is in nursing?
1. I wanted to write humorous mysteries and couldn’t think of anything funny involving a nurse.
2. It had been a while since I’d practiced, so a lot of research would be involved.
3. The research wouldn’t be fun. I’d have to hang around a hospital ward or trail a visiting nurse on her rounds. Sad stuff.
I have three stipulations for creating a mystery series: It should be set in Florida. The sleuth’s occupation should be easily researchable. And the topic should be fun and interesting.
So in terms of Write What You Know, it’s not your profession that counts. Many mystery authors have created series based on their occupation, but then what happens when that series is cancelled? They either have to launch a spin-off series, or–you got it–do the research for a totally different idea.
So don’t be put off if you lack experience in a certain career. You can do the research. What is more important is to tap into your emotions. Use those incidents in your background to make your characters come alive. Let out your inner demons and Write What You Know.
Please welcome guest blogger Pat Bertram. Thank you, Pat, for visiting us today.
Pat Bertram is a native of Colorado and a lifelong resident. When the traditional publishers stopped publishing her favorite type of book - character and story driven novels that can't easily be slotted into a genre - she decided to write her own. Daughter Am I is Bertram's third novel to be published by Second Wind Publishing, LLC. Also available are More Deaths Than One and A Spark of Heavenly Fire.
DIALOGUE
One of the hardest techniques for new writers to handle is dialogue. When I first started out, my characters never just said something. They agreed, cautioned, reminded, mimicked, answered, contributed, guessed, explained, responded, admonished, confessed, encouraged, clarified, blurted, pointed, winced, replied, corrected, acknowledged, returned, laughed, challenged, chided, objected, contested, quipped, offered, moaned, complained, repeated, stammered, pleaded, inquired, mumbled, interrupted, confirmed, addressed, countered, advised, completed, allowed, supplied, ordered, asked, continued, chided, answered, whispered, teased, requested, hollered, echoed, declared, informed, spoke, bellowed, spit out, thundered, hissed. All within a few pages. Whew!
Even worse, I would sit and agonize over the way my characters spoke. "He responded sparingly." "She informed him haughtily." He mumbled sadly." Ouch.
It was a joy to discover that modern dialogue relies primarily on "said," such a common word, the reader’s gaze glides over it as if it were invisible. It was even more of a joy to discover that adverbs were frowned on. The dialogue itself, or the beat -- the bit of action accompanying the dialogue -- should show the character’s emotion. "I hate you", she said angrily tells us what the character is feeling. She picked up a rock and threw it at him. "I hate you!" shows us, allowing us to become intimately involved with the character. The only time an adverb is necessary is if the way a character speaks is at odds with the words.
A good example: toward the end of When Harry Met Sally, Meg Ryan tells Billy Crystal she hates him. "And I really hate you," she said tearfully. If you were writing the scene in a novel, you would need the "tearfully" to show her state of mind. You can also use an occasional adverb to modify the word "said." "I hate you," he said softly.
Books on how to write dialogue often suggest we listen to people talk to learn how to write dialogue. Seems like good advice, but have you ever truly listened? "We . . . um . . . we, like . . . you know . . . we stammer and like we repeat ourselves and um . . . you know."
Even when we speak coherently, we don't converse. We lecture. We tell long, boring, convoluted stories. We interrupt others and talk over them. We use clichés. We tell jokes that take forever to get to the punch line. None of which helps us write dialogue. If characters in books talked the way we talk in real life, who would bother reading? We want our characters to sound like us, just not talk like us. We also want their conversations to be witty, to the point, and conflicted.
In life, most of us cannot come up with that clever quip when we need it -- it comes to mind (if at all) late at night when no one is around to be impressed. Our characters don't have to suffer from that malady because they have us and our late night epiphanies on their side.
We can change their words as often as necessary to get it right.
And get it right we must. Good dialogue makes a reader keep reading. Bad dialogue, no matter how crucial to the story, makes readers go in search of other amusements.
So how does one write good dialogue?
Make speeches short.
Have speakers cut in on one another.
Answer a question with a question.
Ignore questions, or answer it after another exchange of words.
Instead of a character answering a question directly, have him tell why it was done: "Did you eat the cookie?" "They looked so good."
Have characters play tug-of-war with words, each trying to get something from the other.
When editing, review every snippet of speech and ask yourself, "Is this the best, the wittiest, the most dramatic thing the character can say?"
Dialogue is not life. In life, most of us can't think of the perfect response until it is way too late. But in writing you can take your time and make each bit of dialogue a jewel.
Here is a bit of dialogue from Daughter Am I:
Mary noticed, for the first time, her father’s receding hairline, the deep crinkles at the corners of his brown eyes. Soon he would be as old as Kid Rags, Teach, and Crunchy.
Tears stung her eyes at the thought of her father living alone in a dingy hovel, and she vowed she would not let that happen.
Realizing the silence was stretching out awkwardly, she opened her mouth to speak, but he held up a palm to forestall her.
"I don’t want to know what you’re doing," he said. "Whatever it is, I know it’s something you feel you have to do. I thought you should be aware you’re upsetting your mother."
"I don’t mean to."
He heaved himself out of the chair. "That’s all I came to say."
"I’m glad you stopped by," she said. "I planned on calling you later anyway to tell you I’m going to be away for a few days."
He stared at her for a moment, then shrugged. "I don’t understand what you’re trying to accomplish, but I suppose you know your own mind."
You are so wrong. I don’t know anything.
He walked to the door, paused with his hand on the knob for a second, then turned to face her.
"I love you," he said softly.
She swallowed. "Oh, Dad. I love you too."
He opened the door. "Be careful, okay, honey? You don’t know what you’re getting yourself into."
Daughter Am I: When twenty-five-year-old Mary Stuart learns she inherited a farm from her recently murdered grandparents-grandparents her father claimed had died before she was born-she becomes obsessed with finding out who they were and why someone wanted them dead. Along the way she accumulates a crew of feisty octogenarians-former gangsters and friends of her grandfather. She meets and falls in love Tim Olson, whose grandfather shared a deadly secret with her great-grandfather. Now Mary and Tim need to stay one step ahead of the killer who is desperate to dig up that secret.
Website: http://patbertram.com
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