Showing posts with label S. Dionne Moore. Show all posts
Showing posts with label S. Dionne Moore. Show all posts

Tuesday, October 21, 2014

Is there anything more painful for an author than to hit the ‘Delete’ button?  We’ve given life to our characters, created scenes that we know are perfect, and bled onto the pages.  How in the world can an editor see what we can’t and insist that some pages—maybe even entire scenes—need to go? The horror.

But if you’re in the game long enough, it will eventually happen.  My latest release, The Promise, was a literary endeavor that was way out of the box for me, and as such, my editor set the bar really high.  I was crossing genres, and she wanted a really tight story that popped on every page.  But I initially had a mental block while writing the book.

The Promise is inspired by a true story, and I knew that once my character got on a plane to head to Pakistan, all of the real-life events would come hurdling back at me, taking me back to a time that was painful and scary.  So, I prolonged putting my character on the plane.  Instead, I sent a secondary character cross-country, filled the pages with a bit of fluff, and basically wrote about a hundred pages that didn’t help to further the story, but caused it do drag.  In the end, it was delete, delete, delete.  

So, is there an upside when this happens?  At the time, it’s hard to see one.  But looking back, there was a silver lining.  Perhaps the reader didn’t need those hundred pages, but I did.  It was an opportunity to get to know my characters.   In that regard, I can’t consider it wasted time and effort.  

Have you ever written a letter and not sent it?  Maybe it was just for you, a way to vent, part of a healing process, or an incentive to forgive.  Sometimes, deleted scenes end up in the same ‘File 13’ as other projects that weren’t really for anyone else’s benefit, except our own.  

In the scene that never made it into The Promise, I felt like I was sitting in the backseat while my character drove to New York City.  I learned a lot about him, his motivations, hopes, and dreams.  I was a silent player in my own book, watching and learning.  In hindsight, these tidbits weren’t anything that the reader needed to know, but the journey enabled me to incorporate the emotions my character was feeling through other ways that drove the story forward.  

At the end of that trip to New York City, Tate and I parted ways, and I returned to my computer to hit the delete button.  But, we had that time together, and I returned from the adventure with a much better understanding about who Tate really is.  

As authors, we must realize that even the deleted scenes serve a purpose.  As readers, we appreciate when an editor or author has gone the extra mile to keep any unnecessary filler out of the book.

As a reader, how many times have you skimmed sections of books that really should have been deleted or shortened?  And author friends, as painful as the deleting process is, has it benefitted you in ways that I mentioned?



Beth Wiseman is the best-selling author of the Daughters of the Promise series and the Land of Canaan series.  Wiseman has a deep affection for the Amish and their simpler way of life, and while she plans to continue writing Amish love stories, she is also branching out into other areas. In her daring new novel, Wiseman jumps way outside the box. The Promise will take readers far away from Amish country and the small Texas towns of her previous releases to a dangerous place on the other side of the world.  Inspired by actual events, Wiseman believes this is the book she’s been working toward for a long time.  


Wiseman can be found at Fans of Beth Wiseman on Facebook where she interacts with readers. Learn more about the author and her books at bethwiseman.com and on Twitter (@bethwiseman).

Thursday, July 24, 2014

Today we have a treat: one of our own Borrowed Book bloggers, Sandra (who writes as S. Dionne Moore) comes out from behind the curtain to chat with us.

Come on out, Sandra. Oh, look, there she is! We won't applaud, though, in case we embarrass her and she hides again. Instead, let's talk about her latest release, A Heartbeat Away, part of the Quilts of Love series by Abingdon Press.

How did you get connected with the Quilts of Love series?
A private tour through Antietam Battlefield led me to ponder another setting for a historical romance. My agent suggested that I write a proposal for the relatively new Quilts of Love series. I wasn’t so sure about the quilting part, since I don’t sew that well. But one thing I can do is admire the time and effort put into the beautiful pieces of what really amounts to art. Then it came to me. . .maybe my character can’t sew either! I then had to delve into the characterization of the heroine who became Elizabeth in order to make her frustration with sewing become an intricate part of her personality.

What made you take the direction you did with your book’s setting?
After visiting Antietam Battlefield (and eating local Burkholder Bakery’s delicious donuts!), my  mind began churning with ideas that would highlight not the actual battle but the struggles that the people of the town faced as war was brought to their doorstep.

Do you have a favorite character from your book?
Definitely Gerta. If you’re familiar with my books at all, I almost always have one who adds a spark of humor to the story. I love someone with a sense of humor. Couple that with a heavy does of sassiness and it makes, for me, a prime character.

What lesson do you hope readers walk away with after reading your Quilts of Love book?
You’re tougher than you think. War is more than soldiers aiming their guns and blowing up others. It affect the townspeople, the citizens. Young and old, able-bodied or not. No one is unscathed, and yet it sometimes happens that we are called upon to endure such an atrocity. Let us prepare now for what we might one day be forced to embrace as a new reality.

What was your favorite scene to write?
All the scenes at the cabin in the woods that Jim, Joe, and Elizabeth escape to were especially poignant to write. Elizabeth’s confrontation with Gerta is a primary scene for me and one that I had to consider for a long time before actually doing the writing.

Do you have any writing rituals? What are they?
Other than the routine of waking up, eating, working out, then putting in my daily word count of 2500 words, there isn’t anything out of the ordinary that I do when I write.

What’s your favorite quote from the book?
I have a few! One is: “It shows a greater depth of character when someone can look beyond a body’s weakness and see the beauty within.”
The other favorite is a question: “When did your faith stop and the worry take over?”
I love this question. It stops me in my worry-wart tracks and redirects my thoughts toward Him.

  
Anything else your readers should know about your Quilts of Love book?
I have several Pinterest boards. One in particular is devoted to pictures from Antietam Battlefield: http://www.pinterest.com/sdionnemoore/antietam-battlefield/ These are places I visited during my initial tour, the rest were taken in my research trip when I stayed at the lovely Mary Hill House. This old house stood during the battle and still has a blood stain on the wood floor of the living room!

Thanks for sharing with us, Sandra. You should come out of hiding more often!

Moore enjoys life in the historically rich Cumberland Valley where traffic jams are a thing of the past and there are only two stoplights in the whole town.
She is author of the LaTisha Barnhart Mystery series, complete with a new LaTisha short mystery found in A Cup of Cozy, as well as new historical romance release “A Heartbeat Away” set in Sharpsburg, Maryland–Can a quilt and a hidden message bring enemies together?
For more information, visit her Website at www.sdionnemoore.com.

Follow her on Twitter: @sdionnemoore
Pinterest: http://www.pinterest.com/sdionnemoore
Linkedin: http://www.linkedin.com/sdionnemoore

Tuesday, January 28, 2014

My book on character development, Character: The Heart of the Novel, was published by Oak Tree Press in 2013. The main theme of the book was: Create memorable characters. Here are two ways to help in that endeavor.  

If you’re writing fiction, you need to use metaphors and similes.  Why?  Because you need to develop memorable characters, characters that your readers can hardly wait to tell their friends about.  “You’ve got to read this book. You’ll (love, hate, laugh at, cry about, want to marry, want to kill—pick one) this character (supply name here).” 

What do I mean by metaphors and similes in fiction, and how do they work? 

“John had big ears.”  That’s not going to make John memorable. “John had large ears.”  Nope. No better.  “John had huge ears.”  A tiny bit better.  “John’s ears looked like weather balloons attached to his head.”  That’s a simile. You are comparing two things which are dissimilar items, such as comparing ears to weather balloons, and using the word “like” or “as.” Which description are you going to remember?  Sure, it’s a gross exaggeration, but it gets the idea across and in a way that will be remembered.

“Wally’s hand was a catcher’s mitt.”  That is a metaphor -- the comparison of two things that are in general not alike, without using “like” or “as.” The reader knows this guy didn’t really have a catcher’s mitt for a hand. But the reader knows very clearly, this guy had big hands, exceptionally big hands. Your reader will remember that feature about him. You, the author, can use that fact later in the book to good advantage. And guess what?  The reader will remember.

“Her eyes were like sapphires cut to catch the light and sparkle.”  Simile. (Her eyes were like…) “His eyes were lasers, the kind that could cut through steel.” Metaphor.  (His eyes were …)  “He was only five feet tall, but his feet were as big as a seven foot giant’s.” Simile.  Her passion was as deep as the ocean. Simile.  His ego was an aircraft carrier. Metaphor. His wealth was like the Empire State Building, and his charity was a mustard seed. Simile and then metaphor.

Can you overdo the use of metaphor and simile? You most certainly can. They should be like the habañera: not used on everything, and not used too much. (Simile.)  But these are important tools for the writer. Don’t ignore them.


Remember, one of your goals is to develop memorable characters.  Similes and metaphors can help make a character memorable.

After a successful career in mathematics and computer science, receiving grants from the National Science Foundation and NASA, and being listed in Who’s Who in Computer Science and Two Thousand Notable Americans, James R. Callan turned to his first love—writing.  He wrote a monthly column for a national magazine for two years, and published four non-fiction books.  He now concentrates on his favorite genre, mysteries, with his sixth book releasing in Spring, 2014.

COME BACK FRIDAY FOR A CHANCE TO WIN A COPY OF CHARACTER: THE HEARTBEAT OF THE NOVEL.


Amazon Author page: http://amzn.to/1eeykvG
Twitter: @jamesrcallan

Tuesday, December 31, 2013

“How do you manage to do both?”

I hear this question all the time! 

You see, I am an author.  I am also a marketing professional.  I have two careers – both of which I enjoy very much, but both of which take a great deal of time and attention!

So back to the question:  “How do you manage to do both?”

I know that I am not the only author who works outside of writing, and I have developed a short list of “rules” I follow so I don’t get overwhelmed. 

1.  Keep everything separate.  I try to never write where I work, and I try not to work where I write!  Additionally, I keep all paperwork separate. I even listen to different types of music for each task to help me get in the zone!
2.  Set a schedule.  I work the same hours every day, and I have set writing hours.  I keep to this as much as I can. 
3.  Be flexible.  If I can’t stick to my schedule, or if something comes up when I have to move my schedule around, I don’t beat myself up about it.  I just do my best to get back on track.   
4. Plan ahead.  If I know I am going to have a big writing deadline at the end of the month, I try to make sure my marketing responsibilities are as buttoned up as possible so I can spend my mental energy on writing.  And if I know I have a big marketing event or project coming up, I try to clear my writing calendar to make sure I can focus on those tasks. 
5.  Most importantly, decide what is non-negotiable.   What are the things you are not willing to give up?  For example, for me, I hold my family time sacred.

Working a job while writing a novel can be difficult, but it can be done!  And here is the good news:  It gets easier with practice!  Set goals.  Make mini-deadlines.  Become a stickler with managing your calendar. These are the methods I employed while writing my Regency romance series, Whispers on the Moors.  The second book in the series, The Headmistress of Rosemere, releases at the end of December 2013, and I could not be more excited!


Sarah E. Ladd received the 2011 Genesis Award in historical romance for The Heiress of Winterwood. She is a graduate of Ball State University and has more than ten years of marketing experience. Sarah lives in Indiana with her amazing husband, sweet daughter, and spunky Golden Retriever. 

Connect with her online!  Visit her website, like her on Facebook, or follow her on Twitter. 



Tuesday, December 3, 2013

It’s sharp. It cuts, and a good writer will learn the value of using it with abandon. By wielding the cutting edge of your editing scalpel, you rid your manuscript of weak words, phrases, scenes, and even chapters. And as the word count you worked so hard to achieve falls to the floor in a bloody heap you rejoice knowing your manuscript is stronger for the loss. 

Strange?

Yes. 

Both writers new to the business and writers new to the world of publishing must learn the lesson of the scalpel and learn it well. As a newbie, I balked at the idea of cutting anything from my manuscript. Instead of bravely slicing unnecessary words and paragraphs, I would create a separate file for the precious orphans, thinking I might use them later, or that they might be fodder for another book. 

Only it never happened.

I quickly discovered that anything worth deleting from a manuscript needed to be deleted *permanently*. No tears. No pining after the hours spent creating the words. If they were marked to be cut then they were inferior. Period.

Writing my first 5K short story was quite a lesson in brevity. How to cram an entire mystery into what amounts to about 20 pages. . .? Ugh! I had to cut and cut and cut. But after ten books, I've learned it is for the best to trim and tighten any manuscript. Don't take my word for it, listen to what some of my other author friends and writing peers have to say on the subject:

Author Frances Devine’s response goes to show that applying the scalpel can be beneficial in more ways than one. “I cut several paragraphs a couple of days ago because I'd decided I needed to change the end of a scene. It gave me a new outlook on the next chapter.”

Kimberli Buffaloe isn’t published, but she is learning and maturing as a writer. This statement only proves that: “I've learned to push aside my ego and cut for the good of the story. I don't care if I like the line, scene, or chapter, or if I think the sentence is the most clever thing I've ever written. I've slashed 10k during this revision and know it's probable I'll cut at least 1000 more.”

Author Pam Meyers has learned the value of the scalpel during a revision she did on a manuscript before submitting a proposal. “Once I got into it (cutting words) I loved seeing how the story strengthened as I got rid of the "extra" words. So many times I found I had "Goes Without Saying" or "Resist the Urge to Explain" clauses at the ends of sentences.”

The secret to creating a better story is applying the scalpel. First, you have to learn to see your manuscript not as a work of art, but as a means of communication. Within a manuscript is a theme, a basic idea that you want to convey to the reader. Second, you have to kill ego. As writers we often become so caught up in ourselves that instead of conducting the orchestra of characters, we want to spotlight each one of our “pretties.” The problem is members of an orchestra who vie for time in the spotlight are taking away from the work they have been brought together to produce. Characters are the same way. The writer is the conductor and the characters must work together to create a beautiful story with a common theme. Applying the scalpel returns the focus to the theme of the story and puts the writer back in control. 

My fellow critique partner, editor, writer and jack-of-all-trades, Mike Ehret, sums it up it best: “I have never seen cutting words fail to make a piece better.” 


Have you ever seen the necessity of cutting words from your manuscript to make it stronger? Have you ever read a story where the author would have benefited from applying the scalpel a little more?

Moore enjoys life in the historically rich Cumberland Valley where traffic jams are a thing of the past and there are only two stoplights in the whole town.

She is author of the LaTisha Barnhart Mystery series, complete with a new LaTisha short mystery found in A Cup of Cozy, as well as new historical romance release "A Heartbeat Away" set in Sharpsburg, Maryland--Can a quilt and a hidden message bring enemies together? 


Tuesday, November 12, 2013

Robert Louis Stevenson said, “There is but one art, to omit.” He obviously appreciated the power of polish. I call polishing powerful, because it has the ability to transform a rough draft into
something remarkable—something salable. After I complete a rough draft I go over it quite a few times, checking for problems, large and small. Here are 40 power-polishers from my personal list. 

  1. Did I sprinkle in backstory like a fine spice or did I dump the whole jar in at the beginning? 
  2. Do my characters have plenty of quirks and ticks like real people? 
  3. If I repeated words are they beautifully rhythmic or just annoyingly repetitious? 
  4. Is it clear which characters are talking, or will readers need to stop to figure it out? 
  5. If I altered anything midway—a character’s hair color, the season of the year, etc.—did I make those changes all the way through the manuscript? 
  6. Did I check each “was” and “were” as well as other potentially scrawny verbs? Do some of them need to be removed from the herd? 
  7. Is the word “that” used so much that readers will become so weary of that that they’ll want to use my novel for kindling? 
  8. Have I included literary devices such as sensory details, foreshadowing, irony, metaphors, and similes to give my story depth and delight? 
  9. Did I dip so randomly and deeply into the barrel of limp and colorless adjectives and adverbs that my prose came out hopelessly anemic?
  10. Are the elements of action, description, and dialogue balanced in my story? 
  11. Is my point of view consistent, or will I confuse readers by head-hopping? 
  12. Is the setting in each scene well-defined? 
  13. Are my characters unforgettable and believable, or are they one-dimensional and uninspiring because I haven’t spent enough time getting to know them? 
  14. Are my heroine and hero relatable and likable? Do they have enough noble and endearing qualities—along with their flaws—to make readers want to cheer them on? 
  15. Will readers know the year, the season, and the time of day easily, or are these story elements too vague? 
  16. Does my timeline have inconsistencies? 
  17. Did I vary the length of sentences in my paragraphs so they’re eye-appealing and easy to read? Are my paragraphs so long they’re like a wall of words in need of mental climbing gear? 
  18. How is my pacing? Is there a good rhythm to my storytelling? Are there passages I need to slow down or speed up for effect?
  19. Do I have too many summary paragraphs? Do some segments need to be revised so I’m showing and not telling? 
  20. Does my work have the fine brushstrokes of subtext dialogue?  
  21. If I’ve written in first person does it look like there was an “I” explosion all over the manuscript?
  22. If the professions and hobbies of the main characters are important to the story will the readers get a good look into this part of their lives? Was this material presented in a way that is organic to the story, and did I check the information for accuracy? 
  23. Is my dialogue realistic and interesting or mind-numbingly boring? 
  24. Do my characters have occasional and natural interruptions in their speech without being confusing?
  25. Have I taken out unnecessary words, such as some, began to, just, rather, and all at once?
  26. Does every scene have some element of suspense or conflict or intrigue? 
  27. Is each and every scene important to the overall plot, or have I padded the novel to up my word count? 
  28. Are some of my chapters too long?
  29. Do all my chapters end with cliffhangers?
  30. When my character presents a potent line of dialogue, do I use it later to make an arc that is memorable and effective? 
  31. Do I have a sagging middle that’s in need of a few tummy tucks of story tension? 
  32. Did I succumb to the temptations of authorial intrusion? 
  33. Do my characters make gestures that reflect their personalities, and are those gestures fresh and unique? Or are my characters engaged in too much shrugging, sighing, lip chewing, nodding, brow furrowing, arm crossing, throat clearing and head shaking?
  34. If I’ve added humor to my novel, does it fit the characters, and does it flow with the rest of the work? 
  35. Do the elements of faith happen naturally in the story, or did I toss in some prayer and Scripture to make it sound Christian? 
  36. Are the themes in my story memorable and effective? 
  37. Are the character’s thoughts interesting and necessary, or are they merely repeats of what the character is saying? 
  38. Do I have an overall story arc that is clear and memorable? 
  39. Did I create a satisfying ending, or is it too predictable and rushed because I’m tired of the story? 
  40. Have I read the work out loud to catch the errors that might be more obvious when heard rather than seen? 

I hope this mini version of my checklist is helpful in all your novel-polishing endeavors.

Anita Higman is a CBA best-selling and award-winning author. Among her many accolades, Higman has won the Inspirational Reader’s Choice award twice. She has written or co-authored more than 30 books, including fiction and non-fiction for adults and children, as well as plays. Higman has also been recognized for her contributions to literacy and has raised thousands of dollars with her book I Can Be Anything while serving on the board of directors of Literacy Advance of Houston.

Even though she’s written in many genres, Higman does have her favorite. “I love inspirational romance. There’s just nothing else like it for writing and reading. It naturally makes you want to curl up on an overstuffed couch and read the day away.” Her latest release is A Marriage in Middlebury. 

She loves good movies, exotic teas and brunch with her friends. Higman and her husband live in Houston, TX.


To keep up with Anita Higman, visit anitahigman.com, become a fan on Facebook (Author Anita Higman) or follow her on Twitter (@anitahigman).

Tuesday, October 29, 2013

I thought I’d talk to you today about “taking care of the writer.” 
We talk a lot about formatting, scene and sequence, characterization, plots, even synopsis … but we rarely talk about the writer.

Whether you are a writer or just know someone who is, I think there are certain things that you can do to take care of yourself.

  1. Let go of the guilt. Many of us feel pulled in a dozen different directions. When we do finally sit down to write, we feel guilty—because we’re not doing something else. Clothes need folding, or dishes need washing, or maybe the lawn needs to be mowed! All those are good things, but when you do sit down to write—just write. Let the guilt go.
  2. Get some sleep. I know we all want to write the book. We have the characters and ideas and plots in our mind. However, our body needs rest. Even when I was teaching full time and writing for multiple houses, I made sure I had 6 hours of sleep during the week and 7-8 on weekends. Your body and your  mind needs that time. In my opinion, you’re better off writing one hour instead of two, if it means you get the sleep you need.
  3. Step away from the computer! Oh my, between blogging, writing, and social media I could sit at my computer for EVER. Because I’m never really done. It’s hard for me to swallow that one. I always thought I could complete any to-do list if I focused. It’s important to realize that you need to step away from the computer. You need to eat, spend time with your family, and take a walk outside. You need to LIVE, and when you do – you’re writing will be much richer.
  4. Say yes to your family. I will confess that when my children were young, and I was writing, there was a note on the door. “Don’t knock unless you’re bleeding – a LOT.” I was serious too. Mom’s time in the cave was important. However, my kids are older now, grown and moved out of the house. And I almost never turn them down if they call and ask me to go see a movie, or eat dinner, or let them come and do laundry. We play board games or watch old movies on tv. We spend time together. They really are more important to me than words on a page.
  5. Take Sunday off. I know. I know. When my pastor first spoke on this, I asked him, “Do you mean like … every Sunday?” He decided I needed an intervention. But the truth is that we all need a day of rest. And it’s sort of – well, a commandment. So take one day off a week, whether it’s Sunday or some other day.
  6. Get moving. When I’m stuck on a word, a get down on the floor and do 10 sit-ups. When I make my word count, I reward myself with a visit to the gym or a 20 minute walk through the neighborhood. Then I come back home and start working on the blogs, marketing, and accounting. We have to take care of ourselves physically, or our writing will suffer.
  7. Eat what your body needs. You body does not need Cheetos or chunky monkey ice cream or a 2 liter of soda. You need fruits, vegetables, and a lot of water. You need a little meat and cheese. It’s pretty easy really. Want to feel good? Want to write well? Eat and when you do, eat the right things.


It probably sounds like I don’t spend any time writing. But I do! Honest! I spend at least 8 hours a day, and when I was working full time I spent 2 hours before work and 2 hours after. I love to write. I love to sit in from of my computer and make it up. I have a set word goal every day, and I write 3-4 books a year. I’m focused—like a laser. But it’s very important to take care of myself. If that means that I don’t have time for Candy Crush, that’s okay. If it means that I have one less post on Facebook, that’s okay. Set your priorities, and then follow them – and make one priority taking care of yourself.

If this list seems impossible, start with one item. Bless yourself in one way for a month. Then go back to the list and choose one more.


May your rest, and your writing, be everything you’ve dreamed it will be.


Vannetta Chapman is the author of several novels, including A Promise for Miriam and Falling to Pieces. She discovered her love for the Amish while researching her grandfather’s birthplace in Albion, Pennsylvania. Vannetta won the 2012 Carol award for best mystery. She is also a multi-award-winning member of Romance Writers of America. She write Amish romance for Harvest House, Amish mysteries for Zondervan and Amish novellas for Abingdon. Vannetta was a teacher for 15 years and currently resides in the Texas Hill country. For more information, visit her at www.VannettaChapman.com.

SOCIAL MEDIA LINKS

webpage--www.vannettachapman.com
facebook -- www.facebook.com/VannettaChapmanBooks
twitter -- @VannettaChapman
pinterest -- pinterest.com/vannettachapman
youtube -- check out my youtube page. It's at http://www.youtube.com/user/vannettachapman/videos#

Return Friday for a chance to win a copy of Vanetta's new release!

Tuesday, October 15, 2013



Something that writers need to figure out in every book is setting. We need to make it unique, yet familiar, and many authors struggle with whether to use real locations or make them up to suit the book

I did a little of both for the setting of my books in my Mennonite series, which for now is two books, first The Narrow Path, and the second, out now (and with a 4 ½ star rating with Romantic Times) The Path to Piney Meadows.

You might guess that the name of my town is Piney Meadows.  This town is created yet is based on a real town in the same area, which is northern Minnesota.  I don’t live there, but I know people who do, one of whom used to live in the actual town, which I have renamed.  Because I couldn’t stick 100% to the real details of the real town, I made it fictional. Yet I am still true to the details of the climate, topography, flora, and fauna. I use a number of real locations that are close by, so anyone who has been there, or will ever be there, will feel the familiarity, and that makes it “feel” real to the reader, or anyone who has been there.

Part of how this is done is that I really have been in the area, even though not to the actual small town that became “Piney Meadows, MN”, and it’s been many years. For those who think they can use the internet to fill in the blanks, that isn’t the most accurate source. Successfully using setting in a story is more than reciting facts of temperature and wind velocity. It’s how it feels to be there, and many things go into that feeling. All it takes is to be wrong with one, and a reader who has been there will know the difference.

One example, in The Narrow Path, Ted and Miranda were in the car driving north on the highway. He was adequately dressed for the climate, but she was not. I had Ted turn up the heat on full, but Miranda was still cold. Ted was too warm, so he stopped the car in the middle of the highway (it was night when there was no traffic), he got out of the car, quickly took off his coat, tossed it in the back seat, got back in the car, and kept driving. To make sure my memory served me correctly on all the details, I emailed this scene to my friend who lived there, and she emailed it to her brother, who still does live in a nearby town. He emailed me back saying the scene made him laugh, because not only was I exactly right with the scene details, he does that exact same thing himself.

I got it right.

For my current book The Path To Piney Meadows, I did a lot of research on chickens in the area – of course they can’t survive outside in cold weather, so I had to find out what to do in that kind of community. I now know a lot about raising backyard chickens in general, and what is needed to build a good and realistic chicken coop in the city. 

With the current trend in raising backyard chickens, many people don’t just keep their chickens outside. Because you can’t potty-train a chicken, you can buy chicken diapers on eBay. Check it out.

Gail Sattler lives in Vancouver BC (Canada, eh!) with her husband, three sons, two dogs, and a lizard who is quite cuddly for a reptile. When she's not writing, Gail plays piano for her church's worship team, electric bass for a local jazz band, and acoustic bass for a community orchestra. When she's not writing or making music, Gail likes to sit back with a hot coffee and read a book written by someone else.

She doesn't twitter but has a Facebook page.
Her website - www.gailsattler.com
Book site - www.mennonitefiction.com

Facebook page for the Bloomfield Series - www.facbook.com/bloomfieldclub
If you like Where's Waldo, try to Go Get Gnorman - www.gogetgnorman.com





Don't forget to stop by Friday and enter to win a free copy of Gail's latest release, The Path to Piney Meadows!

Tuesday, October 1, 2013


I hate to burst your bubble, but writers aren’t wizards. They’re everyday Joe Shmoes who simply have a little velvet bag of writerly tricks hidden beneath their desk. Want to peek into mine? Don’t worry. There’s no fee. 

Trick #1: Saving isn’t just for cheapskates.
Any time, every time, you take a break for anything—eating a pint of Ben & Jerry’s, tweeting that you ate said pint, Facebooking a picture of ice cream dripping out your mouth, or any other ‘ing’ you can think of—that’s when you should hit save. Just do it. Ingrain the movement into your body’s muscle memory so that it turns into a strange and freakish nervous twitch. Trust me. You’ll thank me later.

Trick #2: Stuff happens.
These two little words—stuff happens—should become your new best friends. They are versatile, quick little rodents who are excellent at preventing writers block. Working on a synopsis and are unsure about what happens right after the mutant rock badger eats Detroit? Just type in ‘stuff happens’ and move on. Or are you pounding away at a scene and don’t have a clue how your heroine should respond when the hero tells her, “I’m leaving you for my mother?” Stuff happens. Next scene. Don’t get me wrong; you can’t slap this phrase everywhere and expect to sell a manuscript. You will have to come back and fill in what exactly happens with that stuff. This little trick is simply a way to keep your writerly momentum going when you’re in the midst of the writing battle.

Trick #3: Save the cliffhangers for your readers.
At the end of your writing session, the last thing you should type is a sentence or two of what you’ll write next time you sit down. There’s nothing worse than pulling up a finished scene and trying to remember what that stellar idea was to begin the next. You faintly recall it had something to do with a feather boa and a toaster, but doggone if you can’t even remember what you ate for breakfast. 

Trick #4: Google it.
Most writers have a limited budget. Translation: they’re too broke to actually visit the towns they set their stories in, unless of course, it happens to be within walking distance. Even then it’s a little iffy. Fortunately, every writer has a new best friend called Google Maps Street View. This is tricky if you’re writing historical, though, in which case you’ll have to rely on your imagination and/or a written description of the place (tip to the wise: if you’re using Wikipedia, verify, verify, verify). 

Trick #5: Tweetable thinking.
You’ll need to be able to describe your epic blockbuster novel in a sentence or two. Even better if you can chop it down to a 140 character Tweetable size.  Here’s an example from my latest release, A HEART DECEIVED…

Lies were born in a garden and just may be the death of Miri Brayden.

Intrigued? Ahh, you’ve fallen into my trap, my pretty. Here’s the full blurb:

Miri Brayden teeters on a razor's edge between placating and enraging her brother, whom she depends upon for support. Yet if his anger is unleashed, so is his madness. Miri must keep his descent into lunacy a secret, or he'll be committed to an asylum—and she'll be sent to the poorhouse.

Ethan Goodwin has been on the run all of his life—from family, from the law ... from God. After a heart-changing encounter with the gritty Reverend John Newton, Ethan would like nothing more than to become a man of integrity—an impossible feat for an opium addict charged with murder.

When Ethan shows up on Miri's doorstep, her balancing act falls to pieces. Both Ethan and Miri are caught in a web of lies and deceit—fallacies that land Ethan in prison and Miri in the asylum with her brother. Only the truth will set them free.

If you decide to pick up a copy, you just may discover a few more of the tricks I’ve got buried in my writerly bag. Feel free to use them.

Michelle’s been writing since she first discovered blank wall space
and Crayolas...professionally, however, for the past 10 years. Her recent release is A HEART DECEIVED, a gothic regency put out by David C. Cook (June 2013). If you’d like to keep up with her escapades, you can find her at www.michellegriep.com or www.writerofftheleash.blogspot.com or feel free to stalk her on Facebook, Twitter, or Pinterest.




REVIEW of A Heart Deceived

Book Summary: Miri Brayden teeters on a razor's edge between placating and enraging her brother, whom she depends upon for support. Yet if his anger is unleashed, so is his madness. Miri must keep his descent into lunacy a secret, or he'll be committed to an asylum—and she'll be sent to the poorhouse. 

Ethan Goodwin has been on the run all of his life—from family, from the law ... from God. After a heart-changing encounter with the gritty Reverend John Newton, Ethan would like nothing more than to become a man of integrity—an impossible feat for an opium addict charged with murder. 

When Ethan shows up on Miri's doorstep, her balancing act falls to pieces. Both Ethan and Miri are caught in a web of lies and deceit—fallacies that land Ethan in prison and Miri in the asylum with her brother. Only the truth will set them free.

An excellent book full of twists and turns. Set in England, the book is rich with history while giving insight into both the troubles and trials of the time period (opium, asylums). Ethan is a strong, though flawed hero, and Miri is a heroine torn between her world and the one her brother only thinks he sees. 4 1/2 stars


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