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Cinderella turns Video Belle: My Kindle Scout Experience Part 5 by Jina Bacarr

September 11, 2015 by in category Archives tagged as , , , , , , , , ,

(You can read my previous posts about my experience with the Kindle Scout program by clicking on Part 1, Part 2, Part 3 and Part 4.)

Do your characters keep you awake at nights?

Mine do.

First, they wanted to be Kindle Scout winners…

Now they want to be video stars.

And it’s all Cinderella’s fault.

Cindy had so much fun at the ball and then meeting the queen and getting her picture taken everywhere she went, she didn’t want to give it up and spend her days sitting in the castle watching old movies.

So she riled up the characters in my Kindle Scout winner, LOVE ME FOREVER, and convinced them they could be stars.

Cindy went Hollywood on me.

She’s now producing a bunch of short videos with highlights from LOVE ME FOREVER and yes, she even convinced me to do the voiceovers.

How could I refuse? You want to shout your book to the rooftops and do your very best to promote it, so I’ve been slaving behind a hot microphone, and guess what, I’ve got some videos for you.

I hope you enjoy them…

 
Civil War: “Love Me Forever” time travel romance from Jina Bacarr on Vimeo.

 
Civil War Sister against Sister: “Love Me Forever” Time Travel Romance from Jina Bacarr on Vimeo.

 
Women Soldiers in the Civil War from “Love Me Forever” from Jina Bacarr on Vimeo.

So what’s the next step in the Kindle Scout experience? I’ve received tons of support from other Kindle Scout winners with retweeting, blogging, YouTubing, etc. It’s been an extraordinary experience, kinda like joining a sorority or fraternity. A sense of having each other’s back and always being there if someone has a question.

And we’ve started our own Facebook page: KP Authors. Check it out!

More exciting news: Ken Burns’ Civil War has been remastered and is being shown in high definition on PBS. This is the last night, so be sure to tune in! It’s been thrilling to see the battles in my romance novel come alive…

Thanks for coming along on my journey with me…and come back next month for more on my Kindle Scout experience as the program grows…I wouldn’t be surprised if I have more videos for you.

~Jina
Website: www.jinabacarr.com
Blog: www.jinabacarr.wordpress.com
  ================
 
https://twitter.com/JinaBacarr
www.pinterest.com/jbacarr
https://instagram.com/jinabacarr/

And on Vimeo you’ll find my videos covering my books, poems, etc.:
https://vimeo.com/user216350

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Are you a Storyteller?

August 26, 2015 by in category Archives tagged as , , ,

Author Shannon Donnelly is stopping by today to talk about storytelling.

 
There are workshops on dialogue, on character, on marketing your book, and just about everything else to do with writing and stories. But let’s talk about the big picture for a minute—let’s talk about the art of being a story teller.

Edgar Rice Burroughs taught me a lot about being a story teller. He was a prolific writer—he also was not at times a very good writer, but he knew how to spin a yarn as they used to say. I went through a phase where I devoured all of his books, but one stands out in memory as being awful. Truly terrible. But I kept reading…and wondering as I turned the page. The Oakdale Affair is about a bear in a cellar. Really. It’s melodramatic, has stiff dialogue, and you still turn the pages. It keeps pulling you forward. Burroughs was a story teller.

So how to do you learn this art of storytelling? I’m doing a workshop on this that goes into depth, but let’s just cover ten tips here that can help you be a better story teller:

1-Read a lot.Yes, it’s obvious, but most folks don’t give this enough weight. Read across genres. Read cereal boxes—short is harder than long. Read everything—and read with a critical eye. Take apart stories that make you keep turning the page, and take apart ones that don’t. Read to see how a story is spun on a page.

2-Master technique.You want to get the technical stuff out of the way. If commas baffle you, nail them down and figure them out. Get a copy of Strunk & White’s Elements of Style and make it your bible. Make your sentence clean and clear. Write enough that technique no longer makes your story stumble.

3-Focus on character.Story is character and character is story. There’s a reason Burroughs is remembered for Tarzan—one of the most famous of all fictional characters. Not only did Burroughs exploit Tarzan, he was smart enough as a story teller to know he needed a great character to carry the story. Story is character and character is story. Focus on your characters more than your plots.

4-Figure out your theme. Every story is about something. You will also probably write about the same theme for most of your life. Figure out what it is that is your theme—what makes you hot under the collar or uncomfortable? What gets your blood moving fast? Write about something that matters to you—that will make your story matter, too.

5-Develop your voice.Write a lot. The only way you’ll find your voice is by writing. Write poetry. Write bad poetry. You don’t have to show this to anyone. Get the bad writing out of your system to get to the good stuff. Write in a journal. Write by hand. Write as a habit. Your voice will come out on its own eventually.

6-Learn how to structure. What this means is you need to know how to pace the reader and escalate the tension and conflict. That keeps the reader turning pages. These things come from learning craft—and some technical tricks that really do work. Read a lot and you’ll see other writers using these same techniques. Take apart Dan Brown, Burroughs, and other writers who sell a lot of books. There’s a reason why they do and it all comes back to story and characters—and keeping readers engaged.

7-Dramatize and twist.Stories are bigger than life—they’re dramatized. Learn how to make stories (and that means characters and dialogue) a little more, a little bigger and better than life. This means characters say things we’ve all wanted to say at times, and events happen in ways that we’ve always wanted them to. Surprise your readers—but keep it familiar. That formula has been shown to create hit songs and it works with hit stories, too.

8-Use setting as a character. There’s a reason Tarzan exists in his mythical jungle as “king of the beasts” with his Tarzan call. Tarzan’s setting is part of his story—it’s a main character. Create great settings. Push them to be fantastic, amazing, rich, vibrant, complex. Develop your settings as you would any other character. Use them as metaphors as visual clues to theme as contrasts.

9-Hit the key beats.A story teller knows the audience expects certain beats in a story—just like we all expect certain beats in a song. If you miss these beats, the story seems to stumble, and if it stumbles too much, the reader is thrown out. It takes care and time to master the art of weaving in beats without being obvious—and it takes practice. This is where you read to see the beats in the story, and then you apply that to your stories.

10-Payoff the read.A great story reaches an inevitable and satisfying ending. You want twists and turns, but you don’t want to go so far out there with your story that you lose your readers. Part of this means you write to satisfy yourself, but you also write to satisfy the reader. Keep this in mind. And know that the greater the ordeal for the character, the more time you need to take to bring the reader back down to regular life. Always work toward that satisfying ending—the one that seems so perfect that the story could not end any other way. If you set up that ending in the beginning, you’ll be a great storyteller.

Want to tackle this topic in more depth? OCCRWA’s September online class is Storytelling for Writers, with Shannon Donnelly. For information and to register please visit

http://occrwa.org/classes/sept-class-storytelling-for-writers/

 
ABOUT SHANNON DONNELLY

Shannon Donnelly’s writing has won numerous awards, including a nomination for Romance Writer’s of America’s RITA award, the Grand Prize in the “Minute Maid Sensational Romance Writer” contest, judged by Nora Roberts, and others. Her writing has repeatedly earned 4½ Star Top Pick reviews from Romantic Times magazine, as well as praise from Booklistand other reviewers, who note: “simply superb”…”wonderfully uplifting”….and “beautifully written.”

Her latest Regency romance, Lady Chance, is just out on Amazon.com. In addition to her Regency romances, she is the author of the Mackenzie Solomon, Demon/Warders Urban Fantasy series, Burn Baby Burn and Riding in on a Burning Tire, and the SF/Paranormal, Edge Walkers. Her work has been on the top seller list of Amazon.com and includes the Historical romances, The Cardros Ruby and Paths of Desire.

She is the author of several young adult horror stories, and has also written computer games and offers editing and writing workshops, and will be teaching a workshop for OCC on ‘Breaking Down Writers Block’. She lives in New Mexico with two horses, two donkeys, two dogs, and the one love of her life. Shannon can be found online at shannondonnelly.com, facebook.com/sdwriter, and twitter/sdwriter.

 

 
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Some sweeping generalizations and celebrating stereotypes:

August 24, 2015 by in category Archives

Copy line on movie ad (no, I can’t remember the title) with armed woman: Wife. Mother. Hero.

Why is a women defined by her relation to others? Would any man be described as Husband. Father. Hero.? I don’t think so. More like: Explorer. Visionary. Hero.

It’s all about what he does, who he is. Hers is about who she is connected to. That’s why women traditionally have an honorific that links them to their male partner: Mrs. Or lack of partner: Miss. Vs men, who are just Mr. Their status as a partner is deemed irrelevant.

For instance: a man does not need to be reminded to put his oxygen mask on first. His default is to think of himself first, others later. And he expects others to think the same way—to first take care of themselves, then perhaps consider others. That may be why he doesn’t thank you (you female person) for your selfless act. He thinks you’re crazy. Or stupid. Or both. Or maybe just trying to ingratiate yourself with him, as he tends to think hierarchically, so sees favors in a transactional manner. Not that a man isn’t capable of a selfless act, it’s just an unlikely part of his daily routine.

Women often think of others first, themselves last. For many that’s their default (yes, even if they’re not mothers). And they expect others to think the same way. And of course they (female people) take it personally (perhaps with a long-suffering sigh) when they discover there’s no parity, and they’re not very high on anyone else’s list. Perhaps even more irritatingly, they may be thought of as being an idiot for taking care of others and not bothering to take care of themselves.

Each sex is ‘modeling’ behavior that the other guy just isn’t picking up. Neither is exactly right, but not entirely wrong, either. And it doesn’t align.

Men tend to see things hierarchically, competitively, with winners and losers, while women tend to be more collegial and consensus driven, focusing on making something work. (Hey, my title promised “Some sweeping generalizations and celebrating stereotypes,” don’t say I don’t deliver!). Deborah Tannen’s Talking 9 to 5 offers some great stories of how these different basic assumptions can create miscommunication, misunderstanding and problems.

In many cultures, women traditionally have had little to no direct power and have had to work with indirect power: influence, relationships, connections, being liked, finding people to partner with. For a woman, helping others, doing favors, etc. is often a way of establishing friendship and usually inspires thanks, gratitude and likely a return favor in response—if the recipient is a woman.

But if the recipient is man, he may well see the gift as an effort to curry favor, confirming his status as the superior: the one to whom gifts and honor are due. Thanks are not necessary and no return gift would ever be given, as that would mean Giver and Givee were on the same level, which is not an acceptable idea when a hierarchy has just been established to Givee’s satisfaction!

Women may view support as a circular, mutually beneficial experience. For men, it is likely more linear, a bottom up effort to propitiate and curry favor of the leaders—who may then have an obligation to protect their underlings. Like a feudal lord getting his due from his dependents, he will have to try to stave off the barbarian hordes if they show up, or build a walled city to protect them, but he’s not partners with his serfs.

You can see how misunderstandings and disappointments might abound!

And why romance writers and romance readers are a necessary ingredient in our lives….

Isabel Swift

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The Power of Emotion by Connie Vines

August 13, 2015 by in category Archives tagged as , , , , , , ,
e·mo·tion
əˈmōSH(ə)n/
noun
1.    a natural instinctive state of mind deriving from one’s circumstances, mood, or relationships with others.
“she was attempting to control her emotions”
synonyms:
·         instinctive or intuitive feeling as distinguished from reasoning or knowledge.
“responses have to be based on historical insight, not simply on emotion”
synonyms:
instinctintuition, gut feeling
Raw.  Naked.  Emotions.  As an author of romance/ romantic suspense novels, emotion is essential to my story line.  However, as a human being experiencing strong emotions can be overwhelming.  Moreover, often, in the case of fear and sorrow, very unwelcome.
The concept of (raw flesh) exposed from an extensive wound, exquisitely sensitive to the lightest touch, reminds me of my vulnerability and mortality.  
Naked emotion.
How do you deal with emotions in your story lines?
Do you color your story in pastels?  Bold charcoal strokes?  Or, perhaps bright slaps of color? 
Or do you favor dark, deep Gothic hues?
In my opinion, all successful/popular novels, no matter what genre, have one key element: emotion.  Emotion lies at the core of every character’s decision, action, reaction, and motivation.  All of which drive the story. A character’s personal journey does not exist without emotion—it would be pointless. The plot would be made up meaningless events that a reader would not invest any time to read.  Why?  Because above all else, the readers choose a novel to have an emotional experience.  Be it a wild roller coaster ride of pure terror in a horror novel; reliving the sweet courting experience of an inspirational romance; discovering a new unexplored, heart-pounding world of a sci-fi; the pleasure of solving a who-done-it; or, pure laughter and fun in a read-it-at one setting comedy—readers want to connect with your characters.  With this connection to characters, who provide entertainment and whose trials and experiences may, in turn, add meaning to their own life journeys.
We are emotional beings.  Feelings propel us. Drive us.  Define us. Moreover, while it may seem that most of those exchanges happen during conversation, studies show that 93% of all communication is nonverbal.  Even in instances where we try not to show our feelings, we are still telegraphing messages through body language.  Because of the, each of us is adept at reading others without a word being uttered.
                Readers have high expectations.  Long done are the long intros: “There was no possibility of taking a walk that day.  We had been wander, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so somber, and a rain so penetrating”.  . . I am certain you recognize the first sentences of my favorite classic novel, Jane Eyre by Charlotte Bronte.  A delightful read, rich in detail and thick with emotion—but not a read easily consumed during a pause in a workday, or after getting toddlers off to bed.  Readers no longer wish to be told how a character feels; they want to experience the emotion for themselves.
                This leaves the writer with the challenge of ensuring that our characters express their emotions in ways that are both recognizable and compelling to read.  Personally, I find that less is more.  I am always aware of the pacing of my story.  Too many clues to describe a character’s feelings can dilute the reader’s emotion experience.  Backstory is only pepper in to allude to a ‘trigger’ emotion.  Example:  Marty, in the BACK TO THE FUTURE series of movies.  A cliché, but calling Marty ‘chicken’ worked every time—the viewer knew and expected ‘something’ to happen. Not that I have ever, I hope, have resorted to a cliché, but my characters have a ‘fatal flaw’.  I cannot divulge any that I have used because it would ruin the story lines.  Nevertheless, we all have our ‘trigger’ emotion.  If you have siblings, undoubtedly, you were tormented with it on numerous occasionally.  Our ‘characters’ may or may not recognize a personal trigger emotion.  This is writer’s preference in relationship to plot and character development.
                One emotion that I find fun to watch (in young children) and it easy to work into a YA story is amazement.  To a toddler everything is new and amazing.  The child’s eyes widen.  The child becomes suddenly still.  May suck in a quick breath/hand covering one’s mouth. Stiffening posture.  Rapid blinking followed by open staring.  Reaching out and touching or taking a step back. I am certain you could add to the list my recalling your personal experiences or observations.
                Now how would that young child feel, internally?  A heart would seem to freeze, the pound. Tingling skin. Adrenaline spikes. The mental reaction in the amazed person could be disorientation, momentarily forgetting all else, or wishing to share the experience with others.  Now say your character is a shy or too cool to give anything away.  How could this emotion be suppressed? Self-hugging, jerky, self-contained strides, Eyes widening a bit before control is asserted, mouth snapping shut.  The clues are always apparent. 
                I like to get to know my characters, savor my scenes, and always dig deeper for the right word. The right motivation.
                I enjoy the journey to discover my characters, their hopes and wishes.  I feel blessed to tell each one of their stories.  And I hope that my novels, in turn, bring hours of enjoyment into each of my readers’ lives.
                In closing, I would like to share a bit of my past.
                When my first YA sweet historical novel was published, I was honored at a Red Nations Powwow.  A tribal elder, Jacques Condor, told me I was being honored as a Storyteller.  He reminded me, always, to be humble, because it is the Story who chooses the Storyteller to bring it Life. 

                My Mandela hangs my living room wall, and my hand-tooled silver ring is worn to remind me of both my gift, and my duty.
                Thank you for taking the time to read my first post to OCC/RWA’s A Slice of Orange
Blog.  

Please stop by next month.  

              
                Connie Vines

Fall Release: BWL, Ltd.
Novella,
BWL, Ltd., current release

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Plotter vs Pantser – Who are you?

August 4, 2015 by in category Archives tagged as , ,

Are you a plotter? One who fills up twenty or thirty pages, sometimes more, with scenes, settings, motivation, goals, conflict and character profiles before you can sit down and write the first chapter?

Or are you a pantser? Someone who gets an idea, makes a short list of ideas on one page and then sits down and starts to write, letting the story tell itself and unfold before your very eyes?

Some of you already know you’re a plotter and you follow a strict routine that helps you write pages and pages without too much trouble. While a synopsis is great for getting an editor or publisher to gain interest in your story, it can also be a great tool as a guide for your manuscript. It’s much shorter than the thirty to fifty pages of story plotting but with less detail. Some writers need more and some less, but whatever method you use, it has to be right for you or you’ll never finish any story. You’ll try many different methods before finding a style of writing that’s a perfect fit and will carry you through many manuscripts. I tried many many plotting methods in my search for a writing system that fit me.

A pantser, like some writers I know, still has some idea of the beginning, middle, and the end of the story to be able to tell it. I think most writer’s fall into one of these categories but many don’t. I fall somewhere in between where my plotting is kept to a minimum of one to two pages. I also write my synopsis as I go, working out some of the characters’ external conflicts as my characters interact.

Writers are creative, unique individuals who will find what works for them and employ whatever means they need to make it happen. A muse is all and good and well, but a beginning writer has no idea what that is. Or even which genre their writing style falls into. So we read everything we can in many genres. For example, we read dozens of books on craft, we attend multitudes of workshops and online classes, sometimes so many that we lose count, and we fill small notebooks with our notes. Only to find that where we fit isn’t such a great mystery.

So we write, and we write, and we keep on writing. Because with every page we pen, every character we bring to life on the page, every heart we tug on, our writing becomes stronger, better. All of this is done with the purpose of finishing a novel someone will read and enjoy, and maybe even recommend.

A novel that will be critiqued and revised many times over. A novel that will change with every revision, every re-write, and every idea that pops into your head. A novel that will eventually make it to an editor or publisher’s desk and then most likely go through more revisions and re-writes, regardless of whether you’re a plotter or a pantser.

That’s not to say your story isn’t good, only that it can be better. Just like a good critique partner can help your story in it’s beginning stages, a good editor can help you polish your manuscript before it’s ready for publication. As long as people change, their tastes in books change. That means the industry is constantly changing. Editors and publishing needs will change to keep up with current trends and the only way for an author to survive against the millions of books competing with theirs, is to write the best book they can – straight from the heart. So whether you’re a plotter or a pantser, whether you’re new to the world of writing or have written thirty books or more, you’ll never stop learning. Because when it comes down to it, we all want our romance book to take the reader on an emotional trip through our characters. To feel the rush of falling in love all over again.

So plot to your hearts content, or pants the story of your heart, because in this complicated time our world is in, everyone wants and needs some spiritual uplifting and lots of happily ever afters.

Elizabeth Scott
OCC/RWA
V.P. Programs
Facilities Coord.

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