Music by E. J. Williams
February 3, 2021 by Janet Elizabeth Lynn and Will Zeilinger in category Partners in Crime by Janet Elizabeth Lynn & Will Zeilinger tagged as 1960s, Billboard top 10, E.J. Williams, music, Research for Writers
Music
The Top 10 1960s Billboard Hits
Enjoy the waltz down memory lane!
- 1960 A Summer Place Theme recorded by Percy Faith and orchestra
2. 1961 Tossin and Turnin by Bobby Lewis
3. 1962 Stranger on the Shore by Mr. Acker Bilk
4. 1963 Sugar Shack by Jimmy Gilmer and the Fireballs
5. 1964 I Want to Hold Your Hand by The Beatles (Ed Sullivan Show)
6. 1965 I Can’t Get No Satisfaction by The Rolling Stones
7. 1966 Ballad of the Green Berets by SSgt. Barry Sadler
8. 1967 To Sir with Love by Lulu
9. 1968 Hey Jude by The Beatles
10. 1969 Sugar, Sugar by The Archies (You’ll get a kick out of the animation.)
Author Tracy Reed debuts The Good Girl Part Trois!!
February 2, 2021 by Jann Ryan in category Jann says . . . tagged as Author Interview, Jann Ryan, romance, The Good Girl Part Trois, Tracy Reed
A California native, novelist Tracy Reed pushes the boundaries of her Christian foundation with her sometimes racy and often fiery tales. After years of living in the Big Apple, this self-proclaimed New Yorker draws from the city’s imagination, intrigue, and inspiration to cultivate characters and plot lines who breathe life to the words on every page. Tracy’s passion for beautiful fashion and beautiful men direct her vivid creative power towards not only novels, but short stories, poetry, and podcasts. With something for every attention span. Tracy Reed’s ability to capture an audience is unmatched. Her body of work has been described as a host of stimulating adventures and invigorating expression.
Jann: What inspired you to write The Good Girl series?
Tracy: This is a very easy question, sort of. I was asked to be in a box set and needed a book. The box set was focusing on heroines in their twenties. I had a possible book, but the heroine was older and it wasn’t possible to make her younger. I kicked around a few possibilities and then I got an idea for a book. A young Christian woman gets her dream job and how she handles the possible ethical and moral challenges. I kicked the idea around some more and started writing.
Jann: How long did it take you to develop your characters, Gabriella Townsend and Phillippe, and plot for the series?
Tracy: I’m a pantser, so all I had was a basic idea…an office romance. I develop my characters on the fly as the story unfolds. I write books with faith and sex. In all my books someone is wrestling with their hormones, urges and faith. I call it real life. People of faith or Christians are not super heroes. They face the same challenges and temptations as anyone else. It’s how they handle them that’s different.
Since I use a basic template, it didn’t take long for me to develop this story. The biggest challenge is to keep Phillippe’s identity a secret. I think I handled that pretty good. I didn’t want Gabriella to come off as naive or not bright although she’s very perceptive. She knows he’s keeping something from her, but she hasn’t been able to figure it out. I sort of address it, by having him tell her there are things about his employment contract he can’t divulge.
I knew the characters had to be the opposite of each other. Gabriella is petite, curvy, pretty and has curly hair. She loves God and has a heart for people. She values character more than money. In the beginning of the series she sounds a little immature, but when she is exposed to Phillippe’s world, she grows up fast. Her dream is to work for Morgan Grant, eventually earning a VP position and a corner office.
Phillippe is a triple threat…handsome, smart and rich. To make him even more appealing, I made him very tall, dark, part French and African. He often slips into French when he gets excited. Which makes some of the love scenes very interesting. Gabriella refers to this womanizer as a walking sex dream. He’s amassed a fortune of his own, but heading Morgan Grant isn’t something he expected to do until much later.
Jann: The Good Girl Part Trois makes its debut this month. What major conflicts do your leading characters have to work through in this book?
Tracy: The way I write books is a little sadistic. I rope you in with a semi-sweet story and slowly turn up the heat throughout the series.
This book is no different. On a scale of one to five flames, I think this is 
about a 3.95. Gabriella is wrestling with her emotions and raging hormones. She’s promised herself she would save herself for her husband, but that’s a lot difficult to do when your boyfriend is a walking sex dream…your boss…and neighbor. She’s adjusting to her new life, feelings for her boss and convincing it might be possible to have a future with Phillippe. There’s just one thing gnawing at her, what is Phillippe hiding?
Phillippe has been hiding his identity from the outset of the series. He’s terrified if Gabriella finds out before he proposes, she might leave him. Oops, I let one of the cats out of the bag. The reader has known from book one, who he is, but not Gabriella. In a way it seems like their relationship is built on lies, but it’s more like half-truths and secrets. Phillippe is trying to figure out why his grandfather is insisting he get married before taking over the company and why is his ex-girlfriend back in town.
Without giving too much away, a quiet vacation in Anguilla changes the course of their relationship forever.
Jann: Part One and Part Deux in The Good Girl series are novellas, why is Part Trois a full-length book?
Tracy: Book one had to be a novella for the boxset. As I was writing, I thought it was going to be a one and done. But something happened towards the end. The characters took a turn and I really wanted to see if they could make their relationship work.
In book one, the relationship happened quickly because I was on a deadline. Once I got to the end, I did a horrible thing and ended it with a cliff hanger confirming there would be another book. When I started book two, I read something about the power of cliff hangers
for sales. So that’s what I did. I amped if the sexual tension and left it with a cliffhanger. I immediately started writing book three and a couple of people and a highly respected author told me no cliffhanger. Readers don’t like them unless the next book is available.
When I started the third book, I really thought it would be a novella too and that I could tie up everything. Once I started writing, the story kept going. I wish I could tell you what happens. If you’ve read the series, I don’t think you saw the ending coming. I know I didn’t. I have to admit, I was tempted to make Gabriella pregnant, but I thought that was expected. Instead I did something else while keeping Phillippe’s identity a secret from her.
Jann: How many books do you plan for this series? If there is a book four, when will it be out?
Tracy: Yes, there’s a fourth book and I think it will be the end. Book four is a result of what happened in book three. The Good Girl is now a sophisticated businesswoman engaged to her boss. That’s the only spoiler.
I’m writing the last chapters now. My goal is to release it a few months after Part Trois.
Jann: What do you hope readers will take away from this series?
Tracy: Good question. You don’t have to sacrifice your beliefs for love. Or as some would say, It’s just as easy to fall in love with a billionaire as it is to fall for the average bloke.
Jann: I understand you’re planning on rebranding your Alex series. Tell us about the series and what’s involved to rebrand it.
Tracy: The Alex series are the very first books I’d written. The series is about five best friends and a pact they made in college to never get involved with any of their exes, employees or relative. Unfortunately, they break the pact.
It was originally written as a chick lit. It was the book I used
to get my agent, I had. While it was being shopped around, I wrote another book and started reading a lot. [Early in my career, I was told not to read anyone else’s work. I later found out that was some very bad advice.] The more I read, I more I knew the series needed work. I did a major rewrite.
I stand by this series. I received an Amazon review from a reader who got my style. “Book one of the series was set on simmer, but book two was a rip roaring inferno. The word used incessantly throughout the book, passion, tells you all you need to know. My favorite couple, Alex and Moses, finally get married, and boyyyyyy they dang near tear each other’s clothes off with their teeth!!! Y’all know that feeling!!!😁😁😁 The second part is just as good as the first part, but be warned, there were some unresolved issues that cropped up. There may be a book three, SURPRISE!!😄😄😄 incess. Buy it, read it and enjoy!!”
Sales have been slow and the few reviews have been pretty good. I believe in this series but know it’s time for a new look The new covers scream contemporary, which is what I want. The female body image is being replaced with man chest. I’m also changing the fonts and updating the blurbs. I’ll be testing the covers with my reader group later this month.
Jann: You’re a multi-published author. How do you stay motivated? What drives you to keep writing?
Tracy: Good question. The answer for both questions is the same. I like telling stories.
Jann: Thanks Tracy for sharing with us today. Good luck with The Good Girl Part Trois!!
Read Tracy Reed
February Featured Authors: The Extra Squeeze Team
February 1, 2021 by The Extra Squeeze in category Featured Author of the Month, The Extra Squeeze by The Extra Squeeze Team tagged as February Featured Authors, HO Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, The Extra Squeeze, The F bomb, writing
Each week in February we’ll be featuring The Extra Squeeze Team.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Have you a question for The Extra Squeeze Team? Send them to us by using this handy link.
From The Extra Squeeze Archives
Is the F word a bomb?
We’ve read books with it all over the place and yet notice that readers object to it.
Does anyone really like using it?
Would another word do?
When is it necessary?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Is the F word a bomb?
What kind of fucking question is that?
What kind of friggin’ question is that?
What kind of question is that?
Actually, this is a great question and one I am happy to weigh in on because the use of the F-word had an impact it had on my career.
I began my career as a romance writer (I was fired from this gig because I kept killing characters before they fell in love. My editor suggested a genre change.) I never used the F-word when I wrote romance. When I moved to contemporary women’s fiction I used it sparingly in these longer, more intricately plotted books (the word was only uttered by bad guys).
When I upped the ante and moved into a male dominated genre – legal thrillers – everything changed. Writing became tighter, characters multi-faceted, plots ‘torn from the headlines’ were much grittier. In my writing the F-bomb was spoken by hard charging attorneys and socially marginalized criminals alike to underscore their tenacity for fighting for justice in the former instance or illustrate disdain for the system in the latter.
Hostile Witness* was the first book where I really let loose. Lots of male thriller writers used the word, why not me? My editor at Penguin/Putnam had no problem with it and approved the book. When the Hostile Witness was traditionally published, I received no letters of complaint.
Then came the Internet. I republished the first three books of the Witness Series* and readers started posting reviews as easily as they clicked their Kindle. I remember the first bad review I received because of my use of the F word. It said, “The language in this book is vile. I will never read this author again.”
That stopped me cold, so I went back to the files and searched how many times I had used the F-word. I was shocked and embarrassed by what I found. In my quest to establish myself as a hard-edged thriller writer, I had gone overboard. Using profanity to the degree I had took the reader out of the story at best and offended them at worst. I asked myself, was there a better way to write a scene? A better way to inform a character? Had I been a lazy author and fallen back on a word rather than my skill to get a point across?
The answer to all these questions was yes. Now I use the word friggin’ or cut the word off at Fu — and let the reader’s mind fill in the blank. Bottom line, I took the review to heart, objectively looked at my work and made an informed decision before I re-edited the book. Did I lose anything by banning the F-word?
(F-word deleted) no.
*Hostile Witness is Free to readers.
**Sign up for my mailing list and get Hostile Witness and the Spotlight Novella, Hannah’s Diary, Free.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
The Urban Dictionary defines ‘F-bomb’ as “the strongest weapon in one’s verbal arsenal” (a bit extreme, but it makes the point). Is it necessary to use in fiction? No, not necessary, but sometimes appropriate. The plot, the scene, the character, the action, the tone can all come together to make the F-word the only adjective or expletive that works. In that case, it should be a shocker – a strong, realistic part of the narrative rhythm. The word should be chosen with consideration and, by all the writing gods, don’t overuse it. Repetition strips the word of any value; it just becomes distasteful, silly and embarrassingly adolescent.
It wasn’t long ago a writer would never consider using the word, nor would a publisher let them, although the F word was understood to have the strength of a bomb.
from The Maltese Falcon (Dashiell Hammett, 1930)
The boy spoke two words, the first a short guttural verb, the second ”you”.
“People lose teeth talking like that.” Spade’s voice was still amiable though his face had become wooden.
Great, right!? There are so many options for word smithing around the F-word but that requires thought and skill. Too many authors take the easy way out and use it as verb, adjective and noun. That’s just lazy or the mark of a poor writer.
I recently ran across this Amazon review:
I gave it 5 stars, because the writing, the sense of humor the detective has, and the story! All great! In fact, you are such a good writer, you don’t need to use the “F” word as much as you do! Your characters are great without it!
Such a good writer…you don’t need to use… the reviewer said. That’s exactly what I mean.
Well, a bomb is something designed to explode on impact, so I guess if you want to f-bomb effectively, it needs to be unexpected! In that case, it’ll only detonate properly in the most delicate, sweetest and appeasing of godly novels! But, of course, readers don’t always like to be shocked so hard that they fall off their chairs, and using language that is not in-keeping with the story will only make it jar, in my opinion. As writers, we aim to torture and make our readers emotional from time to time, but there’s intent and then there’s intent.
I don’t mind using swear words – their offensiveness changes over time, and the F-bomb (being polite for you all here), is hardly the most offensive word or phrase out there at the moment. In some novels it’s absolutely appropriate to include swearing, and the target readership will reflect that. I do think over-reliance on a single swear word is a negative thing though. There are so many varied ways of swearing, and it’s up to the author to come up with setting- or character-appropriate vocabulary. In my fantasy novels, I frequently use ‘follocks!‘ (an obvious portmanteau of f**k and boll**ks), because it conveys the emotion I want, but also carries humour and sets the imaginary world apart from this one.
What do you think of using the F-word in fiction? Let us know in the comments.
Dear Extra Squeeze, Do You Have Audio Book Tips?
January 31, 2021 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team, Writing tagged as audio books, H.O. Charles, Jenny Jensen, Rebecca Forster., Robin Blakely, The Extra Squeeze Team
Dear Extra Squeeze Team, I am interested in audio books, but I do not know how to get started in that arena…what are your tips?
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
The most important thing is to evaluate and prepare to articulate what you want. Listen to audio books in the genre of your work. Find the best ones that resonate with you. Note who the voice talent is and what you like about their performances. Then, step back and listen to the best audio books in other genres. Sometimes there is a huge difference between what is good in one genre and what is good in another genre. Noticing what you like and don’t like becomes more apparent through comparisons. Researching what you like and why will strengthen your vision for the end product. If you know what you really want and can express it, you will be able to find the talent you want in the audio arena.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Not sure how much help I can offer as I know nothing about distributing audio books, but I can say that the place to begin is with the voice talent. I used to produce radio spots and one had to keep a book of voice talent and jump through audition hoops to find the voice that best fit the ad’s product and audience. It’s so much easier today.
There are hundreds of really fine voice actors on the internet and most of them have the equipment needed at their fingertips. The actor’s websites have links to examples of their work so all you have to do is listen and consider if that voice has the right intonation, quality, clarity and personality to be a good narrator for your particular story. That’s a pretty subjective decision, so no tips on that.
I do suggest, however, that you test enough of the actor’s handling of dialog to know if it will work. Do you like the way she handles a man’s voice? How does he handle female voices? Children? Old people? Surprise, Anger? Most actors, once contacted, will audition a passage from your work. Then be aware of how the actor handles the issue of rights.
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
I’m the wrong person to ask about audio books. I am not an ‘audio’ reader and I proved it when a producer bought my series. I was asked to choose a narrator, and I did not choose well. I will eagerly read my colleagues suggestions and we’ll learn together.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
I’ve yet to record mine, despite years of working on radio programs and in audio production! From a production perspective, you need a room with dampened sound (soft furnishings to absorb echo–think of a studio with egg cartons and foam on the walls). You need a good microphone and a lot of disk space. There’s probably a way of recording using a mobile phone, these days (I’m a bit out of date!), as their microphones are improving all the time.
Avoid mic pops – this is where your Ps and Bs thump the mic as you spit at it. Make your editing easier by enunciating clearly and repeating a whole line when you make a mistake. Keep your background noise (kicking the desk, pets, traffic…) to the absolute minimum. For editing, Adobe Audition has long been the best tool, but it requires some getting-used-to for those just learning. Audacity is free and much simpler for the newbie.
Practice your acting skills. There’s nothing more boring than a reader going through an entire novel in monotone. Listeners latch onto variation in pitch and tone, and emotion. You may feel ridiculous doing it, but it’ll sound much better in the final edit.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
If you have a question for The Extra Squeeze Team, use our handy dandy contact form.
Coming into Focus by Dianna Sinovic
January 30, 2021 by Dianna Sinovic in category Quill and Moss by Dianna Sinovic tagged as description, descriptive writing, details, scenes, writingFrom our archives:
The devil is in the details—not only when moving forward with any plan—or with life, but also when working to make a novel, short story, or even narrative nonfiction come to life for the reader.
In the following examples—selected randomly from my bookshelves—the specificity of the details pulls you right into each scene.
The slick black road became narrower, windier, became the single-lane track I remembered from my childhood, became packed earth and knobbly, bone-like flints.— from The Ocean at the End of the Lane by Neil Gaiman
His eyes had the bluish gray color of a razor blade, the same polished shine, and as he peered up at me I felt a strange sharpness, almost painful, a cutting sensation, as if his gaze were somehow slicing me open. — from The Things They Carried by Tim O’Brien
Her clothes can stay behind—her humble pale-print dresses, her floppy hat. The last library book can remain on the table under the sagebrush picture. It can remain there, accumulating fines. — from “The Jack Randa Hotel” in Open Secrets by Alice Munro
With just a few precise details, the authors do more than describe; they weave their tale. The road in Gaiman’s story speaks of the character’s childhood, perhaps a rough one, based on the bumpy flints. The razor-like stare of the man in O’Brien’s scene lets us know the main character has met someone from whom it may not be easy to disengage. And while we know that Munro’s character visits the library, the urgency of her departure makes an overdue book seem trivial.
So, details, yes, but only the right ones. That’s something I struggle with in my writing. As a former journalist, I was taught to focus on the who-what-when-how, so I’m prone to put in too much information.
Earlier this summer I was fortunate to hear Colum McCann speak at the Rutgers Writers Conference in New Jersey. I loved his Let the Great World Spin, and I wasn’t disappointed by what he had to say. In his keynote, he told us of his travels across America when he first arrived in the U.S. from Ireland. All interesting, entertaining stuff, especially when told in his lilting accent, but what really resonated with me was what he called “the beauty of the extreme detail.”
It’s finding the one bit of description to insert in the scene that makes your reader believe that what you’ve described is true. How do you find that one perfect bit? Through your research, of course, whether the research of human experience, through interviews, or by Internet searches.
McCann offered for his example his research into the world of ballet while working on Dancer. After spending hours of time hanging out with a ballet de corps, learning the terminology, the joys and frustrations, the daily life of a dancer, he took his young daughter to see their production of The Nutcracker. He later shared with the dancers his daughter’s hands-down favorite scene: the Waltz of the Snowflakes, with the snow drifting down. It was, the daughter said, magical.
Instead of agreeing with him, the dancers groaned: That scene was their least favorite. The “snow” that fell was swept up after every performance and set aside to let loose at the next one, without filtering out any of the dirt and debris that might have been on the stage. The dancers told McCann that the only thing they could think of when the “snow” began falling was that they would need to wash their hair.
He said that nugget of detail gave him more cred among dancers who read his book than if he had used other, more mundane descriptions of the corps.
I can’t say that I no longer struggle with the details in my WIPs, but they don’t devil me quite as much.
How do you decide which details to include in your writing?
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