Epcot Food & Wine Festival

We ate our way around World Showcase at this year’s Epcot International Food & Wine Festival. This event runs from Sept. 28 – Nov. 12 so you have plenty of time to get there. You need a regular ticket to get into the theme park and then you buy the sample foods and drinks as you circle the lake and browse the marketplaces.

We turned left and hit the Terra stand first, sampling the Chicken Curry with Basmati Rice. While I like curry dishes, this one was a bit spicy. I wanted to try the Jerk Chicken Drumstick with Mango Chutney at the Caribbean booth, but the line was too long, so we moved on to Argentina. Here I had the Grilled Beef Skewer with Chimichurri Sauce and Boniato Puree (tastes like mashed potatoes with pesto sauce). This item cost $5.00. I believe prices went up this year because I don’t remember many dishes costing that much before.

I might have liked the Shrimp on the Barbie or the Grilled Lamb Chop at Australia but saved them for another visit. One of our kids got the Shrimp Taco at Mexico and I had a taste. Good!

On to Scandinavia, another favorite. Their Swedish Meatballs with Lingonberries is the best—even better than Ikea’s meatballs. This cost $3.50 each and was well worth the price. My husband had the Taste of Scandinavia for $4.00. This was a plate with cured salmon and herring and shrimp salad.

China came next. I’ve had their Potstickers and Chicken Satay before so passed on it this time. Also walked past South Korea even though the Mung Bean Pancake with Shrimp looked interesting. South Africa is another favorite with Filet of Beef and Smashed Sweet Potatoes. It’s one of the most tender cuts of beef around and done just right for $5.00.

We moved on past vendors with plates of cheeses, a Brewer’s Collection for beer drinkers, and skipped the Apple Strudel at Germany. One dish sounded really interesting at Poland—Toasted Mushrooms, Carmelized Onions and Cheese Bread—but I’ll have to save it for next time. We breezed past Italy to the American pavilion where I zeroed in on my favorite dessert, the Pumpkin Mousse at the “Hops and Barley” counter. For $1.50, this is a bargain. It comes in a mini-dessert cup like you get in some restaurants these days. It’s so good, I had to buy the Festival cookbook for the recipe ($16.95 plus tax).

I wanted to get the Coq au Vin with Mac and Cheese at the France pavilion because it was so good last year, but I was too full already. I passed up the whole other side of World Showcase, unable even to taste the Mushroom Beef Filet Mignon at Canada or the Griddled Greek Cheese with Pistachios and Honey or the Chocolate Lava Cake at Ireland. I did go for the Mai Tai at Hawaii for the hefty price of $7.50. Save your money on this one. While I tasted some rum, it was a pleasant fruit drink in a plastic cup.

Now I’ve made myself hungry again. I need to go back to try all things I missed on this trip. Next time, we’ll start from the opposite direction.

China Pavilion New Wine Cellar Lounge at Italy

Writing Effective Dialogue

You’ve finished writing your book and are ready to start self-edits. What should you be examining in each conversation? Here are 14 tips to help you write more effective dialogue.

All conversations should have a purpose.
Dialogue is a great way to start a story and provide an opening hook. You’ll want to keep the pace moving forward. Besides backstory and flashbacks, there’s nothing that kills pacing more than meandering dialogue. Conversations should reveal information, advance the plot, deepen characterization, create conflict, offer comic relief, or present new insights. Long passages of dialogue where nothing happens will make your reader wonder when the story will move ahead.

Vary your techniques.
Information exchanges don’t have to be straightforward. Revelations can be tricked, teased, or threatened out of a character. Have your heroine blurt out something in the heat of the moment. Or have two characters discuss a situation and reach a new conclusion together. What you want to avoid is an info dump. Even at the end of a thriller or mystery where you have to reveal the How-Done-It about the crime, don’t just have the killer stand there pointing a gun at your hero while rattling off his confession. Save some of this info for the final wrap scene, where your hero reflects on events with another character and comes to an insight that brings growth and change.

Cut the fillers that people use in real conversations.
“Excuse me, um, did you—I mean, did I—tell you, like, what this topic, you know, will be about?” In this instance, we don’t want to write realistic dialogue. Our fictional sentences must be more concise and to the point. Some mannerisms are allowed for character development, like the person who says “you know” all the time, but leave out the rest of the fluff.

Watch those cuss words.
You may have a gutter mouth, or think your character should talk that way, but be wary of alienating your readers. Who’s your target audience? Do you want a wider readership? If so, sprinkle in the use of bad language judiciously or substitute a word like “frak” in Battlestar Galactica.

Don’t be too clinical.
When writing sex scenes, certain language is permissible if your genre is erotica but not if you want to appeal to a more general audience. Again, consider your readership. You may want to look at the emotional ramifications of a love scene rather than focusing on the sex act itself.
Avoiding certain terminology also applies to your character’s point of view. Occasionally, I will slip in some medical terms into my story. This comes from my own background as a nurse, not my hairdresser sleuth’s. My critique group always catches me on this error. So be careful of using jargon your character might not know but that you do.

Use dialect sparingly.
It can be enough to say your character has a heavy southern accent rather than changing every word, as in “Ah have to git me a new dress for the party Ah am hankerin’ to attend.” This is okay in small doses but can get annoying throughout an entire book. Ditto for foreign languages. Sprinkle in a few select phrases to give the reader the flavor of the character’s speech without making us stumble over sentences that are hard to pronounce, let alone comprehend.

Favorite phrases can enhance character.
What does your protagonist say when surprised? When he’s annoyed? Make up some favorite phrases for him to use as a speech tag, keeping his background in mind. For example, a hairstylist might say, “Holy highlights!”, or a space pilot: “By the stars!”

Avoid unnecessary speech tags and adverbs.
Leave off the “she cackled merrily,” “he ranted angrily,” or “she snickered devilishly.” You don’t need descriptive adverbs. Let the dialogue speak for itself. Use “he said” or “she said.” Better yet, show through action who is speaking.

Consider the technique of oblique dialogue.
This is where one speaker asks a question. The respondent either counters with another question or answers with an unrelated comment. Nonverbal cues can supply the subtext or clues as to what’s really going on in this conversation.

Don’t repeat info the characters already know.
This kind of info exchange, where two people talk about something they both already know, serves merely to fill the reader in on background info. Find another less obvious way to slide this knowledge into the conversation. Dialogue is a great way to add backstory but only if done in an unobtrusive manner and if it’s related to the current situation.

Separate single lines of dialogue from expository passages.
If you have a single line in quotes and the rest of the paragraph is introspection or action from the same character, put the line of dialogue in its own paragraph.

Reveal character through conversation.
Does your character always end a sentence in a question? Talk in a confrontational manner? Show his wishy-washy attitude in phrases like “I think,” “I guess,” “Well, maybe…,” or “I suppose?” These are ways to reveal personality through dialogue. Also, have your protagonist use metaphors, similes, and slang within his unique frame of reference.

Avoid talking heads.
Intersperse your lines of dialogue with action and emotional reactions. Conversation that’s not meaningful to your character isn’t going to grip the reader. We want to feel his gut responses. Even when the conversation itself sparkles with emotion, it helps to have the viewpoint character throw in a thought or two about it or perform some action that shows his emotional state. Then we as readers will empathize more strongly with him.

Review your work.
Reread your conversations looking for stilted dialogue, formal speech, out of character responses, and repetitions. This should be part of your editing process.

Dialogue is an important tool in our writer’s toolbox. Use it wisely and your readers will keep coming back for more.

How to Foil a Trollek

WHAT TO DO IF YOU MEET A TROLLEK by Nira Larsen, grad student in comparative mythology

Trolleks move so fast, you’ll see them as a blur of speed. Go back-to-back with a friend so an ugly brute won’t surprise you from behind. Any weapon will do but watch out for their disruptor fire.
Don’t let a Trollek touch an exposed area of skin, or you’re a goner. You’ll be confounded, i.e. under their spell and compelled to do their bidding. Believe me, you’d rather be dead than be made a mind slave.
Be aware of the distinction between Trollek males and females. The males are ugly human-like creatures with large ears and noses. On the other hand, the females are beautiful and entice men with their hot looks and irresistible pheromones. Unlike their menfolk, Trollek females have no fondness for human women. If one of them mentions experiments and science lab in the same breath, run and hide.
Trollek females have some issues with their men. If a Trollek lady aims her sights on you, engage her in a feminist dialogue. It might distract her long enough for help to arrive.
Watch out for their allies: shapeshifter fire giants, elf kings, and vengeful Norse gods. You can’t trust anyone, especially if they can morph into a lizard or a wolf.
If a Trollek says, “The Devil made me do it,” believe him.
Trolleks have a fondness for mirrors. If confronted by a beastie, pull a mirrored compact from your purse and toss it at him while you run away.
Scream as though your lungs will burst and a Drift Lord might come to your aid. Hope he hasn’t applied his personal protection system if you want to thank him properly for your rescue.
Ring a bell if you encounter a Trollek. They don’t like loud noises and that might provide enough of a distraction for you to run away.
Legend says a weapon exists that can defeat these beasts. Follow the clues and you might find it. But hurry; the apocalypse is nearly upon us!

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The Trolleks in my Drift Lords series are based on trolls from Norwegian legends. Some people say that certain rock formations may be trolls who have been turned into stone. What is your favorite fairy tale, myth, or legend?

Warrior Prince: The Drift Lords Series by Nancy J. Cohen

When mythologist and Florida resident Nira Larsen accepts a job as tour guide for a mysterious stranger, she’s drawn into a nightmare reality where ancient myths come alive and legendary evils seek to destroy her. To survive, she must awaken her dormant powers, but the only person who can help is the man whose touch inflames her passion.

After a dimensional rift in the Bermuda Triangle cracks open and an ancient enemy invades Earth, Zohar—leader of the galactic warriors known as the Drift Lords—summons his troops. He doesn’t count on a redheaded spitfire getting in his way and capturing his heart. Nira has the power to defeat the enemy and to enslave Zohar’s soul. Can he trust her enough to accomplish his mission, or will she lure him to his doom?

Watch the Trailer: http://youtu.be/aVm2FIumw0o

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Movies as Inspiration

MOVIES THAT INSPIRED THE DRIFT LORDS SERIES

TROLL (1986)

http://www.imdb.com/title/tt0092115/
Michael Moriarty, Shelley Hack, and Noah Hathaway

A troll king searches for an emerald ring that will transform him back to human. His search is centered in a San Francisco apartment building where a boy lives whose name is Harry Potter. This boy discovers he is special and only his wizardly powers can save the world. Hmm…Does this scenario and character name sound familiar?

THOR (2011)

http://www.imdb.com/title/tt0800369/
Chris Hemsworth, Anthony Hopkins, and Natalie Portman

Thor disobeys his father and garners the wrath of the frost giants. As punishment, he’s cast from the celestial home of the gods in Asgard and sent to Earth minus his superpowers. Here he meets scientist Jane Forster and learns compassion for the mortals on Earth. Their lives are threatened when Thor’s estranged brother Loki decides to conquer the world for himself. Wondrous world building, special effects, and superheroes make this an entertaining film, but the father-son relationships at the heart of the story are what makes it memorable.

THE LORD OF THE RINGS TRILOGY (2001-2003)

http://www.imdb.com/title/tt0120737/
Elijah Wood, Ian McKellen, and Orlando Bloom

Hobbit Frodo Baggins and friends go on a quest to throw an evil ring into the pit of fire where it was forged in order to destroy it. Various nasty creatures try to stop them. Excellent world building and a classic example of epic fantasy.

PRINCE OF PERSIA: The Sands of Time (2010)
http://www.imdb.com/title/tt0473075/
Jake Gyllenhaal, Gemma Arterton, and Ben Kingsley

A young prince invades an enemy city and steals a dagger containing the sands of time.Too late, he realizes the mistake he’s committed. Forced to flee after being accused of murdering the king, he wonders if he can use the magic sands to reverse time, correct the wrongs, and prevent an evil plot to change the world. Helping him is the princess whose land he had invaded. This film is pure escapist fun.

CITY OF EMBER (2008)

http://www.imdb.com/title/tt0970411/
Saoirse Ronan, Toby Jones, and Bill Murray

The people of Ember rely on their electrical generator for power, without which their mysterious world would go black. Lighting fluctuations cause alarm to the citizens but none more than two children who suspect there may be an escape route leading out of the city. But the rules forbid anyone from venturing beyond the borders, and the corrupt Mayor is quick to punish transgressors. Clues left by a previous official may lead our heroes to the answers, if the Mayor doesn’t capture them first. This fascinating YA science fiction adventure sticks in your mind.

HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 (2011)

http://www.imdb.com/title/tt1201607/
Daniel Radcliffe, Emma Watson, and Rupert Grint

Wizard Harry Potter and his friends face a final battle against evil Lord Voldemort and his allies at the Hogwarts School of Wizardry and Witchcraft. I kept these scenes in mind when crafting the final battle between my heroes and their foes.

ALMIGHTY THOR (2011)

http://www.imdb.com/title/tt1792794/
Cody Deal, Patricia Velasquez, Richard Grieco, Kevin Nash

[SPOILER ALERT!]

This cheesy, low-budget film starts out with Loki arising from the fires of the Underworld. He seeks the Hammer of Invincibility so he can destroy the Tree of Life that supports the nine realms. From Hell, he opens a gateway to Asgard where he attacks Odin, the ruler of the gods, and his sons, Thor and Baldir. Loki, a black-cloaked figure who speaks like a New Yorker, wields his magic through a bone wand with a globe on its end. He summons the Garmr, three monsters to aid him.

“This portends to be an evil day,” says Odin before he consults the 3 Norns. His dreams of stars turning black means destruction, the goddesses tell him. The magic hammer is the only weapon that can destroy the Tree of Life, and Odin must give it to Loki. Ragnarok, the end of the world, is upon them.

Through trickery, Loki kills Baldir and slays Odin. The dying Odin begs Thor to retrieve the hammer. “You’re our chance to change the fate of gods.”

Jarnsaxa, a servant of Odin, rescues Thor from Loki’s grasp. “Find them. Kill the girl anyway you like but Thor lives for now,” Loki orders his minions.

The girl leads Thor to the gateway for Midgard. She had been second in command under Odin’s father of the Valkyries and teaches him warrior skills.

Loki’s beast finds them and they escape through the portal to Los Angeles. J. lives there and takes him home. “This does not seem like the dwelling of a demi-goddess,” Thor says upon surveying her modest apartment. She claims she has to live like a human while in Midgard and shows him a gun. They don long coats as disguises and set off to find the Tree of Life. “Humans don’t believe in it anymore,” the girl claims with a hint of sadness. They pass through another portal. Thor feels the essence of life inside the great tree beating like a heart. Before he can near the center, a guardian knight challenges him. Thor wins the battle and retrieves the magic hammer. He and the girl return to Midgard.

Loki arrives in L.A. in his spiky black armor and cape and tries to trick Thor into betraying the girl. Thor fights him and wins his wand, tipped with the bone of Urrl. Loki claims it can release Odin and Baldin from Hel, but Thor doesn’t believe him and kills Loki.

The girl says Thor must get rid of the wand because it’s the devil’s tool. Then Loki materializes in front of them. “I killed you,” Thor says in astonishment. “Killed me? I never was alive.”

Loki summons a monster to keep Thor from going with the girl to Vahalla to train for battle.

Thor harnesses the power of the hammer to fight them. The girl kills the beast.

Thor is wounded but the girl saves him. They attempt to escape but Loki holds them baack. Thor heals himself with a magic potion. The girl is hurt when he finds her. As she dies and Thor sobs over her body, she turns into Loki. Having deceived Thor, Loki snatches the hammer from him.

Loki unleashes monsters who tear apart L.A. causing fires and destruction. He keeps Thor and the girl bound and forces them to watch. “It is the end of life, the end of time, the end of you…Soon the nine realms will no longer exist.” He hurtles the girl into the fiery depths of Hel and Thor is next. Loki passes through the gateway to the Tree of Life and demolishes it.

Thor realizes he is unable to stop Fate. Ragnarok comes. While in Hel, he forges a new hammer and returns to Midgard. With renewed vigor, Thor battles Loki. “Nothing is over. We control our own fate.” Thor defeats Loki, heals the Tree, and life blossoms again.

If you’re looking for purely escapist entertainment, this film will provide that much. But there are barely any actors involved except for the three principles mentioned. The dialogue is as over the top as the acting. See Thor with Chris Hemsworth for a movie worth its weight.

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Do you watch a movie and get inspired to read the book, or do you read the book first and then watch the movie?

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Warrior Prince: The Drift Lords Series by Nancy J. Cohen

Watch the Trailer: http://youtu.be/aVm2FIumw0o

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Troll Trivia

Trolls have been around in mythology from the early days. Let’s see how much you know about them. Why the interest? Since my series is based on Norse mythology, my bad guys are evil trolls called Trolleks. Remember the adage: Know your enemy.

TROLL TRIVIA by Nancy J. Cohen

1. A troll comes from which mythology:
a. Norse
b. Greek
c. Roman
d. Native American

2. Trolls have abnormally large:
a. Skulls
b. Noses
c. Knees
d. Stomachs

3. Trolls prefer to live:
a. Around lakes
b. In fertile valleys
c. Underground
d. In the woods

4. Trolls are often portrayed as:
a. Hunched
b. Large
c. Short
e. Fat

5. You can tell a Trollek female by her:
a. Beauty
b. Golden hair
c. Tail
d. Cunning eyes

6. Trolls have the power to:
a. Become invisible
b. Turn metal into gold
c. Fly
d. Breathe underwater

7. Trolls can be killed by:
a. Loud noises
b. Sunlight
c. Electricity
d. Water

8. Trolls will often:
a. Fight
b. Eat
c. Steal
e. Lie

ANSWERS: 1.A 2. B 3. C 4. B 5. C 6. A 7. B 8. C

I’ll be talking in more detail about trolls on Monday over at Coffee Time Romance.

Leave a comment for a chance to win a prize!

Warrior Prince: The Drift Lords Series by Nancy J. Cohen

Watch the Trailer: http://youtu.be/aVm2FIumw0o

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Radio Interview with Nira Larsen

INTERVIEWER: “Let’s welcome mythologist Nira Larsen who has something important to tell you.”

NIRA: “Hello, my name is Nira Larsen. I have important information on a dire threat to mankind. It’s crucial that you listen.” [Gives furtive glance over her shoulder.]

INTERVIEWER: “Can you elaborate, Miss Larsen?”

NIRA: “There’s been a breach in the space/time continuum. I know this is hard to believe, but evil creatures from another dimension have invaded our world. They’re called Trolleks, and they mean to enslave us.”

INTERVIEWER: [Laughs] “Come on, is this some kind of hoax?”

NIRA: “I’m serious. Trolleks look like us, with some differences. The males have large hands and feet and long, ugly noses. The females are beautiful. They give off an irresistible scent that lures people in. Then they put a spell on you so you’ll do whatever they say. Watch out for your neighbors. You don’t know who’s been confounded.”

INTERVIEWER: “What do you mean by ‘confounded’?”

NIRA: “Spellbound into becoming a mind slave. You can’t tell who’s under their influence. Rumor says they’ve already infiltrated world governments. We’re all in terrible danger.”

INTERVIEWER: [Looks askance] “What do they hope to gain by this subterfuge?”

NIRA: [Startled by a noise in the background] “They need us for genetic experiments. But that’s not the worst. The real threat is—”

[A white flash ensues, and the station goes off the air.]

The Invasion Begins…..

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If you heard this on a newscast, would you right away figure it was a hoax? Or would you turn the channel to see if other stations reported something similar?

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Warrior Prince: The Drift Lords Series by Nancy J. Cohen

Watch the Trailer: http://youtu.be/aVm2FIumw0o

Buy Now: http://bit.ly/anUmcy

Common Writing Mistakes

Recently, I’ve been judging writing contest entries. Below are some of the common problems I have discovered among these manuscripts. Out of several entries, only one passed muster. It was well written, kept my interest, had an interesting “voice” and an intriguing premise. I’d read this book if more was available.

The other submissions, however, were painful to get through. Here are some of the problems I encountered so you can avoid them in your work. I use the pronouns “he” or “she” interchangeably as this advice applies to readers and writers of both genders.

Establish the Setting Up Front

As soon as possible into the story, establish the place, season, and time of day. Remember your Who, What, Why, Where, and When. Try to work these into the opening pages unobtrusively. Example: Crickets chirped their nightly chorus, the music of summer. Or: Late afternoon sunlight glinted off an icicle hanging from the roof. Also, don’t mention a street name or landmark and assume the reader knows where this place is. Be specific and give a location.

Make Your Characters Likeable

Remember to address your character’s goals, motivation, and conflict. If you show her acting in an unfavorable manner, what made her that way? Motivate her behavior so the reader understands where she’s coming from and sees the light at the end of the tunnel with character growth by the book’s end. Give her redeemable qualities so we can like certain aspects of her. If not, the reader won’t care and that’s the death knoll to your story.

This also applies to the anti-hero. What makes him redeemable? Why should I, the reader, care about him? Also, what does your character want? If he wanders aimlessly through life with no particular goals, that makes me as a reader less interested in him. Unless, of course, you give me a reason why he behaves that way. Maybe he lacks confidence in himself because of a past event. Maybe he’s afraid of failure. Knowing this will make me more sympathetic toward him.

Watch Your Use of Bad Language

The occasional curse word may be acceptable for a romance hero who’s a hard ass or for a heroine in the urban fantasy genre or for guy fiction in general, but elsewhere it may raise a reader’s hackles. It can also turn off some readers completely, so this language should be sprinkled in judiciously, if at all. Add it only if it helps to define a character, not because it’s the way you speak or because you believe it makes your protagonist seem tough. Always ask yourself: is this necessary? If not, leave it out. Or deploy a substitute, like “frak” on Battlestar Galactica. If writing sex scenes, consider the subgenre. Certain words that may be acceptable for erotica might be too graphic or crude for readers with more delicate sensibilities, especially those who read romances more for the stories than the love scenes. Remember the old adage: Less is better, especially if you want to expand your readership.

Show, Don’t Tell

To keep the pace flowing, use mostly dialogue and action and minimal exposition. If you have long passages where nothing happens except the protagonist thinks to herself or explains to the reader what happened, the story comes to a dead halt. You want to imbue a sense of immediacy in your story, and that won’t happen unless you involve the reader. Telling me what is going on isn’t nearly as gripping as showing me. Each chapter should start and end with a hook. Again, long meandering passages of narration will not encourage the reader to turn the page and may put her to sleep instead. Also keep in mind that reader attention spans are shorter today. What worked in past prose doesn’t work in this age of technological marvels.

Save Flashbacks for Later

The first chapter is your only chance to grab the reader so she’ll continue your story. If you segue into a flashback, the forward momentum is lost. Who cares what happened in the past? Throw in a line or two in dialogue or introspection to show us and then move on. Or make it part of the story action, like in a confrontation with a friend or a hesitation on the part of the main character to perform some act. Work backstory in with minimal intrusion in your first few chapters. Flashbacks will kill pacing, so again, remove those long passages of remembrances. Only retain what is necessary to explain the current action. Later, after you’ve hooked the reader, you can work this info into the story, hopefully through dialogue.

Every Conversation Should Have a Purpose

When I say that you should use dialogue generously, I don’t mean that two friends should get together and chat meaninglessly on matters that don’t move the story forward. Dialogue should serve a purpose: reveal information, define character, move the plot ahead, offer reaction and reflection on what’s just occurred. So ask yourself as you approach a conversation, what do you want to get across in this segment? If you don’t have a point to make, delete the scene.

Proofread Your Work

Would you send an editor a manuscript that you haven’t read through to check for typos? No? Then why send one to a contest where mechanics are judged? Proofread your work for typos, dropped punctuation marks, repetitions and misspellings.

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Most of the entries I’ve read have been competently written. In some cases, the author’s voice comes through as distinctive and engaging. However, the writing itself isn’t the problem. It’s the content— in particular the pacing, structure, and/or character motivations. Does a crisis or a change happen to the character at the start so that she (or he) experiences a call to action? Does the story move forward from there? Or does it stumble while you detour into a long introspection or memory sequence? Do you involve the reader in the action or tell us what happened? Is your character passive or proactive? Have you done all you can to attract new readers and not repel them with questionable language? Reread your first three chapters. If you were an editor, would you want to read more?

Cooking Class

My husband and I have attended various cooking classes throughout our time together. We started in Gainesville where he had a fellowship and we had an infant. Taking these courses together gave us something fun to do. We took a series on French cooking and then another on Chinese cuisine. Sporadically thereafter, we’d sign up for adult education classes learning everything from chicken recipes to cake decorating (he didn’t attend that one).

Recently, we’ve been rediscovering this interest since Publix opened a cooking school here.

The classrooms are on the second floor of a newly remodeled store. Last night we attended our third class there. I’d hoped to learn some meat recipes since the only beef I can cook is brisket.

On the menu first was grilled five spiced salmon with coconut crostini. This was a large slab of salmon steak (although it looked like a filet?) grilled lightly to just cook through, served on a toasted crostini with coconut flakes. It was delicious and my favorite dish of the evening. Accompanying white wine blend was Hot to Trot by 14 Hands. I liked this a lot.

Next came a good company dish—mushroom, spinach, and smoked Gouda stuffed flank steak. I liked the stuffing more than the meat that could have been cooked a bit more. A red wine was served with this portion. We’ve had Chateau St. Jean cabernet before and still enjoy it.

If you like spicy foods, you’d like the cocoa and three pepper dusted beef tenderloin with grilled fingerling potatoes. This called for three kinds of chili powder along with garlic and onion powders to make a blend and rub on the tenderloin. The potatoes were boiled then halved and placed on the grill for just a few minutes. They were good, but I prefer my own roasted red potatoes with garlic and rosemary.

The menu was crowned with balsamic strawberry shortcake napoleons. This was an easy fix with balsamic vinegar dribbled over fresh sliced strawberries mixed with a bit of confectionary sugar. Whip some heavy cream into a froth and then put this into individual puff pastry cups you can buy in the freezer section. Top the whipped cream with strawberries and you have a fresh fruit dessert. The wine here was a sauvignon blanc from Simi winery in Sonoma.

We had pleasant conversation with the chefs and other attendees while sampling all the foods and sipping wines—a pleasant evening to be had by all.

How Can Readers Help Authors?

If you’re an avid reader, no doubt you’d like to encourage your favorite authors to keep writing. What can you do to help?

Write customer reviews on Amazon, BookBub, and other online reader sites.

Add the author’s book to your Wish List on Amazon and TBR pile on Goodreads.

Search for the author’s website, author name, and book titles periodically to raise their rank in search engines.

Like the author’s Facebook page; Share and comment on her Facebook posts.

Retweet author’s Twitter posts and Like their Instagram posts.

Forward the author’s newsletter to a friend.

Recommend the author’s books to your book club.

Look for good reviews of the author’s book and click Yes to “Was this review helpful to you?”

Follow author’s blog tours and leave comments.

Repin author’s photos on Pinterest.

Offer to hand out bookmarks for the author.

Offer to lead a Street Team of fans to spread the word about the author’s works.

Suggest the author as a speaker at community events and writing workshops.

Buy the author’s latest book or ask your librarian to order it.

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Anything you can do will help, especially in this era of viral content. Word of mouth still has the most effect.

The Wrap Scene

You’re approaching the end of your book. Do you finish in a spate of action, or do you have your characters meet in a quiet scene where they reflect on what’s occurred? In a romance, these last pages are where the hero proposes and the main characters profess their love for each other. In a mystery, this scene serves a different purpose. It’s where all loose ends are tied up and final explanations for the crime come to light. Use the following steps as a guideline for your own work.

The authorities reveal information they previously couldn’t discuss.

In the course of an investigation, the police/detectives/federal agents cannot reveal all that they know. But once the killer is in custody, they can explain the rationale that led them to determining the murderer’s identity. In my Bad Hair Day mysteries, hairstylist Marla Vail is married to a homicide detective. Her husband Dalton may discuss some aspects of the crime with her earlier on, but much of what he learns cannot come out until later. Marla follows a different path to targeting the killer. This final scene may show them exchanging information on how each one arrived at the same conclusion but from a different angle.

The villain’s means, motives, and opportunity are exposed.

What drove the villain to commit the crime? How did he do it? Very likely, in the previous chapter, the hero confronted the killer, who may have confessed. But here is where you can fill in the sordid details and psychological aspects of the crime.

The survivors are not forgotten.

Even if you’re writing a light cozy mystery, the murder affects people. What happens to the victim’s family? How about the killer’s close relations? Two sets of tragedies occur here. What are the ramifications for these people?

What has the protagonist learned?

This is perhaps the most important item. Your main character, the amateur sleuth, has been affected by these events in some way. What has she learned from this experience? How have the people around her changed? How does this sequence of events change her plans for the future?

Set up for the sequel.

Has a new person been introduced into your universe who may play a larger role next time? Is there an unsolved mystery that’s part of a bigger story arc? Or does your main character receive a call to action that he has to accept? Here is where you can drop a hint of what’s to come.

Revisit old friends.

This final scene might take place between your main characters alone, or among recurrent characters whom your readers have come to regard as friends. This decision will arise from your setting and from the people who’ve peppered your story. Genre expectations may play a role here, too. In a romance, usually the hero and heroine are focused on each other at the end. Anything goes in a mystery, thriller, or sci-fi/fantasy, but make sure the ending has emotional impact no matter which characters it includes.

Frame the story.

If you began your story with a particular setting, you may want to return there for your final scene. Framing the tale in this manner resonates with readers.

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It’s hard to remember everything that’s happened when you write the first draft of this scene. No doubt you’ll add more later during self-edits. It helps to write down all the loose ends when you do a continuous read-through. Then you can check off each item as it’s answered in the story and fill in any missing information by the final chapter. Keep in mind that it’s important to end your story on an emotional note that will satisfy readers and encourage them to look for your sequel without delay.

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