Using Myths & Legends to Enhance Your Story

Weaving mythology into your novel can add depth and resonance. How mythology influences story structure is explained fully in The Writer’s Journey by Christopher Vogler, a book that I highly recommend. But aside from structure, you can use myths and legends to drive your story or an entire series.

In Circle of Light, book one in the Light-Years Series, attorney Sarina Bretton is kidnapped from Earth to become the legendary Great Healer. For eons, tales had been told of a savior, but as nothing occurred, the myth faded. Then the predicted signs started coming true and talk of the legend revived. Signs of the Coming included a Comet, Conquerors, Internal Strife, and a Plague.

It was said the legend would come to pass when the Great Healer married a Raimorrdan who was highly placed and who was born under the sign of the circle. The healing aura could only be activated by the power of love. But can Sarina learn to love Lord Cam’brii, the man she will be obligated to wed? Or does her heart belong to the rakish starship captain who transports her to meet her betrothed? In reflecting our own times, the similarities seem uncanny. We have a pandemic, political strife, and conquerors throughout the world. All we are missing is the Comet. Where is the Great Healer when we need her?

Moonlight Rhapsody, the next volume in the Light-Years series, is based on the mythical sirens who lure sailors to their doom. Ilyssa, the heroine, has the power to mindwash men with her singing voice.

The Drift Lords series also relies on myth and magic. These stories derive from Norse mythology complete with runes, descendants of Odin and Thor, magic devices and mystical realms. The legend in this story is that “The six daughters of Odin must join with the six sons of Thor to utter the ancient words.” By chanting this spell, they will repel Loki and shut the rifts between dimensions. First the Drift Lord warriors must find their destined mates, and the women have to be awakened to their powers. We start with their team leader in Warrior Prince, book one in this saga that also includes mythological creatures like this sea monster.

Using myths and legends works in mysteries, too. In Facials Can Be Fatal, there’s the legend of an infamous pirate that plays into the story. This was loosely based on the pirate Gasparilla who sailed off the Florida coast. Here’s an excerpt:

“A pirate nicknamed Red Ted, because of his lust for bloodshed, plied the waters off the Florida coast. He died in battle with an American naval warship. But when the troops arrived at his camp near St. Augustine, it was empty. No captives, no loot.”

“Yes, I read about him.” Even to Marla’s own ears, her voice reflected her excitement. “Warren mentioned this guy in his journal. He thought they might have uncovered part of his hoard.”

“Before his last voyage, Red Ted was getting set to retire. He’d loaded his goods onto a mule train and told his second in command to take it to Key West, where he planned to hole up in his later years. Then a sighting came for one more merchant ship that appeared to be unarmed. He couldn’t resist this last kill and set sail. The vessel turned out to be a warship hiding under a merchant flag, and Red Ted shot himself rather than be captured.”

“What happened to his mule train?” Marla asked.

“They were attacked by Indians on the route south. The natives made off with horses and mules and left them with fewer pack animals. They had to lighten their load and so buried some of the chests. They didn’t have much better luck as they headed into swampland and were beset by storms as well as bandits. With dwindling resources, they buried more loads along the way.”

“Hopefully someone kept track of those locations,” Dalton said in a wry tone.

“Only one survivor staggered into Key West. He waited for Red Ted until word came that the pirate king was dead. Ravaged by disease, he tried to sell his map but nobody believed him. He headed north, afraid he’d be identified as a pirate and hanged. That was the last anyone heard about Red Ted’s treasure. But the man had a pouch of uncut emeralds on him that provided him with a cushy lifestyle in the end. In my mind, that indicates the tales of Red Ted were true.”

Weaving mythology into your novel can add depth and resonance. #amwriting #writingtip Share on X

Adding myths and legends to your story makes them fun and interesting beyond the ordinary. You can delve into history or mythology and magic while adjusting the ancient legends for your own needs. It gives an added dimension to your work and resounds within our storytelling minds.

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Recent Reads – Book Reviews

Readers are always asking, who are my favorite authors? So I’ll share with you some of my recent reads. My tastes vary from romance to mystery to scifi/fantasy. At any time, I’ll be reading more than one book. I have not included the historical romances I’ve read, because these are mostly older books I have accumulated from conferences over time. They’re my comfort books that I reach for when I need a pleasant escape. You can see all of my reviews over at Goodreads. So here are the other recent titles from my shelves that I would rate at 4 or 5 stars.

The Detecting Duchess by Kate Parker (Historical Mystery)
Soon-to-be Duchess and Victorian bookshop owner Georgia Fenchurch gets embroiled in another murder mystery just days before her wedding to the Duke of Blackford. The case involves stolen Egyptian gold, governmental diplomats, and a missing investigator. As the bodies pile up, Georgia wonders if she’ll be able to make her nuptials. Can she find the killer before the wedding bells ring, or will it be her death knell instead? Another charming addition to a delightful series. http://amzn.to/2t1oKeV
The Magdalen Girls by V.S. Alexander (Historical Novel)
This haunting story about a girl forced into servitude at an Irish laundry run by nuns is gripping in its tale of betrayal, despair, hope, and faith. Vivid historical details bring the story to life as readers suffer along with the wrongly accused young woman, Teagan Tiernan. As she fights for survival, she befriends two other girls, which makes their monotonous routine somewhat bearable. Insisting on her innocence, she never gives up the quest for freedom despite harsh living conditions, forced labor, and humiliating punishments. This dark blot on the church’s history exposes a sorry past of cruelty in the name of love and redemption. http://amzn.to/2srG7si
Honor’s Flight by Lindsay Buroker (Science Fiction)
Book two in the Fallen Empire series has Captain Alisa Marchenko and crew arriving on her home world. All Alisa wants is to retrieve her daughter, but obstacles lay in her path. Her crew members are wanted men, and everywhere they go on this imperial planet brings danger their way. Alisa finally reaches her daughter’s location, but things don’t go the way she’d planned. Her late husband kept a deep secret from her that affects her entire family. Now her quest must continue as she faces a greater foe. This series has me hooked. It’s reminiscent of Firefly and has a sympathetic heroine with a relatable goal. http://amzn.to/2srKO5E
Star Nomad by Lindsay Buroker (Science Fiction)
This first book in the Fallen Empire series finds former Alliance pilot Captain Alisa Marchenko looking for a way off the planet where she’s been recovering from injuries sustained in battle. The war is over, and the Alliance won. She needs to retrieve her daughter and move on with her life. But she can’t afford supplies even if she can reclaim the ship that brought her there. Her only solution is to take on paying passengers. Thus she takes off with a misfit group of comrades, most of whom guard secrets that could prove dangerous. Alisa and friends get into one scrape after another while each one chases their own elusive goal. Will she survive long enough to find her daughter? And why does she feel attracted to the imperial Cyborg soldier when she should fear him? Can she betray him if the time comes? Readers won’t want to stop with this one volume. You’ll want to follow Alisa and her motley crew on their next rousing space opera adventure. http://amzn.to/2rgCAZx
A Front Page Affair by Radha Vatsal (Historical Mystery)
Enterprising journalist Kitty Weeks is covering a social affair for the ladies’ page in early 1900s New York when a man is shot dead in the stables. Her assignment turns into a series of interviews of various guests present that day. Using her unique skills, she’s able to gather information on the suspects. But things become personal when a couple of Secret Servant agents implicate her father in a scheme that might have a broader reach. Wartime is on the horizon. How much is Kitty willing to risk to learn the truth? Kitty Weeks is a delightful heroine and so are the supporting characters that populate this historical mystery. I’m eagerly looking forward to the next installment. http://amzn.to/2rgTVl3
The Keeper by David Baldacci (YA Fantasy)
Vega Jane and her companions traverse the dreaded Quag in this second book of Baldacci’s famed fantasy series. She’ll need all her magical powers to survive the different levels. Each of the five circles comes with its own dangers. Challenged at every corner, Vega must rely on her own wits and instincts plus the allies she meets along the way. Will she and her best friend Delph defeat the creatures that live in the wilderness? Or will they be lost in the Quag forever? This action-packed tale will have readers rapidly turning pages and eager for the sequel. If you like quest stories and monsters, this one is for you. http://amzn.to/2t1gATQ
Really, Truly Dead by Maggie Toussaint (Mystery Novella)
Lindsey, a journalist, returns to her hometown only to find her father arrested for the murder of the town judge. The man didn’t lack for enemies. He was about to put the local shrimpers out of business by not renewing their dock lease. He owned a sleazy motel and had a mistress or two on the side. But it doesn’t look good for Lindsey’s father, who was having an affair with the judge’s wife. Meanwhile, the sheriff has his eyes on Lindsey, and those heated glances he gives her have nothing to do with the case and everything to do with romance. Can she solve the case and clear her father’s name so she can follow her heart? http://amzn.to/2t1kA6K
New Canaan by M.D. Cooper (Science Fiction)
General Tanis Richards wishes she could enjoy a peaceful life at New Canaan, her new home. But planetary defense is her responsibility, and she has secret shipbuilding facilities to expand her fleet. War looms on the horizon between three factions, and they’ll soon all head her way to gain the colony’s technology. This book is part of the Aeon 14 series and is another action-filled adventure with political intrigue, espionage, and the inevitable space battle. I’ve been hooked since book one on this series. http://amzn.to/2tlxsUJ
Duchess of Terra by Glynn Stewart (Science Fiction)
Book Two in the Duchy of Terra series finds newly titled Duchess Annette Bond as the leader of Earth, a.k.a. Terra, and a subject of the A!Tol empire. As she gathers her new government, they wrestle with how to meet the Imperium’s demands for military warships without giving away Earth’s resources. Meanwhile, Kanzi slavers build forces on the border. It’s a race against time as Annette battles to protect her planet while ceding to the wishes of her new superiors. It doesn’t help that she also faces holdouts of the old Earth resistance, and they threaten the safety of her people. With threats from within and without, Annette has her hands full. But as we’ve seen in book one, she is very capable of juggling multiple balls at the same time. Somehow Earth will survive, but they may need to find new allies along the way. This fast-paced story alternates between political manipulations and space battles. You’ll be rooting for Annette to succeed. I’m ready for the sequel. http://amzn.to/2t1j5Wp
The Queen’s Accomplice by Susan Elia MacNeal (Historical Mystery)
This installment in the Maggie Hope series seems darker than most with a serial killer on the loose in London during WWII. I’ve enjoyed these stories with espionage, intrigue, and adventure but less so this one. If I want to read about women being brutalized, I’ll pick up the newspaper. I prefer lighter fare in my reading. More interesting to me was the puzzle of what had happened to Maggie’s half-sister and to another female operative in Paris. Let’s hope the author leaves the serial killers behind in the next book and gives us a good spy thriller in France. While not as much for my taste, this story is well-written with a likeable heroine. http://amzn.to/2t1k6gS
Caught Dead Handed by Carol J. Perry (Mystery)
This first book in “A Witch City” mystery series is a delightful cozy set in Salem, Massachusetts. Reporter Lee Barrett returns to her home town to move in with her Aunt Ibby and to hopefully get a job at WICH-TV. When she’s passed on the field reporting job she wanted and is offered a role as call-in psychic instead, she jumps at the chance to get her foot in the door. Is it a coincidence that she’s just discovered the body of her predecessor drowned in the sea? And when Lee starts seeing images in a crystal ball, how does she know if Ariel’s spirit is channeling through her, or if she’s developing powers of her own? Something isn’t right at the TV station, and the more Lee digs into things, the deeper she gets in trouble. A charming debut. http://amzn.to/2rv9VPM
The Finisher by David Baldacci (YA Fantasy)
In the town of Wormwood, Vega Jane acts as a Finisher at the Stacks without questioning her destiny until she sees the unthinkable. Quentin Herms runs away into the Quag, the bordering realm that surrounds Wormwood and where no one is ever supposed to go. The forest harbors nothing except monsters and death. Or so she’s been told. But when the town leaders lie about Quentin’s disappearance, she grows suspicious at their obvious cover-up. Seeking answers, she sneaks into the Stacks at night and discovers secrets beyond her imagination. She also acquires instruments of power and begins to question the very origin of her world. With the support of the stalwart Delph, she plots her own escape. But first she must survive a series of combat and face the wrath of the powerful Morrigone who wants her dead. Excellent world building in this gripping novel will have readers frantically turning pages to see if Vega Jane achieves her goal. The story reminded me of City of Ember that has its young protagonists seeking escape from a similarly mysterious town with nothing but blackness beyond. Or is there more? But while the concepts are similar, the worlds are each uniquely distinctive. http://amzn.to/2tlsOGj
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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.

Writing for Worldwide Distribution

“Brainstorming on the Beach” Conference with Novelists, Inc.

Here are my notes, keeping in mind this is what I heard and my interpretation. This panel was geared toward Harlequin Enterprises.

Writing for Worldwide Distribution with Marsha Zinberg, Executive Editor, Harlequin Enterprises and Author Vicki Lewis Thompson

Marsha: A breakdown on what’s popular with readers shows that cowboys, weddings, babies, and Texas remain favorite themes. The Presents line features the power dynamics between a hero and heroine. A new line is coming, HQ Heartwarming with wholesome stories.

Mini-series and connected series are always hits.

Direct to Consumer: No paranormals. Heroines should be focused on home not career.

Overseas: Fantasy and romance are welcome but not paranormal. Ugly Duckling, Cinderella, forbidden love, millionaires, and secret babies are themes that work. The romance should be the focus of the story.

When you, the author, are doing your fact sheet, keep in mind that overseas editors read them so make your universal theme evident right away. The synopsis shouldn’t be overly long or complicated since English may not be their first language.

Topics to avoid: Casinos and gambling, ballroom dancing, post-war traumatic stress disorder.

Medical sells well overseas but not in North America.

Be prolific to create your author franchise.

Time sensitive issues and brand names may date a book so be wary of using these. Ditto for technology and politically correct terms.

Vicki: Know what is selling but don’t always follow trends. Focus what you do well and write often. Be a pro regarding deadlines. Challenge yourself as a writer and take a chance on special projects.

Refilling the creative well implies that you drain your energy when you write. Instead, think of writing as recharging your batteries. The more you write, the more you want to write.

The Plotting Brain

You’ve put aside the first draft you have just finished so you can gain some distance on the work before tackling revisions. It’s a great time to clean your office, sort your files, and write a few blogs. But your mind starts seguing into the next story.

Here’s what floated into my mind, even when I’m trying to take a break:

My next hero is a Tsuran swordsman who has been disgraced on his home world and shunned by his people. What dastardly deed did he commit? He protected a family member by taking the blame for a murder that she’d committed under duress. Thus close family ties mean a lot to him. Now bring in a heroine who is trying to escape from her family obligations. Conflict!

Add another element. Say our hero, Lord Magnor, is protecting his sister who killed her abusive husband. After he was incarcerated, he learned that she’d been cheating on the man. Betrayal!

Now he’s a sullen, mysterious loner forced to join a team of warriors because they’re the only ones who will accept him. How will the heroine differ? She has to be a people person, outgoing, gregarious, generously reaching out to others. Maybe she gives of herself too much and has overextended her limits. Perhaps her last boyfriend left when she put her dedication to various causes before their relationship. She doesn’t want another man who’ll be so selfish and who lacks compassion. So why does this fierce warrior appeal to her?

Before I delve further into their GMC, what is the hero’s main mission for this story? He has to find the secret weapon that will destroy the evil Trolleks who’ve invaded Earth (it’s a paranormal romance). How will he proceed? Even though I have a list of plot threads from previous installments that have to be tied up in this volume, I’m stumped.

I give up and start cleaning out my files. Oh cool, here’s an article on archetypes. You know what I mean: marriage of convenience, rags to riches, twins, secret baby, prince in disguise, etc. Hey, what if I mix one of these into my story? Imagine the sparks if these two characters had to wed. What if (yes, we plotters use What If? a lot) the heroine enlists Magnor as her fake fiancé? Nah, that’s been done to death already. So how to put a modern twist on the old marriage of convenience tale in a way that would suit my story?

Genius strikes. My bad guys are using theme parks to recruit humans as their mind slaves. Magnor goes to Las Vegas to follow a lead. What else is Vegas if not one huge theme park for adults?

I’m getting excited. I can envision my hero striding down the Strip in his cloak and sword. He encounters a woman who drunkenly boasts to her friends that she can snag any man who walks through the door. Guess who it is? Yep, our hapless hero. But he doesn’t fall for her allure right away. Nope, he recognizes the watch she wears as being significant to his mission. And when they end up in a wedding chapel, our warrior from outer space has no idea what it means. They wake up the next morning together in a hotel room, and…you get the picture. Cool set up, huh?

Now I have to figure out why the Norse goddess Hel releases her “Dead Walkers” so the hero has to brave the underworld to stop her. It could be another ploy for dominance by the evil demon, Loki. He’s manipulating the Trolleks, and… well, I don’t want to give too many spoilers. In case you haven’t guessed, this series is based on Norse mythology.

As each idea comes to me, I jot it down. It’s all jumbled right now. Next I’ll sit down and do my Character Development and Romantic Conflict charts, figure out the plot progression, and write the synopsis. It just has to brew upstairs a while longer.

What do you think of my story idea so far? Any suggestions? When you finish a book, how long of a break do you take and how do you approach the next story to get started?

The Big Dark Moment

In a romance, the Big Dark Moment is the crucial juncture when all seems lost between the hero and heroine. He stomps away and she strides in the opposite direction, and it seems as though they will never be together again. How can they overcome their insurmountable obstacles? Will love triumph in the end?

Of course, it will. The prerequisite for a romance is the HEA (Happy Ever After) ending. But for this HEA to have emotional impact, our characters first must experience the painful Big Dark Moment when their relationship seems hopeless.

Tossing a cog in the story wheel isn’t the way to go about it. This confrontation must arise naturally from the character’s internal conflicts. Take Paz and Jen from my WIP.

Jen is a fashion designer who looks as svelte as her models. For years, she struggled for parental approval. Growing up in a wealthy family, she internalized her mother’s superficial values that appearance matters. But she yearns for a man who can appreciate her for herself and not for her looks or money.

Drift Lord warrior Paz Hadar isn’t the rich businessman she’d expected to snag, but he brings out her strength and resourcefulness and admires her bravery. Yet when she tries to discuss their future together, he clams up. He’s planned for nothing beyond this mission, and so she figures he’ll leave her in the end. Paz, in turn, gets angry when she pushes him for his plans, believing she can’t accept him for the person he is and wants to mold him into the ideal man. And if he’s not good enough for her, forget it. And so he stomps off. Jen feels he doesn’t care enough about her feelings to truly confide in him.

Thus they go their separate ways, until each one realizes how much they need the other. But by then, Paz seeks to prove himself by attacking the enemy all on his own. Jen rushes to his side, but it’s too late. He’s been…well, we don’t want to give the story away.

Action and reaction propels the story forward, leading to the Big Dark Moment and the final confrontation with the villain. And when Paz and Jen finally commit to each other as we know they will, we’ll heave a deep sigh of satisfaction. Sour before sweet, despair before joy. It makes the ending all the more Happy Ever After.

Finishing Your Book

When you’re nearing the end of your book, do you tend to race ahead? I have 25 pages to go in my WIP before reaching my required word count, and I’m beginning to think I might go over. I still have several scenes to go to reach a satisfactory conclusion. While I’m tempted to rush through to the finish line, this is actually when I need to slow down to bring all my plot threads together. So here is my advice for what you should do when approaching The End.

Take Your Time

You’re sick of working on this story. You just want to finish. You’ll layer in more details later.

STOP. You need to slow down and work your way through each scene as the story logically unfolds. It may be tedious and make you grind your teeth, but remember why you’re writing in the first place. You love the process. So enjoy the storytelling and live with your characters a while longer until their tale is done.

Tie Up All The Loose Ends

If you juggle several plot threads in a complex storyline like I do, you’ve either lost track of them or you keep detailed spreadsheets and notes to guide you down the track. Make sure you have covered all your footprints. Often I may have to take care of this on my second read-through. On the first revision, I’ll write down questions that spring to mind about the story from the reader’s viewpoint. Or I’ll do a plotting board as the story progresses, and these questions will be in a different colored ink from the main plot. You’ll want to resolve these questions by the story’s end. There’s nothing more frustrating as a reader or tv viewer than to be left hanging. You know how this feels. Don’t do it to your readers. Be sure you have answered all the story questions for an emotionally satisfying end.

Resolve The Plot Before The Romantic or Emotional Resolution

If you’ve done your job right, your main character will have changed or come to a realization about herself by the end of the book. The emotional resonance of this revelation should follow the climactic sequence with the villain, if you have one. Or the external plot, if there’s no definitive bad guy. Perhaps the internal revelation prompted the action that led your heroine to the final conflict. Then have her reflect on it, change her direction in life, make a decision, or alter an important relationship with another character. Maybe it means accepting herself or shedding her guilt.

Each book in a series should affect the personal relationships in your character’s life. Nothing is static. People change based on their experiences. So should your characters, and it’s much more emotionally gratifying to your readers when this final declaration comes at the end.

In my Bad Hair Day mysteries, my hairdresser sleuth Marla Shore decides to date the handsome detective at the end of book one. By the end of book nine, they’ve set a wedding date. Yes, it’s taken them that long to get together because they’ve had a lot of issues to resolve. Each volume in the series offers a step forward in their relationship even though they might falter along the way. So, too, in Silver Serenade, my recent sci fi romance, the heroine agrees to marry the hero at the end and also realizes she might make a better intelligence officer than an assassin. These decisions come after she’s tested her skills and defeated the bad guy. It wouldn’t have the same resonance before then because we’re still caught up in the tension of executing the external plot. So after the adventure comes to a close, have your protagonist let us know how this has experience has changed her.

As a reader, what do you find most satisfactory or unsatisfactory about endings?

Tedious Tasks for Writers

Are there times when you feel brain dead or too tired to think straight? Never fear, you can still accomplish something by doing a mindless task. Here’s a list of boring jobs to do when you want to be productive without much mental effort.

Organize your Browser’s Bookmarks or Favorites.
Verify that the links are still valid on these lists and delete those sites no longer useful to you.
Verify that the links are still valid on your website.
Update mailing lists and remove bounces and unsubscribes.
Back up files from the Cloud to your hard drive.
Back up files to other media.
Sort through paper and electronic files and delete old material.
Sort through images online and old photos.
Erase old messages in E-mail folders.
Convert old files on your computer to the latest version if you want to keep them.
Eliminate duplicate photos and files.
Write blogs like this one.

What else would you add?

Story Magic

I’ve written on this topic before, but it continues to astound me. Facing the blank white page again this morning, I wondered how I’d ever fill my page quota. My characters had just been captured by the bad guys. They’d been isolated from each other, and I had no idea how they would escape. But when I started writing and entered the Zone, as we writers call it, the story just took over. I went into a trance-like state, where I’m not aware of my surroundings. I visualize the story and the words just come out. Before I know it, my page quota is done.

In today’s section, my heroine is taken to the enemy commander. During their conversation, she learns things important to the plot. She’s dragged away for interrogation. This segment concludes the chapter. The next chapter will switch between her viewpoint and the hero’s. They’ll each gain information, and a new character will be introduced. I don’t have to worry about that today. I finished my pages and can move on to other things, like writing this blog.

I’m also proofreading the eBook version of Moonlight Rhapsody, one of my earlier futuristic romances. Then there are the social networks, listserves, and numerous other promotional activities to keep me busy. Did I mention that I’m meeting a friend for lunch and have errands to do? Thank goodness I finished these pages early because now it’s time for the exercise bike.

This book is taking off already because I know the characters. It’s the second volume in the series, and I laid all the groundwork in book number one. Unlike a mystery with numerous suspects that have to be introduced for the first time, this paranormal romance focuses on the hero and heroine and the various secondary characters they meet during their journey. The hardest thing is remembering the mythology I created, but I have enough notes to help me along.

Whoever said (and I’m not exactly sure if this is correct), “I hate writing, but I love having written,” is right, although it’s the blank page I hate. I love having written once the story magic takes over and words fill the pages.

Backstory

One of the most common problems in new writers’ works is the insertion of backstory into the first chapter of their book. Nothing else kills the pacing quicker than paragraphs heralding back to some past event in the character’s life. Maybe it’s necessary to relate some of these facts, but they can be done in a less intrusive manner. You must keep the action moving forward. The reader wants to know what’s happening now, not twenty years in the past.

So how do you deal with this burning issue? Here are six tips to get you started.

1. Leave backstory until later. Is it absolutely essential to the core of the plot as the story opens?
If in doubt, leave it out. The story should start with some sort of crisis or change that propels your character to take action. Let the reader wonder why this is happening until your character can take a breather and reflect on what’s going on . That shouldn’t occur until at least the second chapter. Remember to end the third chapter on a hook, because this proposal is your selling tool. Kill the pacing, and kill your chances for publication.
2. Filter past events in gradually, not in one info dump. Only reveal what is necessary at that time in the story.
3. Leave some elements purposely out to create a mystery. The reader will keep turning pages to see what happened between your people in the past or why your heroine feels this way.
4. Add in the backstory through dialogue whenever possible. Let your character tell her story to someone who doesn’t already know it. Or have two characters gossip about your protagonist. If you’re in her viewpoint, she could overhear or one of them could mention it later. Find ways to work it in so that it’s interesting to the reader.
5. If you want to relate the backstory from your protagonist’s viewpoint, offer tidbits of past history a line or two at a time. Or segue into the past in a quick paragraph with a sensory element that ties the past and present together. The idea is not to get bogged down. Keep moving forward!

How do you deal with this problem?