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Showing posts with label Trapped. Show all posts
Showing posts with label Trapped. Show all posts

February 27, 2019

Wait, Where are we Again?



By Connie Mann


Have you ever started reading a book and several chapters in, had to flip back to the beginning to see if you’d missed clues as to where you were? If the setting is too generic, too Anywhere, USA, I feel uneasy, like I can’t settle into the story world because I’m still waiting for someone to tell me exactly where I am.

So how can we use settings to anchor our readers? My Dad worked for Trans World Airlines (TWA) for 38 years and we were privileged to travel quite a bit. (I’ve done many an airport sprint in heels to snag the last standby seat!) Travel taught me that destinations—from big cities to small towns--have a personality, a “feel” that sets one place apart from anywhere else on earth.

As writers, capturing that essence is part of the fun. We get to create a world for our readers, to invite them to travel with us to another place, whether it’s a real location or exists only in our imagination. We invite them in by painting pictures with words.

My new Florida Wildlife Warriors series is set in the Ocala National Forest, which is eons removed from Miami’s glitz and Disney’s animation. This is Old Florida, where Spanish moss drapes towering live oak trees and slow-moving ceiling fans stir the sultry air of a covered front porch, while alligators snooze along the banks of a lazy river. Can you feel the humidity on your skin? Smell the earthy scent of the swamp?

That feeling of walking right beside your characters, seeing what they see and feeling what they feel, is what you want to give your readers. Anchor them in a specific location. Think geography, temperature, culture, architecture, smells, sounds, foods, etc. Visit if you can and take the time to inhale deeply and absorb the feel of a place. Sit on a park bench and people watch. Is the pace slow or fast? Sophisticated or down-home? High heels or flip flops?

If you can’t go in person, talk to people who’ve been there, watch videos and study photos to find that “something” that sets a place apart. By sprinkling those “telling details” into your stories, you’ll give your readers the chance to not only experience a great story—but also to fall in love with a wonderful place.
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Connie Mann is a licensed boat captain and loves writing romantic suspense stories set in Florida’s small towns and unspoiled wilderness. She is the author of Beyond Risk, (Florida Wildlife Warriors #1), the Safe Harbor series (Tangled Lies, Hidden Threat, Deadly Melody), as well as Angel Falls and Trapped! She has lived in seven different states but this weather wimp has happily called warm, sunny Florida home for more than twenty years. When she’s not dreaming up plotlines, you’ll find “Captain Connie” on Central Florida’s waterways, introducing boats full of schoolchildren to their first alligator. She is also passionate about helping women and children in developing countries break the poverty cycle and build a better future for themselves and their families. Besides boating, she and her husband enjoy hanging out with their grown children and extended family and planning their next adventure. Connect with Connie online at: www.conniemann.com  The photo used in this blog post of the Silver River is owned by www.conniemann.com






October 6, 2014

The Difference Between Great and Almost-Great Books


By Irene Hannon 


After 45+ books, I’ve learned that the difference between great and almost-great books can often be summed up in two words—the basics. Getting those right can give you a winning edge. So here are 12 genre-neutral tips (because good writing is good writing) that can help put the final polish on your writing.

  1.  Start in the right place, i.e. right in the middle of the action. Create a high-impact opening that immediately lets readers know something big is at stake. Begin with a bang—sometimes literally in suspense, but figuratively in any book. The opening must also leave readers with a question that makes them want to read on to find the answer.

2.     Pay attention to chapter and scene endings. Again, leave the reader with a question or make the reader curious about what’s coming next. Give him or her a reason to keep reading.

3.     Never take the reader out of story. If you must weave in technical information or backstory, find a way to do it in the context the scene. Don’t stop the action for a data dump from a disembodied narrative voice.

4.     Don’t head hop within a scene. This is disruptive to story flow. It’s better to let the readers, along with the point-of-view character, try to figure out what the other players are thinking by viewing  their actions, inflections and gestures through the eyes of the viewpoint character.

5.     Pay attention to rhythm. For example, short, choppy sentences convey tension and urgency. This is a good technique for a charged scene in any genre. So use sentence length and construction to help convey mood through rhythm.

6.     Cut adverbs. Eliminating adverbs strengthens writing by forcing us to choose better words. Don’t say she walked slowly; pick a stronger verb. She ambled, crept, limped, and trudged.

7.     Make limited use of dialogue tags (he said/she said). Most of the time you don’t need them and they bog down the pace.

8.     Use as much dialogue as possible vs. narrative to advance plot, deepen characterizations, and share background info. Dialogue keeps the story active and immediate and the reader feels engaged and in the middle of the action.

9.     Write tight and cut ruthlessly if something doesn’t advance the plot or offer new insights into a character, cut it.  Author Elmore Leonard was asked once how he did this. He said he simply left out the parts readers skip. That’s a great rule. Everything must be deliberate and there for a purpose or it should be cut.

10.  Always take the time to choose the perfect word. Walked conveys a whole different meaning than sauntered.

11.  Don’t overuse pet words. We all fall into this trap, and new ones keep cropping up. Make a list of your overused words, then search for them after you finish each chapter.

12.   Limit descriptions, especially of settings. Popular fiction readers have no patience for long, lyrical passages. They want the mood and place captured quickly so they can move into the action.
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Irene Hannon, who writes both contemporary romance and romantic suspense, is the bestselling author of more than 45 novels. Her books have been honored with two coveted RITA awards (the “Oscar” of romantic fiction), a Carol award, a Daphne du Maurier award, a National Readers’ Choice award, three HOLT Medallions, a Retailers Choice award and two Reviewers’ Choice awards from RT Book Reviews magazine. A former corporate communications executive with a Fortune 500 company, Irene now writes full time. Her Private Justice series includes the titles: Deceived, Trapped and Vanished. She can be found at http://www.irenehannon.com/