Allison Chase's Blog, page 3

Simple Pleasures

My husband and I enjoyed a lovely, relaxing weekend. But then, even without Father's day or some other holiday to inspire us, we always make a point of getting the most out of our weekends – and we do it on a strict budget, because as is the case with so many American's these days, money is tight. That means we haven't been going away like we used to, eating out nearly as much, or going places where we have to pay admission. So how does one still manage to have fun and enjoy life?

It sounds cliché, but we've learned to find value in the simple things. By hitting the farmer's markets for vegetables, finding sales on lean meats and fish, and using our own homegrown herbs and tomatoes, we can, for just a few dollars, whip up easy, gourmet meals that rival anything you'll find at fancy restaurants. A reasonable but still good bottle of wine costs about the same as a single glass of wine out somewhere. We'll usually have lunch al fresco (fancy for outside, lol) at our umbrella-covered table, enjoying the balmy Florida breeze as the palm trees rustle, butterflies hover around our flowers, and birds come and go from our feeder – all beautiful, relaxing, soul-renewing sights. Our day might have started with a several mile bike ride and, for me, a bit of yoga - keeping us fit without the expense of a gym membership. Dips in the pool under our beautiful, bright, expansive skies (luckily we put our pool in a number of years ago), are positively delightful and make us feel like guests at a five-star resort – minus the outrageous prices and all that tipping. By the end of the weekend, we typically feel as refreshed as if we had gone away. But maybe happier, because our "stay-cation" was fashioned entirely by our own preferences and we don't experience any buyer's remorse.

What we've learned to savor are experiences as opposed to acquiring new possessions – and really, we have enough of those anyway. People say there's a reason for everything. I can't help but reflect on the fact that, prior to our current economic woes, Americans were (are probably still are), the world's biggest consumers – and ridiculously wasteful ones at that. So maybe karma decided to intervene and help us shift our priorities. To teach us to keep our money in our wallets and learn to value each other and our surroundings more, and to live life more in the moment, rather than anticipating the next item we believe will enhance our happiness.

What makes you relaxed and happy without having to spend money?

Here Be Monsters

"I believe there are monsters born in the world to human parents. Some you can see, misshapen and horrible, with huge heads or tiny bodies. . . . And just as there are physical monsters, can there not be mental or psychic monsters born? The face and body may be perfect, but if a twisted gene or a malformed egg can produce physical monsters, may not the same process produce a malformed soul?" ~ John Steinbeck in describing the character of Catherine in EAST OF EDEN

When writing fictional villains, we're told we should make them three-dimensional, that no one is ever all bad, or all good for that matter. A well-rounded character, no matter the role they play in your story, should be motivated, possess both strengths and vulnerabilities, and have some kind of redeemable quality, however small. Maybe your villain was abused as a child, or watched his family lose everything, or was the victim of some other kind of misfortune. OK, there's the motivation for why he or she does rotten things. But maybe that person has a fondness for cats or birds or plants, or some other positive interest or even a cause that makes them seem more human, more real. More interesting to the reader.

But in Steinbeck's EAST OF EDEN, the beautiful Catherine was a monster, plain and simple. There were no particular reasons for the things she did–she was simply evil. Did Steinbeck err in creating this two-dimensional character? In not outlining any real motivating causes for her appalling behavior, did he strip away the character's inherent humanness, or was he suggesting that some human behavior, and the lack of remorse that goes along with it, simply defies explanation, is unforgivable, and renders that person wholly irredeemable.

I can't help but think of that book, and the quote above, as I watch bits of the Casey Anthony trial on the news. The defense is trying to come up with motivating factors to explain if not excuse some of her behavior. I'm not on the jury and it's not my job to judge her, but I will say that this young woman's own words and behavior, caught on camera and video tape, are painting a disturbing portrait that eerily resembles Steinbeck's Catherine: cold-hearted, self-absorbed, and utterly unaware of the wrongness of her actions. Is she a monster? She certainly doesn't look like one, does she? But even if her daughter's death was an accident as the defense is suggesting, Casey's behavior after the fact defies explanation, and even now she seems far more sorry about the trouble she's in, than about her daughter's death.

I apologize. Maybe I shouldn't have blogged about this. But a writer's job is to explore all facets of human behavior and delve into the human psyche. We look to the real world, to friends, family, acquaintances, strangers on the street, for examples of the human condition. And just when we think we've got a handle on it, something–or someone–comes along and blows our perceptions out of the water.

So I guess I'll leave you with one question: do you believe in monsters?

Tagged: East Of Eden, John Steinbeck, Monsters, villains

Passive Aggression

Are you a "Looker?" A "Was-er?" How 'bout an "It-er?" If so, you're not alone!

I've been doing some editing on the side for a small e-publisher, and the work has really made me aware of the kinds of habits authors – myself included – can fall into, oftentimes without realizing it. In fact, one of the things I hear repeatedly from authors I've edited is, "Oh! I hadn't even realized I do that!"

Passive wording is the number one culprit. The first thing most people think of when it comes to passive wording is the overuse of "was." That's the obvious one, but there are others, lying in wait to rob your prose of its impact. Here are some I see frequently:

Repetitiveness. Using the same words or phrases, sometimes within paragraphs and even sentences, creates echoes that trip the flow of the narrative. OK, but if you're not creating echoes, why is repetitiveness passive? Because not taking the time to vary your word choice throughout the manuscript not only shows a lack of effort, but also limits the imagery, action, and emotional depth of the story. If you want your story to progress, your action to intensify, and your emotions to build, you can't let your narrative become mired in familiar and worn out phrasing.

Weak words. I mentioned "was," but there are other nondescript words that flatten the texture of your story. For example: got/get, went, feel, cause, it, thing. Words like these fail to create a mental image, and suddenly the reader is seeing words on the page instead of pictures in her mind. Although I don't believe any particular word should be completely banned from a writer's repertoire, choosing concrete nouns and verbs is always the better choice. "He went" tells the reader nothing but that the character moved from one place to another. "He strode" tells me he moved with determination. "He stomped" tells me he moved in anger. "He shuffled" lets me know he was tired or hurt or defeated, depending on the context.

"Cause" is, for the most part, an unnecessary word in narrative. Describing the action of a scene already deals with cause and effect, so why say, for example: "Mary pushed John, causing him to fall over," when you can simply say, "Mary's shove toppled John to the floor." Would you say, "He caressed her nape, causing goosebumps to erupt down her back," or, "He caressed her nape, and goosebumps swept her back."

"It" or "thing" reduces an item or emotion to a meaningless object rather than a catalyst for revealing the character's mood or disposition. For example: "Father scowled. It made me feel bad." Or, "Father scowled. His disapproval lodged like a stone in my chest." In the latter example, the scowl takes on meaning based on the life experience of the pov character, and even imparts a morsel of information about the relationship between the two characters, i.e., that Father's approval is important to the pov character.

Using "looked" is another form of passiveness. "Mary looked across the room and saw John searching for the book." Why not, "Across the room, John searched for the book." If we're in Mary's pov, we know we're seeing what she's seeing. I've read manuscripts with an inordinate amount of looking going on. Characters looking at things, characters looking at each other. It becomes a kind of crutch for the writer and an unnecessary lead-in for the real action of the scene. Better to focus on dialogue, body language and your character's thoughts. Besides, if two people are in a room together having a conversation, we can assume they're probably looking at each other. In fact, NOT looking at each other is more significant, because a wandering or darting gaze implies nervousness or an attempt to hide one's thoughts or feelings from the other person. But if they do look, infuse it with a bit of emotion: stare, gawk, gape, gaze, glance, for example, all give a visual image of the character's action along with a hint at her mood, while "look" only implies focusing the eyes on something.

Those are some of my editorial pet peeves (and yes, I've been guilty of some, if not all, at one time or another), but I'm learning to be aggressive when it comes to avoiding passiveness. What are some of your pet peeves and pitfalls?

Tagged: Passive Writing, Word Choice

Summer Workshops For Writers!

If you live in the South Florida area, check out this series of summer workshops presented by Murder On The Beach Bookstore in Delray Beach. My workshop will be on July 23rd, on how to use setting to enhance character emotions and drive your plot forward…                

    The Authors Academy

Writing Workshops for Tomorrow's Authors

 

All workshops are $25 per person.  Register for all eight and get one free!

Reservations are required.  561-279-7790 or murdermb@gate.net

 

Saturday June 11, 10am – Noon:

Where Does Your Novel Start?  Show me the story and I'll show you the book.

    Instructor:  Randy Rawls, author of the Ace Edwards PI mysteries. www.randyrawls.com

Saturday June 25, 10am – Noon:

From Idea To Novel.  Plotting, the backbone of every book.

    Instructor:  Karen Kendall, author of Take Me For a Ride. www.karenkendall.com

Saturday July 16, 10am – Noon:

What a Character!  Creating and developing characters that withstand the test of time.

    Instructor: Sharon Potts, author of Someone's Watching. www.sharonpotts.com

Saturday July 23, 10am – Noon:

It's Not Just Scenery.  How to use setting to build emotion and drive your story forward.

     Instructor:  Allison Chase, author of Outrageously Yours. www.allisonchase.com

Saturday July 30, 10am – Noon:

Stay on the Yellow Brick Road.  Keep your story from wandering.

    Instructor:  Jonathon King, author of Midnight Guardians. www.jonathonking.com

Saturday August 13, 10am – Noon:

Point of View.  Whose head are we in and why are we there?

    Instructor: Diane A.S. Stuckart, author of the Leonardo da Vinci series.www.dianestuckart.com

Saturday September 10, 10am – Noon:

How To Get Published.  Learn what it takes to get your work published.

    Instructor: Joanna Campbell Slan, author of Photo Snap Shot.www.joannacampbellslan.com

Saturday September 24, 10am – Noon:

Finding an Agent.  Query letters, synopses, and the pitch!

    Instructor:  Nancy J. Cohen, author of the Bad Hair Day mysteries. www.nancyjcohen.com

All workshops are held at Murder on the Beach Bookstore, 273 NE 2nd Avenue,Delray Beach, from 10am to Noon.  All instructors are multi-published authors. Charge for each workshop is $25 per person.  Register for all eight, only $175. Get one free!  Cash, check or credit cards accepted.

Make Your Reservation Now! 

561-279-7790     or    murdermb@gate.net

Tagged: character emotions, Murder On The Beach Bookstore, setting, summer schedule

Royal Weddings

I'm just going to admit this: I spent a good chuck of this weekend glued to the TV, watching the royal wedding, all the "after shows," and any documentaries about the royal family I happened to stumble upon. But, dahling, is it any surprise that the author of  the Her Majesty's Secret Servants series should be a royal watcher? I'm a confessed Anglophile, and when I think about the 1000 years of riveting history (drama) that comes along with these people, well, I can't tear myself away.

Yet there's another reason why I happen to feel an affinity for royal weddings. You see, I was married in July of 1981, just ten days before Diana and Charles tied the knot. As they planned their nuptials, we planned ours, and who knows but that Diana and I went for dress fittings on the same days, pondered the same types of flowers, or that we weren't both biting our fingernails to the nub at the exact same time, praying for good weather and smooth sailing? (I was married outside, so you can imagine all the nervous chewing that went on in the days beforehand).

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Charles and Diana's Wedding Party

My Wedding Party

Our wedding might have been a tad scaled down from the St. Paul's/Buckingham Palace variety, but it was still our "royal wedding" and a spectacular day, held at a restaurant that had once been an estate owned by J.P. Morgan, nestled on beautiful grounds overlooking the foothills of the Catskill Mountains. A couple of weeks later we honeymooned in London, where evidence of THAT royal wedding was still everywhere – glancing out from every shop window, even glaring up from the streets themselves, which hadn't all been tidied up from the crowds yet. We bought a little Wedgwood plate featuring Charles' and Di's profiles and "July 1981″ written across the bottom. We still have it because, after all, it does commemorate OUR wedding.  

Unlike Charles' and Di's marriage, mine has lasted. I really hope the same for Will and Kate! They're a beautiful couple and seem like genuinely nice people, and I believe they'll make a wonderful king and queen someday if they can manage to hang strong together and endure the paparazzi and the pressure. Plus, don't you just love that Kate hails from a normal, middle class family? Yes, her parents are millionaires now, but they weren't always and they built a succesful business together. I say hurray for them!

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Did you notice that both Kate's and my dresses had lace sleeves? But I had them first!

So, did you watch?

Tagged: Anglophile, Charles & Diana, royal watcher, Royal Weddings, Will & Kate

Art for Art's Sake?

As I mentioned in my last post, a couple of weeks ago I spoke at a fundraiser held by the Women's Chamber of Commerce of Palm Beach. During my talk, I mentioned that it took me six manuscripts before I eventually sold my first book to Kensington in 2003. Quite a few people expressed surprise/admiration that I hung in that long, that I didn't get discouraged and give up. But the thing is – and other writers can certainly relate to this – once I'd started writing, it became an essential part of my life and the person I am. I couldn't not write, so I just kept at it until the stars aligned, which in the writing world means I hit the right editor with the right manuscript at exactly the right moment.

A few weeks ago during one of my husband's and my almost-weekly bike rides, we came upon something that I thought really illustrated why art isn't only about success and profit – that even if you NEVER sell your work, if you love your particular artistic process, you'll keep at it and find fulfillment in what you create. We happened to ride by our town's Center For The Arts – a theater and museum that also displays scuptures on its grounds (I once blogged about the Big Comfy Chair), and discovered artwork that local artists – ranging from elementary school kids to professionals – had been invited to create and display. Here's what we found:

The first one had been done (I think) by a middle school student.

The middle two are, I believe, both by high school students. And the last two are by professionals.

These pictures obviously must have taken hours to create, and each one shows a loving, painstaking effort. And every one of them  had been rendered along the sidewalk – where people walk, where the rain falls, where the sun beats down all day long - in chalk. In fact, by the time we found them, they'd already begun to fade. They couldn't be sold or even enjoyed for very long, but that didn't deter the artists.

Publishing is a tough business that's suddenly and rapidly changing, opening up a lot of uncertainty for the future of a lot of writers. But I found something oddly comforting about the artwork we discovered that day. It reminded me of what's most important to me about being a writer.

Tagged: Artwork, Coral Springs, pastels, sidewalk art

It's Been Awhile…

I think this has been the longest I've ever gone between blog posts. But to say I've been busy would be a massive understatement.  Though I'm not typically a workaholic, deadlines and day job responsibilities have kept me all but chained to the computer – to the point that during what spare time I had, the LAST thing I wanted to do was spend even more time staring at the monitor. When I could get away, I did.

So how did I relieve the stress of all that work? Daily (almost) exercise and yoga helped keep me limber (more or less), calm (mostly), and thinking straight (pretty much).  Adventures in cooking gave me a creative outlet with the added bonus of instant gratification (yum!), along with accolades from the family (OK, yes, I do bask in the glory of unconditional praise). And getting out for the occasional airing helped, too:  a couple of weekend treks to the beach, critique meetings, Starbucks with friends, lunch with my parents… Writers can become way too isolated. It's just not healthy. We can get a little weird…

But just to add to my pressure of the last two months, I'd agreed to a speaking engagement for the Palm Beach Women's Chamber of Commerce. Their Chamber Foundation raises scholarships for girls and young women, and they needed a program speaker for their Victorian Tea Fundraiser.

Now, I've given workshops before, but this was different. This wasn't for writers or even romance readers, it was for a roomful of business women, and I had to be interesting and relevant! Yikes! And let me state right here that I am not naturally a "stand in the front of the room and talk to a big group" kind of girl. I'd much rather be sitting with the audience, where it's safe. Which is exactly how I began my talk that Saturday afternoon at the charming Chesterfield Hotel. I admitted being nervous, but reminded everyone that going to college and reaching for one's dreams isn't about playing it safe – it's about pushing yourself to do things you never imagined you'd do. I went on to talk about my own journey toward achieving my dream of being published, along with how being an author is like running a business – my company is called Allison Chase, and I am the CEO, the head of all the departments, and the labor force.

Before long I'd stopped being nervous and had a blast. I could tell people were interested (no glazed eyes!), and they had lots of questions and comments afterwards. It turned out to be one of the most rewarding days I'd had in a long time, and I couldn't have been happier. Especially when I returned to my seat and found a warm scone waiting for me (oh, so heavenly). But that day proved to me that nerves are no reason not to push yourself to do something…and nerves don't mean you won't be good at it, either.

So, anyone need a speaker?

Tagged: Chamber Foundation, Chesterfield Hotel, deadlines, Palm Beach Women's Chamber of Commerce

Point of View

Point of view is one of the most basic concepts in literature, and it's the one almost no one seems to grasp when they first start writing. I didn't. I thought I did, but I really didn't.

Simply put, when we're in a character's point of view, we see only what she sees, hear what she hears, and learn only her thoughts. We experience the action of the story through her…as if we are her. Meanwhile, the thoughts and attitudes of the other characters in the scene are revealed only through their dialogue and body language.

Bopping from one character's point of view within a scene is called head hopping. Some authors can get away with it – usually ones who have been writing for a good many years now and are able to head hop without being confusing - but for the most part it's frowned upon, especially in romance.

Often readers will say they don't think about or notice point of view. So why should a writer worry about it? First, except for those few authors who can handle frequent pov switches skillfully, it can become confusing as to who's thinking what and whose eyes are brimming with emotion. The reader will be put off. She might not realize what the problem is, but she just might lose interest and put the book down. 

But it's not just about clarity, it's about emotion. The bigger problem I've encountered with head hopping is that the emotions just don't run deep enough to engage my empathy. When I read any book, but especially a romance, I want to lose my heart in the story. I want to be swept up and so invested in the characters' experiences that my family goes hungry because I can't stop reading long enough to cook dinner.

I want to ache and yearn and cry with the characters, but with head hopping I feel like I'm not getting below the surface of their immediate reactions to a situation. By being in everyone's head at once, I'm not going deep into any particular character's point of view – in fact, knowing everyone's thoughts, seeing everyone's eyes widen, feeling their hearts race simultaneously, puts the story into omnipresent point of view, as if it's being told by some omnipotent, higher being gazing down from above, observing but not actually part of the story. As a result, the emotions lose their intensity.

POV exercise for writers: if you're not sure you've mastered pov, try writing a scene in first person, where you can only focus on a single character's thoughts and perceptions. Then simply go back and replace "I" with she/he.

Tagged: point of view

Character Flaws

I once read a romance I absolutely loved, except for one problem. I didn't even realize at first what it was that bothered me about the story. Finally it dawned on me. When we read a romance, we want the heroine to be someone we'd love to have as a best friend. And the hero should be someone we can fall in love with, and who, in our fantasies, would fall in love with us.

In this particular story, the hero was everything a hero should be: proud, courageous, intelligent, invincible, incredibly handsome, a fabulous lover…  He held himself as well as others to the highest of standards.  He was wonderful in every way, and there was absolutely nothing wrong with him.

Bingo. He was too perfect. So perfect, in fact, that I had trouble imagining such a paragon ever being able to love a flawed creature such as yours truly. He made me feel like I could never live up to his standards – never be smart enough, brave enough, awesome enough…no matter how awesome I might be on any particular day.  This guy was so flawless I had no choice but to write him out of my daydreams.

One of the best examples I can think of to illustrate what I'm talking about comes from real life: Princess Diana. She was beautiful, poised and gracious, and as she came into her own as an individual, she used her celebrity to make the world a little bit better as well as to reach unapologetically for her own happiness. We admired her for all those things. But I believe what made her so loved by so many people were her flaws. Because happiness didn't come easily for her, and she struggled with confidence, self-esteem, image issues, depression, etc., just like so many "normal" people. She might have been a princess, might have had every advantage wealth and status can provide, but she had needs that made us able to relate to her on a very human level.

Characters should be like that. There should be lots to admire about them, but the reader should also, on an emotional level, feel needed by those characters. That's how a story engages our sympathies and keeps us turning pages. We should want to heal the hero's pain. We should feel eager to see how the characters will grow, how their experiences will change them, and how, in a romance, they'll ultimately find the resolution they've been seeking through love: two imperfect people coming together to form a perfect couple, the sum being far better than its separate parts.

So what kinds of flaws are we talking about? Emotional baggage is good. Maybe the character was betrayed in the past and has major trust issues.  Maybe life itself has been cruel, forcing the character to armor-coat his or her heart. Maybe the character feels responsible for something bad that once happened (rightly or wrongly), and is secretly short on confidence. There are also phobias - fear of heights, tight places, the dark – which stem from an earlier trauma but which the character MUST overcome in order to win the day and find love.

But be careful, because there are also unforgivable flaws - just as in Harry Potter there are the unforgivable curses – because in my opinion, there are some characters that cannot be redeemed and are forever consigned to the role of villain: anyone who has committed rape, child abuse, animal abuse, any form of unprovoked violence. I'm leaving things out but you get the idea. Thievery to feed one's family is forgivable. Stealing from a starving family for any reason is not cool!  

So am I right? Can a character, especially a hero, be too perfect?

Tagged: character flaws

The Heroes of Her Majesty's Secret Servants: Casting Call

Just for fun, because it's Valentines Day, and because I recently found myself with too much time on my hands, (for the first time in months,) I decided to cast the heroes of Her Majesty's Secret Servants. See what you think!

The series' first hero, Aidan Phillips from MOST EAGERLY YOURS, was easy. From the moment I began penning Aidan's character, I had one face in mind and it never changed. Aidan is all about courage, wits, intensity, focus and determination, driven by an underlying current of pain, all wrapped tightly beneath a veneer of suave, irreverent sophistication. James Bond, Victorian style. This will come as no surprise to anyone who knows me, but I think the gentleman below embodies those traits perfectly… 

Hugh Jackman as Aidan Phillips, Earl of Barensforth, from MOST EAGERLY YOURS:

*

Simon de Burgh, from OUTRAGEOUSLY YOURS, was a bit trickier and took more thought. As I've said many times, as a scientist Simon is a bit of a nerd. He's preoccupied, brilliant, and at times slightly mad. But his intelligence comes with a depth of sensitivity and a disregard for convention that make him incredibly sexy and lovable. He's at once confident but humble enough to realize he still has a lot to learn. Like Aidan, Simon, too, bears a wounded heart. I think the face below reveals Simon in all his many facets…

Rufus Sewel as Simon de Burgh, Marquess of Harrow, from OUTRAGEOUSLY YOURS:

 *

Again, my third hero, Colin Ashworth from RECKLESSLY YOURS, wasn't an automatic pick. Colin is an intellectual (being Simon's friend and fellow scientist) as well as being athletic and outdoorsy, a nobleman much more at home galloping his horse across the moors, or peering through a microscope, than waltzing on a dance floor. His past has been a turbulent one. Being the firstborn son of a duke is a responsibility he takes seriously, and from a young age he's shouldered the burden of holding his contentious family together while setting his own needs aside. Love?  Not for Colin – not with the kind of life he leads. Love is a dream for happier men. I think the man below is thinking exactly that…

Jude Law as Colin Ashworth, Earl of Drayton, from RECKLESSLY YOURS…

Unfortunately, you'll have to wait until my Dec. 2011 release date to see if you agree with me about Colin, although some of you will have met him in his smaller role in Outrageously Yours. In the meantime, maybe I'll cast my heroines. Then again, casting the guys is so much more fun!

What's your favorite romance novel and who would you cast to play the hero?

Tagged: actors, Her Majesty's Secret Servants, Heroes, Hugh Jackman, Jude Law, OUTRAGEOUSLY YOURS, Rufus Sewel