Tyler Colins's Blog, page 23

JJ’s on the Bandwagon

My turn at the bat.  Rey and Linda posted about themselves, so I feel compelled to do the same.  But my likes and favorites would make for a snoozy post and I’d not experienced anything traumatic or poignant . . . except the death of my sister, Reena Jean.

My sister and I weren’t very close.  She was rather flighty and very unpredictable.  She was also a thrill-seeker (her recusant ex called her a wing-nut).  Still, I rather admired her; I liked the impulsiveness.  My sister had boldly if not smugly stood on (clung determinedly to) a pier by the ocean during a Category 4 hurricane.  She challenged Mother Nature to “bring it on!”.  Mother Nature granted the request by yanking Reena Jean into the raging deep . . . and had the last laugh.  It’s hard not to admire that zest for life . . . even if it cost my sister hers.

That got me reflecting on our unconventional family members.  Some people claim they’re eccentric, others say they’re quirky, and a few would profess off-the-wall and/or whacky.  You may have met Aunt Mat (The Connecticut Corpse Caper); she’d likely top the list.  The sexagenarian is truly dotty, but quite enchanting.  She’s never one to mince words and tells it like it is, which can be both refreshing and daunting.  [That she may be a secret serial killer is something we don’t speak about.]

Then there’s eyebrow-less Uncle Flex, sour-faced Great-Aunt Gertrude, toupee-crazy Uncle Charly . . . and the various aunts.  Jane Sue won a ton of money in a lottery and always has some “sweet young thing” hanging off an arm.  Ruth June is a born-again Christian who writes tame romance novels that sell fairly well; she’s also the proud owner of ten dozen crocheted blankets and fifteen dozen handcrafted doilies.  Rowena Jaye, Rey’s mother, was what they used to call a “homemaker”, though she didn’t excel in that department—lumpy mushroom-soggy rice anyone?  Sue Lou, the one with the highly shellacked hair (she still resides in the 60s), was a librarian once upon a time; these days, she spends her time at her large Maine cottage, practicing taxidermy on the fish she catches.

If I posted about them all, you’d be reading for a full day.  But I do have to mention one more person: my father.  I never knew him, not even his name.  My mother had always refused to talk about him, other than that one time (I was about nine and had asked) to explain, with a sigh and roll of the eyes, that he’d been killed climbing Mount Kilimanjaro.  I’d boasted to schoolmates that “Edmund H” Fonne was an explorer and adventurer, and his last planned exploration—before returning home to his beloved family—had been a fateful trip to Tanzania.  As a private eye, maybe I should do some serious P.I.ing and learn about him.  . . . nawwwww.  Sometimes, mysteries are best left to remain unsolved.

Despite the family leaning toward madcap and weird, I’m rather fond of [most of] them.  I wouldn’t be who I am if I’d not experienced those zany moments, attended chaotic get-togethers, or helped bail the odd one out (that’s another post).

Here’s to the ever-fanciful Fonnes!

Lindy-Loo’s Here Too

Hi there.  I thought I’d have a lightsome title because I’m going to touch upon something that’s not as frivolous as Rey’s post.  Can you spell s-h-a-l-l-o-w?  Just kidding, Rey; you’re my best friend and I love you. 

The three of us from the Triple Threat Investigation Agency have been friends for a while now, living together in a nice (still-needs-to-be-fixed) house, keeping busy with cases and volunteering, and enjoying life (its ups as well as its downs).

Recently, I got to thinking about my earlier years—like when I was in my teens and married to a jazz musician with a vice so major, it resulted in his passing.  I was young, he wasn’t.  I often thought he should have known better, should have done something—gotten help with the addiction, talked to someone, done everything and anything to be free of his “obsession”.  It cost him money, self-esteem, friends, and then his life in a fleabag motel.

Given my age—and naïveté, I suppose—and always being on the move, given the country-wide gigs, I didn’t deal with it very well.  Constant travel, sporadic sleep, late nights and countless parties contributed to a state of “perpetual un-focus”.  I felt useless, powerless, because Chiffre wouldn’t listen to my pleas to stop, to get help.  I’m not sure, at the time, I even knew where to find that help.  Or maybe I was too scared to deal with reality.

Did I know Chiffre was an addict when we got married?  No.  Okay, in truth, I suspected, but turned a blind eye.  It wasn’t like he was out of control or anything.  It wasn’t like he couldn’t function; he played a mean sax and managed to show up on time for every show . . . at least for the first few months we were married.  Then, slowly but surely, he started arriving later and later, and the pleasantly-worded “I can handle this, don’t worry, hon” changed to a heated “find someone else to pester, I got this”.  He grew more disinterested in things he used to enjoy and lost interest in the marriage; manipulation became part of the daily equation.  Still, together we stayed.

I didn’t criticize, but asked, begged, talked calmly (no matter how upset or stressed or depressed I was).  I started making excuses and lying shamelessly—for him, for me, for us.  Things were lost and broken, much like our marriage.  He was a mess, as was I.  A friend of the drummer was a social worker and he talked to me one afternoon.  He truly cared and his advice was sound and solid.  I should have pursued it, made the calls, checked in with support persons and groups, but I was, well, in denial of sorts, I guess.  I wished I done as he’d advised.  Maybe Chiffre wouldn’t have died alone, with a needle in his arm.

I’ve had therapy since then and have learned that I shouldn’t shoulder the burden or blame.  And that might make for another post one day.  Analysis can be difficult (very soul-searching) but the subsequent healing can prove a blessing.  And I won’t lie; it takes consummate commitment.

I’ve not thought of that dark period of my life too often since moving to Oahu.  I regret it, wish it had never happened . . . yet acknowledge that it helped me grow . . . and learn.  There’s always is a light at the end of that proverbial tunnel, even if, at the time it doesn’t appear that way.  I hate to sound trite, but things do happen for a reason.  It’s what we do with that “reason” that counts.  We may get dragged down, but we don’t have to stay down.  Rise to the challenge, the trial(s) and test(s).  You’re/we’re stronger than we think.

Hey, it’s Rey!

. . . featured in the first of three posts.  I won, so I get to go first.  The Boss gave us carte blanche: write about anything that floats your boat (okay, I said that, but whatever).

We-ell, that got me to thinking way too much.  I mean, what would readers like to read?  What would I like to share?  What are we up to / what am I up to?  Do I want to discuss world events (can you spell b-o-r-i-n-g)?  How about local doings? 

After throwing a bunch of ideas in a basket, I picked one, and the winner was/is . . .  a mishmash of likes/favs.  Writing about what’s wrong with the world is such a—what they used to call—downer.  We know it’s a mess, on so many levels, for so many reasons.  Who needs to visit or revisit that? 

So, here you have it: what makes Rey happy. 

I love:

seeing rainbowsbeing a P.I. and seeing the Triple Threat Investigation Agency do wellsensing danger (but staying safe)being a part-time actresslearning new things sometimes having a house and wonderful pet, Bonzo (my bunny)living with my BFF, Linda, and cousin, JJbeing flirty.

My favs:

pizzaIl Volo (way too cute)beaches and sunshinelife (even when it’s not going well)volunteering.

Yeah, the lists could have gone on for a while, but I stuck with the main likes (loves) and favs.  I’m far from boring, he-he, but some people aren’t keen on reading them . . . and I’m getting tired of the snorts and eye-rolls from my colleagues, Linda and JJ (who are breathing over my shoulders).

I’m not sure what those two have in store, but I’d bet dollars to donuts they won’t focus on themselves.  That’s not to say I’ve got an ego or anything because I decided to focus on l’il ol’ me . . . lovable Rey.  There ain’t nothin’ wrong with that. 

Mr. Smiley

Well known worldwide, frequently used (and overused perhaps), smiley emojis make for great responses when there’s nothing to say or you simply don’t want to share [genuine] feelings.

Mr. Smiley is a great avoidance tool.  I use him regularly . . . often to say thank you, but just as often to avoid stating how I’m doing.  I’m not generally a Gloomy Gus (not publicly anyway); there are days, however, when I can certainly become one (given my personal situation).  So, not to convey my true self, I put on a “fake face”, and no one’s the wiser.  It’s all good.

I rarely use Mr. Smiley to encourage a conversation, but he can serve such a purpose, if you wish him to.  Simply sticking him in a reply likely won’t encourage one, so you may have to add a few words.  Or not.  It’s possible Mr. Smiley may invite another Mr. Smiley, who summons a third Mr. Smiley, who attracts . . . .

Those that [really] know me understand that if I reply with an emoji, I’m too busy/stressed to “chat”.  It’s my subtle way of bowing out.  And it’s all good.

Mr. Smiley makes me smile when he shows up on my screen.  I rather like having him visit in place of “thank you” or “you’re welcome”.  He’s just so much more . . . LOL . . . personable.

Mr. Smiley, or a cousin, can brighten a message or text, even a day if it’s not going well.  Communications can seem rather to-the-point and flat when received as words/instructions only, and that’s fine.  They’re to serve a purpose: inform.  But add a positive emoji and those communications seem so much perkier. 

There’s not just one Mr. Smiley, of course.  You have several to choose from, whose smiles vary from partial to full to toothy to laughing/crying.  On the flipside, you have Mr. Frowny, Ms. Uncertain, Mr. Puzzled, and the [lengthy] list continues—to upwards of 3000.  You could write a book on—or with—those.  An intriguing/challenging thought; perhaps, when time/life opens up, I’ll give that a try one day.

Emojis can be used to circumvent a situation.  If I’m dealing with a difficult person or circumstance, I can state something matter-of-factly and add an emoji to “soften” the statement or request.  If someone affronts me, I can send an emoji without being rude (tempted as I might be to use finger/hand signage) or stating the obvious.

The point of this post?  Not much of one really.  Simply thinking about how often I use Mr. Smiley.  But maybe, just maybe, I might also prompt, yes, a smile. 

Spreading the Word Some More . . . Again

Jina S. Bazzar’s fifth book, From Fame to Ruin—a standalone romantic thriller/suspense novel—has been out a short while.   Her blog tour didn’t happen as it should have, so I thought I’d give a quick [well deserved] plug.

Fame is a thrilling read, one you’ll be glued to because you’ll want to find out who-dun-it.  Set in beautiful Brazil, the enthralling story revolves around the music and business worlds and various persons who reside within them.  Both are  as competitive as they can be cutthroat; darkness dwells beyond the glitter in one and rivalry exists in the revenue of the other.

The gripping storyline is filled with twists and turns, and surprises.  Love at first sight does exist.  But does it last?  Can Carol and Ricardo’s rollercoaster relationship withstand the challenges, trials and tribulations certain characters thrust at at them?

Jina is known for fantasy (like the Roxanne Fosch series), but it’s obvious she excels at writing other genres.  Switching categories isn’t easy, so [numerous] hats off to her.

Please check Jina out here:

https://www.goodreads.com/…/58827418-from-fame-to-ruin

https://www.amazon.com/-ebook/dp/B09HSGMFYC

https://authorsinspirations.wordpress.com/

Spreading the Word . . .

. . . on behalf of Sean Robins, author of The Scarlet Queen, The Golden Viper, and The White Republic (some of the quirky [fun/exciting] books in the sci-fi The Crimson Deathbringer series).

Jim Harrison is the main protagonist, a fighting hero with an ego and alter-ego named Venom.  He has a trustworthy best friend, Kurt, who helps him win battles.  And there is a great array of secondary characters, such as dogged and determined (win at all costs) General Maada, prank-dense and maybe dangerous (but you can never truly be sure) Tarq, and beautiful femme-fatale mercenary and spy, Xornaa.

So, per Sean’s request, I’m helping spread the word: the box set continues to be a bestseller!  How awesome is that?  If you haven’t yet checked out his books, I highly recommend you do; each one is an entertaining (easy-to-get-hooked) read.

A little about Sean: he’s a university/college-level English teacher and huge Marvel (plus Star Trek, Star Wars, Battlestar Galactica, and Stargate) fan, as is evident in his stories (they’re full of pop-culture references).

Check him out on Facebook, https://www.facebook.com/sean.robins.77, and Amazon, https://www.amazon.com/Sean-Robins/e/B07PS1116K%3Fref=dbs_a_mng_rwt_scns_share, among others.

The Fairy in a Tale

Fairies seem to be quite popular in fiction (I’ve seen several in the last while, particularly in manuscripts I’m editing).  The ones I’ve “encountered” are usually small, cute, have magical powers, but can sometimes be tricksters (they’re cute but not necessarily sweet).

That got me to thinking where “fairytale” originates from.  The general dictionary consensus is that a fairytale is a children’s story about magical and imaginary beings and lands.

The genre originates courtesy of different spoken stories passed down through various European cultures. Per Wikipedia: “the genre was first marked out by writers of the Renaissance, such as Giovanni Francesco Straparola and Giambattista Basile, and stabilized through the works of later collectors such as Charles Perrault and the Brothers Grimm.”

Not sure about the other names, but I’m familiar with the Brothers Grimm, Wilhelm and Jacob.  They sported several hats but were perhaps best known for their stories (folk tales), first published in 1812.  Thought I’d throw that in there.

I digress, something I do well.  In today’s fiction market, what makes a fairytale a fairytale?  They’re set in the past is one of the criteria.  I’d disagree with that; they can certainly be set in modern times but contain components of that mythical/mystical/magical world that differentiates it from the world as we know it.  I’d concur that there’s that once-upon-a-time element, suggesting that the story transpired in another realm (a make-believe one).

Common features of the fairy’s fantasy world—forests seem to be particularly popular—include castles and palaces, villages and rural areas, rivers and streams.  Royalty often resides in one form or another.  There are bad sorts to challenge the good ones.  Additionally, there’s a lesson and/or moral to be found.  And, for sure, you have to have a happy ending (or should).

The purpose of this post was to enlighten myself infinitesimally, an amount as miniscule as a flitting fairy.

The Kid in Me & You

Who doesn’t love a good children’s book?  There’s always a little bit of a kid still in us, no matter what our age. But perhaps you’re considering writing a children’s book?  If so, do it!

Figure out what type you’d like to write: early reader, picture book, chapter book, middle grade, YA, etc.  Challenge yourself.  Have fun.  Write to your heart’s content . . . or until the imagination drowses . . . then pick up again the next day.

Before you submit your completed work to a publisher or editor, confirm that it’s professional quality.  This means, yes, you’ll have to edit it.

While you want to be aware of how you express yourself on paper / on the screen for a younger audience, most of the basic editing “rules” still apply.

Have a dynamic opening—you want to catch your readers immediately (reel them in from the get-go).

Remember the opening of Charlotte’s Web?  Young Fern asks why her father has an ax.  Mrs. Arable says he is going to the barn to do away with the runt of a pig litter.  The little girl immediately races out to stop her father.  I don’t know about you, but I was sucked in right away (in fact, I didn’t put that book down until I finished it, a sobbing, blubbering mess).

Ensure that the plot/storyline are entertaining; young(er) readers get bored with bad, silly, or boring plots just as easily as older ones do.

Offer an intriguing (entertaining) main character and ensure the other ones are strong/personable/memorable.

“I am Sam”.  Dr. Seuss’ Green Eggs & Ham was a favorite.  Simple.  Fun.  Entertaining.  But, then, so were most of his books—all with memorable and fun characters.

If your main character is searching for something, or perhaps themselves, or may think aloud a lot, talk to themselves, or have things to share, consider adding a “buddy” that he/she can bounce ideas off of or enjoy adventures with.  There are many friendships to list from childhood, but think of Charlotte and Wilbur, Charlie Brown and Snoopy, Bently and Daisy, Winnie-the-Pooh and Tigger, Eeyore, Piglet, and Roo, Curious George and the Man in the Yellow Hat.

Make certain dialogue serves a purpose and isn’t repetitive.

Show, don’t tell; ensure action and dialogue make the story come alive.  Keep the “he said” “she said” to a minimum.

Avoid using the same words too frequently, and don’t be overly descriptive or detailed.  Maintain your young readers’ attention.

Provide appropriate transitions when moving to a new scene or chapter.

Be clear.  Keep the flow and action consistent and logical.  The story and action have to make sense (even if in a fairy/fantasy world).  Provide reasons for actions/reactions.  If Mr. Moose and Mr. Caribou have to fly to Alaska on a magical sled, ensure the reader knows why—even if they’re doing it for a lark.

Keep the writing tight and pace steady/smooth.

There you have them, a few suggestions.  Editing your own work, as many will attest, is not always easy or enjoyable (the moans and groans can prove plentiful, so can the caffeine breaks).  Think of editing as a challenge.  Pull on your editor’s hat and have at it.  You can do it . . . and you may even have fun.

Baring the Ol’ Soul

Emotions are a very real, raw thing, and can be difficult to capture in fiction if not presented correctly or well.  Making them public in nonfiction may prove equally difficult, not only because of how they are described, but because they come from the soul, the heart . . . from experiences that are taxing, trying, empowering, lifting, or bittersweet.  Imaginary or real (dramatized or recounted), they often prove poignant. 

Editing nonfiction accounts of challenging times in people’s lives—memoirs, personal accounts—is tricky at times.  Do you edit with the fiction hat on . . .  and propose the following, without applying the “editing pen”?  Do you offer the same advice you would to a fiction writer?

Show, don’t tell.Avoid using the same words too frequently.Be mindful of dialogue and dialogue tags; don’t restate or offer the obvious.Steer clear of repeating an event, action, or conversation.Dodge overused/reiterated devices and approaches that lend themselves to flatness.

The nonfiction hat, particularly when dealing with emotional/heartbreaking topics, wants to be softer, less analytical.  As such, you may be tempted to:

keep the simplicity/intensity, even the repetitiveness, that’s being revealed (because, again, it comes from the soul, the heart)preserve—as is—something that is being shared and bared.

Then, the juggling hat appears.  Maybe you determine that the best editing tactic is to allow the narrative to unfold exactly as the writer—soul-barer—intended.  If someone has disclosed some highly subjective if not private moments, is it fair to alter what is visceral, intense, and so very personal?  No, probably not . . . but it wouldn’t hurt to tighten here and there, staying true to the writer’s intention(s) and mode of expression. 

It’s a tough call sometimes.  And editing instinct has to play a part, too.  Get a feel . . . for what feels right.

For someone planning to pen a personal tale, before beginning, give some thought to the following:

write [reveal] vital, relevant eventsdon’t communicate every detailshare with all senses—allow readers to feel, smell, see, hear, touch (like fiction, pull them in; let them understand the situation from a “sensory” POV)ensure readers get to know you or the person you’re writing about (the quest, struggle/situation, outcome)be honestuse dialogue here and there and make it compelling, not of the “he said, she said” variety.

Sharing a personal tale can prove purging, which is great (I have some of that to do), but it can also be enlightening, instructional, supportive/helpful, encouraging, for readers who have undergone similar situations . . . or those that want to learn about, and from, them.

Consider the goal for sharing [publishing] the intimate account—aim for it—and write [honestly and honorably] from the soul and heart.

SuspenseFULL

There’s nothing better than a riveting suspense novel, one that is full of excitement, thrills, tension, edginess . . . one that keeps the reader glued to the pages, wanting to find out what transpires . . . yet not really wanting the story to end . . . because it’s that good.  (I’m reading one now; hence the compulsion to post about it.)

So, you’d like to write one and are wondering what helps make a suspense story good?  Don’t reveal all.  You want to grab a reader’s interest/curiosity from the get-go and that is done not just with the story or plot, but through the characters.  There’s a problem or challenge, maybe a few, a mission or quest, maybe a few, that the protagonist (and/or main characters) has to pursue, and solve or resolve.

The protagonist, like the main characters, should have issues and/or a complicated past.  Something drives him or her.  Or maybe something makes him or her want to avoid the world.  What incidents/events have molded the protagonist?

Teasing the reader here and there can add to the suspense.  Perhaps Jim’s private-eye partner, Ralph, has been severely beaten.  Jim is supposed to meet him at ten, and is waiting, eager to hear what information Ralph has received that will help them solve a puzzler of a case.  The reader is aware of what has happened to Ralph; Jim is not.  Tension builds . . . particularly if the thugs who’d done the dastardly deed have discussed meeting Jim at the rendezvous spot with the intention of “taking care” of him, too.

Perhaps certain characters are bleak or somber, mysterious or treacherous, deranged or self-centered; this makes them dangerous, intriguingly so.  Revealing snippets of what makes them tick—or doesn’t—will keep the reader wanting to learn more.  Will the somber and deranged Mr. Darke succeed in his desire to bring down a former ally?  Can Ms. Perile convince her employer that a coworker is the saboteur and, subsequently, the reason the company lost a major account?

The reader should know more than the protagonist.  Not everything, but more.  Anxiety and hope want us to continue reading—and spur the protagonist.  At the same time, the reader wants to be solving the mystery/dilemma with him or her.  And there’s certain dread when the reader, like the protagonist, comes face to face with evil or terror, be it in the form of a serial killer, a maleficent boss, wicked wife, or pugnacious partner . . . or ghastly past.

Throw in surprises/shocks.  Have something happen that comes from left field—something no one, character(s) and reader(s) alike, ever expected.  Maybe someone unpredictably dies or proves to be a completely different person (be it via a personality change, revelation re background, or switch in intentions).  As with mysteries, suspense novels should throw out a red herring or two, offer clues and/or foreshadowing, elements that create excitement, anticipation, and tension.  The reader is dying to know what’s what.

Create suspense early and sustain it throughout the story.  In each chapter, you want to have a question or two that remains unanswered; this will prompt the reader to continue to search for the answer(s).  Perhaps reveal something startling or unforeseen in the last paragraph.  Determine what works best, given the plot and characters, and have at it.

Additional storylines can be added—lesser ones.  Perhaps you’d like to share action/dialogue between two villains or secondary characters; make certain it’s tight, of value-add, and interesting.  Flashbacks can also help but keep them manageable and to a minimum.

Finally, before “the end” arrives, ensure all loose ends are tied up, because you truly want to avoid reader head-scratching.

Now,  a great [suspenseFULL] read is beckoning my return.