Tyler Colins's Blog, page 48

Nothing Hysterical about Historical Mysteries

It’s JJ today, reviewing historical mysteries.  I don’t have the opportunity to read them anymore, but there was a time I truly enjoyed them.  Besides old masters Arthur Conan Doyle and Agatha Christie, a couple of much-loved favorites from long ago (almost historical in itself) are Anne Perry and Ellis Peters.

If you’re considering writing one, pick a period you’d like your mystery to be set in and get to know it well, because you’ll need to include descriptions and details related to that era.  Research should become your new best friend.

Don’t simply plunk history—events, equipment, tools, fashion, politics, concepts—here and there.  Consider which elements are central to the tale and use them accordingly.  The historical information should be accurate and make sense for the storyline and setting.  Then ensure there is a balance between plot/story and those historical components (too much history might prompt a yawn).

If you choose a real city to set your story in, learn all you can about it.  What was popular at that time?  Who was popular at that time?  What did people eat and do for entertainment?  How were the roads?  What were the modes of transportation?  Who ran the city?  Enable readers to see the story; create a clear, convincing picture of a bygone period.  While true events may not play an integral part in your mystery, they might have caught the interest of, or affected, a character or two.  No one, regardless of the century, is oblivious to what is happening around him or her.  If a member of royalty is assassinated, surely that would have had lips flapping?  As such, maybe it’s worth mentioning in some respect, if only in passing.

Don’t forget language.  In the days of yore, people spoke differently.  Now, you may not want to plug in a score of “thou art” and “prithee” but do stir in some past-century flavor to boost mood and feeling.  And give thought to who’s speaking; an officer of the court or law would speak differently than a lord or lady of the times.  Remember: education, like equality, was not granted to all.

Men and women played distinct roles within society and had certain traditions and morals to follow.  Women wore rather constricting clothing and men with money sported the fashion of the time.  Having a swashbuckling heroine would work for a historic romance, but maybe not so much for a historical mystery.  Still, it is fiction—artistic license and all that—so if you think you can pull it off, given the crime(s) and storyline, give it a go.  Do remember, though, readers know their stuff.  Don’t be surprised if you’re called out on something.

And while on the topic of men and women, just who is your main character, your protagonist and “sleuth”?  Develop him (or her) thoroughly, based upon the period you’ve chosen for your mystery.

Last but not least, don’t forget crucial components for mysteries: police/detective work and forensics.  They’d not have used DNA or fingerprints in the 17th century to solve a murder or abduction or robbery.  Learn how crimes were processed.  You don’t have to provide a history lesson—too many details can prove as detrimental as incorrect facts—but do allow “glimpses” how legal folks went about collecting evidence . . . if they even did.

There’s a lot to share about historical mysteries, but I believe—hope—I’ve provided enough to get you started.  The rest will fall into place (trial and error, and all that).  Enjoy the time-travel trip.

May ye fare well.

Nothing Negligible about the Noir

It’s Linda today, reviewing a unique mystery sub-genre: the noir.

The noir isn’t for everyone—it can be, as the name suggests, dark.  It can be gritty and bleak, with tough characters that may not be likable.  The mood and atmosphere?  Also dark.  Generally, the criminal is the central focus and the reader follows him/her into a world that can prove as jarring as it is unpleasant.  If you love happy endings, the noir is not for you.

The protagonist is a dropout from society, someone who doesn’t fit the norm (it was usually a he, but times have changed, so she is quite doable).  Other characters won’t care much for this individual, who will probably appear more a loser than anything else.  He/she would likely have an issue or two, not be very trusting or sociable—a loner, in essence.

Moreover, the protagonist isn’t a hero, but what they call an anti-hero.  What drives him/her?  Retribution.  Selfishness.  Avarice.  A grudge.  Often, he/she will try to find resolution via an alcohol-filled glass or at the end of a revolver.  To keep readers interested—and hoping that something good might transpire—add scenes/dialogue that will maintain that hope . . . until the end . . . when the ultimate [and tragic] downfall takes place.

There’s usually a sexual component—where another character may serve as the reason/motivation the protagonist goes so wrong.  It’s not typically love, but lust.  And lust can equal ruin.

The protagonist doesn’t have to be a P.I. or cop, but given the noir is a mystery, there should be a one!  Traditional noirs tend to open with a murder, but times change and so can the beginning.  But murder does make for a good mystery, regardless of the sub-genre, doesn’t it?

Dialogue tends to be abrupt/curt, quick and brisk.  It’s simple and straightforward and moves the storyline along.  Think about those 40s’ noir films, like one of our boss’ favorite, The Maltese Falcon.  Bogart’s character, Sam Spade, tells Cairo, Peter Lorre: when you’re slapped, you’ll take it and like it.  Short and sweet … and rather testy if not threatening, n’est-ce pas?

Dialogue should help paint a picture of what’s happening—let us “see” and “feel” that stale, musty dive, burned-out garage, bullet-riddled room.  Similes (comparing two things) and metaphors (words or phrases compared to objects or concepts) tend to abound.

Noir, film or book, often tells the story with first-person narrative.  As the writer, however, you don’t have to; go with your gut.  However, the one component of writing in first person is that you pull the reader into the protagonist’s head.  Then you can play around—have the reader wonder if what is being narrated is indeed factual.  Maybe the protagonist is leaning toward the demented or confused, and is sharing facts strictly as he/she views them . . .  or wishes to view them.

Setting is often the big bad city, but dark and dismal things happen in the country and oceanside, too.  Pick a place for your location . . . the paint it with thick, twisted and ethereal strokes.

Violence is important to the noir—a left hook results in a black eye, a Luger knocks out a character (or a tooth or two), a serrated knife ends a life.  The protagonist gets beaten up.  Badly.  You don’t have to get gory or overly detailed, but you do have to convey it in a way that it disturbs readers, makes us wince . . . and maybe sparks that aforementioned hope that something decent will happen as a result.

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Definitely, there’s nothing negligible about the noir.  And if you haven’t yet stepped into the world of noir, try these three: Raymond Chandler, James Ellroy, and Dashiell Hammett.  They’re not the masters of noir for nothing.

Cozying Up to a Cozy

Hey-ho, it’s Rey today.  We’re still reviewing mysteries and I won, er, got the cozy!  For those not in the know, yet, a cozy is like a traditional mystery, with a few differences.

It’s a popular sub-genre (my new word) where, basically, an amateur sleuth solves a murder or puzzler in a pleasant setting while learning a whack of interesting stuff.  These mysteries often comprise a series and there’s usually a theme or profession—such as the world of gardening, publishing/writing (think Jessica Fletcher), cooking or baking, catering, and even, yeah, possibly, a detective agency.  Our sleuth is an everyday kind of person, like you or me, who possesses good judgment (common sense) that [eventually] enables him or her to figure out who the perp is.

Besides having said sleuth and a bona-fide mystery to solve, a cozy will generally contain the following:

a “family” oriented approach, where swear words and sexual exploits are at a minimum, if at all

a degree of wit and fun or eccentricity, be it through the characters, dialogue, or events

a main character—the amateur sleuth—the reader can relate to or root for . . . an “everyday” someone (again like you and me) who, when faced with the challenges of the crime, accepts them and valiantly does his/her best to ensure the crime is solved

clues, which are revealed to the reader, as well as a few red herrings to provide those fun twists and turns while we’re guessing who did it

an unlikable victim, so we can’t really feel that remorseful that he or she gets axed, er, leaves this mortal coil

a smart cookie of a villain/killer, so our amateur sleuth is challenged, but not outwitted

murder committed behind the theater curtains, so to speak, so the reader doesn’t have to hear the nasty or gory details (or know who the murderer is)

a small-town or rustic setting (back to Jessica and quaint Cabot Cove) that makes for a picturesque, tranquil location.

[image error]Lastly, what makes a cozy a cozy?  The title.  They’re “cute”.  Given Jessica is so well-known, still, here are some titles, Murder She Wrote . . .

  Gin and Daggers

A Palette for Murder

Martinis and Mayhem (love it)

Highland Fling Murders

Murder in a Minor Key

 You get the idea.  Cozy titles are fun, whimsical, playful . . . like me. 

The Capricious Caper

It’s JJ today, reviewing the caper mystery, a sub-genre which can fall in the same category as a cozy.  There are differences, however.  Unlike a cozy, capers incorporate humor and cheek.  A caper can lean toward the whimsical or capricious, as well as the comedic/comical.  Main characters aren’t generally sophisticated or analytical and can lean toward blundering bunglers.

Capers also frequently incorporate more crimes than the typical murder found in the other categories—such as robberies and thefts, scams and hoaxes, and abductions.  Main characters, our lovely lawbreakers, generally commit the offences up front, so the reader’s aware from the get-go.  Moreover, these folks are often oddballs, yet manage to successfully pull off the, uh, caper.  As such, the emphasis isn’t so much on solving the mystery or mysteries, but on the crime or crimes.

The offenders are usually likable and get into hot water and crimes/deeds way over their heads.  They’ll argue and clash, but this will normally add to the comedy and capriciousness.  And given you’ll have a few folks engaged in the caper(s), you’ll likely want to have one of them serve as “the brains”, a team leader as it were.  Maybe the POV will come from this character?  It’s up to you as to how you wish to present your capering caper.

So, what should you consider when writing one?  The plot, of course.  Are the lawbreakers-to-be out to steal money or jewels?  If so, for selfish reasons or benevolent ones?  Are they out to commit more than one crime?  How many?  What is the purpose behind each one?  Committing a crime on a lark may not cut it with readers, but there might be justification for it being a lark . . . to prove something perhaps?  And, if there is more than one crime, how does each one tie into the other?

Give thought as to how each caper will be developed and carried out.  How will our “caperers” pull them off?  Who exactly are these people?  Give backgrounds.  Do some have questionable pasts?  Are they all shifty, or just a couple?  Do they have goals, dreams?  Are they in relationships?  What qualities might you provide so they are likable, witty or humorous, maybe even sympathetic?

Think about how to best build tension and conflict and humor in your story.  What could transpire during the course of the caper(s) that would make readers laugh?  Don’t forget your dialogue; in addition to it moving the story, it should contain both friction and wittiness now and again.

Besides humor, tone and mood are important to capers; as such, they can be more tricky to write.  But who doesn’t enjoy or relish a challenge?  Have fun!

An Amateur, but Never Amateurish

You’ve got me, Linda, posting today.  The Boss asked us to pick a couple of preferred mystery categories to review, so the first one I opted for: amateur sleuth.

Rey, JJ and I got the notion to become professional P.I.s—okay, my best friend, Rey did—after we’d done some amateur sleuthing at a haunted (yes, by a real ghost named Fred) Connecticut mansion.  We figured out who was responsible for many—many!—murders.  It proved dangerous, frightening, and exciting.

Perhaps you’re interested in writing an amateur sleuth mystery.  If so, allow me to share some key points.

Firstly, you may think an amateur sleuth mystery is the same as a cozy—and you’re right, sort of.  A cozy is almost always an amateur sleuth mystery, but an amateur sleuth mystery isn’t always a cozy.  Amateur sleuth stories can be comical/funny or lean toward the dark.  Cozies generally don’t, but both are commonly lighter; i.e. not overly gory when describing violence and murders and the like.

Amateur sleuth mysteries have the main character(s) digging for clues and answers; they’re curious, determined, and tenacious.  And we love following them as they endeavor to solve the crime; in fact, we love solving the crime with them as we attempt to ascertain who dun it.

The main character should be likable—smart and personable, too.  Yes, he/she may be an amateur sleuth, but he/she is far from amateurish.  A certain level of skill exists.  He/she doesn’t have to be a rocket scientist or a trophy-winning pro, just good at what he/she does.  Sure, he/she can make a mistake or two—we all do in real life—but don’t have the character bumbling and stumbling unless, perhaps, you’re incorporating a comic scene.  Stupidity doesn’t wear well on an amateur sleuth.

Incorporate a detailed background—town, city, monastery, island, mainland.  Make it come alive by offering well-crafted details about location (fictional or not).  Think of smells and sounds.  Let readers fully visualize the place(s).  And what sort of work environment does this mystery take place in?  A telecom company?  Radio station?  Publishing firm?  The [mystery] world is your oyster.

Ensure there’s a valid reason for your amateur sleuth(s) to become involved in the mystery; it could be personal and/or professional.  For example, maybe Mr. Smith wants to discover who killed the janitor, a kind friendly fellow, in his building.  Or maybe Ms. Browne wants to find out who bumped off her beloved aunt’s beau.  Make it valid; make it believable.

Action is a must.  You don’t need tons of it—dialogue and details/descriptions, when well presented, can carry the story—but regular or well-placed action will help move the plot along and keep readers interested.  Think: conflicts, tension, adventures, exploits, deeds.  Don’t forget danger; have your main character face a few perils!

Have enough clues.  Throw in red herrings.  Add twists and turns.  Keep your readers guessing.  Make certain there are enough suspects—that they all have possible motives, could have been in the vicinity at the time the crime was committed, or had the means (were able) to commit the crime.  You want to keep your readers guessing as to . . . yes . . . who dun it.

First person or third?  It’s your choice.  Write in the voice that you feel most comfortable with.

What about romance?  I believe some people enjoy a bit of l’amour in their books.  I do.  But if it doesn’t fit your main character—at least not in this current story—that’s okay.  Maybe he/she finds a sweetheart in the next one.

You may wish to consider having a partner or buddy assisting the main character.  They can bounce ideas off each other, discover clues, and help in dire moments.  A colleague can also prove comic relief; maybe the two interact like Laurel and Hardy?  There’s a distinct relationship and one you can develop/change throughout the series (if it’s your intention to write a few mysteries featuring the same folks).

When the culprit has been unveiled/captured, end the story in a timely manner.  Tie up loose ends . . . and exit effortlessly and easily . . . like I’m about to do.

That, my friends, is the amateur sleuth mystery in a proverbial nutshell.

Picking the Police Procedural …

… as your mystery of choice.

Hey-ho, it’s Rey.  I’ve got the first post of “must dos” re specific categories of mysteries: police procedurals.  My mother used to read them—Ed McBain, P.D. James, James Patterson, to name a few.  That woman never threw any books away.  We had stacks (!) in the basement.  I was never much of a reader but, once in a while, I’d grab a paperback on a rainy afternoon.  I have to admit, I kinda liked McBain’s books.

You’ll be happy to know that, although our boss gave me some insight/input, I did my own research as to what you need to incorporate in your story (pat on back to me).  So, basically, the police procedural is police crime drama, which looks at how a member of the police or legal force handles an investigation.  Evidence, warrants, forensics and legal procedures are must dos and are interwoven throughout the storyline.

Decide who your protagonist (main character) is and which agency/department he or she works for.  The FBI, DEA, or a local police station maybe?  Make sure to learn the rules/regulations specific to it.  They all have their own, so have the right facts for the right place (i.e. setting).  For example, what are gun regulations, laws, sentencing and penalties in your given location(s)?  Research should become be your best friend . . . and that research can extend to chatting with those in the legal profession.  Call the Media Relations department; they’ll point you in the right direction.  Inquire . . . inquire . . . inquire.  And if you’re in it for the long run, take some courses and/or attend a conference or two.

Incorporate the day-to-day duties of the office or agency.  This is paramount to a good police procedural.  You’ll be providing realistic details re ops and processes, and the like; keep them authentic and relative to the setting/location (crimes that occur in a cosmopolitan city may not occur in a rural farm-rich community).  The procedural isn’t a cozy where poetic license is permissible if not desired (where having Neddy Hickenbottom, the antique dealer, suspended from a cherub statue in a eighteenth-century hedge maze is better [more thrilling] than having Nat Browne, the pizza guy, found at the end of a cul-de-sac in suburbia).

Give your protagonist depth.  Don’t make him/her flat or one-dimensional.  There should be a past (history), likes and dislikes, personal and professional quests, habits, and training/education among other things.  The storyline is important, for sure, but readers do want to relate to your main character.  Make him or her likable or have redeemable traits (nothing wrong with someone being mean-spirited or pessimistic, as long as he/she develops and changes, my personal opinion).  There are rules to be followed and some can be broken, but for the most part, think “authenticity”.  The Boss may have used this before, but I think it’s perfect . . . character development is like painting a portrait.  Add layers and a variety of colors.

Something you might find in a procedural: different points of views.  This will enable readers to become acquainted with facts the protagonist might not know.  That’s fine.  Word of advice, though: don’t have too many POVs or you’re going to confound readers.

Given this is a police procedural, you’ll be more limited in what the crime/storyline entails.  Nevertheless, you can certainly still write a stellar and exciting story.  As with all mysteries, provide clues as your protagonist investigates the crime (readers love solving the mystery with the hero/heroine), but don’t be obvious.  Throw in a couple of red herrings, too.

[image error]Think about uniforms and routines, outlooks and processes.  Remember, in the real police world, reports and record-keeping is rampant; it’s not just about following a suspect or solving a crime.  Consider all the elements.

Sounds challenging?  I say it sounds more like fun.  Have at it, my friends.

Putting the Mystery in a Mystery

mystery:  secrecy  /  ambiguity  /  whodunnit  /  enigma  /  puzzle / conundrum / riddle / unsolved problem

The gals thought today’s post should review the mystery genre—specifically, how to write one.  Sounds good to me.

As you know, mysteries can fall under various categories: cozy, amateur sleuth, professional sleuth, private eye (like our trio, JJ, Rey and Linda), police procedural, noir, suspense, historical, mixed genres, literary, and caper, which is a crime story that leans towards comical (didn’t know that one had a category until recently, so there you go; you do learn something new every day).

Let’s stick to an overall review of penning a mystery, because each category has its own specific components and that would take up several pages.  But, hmm, that’s a thought; maybe we’ll feature each one separately over the next few weeks.  Ah, Rey’s giving two thumbs up.    I guess that’s what we’ll be doing.

You’ve decided to write one but aren’t sure what type?  Well, which mysteries do you enjoy reading?  Cozies?  Then go for that, something familiar.  Later, if you’re so inclined or are looking for a challenge, try something else.

Regardless of the type, you need a compelling story, one that yanks the reader right in.  Have a murder or three (or an enthralling crime/riddle to solve), also known as “plot”.  There should be conflict and tension, and action (but this doesn’t necessarily have to be of the racing-against-time or hit-over-the-head intensity).  Provide an interesting and preferably likable central character—the protagonist and person solving the mystery—and ensure your other characters have life.  They mustn’t be flat or wooden, or sound/seem the same.  I haven’t said this in a while, but variety is the spice of life . . . and stories.

Something else I’ve not stated in some time: show, don’t tell.  Weave the aforementioned conflict and tension between dialogue and activities/adventures.  Neither need be there continually, but certainly often enough to keep the reader on the edge of his/her seat, yearning to read on and discover what transpires!

Give thought to the crime.  If you’re stumped as to what the crime should be, search the internet for real-life ones and adopt/adapt one.  Imagine yours in every detail—how it was committed, what happened before and after, why it took place, and who did the dastardly deed.  Think about clues that the central character might stumble upon and follow.  Toss in a red herring or two.

[image error]Give thought as to why your character would be inclined to solve this mystery.  A professional reason perhaps?  He/she is a private investigator or detective, or works in some sort of legal or medical capacity, as examples.  An amateur sleuth may stumble upon a crime or murder and aspire to determine what transpired—but how did said amateur sleuth happen to be there?  Visiting a relative?  Attending a conference?  Moreover, might there be a personal reason the character wants to solve the mystery?  Add a few layers, but don’t stifle your character or reader (which translates into zzzzzz).

Who are your suspects?  You should have a few to keep your readers intrigued, guessing [detecting] along with the central character, and wanting to discover who the culprit is!  Try to surprise your reader, but don’t make the outcome outlandish or implausible.  On the flip side, don’t make your outcome too predictable or easily “reader solvable”.

Assemble your concept, characters, clues and suspects like the pieces of a jigsaw puzzle to create a complete picture.  Outline/chart how your protagonist [eventually] solves the mystifying crime.  Consider scenes and events.  And don’t forget your setting, either.  Make it come as alive as your character(s), dialogue, and actions.

Happy writing.

But We Don’t Wanna, Either!!

Hey, it’s Rey.  A wee while ago our boss posted about how she wasn’t really into posting that day/week.  We so-o get it.  With a lot of lanai-lounging and no major case-solving, we’ve gotten a little lazy.  Cousin Jilly, Lindy-Loo, and I are not too motivated to write these days—well, those two more than me, that’s why I’m posting today.

Finding something interesting though . . . that’s another issue.  What would followers/visitors want to read about that hasn’t been posted about?  I don’t want to create a big yawwwnnnnnnnnnn.

Hmm.  How about something fun and totally frivolous—our favorite lanai-lounging cocktails (when we’re inspired to do more than flip a cap, he-he).

My cousin JJ likes the local favorite that tourists suck back by the gallon—the ever-popular Mai Tai.  Here’s her [double-vision] version.

1 1/2 oz dark rum

1/2 oz white

1/2 oz orange liqueur (Grand Marnier is another personal preference)

1/2 – 1 oz coconut liqueur or coconut water

1 tsp grenadine

blend of orange juice and pineapple juice (you decide how much)

crushed ice

plumeria as garnish/decoration (if none available, use a spear of pineapple or slice or orange, or something imaginatively “cute”)

** fill a glass with crushed ice     ** pour all the ingredients, except the dark rum, into a shaker or blender; shake/blend and pour over the ice     ** float the dark rum on top     ** garnish and serve

My best friend Linda has recently started enjoying the occasional Papaya Martini.  She makes a pretty good one, too.  Simple recipe, sophisticated taste (so she claims).

1 oz fresh papaya juice

1 oz Cointreau (or Grand Marnier, if you’re so inclined)

2 oz vodka

a shot (or two) of sparkling wine

squeeze of lime

garnish of choice (Linda likes adding something floral, like a pansy)

** add crushed ice (or cubes if you’re not up to crushing) to a shaker     ** shake well for several seconds and strain into a traditional martini glass (sight counts as much as taste)     ** garnish and serve

And, lastly, you have my current favorite lanai-lounging libation . . . the Mockarita.  I still like my rye and ginger, but when it comes to cocktails, these days, I’m leaning toward the “pretend” ones.

4 ounces limeade

4 ounces lemonade

1 ounce orange juice

1 tsp powdered sugar

sparkling water, lime or orange flavor

garnish with lime slice/wedge

salt for the rim

** use a chilled glass (so much nicer)     ** put salt on a saucer/plate     ** run a lime slice/wedge around the rim of the glass and dip it into the salt     ** add ice and all the ingredients, except the sparkling water, into a blender and blend well     ** strain the mocktail-cocktail into the glass     ** top with the flavored sparkling water (you determine the ratio)

And there you have it: a we-don’t-wanna-either post, with a pleasant “uplifting” twist.

 

The Repentant Juggler

Normally, I stick to the “theme” of this blog—providing tips related to writing/blogging and editing, and what the P.I.s are up to at the Triple Threat Investigation Agency.  Today’s post is a tale . . .

. . . the tale of a repentant juggler.

Repentant because, of late, Faith has stepped back from her periodically neurotic self and viewed life, and herself, with new/different eyes.  The result: she feels quite remorseful, if not ashamed.

Juggling a demanding full-time job and caring for an elderly parent (a full-time job in itself) is very difficult for a sole caregiver.  Faith hasn’t slept more than three-four hours a night in many years; as such, she tends to be perpetually exhausted.  So, when She isn’t leaning toward sad or resentful, Faith may feel sorry for herself.  Silly, but true, she thinks with a wry smile and troubled heart.

Faith loves that parent but may not always like her . . . and only because she hasn’t learned to completely forgive and forget.  In her heart, Faith believes she is a good person and attentive caregiver, a decent daughter, but then decides she’s not.  Good people simply do not whine, cry, despair, or question life or the Big Guy.

Perhaps it’s also that her parent is old and fragile, and that may also frighten and fret her.  Faith remembers the strength that once was . . . and remembers who and what they both once were: youthful and robust.  Aging has its merits, becoming “old” does not.

There have been bouts of depression and they have proven debilitating . . . and downright annoying.  Faith has had it with that, though.  Depression has drained her once too often; it’s time to go!

Faith wants to return to the person she once was: a good-humored, easy-going, caring person with dreams, hopes, and faith.  Fortunately, Faith’s moving in the right direction. With the help of a kindly naturopath, healthy diet, and her own [very firm] desire to turn her life around, she’s taking purposeful baby steps forward.

She recalls a once popular expression: when life hands you lemons, make lemonade.  She likes that and says, “Look for a huge pitcher!”  And while she’s at it, Faith is going to juggle those tart little citrus fruits, too!  She’s going to flip vexing anxiety into sweet calmness.

The juggler is truly repentant . . . and prays that the Big Guy forgives her . . . and that, going forward, she will embrace, even welcome, the challenges that come her way.  All acts and actions truly lend themselves to learning and growing.

Faith recalls yet another once popular expression: don’t give up, give over.  (Sometimes those trite expressions are just so spot on.)

Life’s too short to be apprehensive or angst-ridden.  She’s looking forward to a wholesome new life and outlook.  It’s all about love—for others and self.

Faith laughs softly and a couple of expressions juggle within her mind [maybe they’ll become personal mottoes] . . .

Be strong, not wrong.  Stay true, not blue.

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But I Don’t Wanna!!

Familiar words?  Possibly you’ve heard them from your child, spouse, partner, parent, relative, coworker, buddy-bud?  Or perhaps you’ve uttered them?  He-he.  Been there, many times.

Take today’s post.  It’s been a but-I don’t-wanna post week . . . because, honestly, I couldn’t think of anything [bleeping interesting] to post about.  T’is true.  Oh, I could rack my brains and come up with something—I usually do—but I don’t wanna!!

There’s just too much on my daily plate with the demanding 9-to-5 (which is more like 5-to-5) and mom-care.  That’s a me dilemma, but you have your own, so we’re not alone.

So how does one quell the I-don’t-wanna issue that flits in and around your head like a pesky mosquito?

The first thing would be to decrease a sense of being overwhelmed, which seems to be part of the I-don’t-wanna equation.  Yes, you’re working.  Yes, you have family obligations.  Yes, yes, yes.  Still, you want to post/write, or engage in a hobby, pastime, and/or project.  Whittle the list; make it manageable.  Determine where you can schedule some time to fulfill that “me need”.  Even if only 10 minutes, assign them to yourself and take them.  Focus and do what you can do.  Always remember, regardless of what outside factors are dictating, you count, too.  So honor that!

If you’re experiencing blank moments, search for inspiration and ideas.  The internet is chockablock full of information—concepts, views, notions, opinions.  Find something that interests/stimulates you.

Sometimes, posting or sharing your intended goal helps; then you have no option but to commit to it and follow through.  I know I wouldn’t want to state I’m doing something and then not do it.  I’m a gal of my word … unless something truly unforeseen and unavoidable transpires, but then I’ll get to it as soon as possible/doable.

If you’re like me these days, kind of “slumpy” , look for someone or something to move or motivate you.  Contact your know-it-all sis.  Email your no-worries-hiking-in-the-mountains cousin.  Text your man-I’ve-got-an-awesome-life aunt.  Ask for input/guidance.

Social media is a wonderful tool for reaching out to others for encouragement and support.  Join a forum or community or three—maybe one that revolves around something you’ve never even vaguely been interested in.  Learn something new.  It may take you down a new—and exciting—path.

Try not to let the but-I-don’t-wanna-do-it blues get you down.  Flip them around.  It’s not easy getting rid of negative thoughts or feelings, this I know, but it can be done.  Consider your “slumpy”—recognize it and address it.  Yes, maybe it’s not changeable right this moment.  But it will be.

We all struggle with the slumpies, those blank moments, the I-really-don’t-wanna-do-it trials at some point.  Keep the faith, my friends, keep the faith—grab it, embrace it, wrap it all around.  You’re truly not alone.