Anna DeStefano's Blog, page 29

How We Write Wednesdays: Candace Havens Motivates!

Just like Jenni and I have created an encouraging HoWW writing home to share craft and writing journey experiences, both our blogs and our #weWRITE Twitter hashtag, Candace Havens is a writing coach among many other things. We're thrilled to have her with us this week, talking about how she does all that she does and how you can create the same momentum in your life.

So settle in for a great HoWW guest blog, then come back next week, when Joanne Rock (author of over 50 novels) teaches us about voice!

*****

I'm busy. I'm a full-time television critic (3 columns a week) and film critic (radio). I write three books a year for Harlequin and short stories/essays for various publishers. I'm the president of the Television Critics Association and I'm finishing graduate school this fall. I'm also married with children. There are days when I'm so tired the idea of writing one more word makes me want to cry.

But I do it.

People ask me all the time how I do all that I do. My standard answer is that I do it better some days than others, and I take it day-by-day. That's true. Every day brings new challenges for me, and I often have to wear many hats in an hour. That's why I have to make the most of my minutes.

There are days when I'm so busy that I have to really take advantage of the minutes I do have. While I'm at my desk waiting to interview some celebrity, I'll take 20 minutes to see how much I can write on a chapter. (Most celebrities call late. It's a power thing, so I can usually get 30 mins in.) When I'm at the doctor's office, I always take a notebook so I can write. Even though we are press, if you don't get to a movie preview early you get crappy seats. I go early and take that notebook with me to write. If I can't sleep (I'm an insomniac), I make myself get up and write.

What you see in the above paragraph are choices. I choose to write. If you want to be successful and productive, that is what you must do. You must choose to write. That means turning the television off, getting away from those awful Farmville, Mafia and Jewel games and generally keeping yourself free from all the time sucks of the world.

The first thing you need to do is make a list of priorities. What do you have to absolutely get done in the real world? How long is that going to take? Do you have 30 minutes to spare in a day? You would be amazed what you can do in 20 to 30 minutes a day if you are focused and prepared.

People say all the time that they just don't have time to write. They have long commutes for the day job. They're full-time moms (hardest job in the world) and the kids won't let them write. Someone in the family is sick, and they must take care of that person. And I say to them, and to you, those are excuses. If you want it bad enough, you will make time to write. Kids work well with incentives and bribes. You can use a voice recorder if you are driving home from a long commute. And while sick people may need your care, there's a lot of sitting around and waiting for the time when they need you.

I teach this in my Fast Draft classes. The only real excuses that should keep you from writing are coma and death.

So you've made the choice to write no matter what. The next step is to prepare. You have your list of priorities. You know when you might be able to squeeze in some writing time.  The trick is to be prepared and ready to focus. That means jotting a few notes after you finish each writing sprint that tells you where you just were and where you were planning to go.I'm a pantser, but my editor needs a brief synopsis before she buys a book. I've found that synopsis helpful through the years. If I get stuck, I have some idea of where I need to go.

You should also always move forward if you are working on a first draft. Don't go back and edit the previous days work. You use different sides of your brain to edit and write. You don't need the critical you/internal editor telling you how dumb you are when you are writing a first draft. That does you no good. So use those notes you make after each sprint to help you move forward.

If sitting at the computer staring at a blank page is freaking me out, I pull out a notebook. I might write what I know about a character, the next scene that I do know or the end of the book. The latter is one of my favorite tools for getting things done. For some reason, when I know what the end is going to be, it makes it much easier to get there.

One of the most important things you can do for yourself is to make yourself accountable to someone else.This is one of the reasons my Fast Draft class has worked for so many people. The idea behind accountability is you don't want to let that other person down. It also makes it more difficult to make excuses as to why you don't have time to write. That other person is just as busy as you. I'm accountable to some really great authors. We all have very different lives and priorities. We all have success in the book world. If we want to continue on that path, we have to write. We have to be accountable to one another and get the work done. I won't go to bed no matter how tired I am until I've written my words to reach my goal. I won't disappoint my friends.

Once you reach your daily, weekly, monthly goals. It is a good idea to reward yourself.Incentives/bribes work for children and writers. I'm an iTunes freak. I love music and buy a lot of it for rewards. I also buy books for my iPad. And when I reach my daily goals I get to play Words w/Friends and Hangin' w/Friends. But I don't get to do those things until I meet my goals.

I would rather be beached out on my couch watching television, reading a book or on a beach staring at waves, than almost anything else in the world. I cannot tell you how many times I've said, "Come one, just write two pages and you can go to bed." Or, "If you write five pages you get to go have dinner with friends." Or, "Dr. Who is on tonight. Write five pages and you get to watch." I have to bribe myself all the time.

But I still make the CHOICE to write. That's how you write even when you don't want to. You choose to sit your butt down and put those fingers on the keyboard. I choose to not feel guilty about writing. For me, I'd rather just spend an hour or two and get it done than feel guilty for hours/days/months/years for not doing it.

If you need help in the motivation/kickingbutt/accountability department, I run a free online writer's workshop where you can post your daily goals and we'll keep you accountable. You can get to it through my website. The important thing to remember is you are not alone. I hear people complaining all the time about not having time to write. The truth is if they used that complaining time to write, they would be way ahead of the game.

Share with us some of the tricks you use to motivate yourself to write.

******

Bestselling author Candace Havens has written six novels for Berkley including, Charmed & Dangerous, Charmed & Ready, Charmed & Deadly, Like A Charm, The Demon King and I and Dragons Prefer Blondes. Her new venture is writing for the Blaze line of Harlequin. Those books include Take Me If You Dare, and the upcoming releases She Who Dares, Wins, Triple Dare Ranch and The Model Marine. Her books have received nominations for the RITA's, Holt Medallion and Write Touch Reader Awards.

She is the author of the biography Joss Whedon: The Genius Behind Buffy and a contributor to several anthologies. She is also one of the nation's leading entertainment journalists and has interviewed countless celebrities including Tom Hanks, Nicolas Cage, Tom Cruise, George Clooney and many more. Her entertainment columns through FYI Television can be read in more than 600 newspapers across the country. Candace also runs a free online writing workshop for more than 1600 writers, and teaches comprehensive writing class. She does film reviews with the Dorsey Gang on The Big 96.3, and is the President of the Television Critics Association.

The Psychic Realm: Spirits vs. Ghosts, The Grudgematch!

Pouring through my parapsychology notes for the next three "Legacy" fantasy novels, the difference between spirits and ghosts comes up a lot. For this Psychic Realm blog series, it's a classification that most who like but don't study parapsychological phenomenon can easily miss. These become key distinctions in my next books, because how all this works beneath the plot is just as important as the way the exciting characters play their spooky, exciting stories out on page.

Some basics (that you many not have gotten from watching things like Ghosts Whisperer):

Ghosts are trapped here on earth before passing on to where they're meant to be next.
Spirits have already ascended.
Ghosts retain the injuries and scars from their lives and earth.
Spirits have healed.
Ghosts tend to be confused and befuddled about where they are and why they're there.
Spirits are calm and clear thinking.

What does all this mean?

First of all, no conversation of the spirit world would be complete without a healthy dose of past life theory thrown in up front as a disclaimer. But I'm not gonna go there, at least not in this post. Because I'm difficult, and also because the debate muddles the definitions I want to focus on for now. If enough interest grows either in the comments or my emails, we'll do past life one day. Promise.

Second, if you think you're experiencing energy that isn't your own (or the man/woman sleeping next to you, heh), the simple classifications above can be instantly helpful in determining what might be going on. In my novels, they become road signs/clues to help my protagonists sort out their own messy denial about what is or isn't happening to their worlds/ minds.

For example, if the "being" you think you're encountering appears to you as physically impaired in any way–ghost.Unhappy, aggressive, or unkind? Also, most likely NOT a spirit. Earthbound ghosts, being trapped between dimensions, tend to be cranky. Spirits, if not always kind, are at least in better control of their behavior and emotional states.

Does your familiar only appear in a defined space? Does it move around or follow you? If B is your answer, you should be thinking more along the lines of dealing with a transcended spirit, which can move more freely through sheer thought projection, while ghosts tend to stay in locations that they're more tied to.

If you're dealing with a ghost, it's suggested that you ask yourself (and your ghost) why they're there. Ghosts' bodies are dead. They're stuck in a mid-range dimension, for reasons of their own. Their energy's turned away from the other side. This makes them more visible and audible than fully transcended spirits (remember from my last post that the theory goes that we're surrounded by spirits all around, but few of us have the ability to sense and feel and interact with their energy).

Most ghosts don't have the faintest idea without help that they're even dead. Getting rid of them by helping them on their way, then, becomes a challenge. My protagonists find that's the case, at least ;o) Ghosts are trapped in a kind of time/space warp, if you will, where they may not even realize that decades or centuries have passed or that the physical world around them has changed. Cool fodder for mystery and thrilling plot complications!

So what are ghosts doing when we experience them as "hauntings?" Keep an eye out soon for a post on why ghosts stay and what can help them move on… See, I'm just as much a tease in blog posts as I am in my novels ;o)

Spirits are interacting for completely different reasons. Remember our discussion of Spirit Guides last time. Spirits are controlled and determined and have a plan when we encounter them. They most often have something to teach us (and most often aren't evil influences).

But spirits (or ghosts) aren't to be confused with imprints, tulpas, "familiar" smells, angels, totems, demonic possessions, or the psychic gifts of prophecy, astral travel, psychometry, clairsentience, clairvoyance or clairaudience. These are all cool terms I'll define better going  forward, and some of them can be used by spirits (not ghosts) to communicate with our animate world. But the presence of these gifts, if you believe you've encountered them, are not  proof of ghosts or spirits interacting with your reality. Not as far as the science of parapsychology is concerned. There are those who believe in the existence of all of the above, whether or not a passed or passing being is involved.

See what I mean when I say I have enough notes to keep me busy writing novels based on Fringe science concepts for years to come?

Hope you'll join me! In the mean time, check out my dream theory blog series, and keep in mind that Dark Legacy and Secret Legacy are both discounted digital downloads through the end of August!

Dream Theories: Losing Your Teeth/Power?

It's Monday. Time for another dream theory post, based on the research I do for my sci-fi/fantasy Legacy series. What's one of the scariest types of dreams I get asked about most? What does it mean when my teeth fall out in my dreams? I've had personal spooky moments with this theme myself, and it always gives me the creeps! Shudder. But what does it mean? You know, once I've raced to the mirror to make sure everything's really okay…

First, as soon as you wake (or those of you who find yourself lucid while you're dreaming, focus as soon as you become aware), ask yourself: were your teeth crumbling, breaking, falling out one by one? The momentum with which you're losing them can be key. How rapidly, violently, emotionally is the loss happening?

Why? Because dreams about teeth tend to be about control, power, and what's stopping you from exercising one or both of them in your life. So it follows that the momentum and circumstances surrounding your dream teeth loss might give you insight into the significance of whatever's triggering the symbol's appearance.

There are a variety of interpretations about teeth dreams. They're one of the most common dreams, overall. Pretty much everyone's experienced it at one time or another:

Freud would like us to believe they're about…wait for it…castration anxiety. WhatEVER (I'm NOT a bit Freud fan when it comes to dream interpretation. He always leads with his dangly parts. Someone along the way should have suggested he get a handle on his fixation. Literally.).
As far back as Artemidorus' Oneirocriteria (The Interpretation of Dreams) it was suggested that loss of either the top or the bottom teeth can indicate upheaval in your household.
Calvin Hall found that not only do men tend to have teeth dreams more than women (Wow. Really? Just like men have more naked dreams? Hmmm….), but that the prevailing emotion he detected associated with teeth dreams was loss or misfortune. He took a more content approach to his study. Think about it. We lose our teeth spontaneously throughout our lives, through no fault of our own. It's a loss we have no control over. So, is that emotional dynamic our minds are working through when they call up this particular type of dream?
In Chinese and other cultures,baring your teeth is a sign of aggression/warfare, so losing them in your dreams can symbolize a loss of power.
Others have thought that, depending on the type/size of teeth you dream about losing, you could be a fear of aging(are you losing small/baby teeth or larger/older teeth?) Is it a fear of maturity or responsibility playing itself out in your nighttime fantasies?

But having said all that, and back to my original questions above (HOW are your teeth falling out in your dreams), a more modern interpretation suggests that that teeth dreams are about communication (or realization) of core issues in your life.

We all deal with unconscious desires and needs and opinions that we hold back from either dealing with or communicating. As we grow older and wiser and perhaps braver, we learn to focus on and address these issues–that is, we learn to make them a conscious part of our world. We stop holding them back. And what could be a better symbol for your mind to use to tell you it's time to step up or speak up or take your innermost desires and opinions in hand, than to break away the things that bar our thoughts from entering the world–our teeth?

When you have teeth dreams, try to focus on what's happening around you when your teeth are affected. What emotions you're feeling (besides panic), and who is around you when it happens, and what happens immediately after the event? What is the content of the dream itself, and how can you find a real-world way to act on them that would improve your circumstances or relationships or life?

I often ask friends when this type of dream comes up–What topic or goal or concern have you had for a long time that is starting to become more and more important to you? What's going on in your life that you're finally ready to deal with, that you've been holding back from for a long time? What do you need to say or do that you haven't been able to before now? How can you claim that power and control and authenticity, if only you could speak up and not be afraid of what you know you need to say?

I'd like to think all dreams are a chance to better claim the joy and dreams we want to make reality in our waking lives. Teeth dreams, creepy as they might be, are in my opinion one of our BEST opportunities to do just that. Don't miss your chance!

Next Monday's Dream Theories post… Let's talk about changing gender in dreams!!! I haven't done this in my Legacy novels yet, but I'm having a lot of fun researching the symbolism. You never know what I'll do with all this one day…

How We Write Wednesdays: Susan Meier Shares Plotting Secrets!

Susan Meier talking plotting is like Christmas in August for writers. She's the author of over 45 novels and is in high demand across the country as a workshop speaker and columnist for publications like Writer's Digest and Short Story Markets. Susan knows plot. She writes it brilliantly and teaches it well. Everyone, plug in because Susan's in the HoWW house!

 

And next Wednesday, come back to learn "How to Write When You Don't Want To" with Candace Havens.

*******

A thousand words about plotting…well, maybe fifteen hundred.

I love to plot. Seriously. Some of us are just born with analytical minds. I love the details. I love being tricky. I love knowing that when someone reads a certain scene they're going to gasp. Maybe I'm analytical AND devious? LOL!

I have to admit I was born with the ability to analyze, but even people who aren't born wondering about every darned step in life, or born wondering how everything works or why people do things, can learn to plot. And easily. Because there is a magic formula.

But before we get to that, let's make some distinctions.

First, it takes three very different abilities to be able to write a book. You must be able to COME UP WITH A STORY. You must be able to CREATE SCENES that manifest that story. You must be able to use WORDS to create those scenes.

Pause for a second and think that through. Lots of you probably began writing because a teacher told you, "You have a way with words." But when you tried to write a book you might not have been able to think of a "story" for which to use those pretty words. Or maybe you could think of a story but didn't know how to come up with scenes. Or maybe you're one of those people who can create scenes but isn't quite sure how to line them up into a story.

When you accept that you need three distinct skills, you can separate them out, go to workshops designed to teach you each skill and then practice putting them together.

Okay…so in Susan Meier World…plotting isn't coming up with a story. A story is more like a sentence or a paragraph. i.e. A hero and heroine must catch a killer but she's already been arrested for the murder and he's the DA prosecuting her.

That's your story. Plotting is figuring out how you're going to tell that story. And how do you tell a story? With scenes.

And here we are…at the part of the blog you've been waiting for. The magic formula for plotting.



Your book should begin with an inciting incident (sometimes called Terrible Trouble) – an action that sets off a chain of events. In a category romance the hero and heroine would also meet at that point. i.e. The hero hires the heroine to be the nanny for his daughter. Inciting incident is the hiring. That will set off a chain of events. But…the hero and heroine are also meeting. AND as the author you're being given a chance to introduce these two people to your readers.

Why is that important?

Because a novel is a journey of growth for your characters. So readers need to know who they are in order for them to understand how and why they need to grow.

Okay…so what if you're writing a single-title length book? Romantic Suspense. Single Title Contemporary. Paranormal. Single Title Historical. Thriller.

Then the beginning of your book can be a little different. Number 1, your world building will be uber important. Number 2, your inciting incident can sometimes happen away from the Hero and Heroine. Which means you wouldn't be introducing them in the first scene.

Now, as a caveat here, yes, yes, yes, there is world building in a category romance, but it has to blend better. You don't get pages to do nothing but world build. It must blend. And, yes, sometimes the inciting incident for a category romance does happen away from the hero and heroine. But in a category romance the most important beginning to readers is the meeting of the hero and heroine. THAT should be your first scene.

Okay, so in a single title, your first scene, your inciting incident, might not include the H&H. Or it may include either the hero or heroine and not the other. You have more pages than category romance and your story's focus is different.

You must have a bigger, broader story. Something that is (usually) equal to the romance. That story has to impact the romance and the romance has to impact that story.

So your first scene can be different. But it must still be an inciting incident.

Why?

Because an inciting incident is action and action breeds a reaction (or consequence) and a reaction will breed a decision which will breed an action…which will breed a reaction, which will breed a decision.

And that's the magic formula for plotting. Start your book with action…something that sets off a chain of events, and before you know it your book will be on its way.

Like this:

There's a fire in the hero's barn.

As a result of that fire, the horses die.

As a result of the horses dying, the hero decides he's had enough.

As a result of his frustration, he leaves town.

That's action, reaction, decision, action. Congratulations. We've just plotted four journey steps. Potentially four scenes. Now, as a sidebar here, note that I said potentially four scenes. Why? Because though every scene must have a journey step, not every journey step needs to be a scene.

Really?

Really. Trust me.

If you take the example above. . .There's a fire in the barn, the horses die, the hero decides he's had enough, he leaves town . . . Each of those four journey steps could be a scene. But depending on the type of book you are writing, some of them could be pages, paragraphs or even sentences.

i.e. If the book opens with a long dramatic scene wherein the hero fights the fire trying to save the horses, if he doesn't get the barn door open before the roof collapses, does he really have to take a head count to know the horses died?

Nope. And as a writer you don't need to say much more than "When the roof collapsed, Jake knew his dreams had also collapsed. There was no way even one of his prized dancing show horses had survived and no way he was getting into the circus." Paragragh.

Or after a long, dramatic scene, you could simply say, "Watching the roof collapse, Jake knew his horses were dead." Sentence.

We get in the information that the horses died. But we don't need to belabor the point. We most certainly don't want to bore readers. And we don't want to lose the "tight" feel of our story. So, we use a paragraph or a sentence and the information is in without losing momentum.

But what if you wanted the reader to feel the hero's despair? What if his despair over losing the horses was as important to the story as the loss itself?

Well, if it was germane to the story to have the readers take a walk through the charred ruins with our distraught hero, then go for it!

My point is that each journey step needs to be illustrated in the best way for your particular story. Not my story. Not even because writing sad scenes is your strong suit. Each journey step should be illustrated in the way that best suits its place and purpose in the story.

You want to use action/reaction/decision in a way that doesn't just manifest your story, but does it in a tight, interesting, compelling fashion!

That's the basics of plot in a nutshell. Know that plot/scenes are different than story. Story is the overall overview. The thing you can say in one line. Words aren't plot. They are the tools you use to create scenes. Plot is the series of steps you use to get your character from who he is at the inciting incident to who he is at the satisfactory conclusion.

Start thinking of your plot as those steps and soon you won't have any trouble figuring out what comes next!

*****

Susan Meier is the author of 45 books for Harlequin and Silhouette and one of Guideposts' Grace Chapel Inn series books, The Kindness of Strangers. Her books have been finalists for Reviewers Choice Awards, National Reader's Choice Awards and Cataromance.com Reviewer's Choice Awards and nominated for Romantic Times awards. They have been published in over twenty countries, touching the hearts of readers of many cultures and ethnicities.

Susan loves to teach as much as she loves to write. Can This Manuscript Be Saved? and Journey Steps, Taking the Train to Somewhere! are her most requested workshops. Her article "How to Write a Category Romance" appeared in 2003 Writer's Digest Novel and Short Story Markets. Susan also gives online workshops for various groups and her articles regularly appear in RWA chapter newsletters.

As the mother of three children, sister to ten siblings, aunt of over thirty nieces and nephews, daughter, friend and wife, Susan knows that the best things in life frequently involve struggle. Her intimate knowledge of the anguish of life's trials and troubles and the joy of overcoming shines through in her emotionally gripping stories. Her five bestselling miniseries explore the impact of family dynamics and small town life on romantic relationships.

Her latest releases include The Baby Project, Second Chance Baby and Baby on the Ranch. Coming n November, look for Kisses on her Christmas List.

 

How We Write Wednesdays: Summer Guest Blog Schedule!

Summer, when writers scatter to indulge in their favorite, sunny pastimes, is the perfect setting for gathering weekly, to chat about craft with a team of fabulous guest bloggers. Through September, each Wednesday, turn to HoWW for inspiring topics and discussions from some of our most hard-working friends!

August 10th         Susan Meier           Plotting

August 17th         Candace Havens   Writing When You Don't Want To 

August 23rd         Joanne Rock         Voice

August 31st          Kara Lennox         Black Moment

September 7th     James Scott Bell   The 1st Doorway of No Return

September 14th   PW Creighton       Setting Moods

Jenni and I are as busy as you are, but let's not forget to work on our craft, and to inspire one another, and to keep our eye on getting better at what we do, every chance we get.

For now, the guest blogs will find their homes here at my place, so get your comments and questions ready and join our amazing guests each week. Jenni will be helping me in lead discussions every Wednesday on our Twitter hashtag #weWRITE, while she chases her kids around (my teen's, thankfully, heading back to school Monday!).

And…we'll be looking for HoWW blog and Twitter friends to keep the blog conversation going through the end of September and beyond. That's been our goal all along. For this to be your Wednesday craft destination. We want to know how you're writing. How you're getting it done. What's causing you the most difficulty and what's working and what you want to talk about as you write your next story.

This is your space, your craft. It's always been about you. You've taught us so much, while you've hopefully learned a little about your process. Now it's your turn to make HoWW work even better–for you.

Come visit our guest teachers each Wednesday. Let us know what you'd like to talk about next. And don't be surprised if you get tapped to do your own guest blog one day soon… ;o)

See you on the 10th!

The Psychic Realm: Clairaudience, Clairsentience, Spirit Guides and Apportation

The BEST part of my research for my new psychic proposal is learning about clariaudience and spirit guides. Both play key roles in the developing series about a new family evolving into a legacy of latent parapsychological gifts. If you've ever felt someone near you when no one was there, experienced an epiphany from out of nowhere at the exact moment that you needed it, had a stranger share the precise message or insight that will get you through a personal struggle, or avoided disaster at the last moment because of a random encounter with someone or something that diverted your from danger… Haven't you wondered if there might just be more intent than whim behind what you've encountered?

First, let's back it up and talk about a spirit world theory that is the basis for new books in my Legacy series and the foundation of a philosophy that says that the energy of beings we can't see coexists all around us, every second of the day.In a world such as this, spirits surround us but exist in a dimension that most of us are incapable of interacting with. Those most likely to see and hear them tend to be children, because they're more spiritually conscious and less likely to dismiss an encounter, and animals (whom some believe are the most spiritual evolved beings on the plant).

So, whithout digressing into past life philosophy and a deeper discussion of whether higher/faster plains of existence that we can't see are possible, let's agree for the sake of this blog post that spirits of those most of us cannot see and hear do exist. Spirits, the theory goes, of those who've died before us and whose energy has passed on to another dimension.

A principle like this opens up a world like the one I'm drawing in my books to fantastic possibilities.

Why? Because what if these spirits were regularly trying to communicate with us, all around us, from wherever their energy has gone? If only we could hear them, what could we learn? How could these souls help (or in some cases) harm those they've left behind? In fact, how would they go about getting our intention, while we walk right by and ignore them.

Which brings us to the terms clairaudience and clairsentience–the gifts of being able to hear beings and information from another dimension, or receive and actually experience the physical and emotional projections of those spirits on the "other side" of your dimension, respectively.

Many say children are born with these gifts (that all children have at least one psychic gift). Have you ever witnessed a child talking to her imaginary friend, having a tea party with no one, or repeating something that's been said to her that she should have no way of knowing? Have you ever wondered how they can be so engaged?  What if they were really hearing, seeing, and interacting with something?

These would be the gifts of people who tell us they communicate with the dead and can pass on information from spirits. But what if the person with the gift is unaware or unwilling to accept the energy being sent to them? If we're talking about the protagonist in my next contemporary fantasy, the spirits will find ways to get around such basic human denial and stubbornness ;o)

My heroine can get into any protected, hidden, heavily secured place with not prior knowledge of whatever's being done to keep her out.She can pick any lock, find any treasure, and get herself out of any jamb, without exception. Why? She has no idea. Well, maybe a little of an idea, but she's not interested in knowing too much about why answers find her before she hears their questions or why her father trusted her "gifts" so much, he's become unstoppable international thief because her instincts are never wrong.

Now I'm not going to give away any more about the plot. At least not yet ;o) But suffice it to say that things go awry and the spirits who've been biding their time must take my protagonist in hand and force her to deal with them, and her growing powers, or she'll fall into the hands of a group of scientists who will use her for far worse things than stealing priceless paintings and shiny baubles. So, how do they make her see?

They ratchet up their interaction with her, until she has no choice but to believe in what's been right in front of her face, literally, all her life. The theory I borrowed for doing this is called Apportation: a spirit manipulating a physical object in our dimension to get our attention. Think of objects moving, changing, appearing and disappearing. I've come up with something totally cool and personal and incredibly interactive to lure, drag and drive my protagonist through her story, until she's on a bit of a scavenger hunt in the midst of the danger surrounding her.

I also use Spirit Guides: specific spirits chosen for each person who advise, support and guide. There are those who believe that these spirits communicate by sending messages that are often mistaken for hunches, instincts and problem-solving dreams. And that spirit guides, like angels, can use other human beings to send these messages to their charges. Doesn't that sound like fun?

We're going to have fun over the next few months, now that I'm back from summer break and once more on my writing treadmill. Look for weekly Psychic Realm posts on psychic children, cool concepts like the ones in this post, Native American mysticism, and even the fringe science behind all of it that might not be as far fetched as many think!

See you soon ;o) Bwahahahahaha

How We Write Wednesdays: High Octane Heroes–Applying protagonist archetypes

Everyone shout out a HoWW welcome to USA Today bestselling author Catherine Mann as she adapts one of her most popular workshops for our How We Write edification–High Octane Heroes–and kicks off our Wednesday guest blog series.  

Jenni and I will continue to alternate posts through August and September, but for the next two months we're bringing you an exciting schedule of guest authors to keep us all focused on craft through the steamiest part of the summer! Keep an eye out for a schedule any day now ;o)

This week, Catherine's talking about how she hones appealing facets of the military archetype to power up her heroes.  And whether you write romance, other genres of novel-length fiction, or even short stories, we can always learn new and innovative ways to hook readers with our protagonists. So, sit back and enjoy as a master of the craft puts us through our paces ;o)

Catherine, take it away!

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Cops, Firefighters, Secret Agents, Spies and yes – dreamy sigh – a military man in uniform!  These kinds of heroes have me on the edge of my seat.  They set my heart racing. 

But what about stories that feature the man next door, the lawyer, the accountant, the preacher, the businessman?  Can they be edge-of-the-seat, heart pounding heroes too? 

Of course they can! 

I started out writing military suspense – then began writing for Harlequin Desires as well.  As I branched out, I decided to watch a ka-zillion military movies and analyze what it is about the military archetype that so intrigues viewers and readers.  By pinpointing those qualities, I would instill them into any hero I penned, whether he's an Alpha, Beta, Gamma.  A Swashbuckler or a Professor.  A chief or the best friend.  

Here are the elements I found traditionally included in the most memorable military heroes, spanning multiple genres and time periods.  The more of these qualities the military protagonist possessed, the more multidimensional – and memorable – he (or she) became.  

I. PROWESS: Daring, Bravery, Charisma

I watched movies like Sgt. York, To Hell and Back, Flying Tigers and the machismo can't be missed in these classics.  That warrior spirit, however, transcends time in a personal favorite movie of mine, Braveheart.  William Wallace's shout of "Freedom" still sends chills up my spine. 

II. FOCUS: Determination, Drive, Pride

That intense focus is showcased in movies like GI Jane, Full Metal Jacket, The Tuskegee Airmen, Gettysburg.  And think of that scene in an Officer and a Gentleman when Richard Gere is doing sit ups and pushups in the rain and he shouts, "I aint' gonna quit!" 

III. CAMRADERIE: Crew, Squadron, Platoon

The word "camaraderie" brings to mind movies like Ba Ba Black Sheep, Memphis Belle, MASH.  And who can forget the classic scene in Bill Murray's Stripes when the motley crew pulls together a show stopping (albeit hysterical) routine that lands them a primo top secret assignment overseas. 

IV. EGO: Cockiness, Swagger, Invincibility

Oh yeah!  Now we're steaming things up with testosterone.  Fort Apache, Crimson Tide.  Think Top Gun with Tom Cruise owning the sky.  Will Smith in Independence Day swaggering toward the jet.  These protagonists own that movie screen anywhere, anywhere, anytime! 

V. COMPASSION: Gentleness, Heart, Humanity

Once the military protagonist has the crowd rooting for him, he reels them in by revealing his humanity.  These heroes can be seen in movies like Band Of Brothers, Good Morning Vietnam.  And in Gladiator, I'm enthralled by the scene where Russell Crowe says his nightly prayers with figures of his family cradled in his palm and he vows, "I live only to hold you again."  Yep, I melted! 

VI. SELFLESSNESS: Sacrifice,  Service above self

This characteristic is what makes the protagonist worthy of our respect – an individual willing to give all for others.  This is a hero that can be found in Black Hawk Down and Pvt. Ryan.  This makes him live on beyond the screen, beyond the pages.  This IS a hero. 

But what about the rest of the world?  What about those heroes/protagonists not wearing a uniform? 

Identifying these traits in them will create those same heroic moments, those same layers that have readers rooting for them and remembering them long after the book has been closed. 

To better identify how to instill this keeper-shelf air into my non-military heroes, I also searched for the identified qualities in NON-military movies and TV series. 

Prowess

Harrison Ford/Indiana Jones movies
Michael Douglas/Romancing the Stone

Focus

Professor Higgins/My Fair Lady
Sylvester Stalone/Rocky movies

Camaraderie

Ocean's 11, 12, 13/The whole team, all movies!

Ego

Johnny Cash/Walk the Line
Bill Murray/Goundhog Day

Comapssion

Adam Sandler/50 First Dates
Dustin Hoffman/ The Graduate
Woody/Toy Story

Selflessness

Will Smith/I Am Legend
Liam Neeson as Oskar Schindler/Schindler's List

Yes, that's a lot to pack into one character. People even ask me if I enjoy torturing my characters.  I don't think of it that way. 

To me, the characters are living real lives.  Our lives aren't easy. Our journeys to happiness don't always come simply or smoothly.  The prize is there, but by golly, the road can be bumpy and I think the books should be true to life in showing the tough as well as the tender.  Thanks bunches for reading my stories and joining in the journey.

What are some of your favorite movie heroes and heroines, in or out of uniform, who personify one of these character traits? 

***BONUS: PRIZES FOR THOSE WHO PARTICPATE ;O)***

Two commenters will be chosen at random to receive a copy of Catherine's current release:

  Cover Me .

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USA Today bestseller Catherine Mannhas over 2 million books in print in more than twenty-five countries.  She pens military suspense for Sourcebooks and Berkley/Penguin, and steamy romances for Harlequin Desire.  A RITA Award winner, she lives on the Florida coast with her flyboy husband and their four children. FMI visit her website, and she can be found on Facebook  and Twitter.

And watch for her hottie out-of-uniform in Billionare's Jet Set Babies, coming in October from Harlequin Desire.

How We Write Wednesdays: Catherine Mann Guest Blogs Tomorrow!

To kick off a HoWW Guest Blog series tomorrow, USA Today bestselling author Catherine Mann talks about building protagonists and "High Octane Heroes." She writes amazing military heroes and walks us through exciting, visual ways for using movies to hone your character archetypes…

USA Today bestselling author Catherine Mann has over two million books in print in more than twenty-five countries. 

She pens military suspense for Penguin and Sourcebooks, as well as steamy romances for Harlequin.  Catherine's work has won numerous awards, including the prestigious RITA and the Bookseller's Best.  A former theater school director, she hold a Master's Degree in Theatre from UNCG.  Catherine resides in Florida with her aviator husband and their four children.  FMI visit her website, and she can be found on Facebook  and Twitter.

I've heard Catherine teach at conferences for years, and this is a blog version of one of her most popular workshops. She's amazing. You don't want to miss it, so come back tomorrow to learn, talk amongst yourself in the comments and over on Twitter in the #HoWW hashtag, and have a blast!

Keep checking back here and on Jenni's blog for more details on August/September HoWW guest bloggers–we're getting their topics, bios and blog dates lined up now! It's going to be a great group, including Joanne Rock, James Scott Bell, Candace Haves, Susan Meier!

How We Write Wednesdays: Cathering Mann Guest Blogs Tomorrow!

To kick off a HoWW Guest Blog series tomorrow, USA Today bestselling author Catherine Mann talks about building protagonists and "High Octane Heroes." She writes amazing military heroes and walks us through exciting, visual ways for using movies to hone your character archetypes…

USA Today bestselling author Catherine Mann has over two million books in print in more than twenty-five countries. 

She pens military suspense for Penguin and Sourcebooks, as well as steamy romances for Harlequin.  Catherine's work has won numerous awards, including the prestigious RITA and the Bookseller's Best.  A former theater school director, she hold a Master's Degree in Theatre from UNCG.  Catherine resides in Florida with her aviator husband and their four children.  FMI visit her website, and she can be found on Facebook  and Twitter.

I've heard Catherine teach at conferences for years, and this is a blog version of one of her most popular workshops. She's amazing. You don't want to miss it, so come back tomorrow to learn, talk amongst yourself in the comments and over on Twitter in the #HoWW hashtag, and have a blast!

Keep checking back here and on Jenni's blog for more details on August/September HoWW guest bloggers–we're getting their topics, bios and blog dates lined up now! It's going to be a great group, including Joanne Rock, James Scott Bell, Candace Haves, Susan Meier!

Dream Theories: Men have more naked dreams than women???

We've talked about examining, grouping, and interpreting your dreams. Now that I'm back from Summer break, let's get specific and have a little fun. Starting with getting naked ;o) If we take being naked in dreams as representing the dreamer's fear of being vulnerable. Remember, dreams are all about emotions/feelings. Except, not every culture views nakedness as something to be ashamed about…

But let's not get too far ahead of ourselves. Yes, in North America, nudity is most often forbidden, even illegal in some situations. So it's a normal, literal interpretation to think your naked dreams are about being embarrassed or mortified. And, yes, studies have told us that men have more naked dreams than women. Which, metaphorically, could mean that men have a greater fear of being exposed.

Still, remember that dreams are often not quite as literal as we think they are. What if naked dreams are telling us we're tired of covering up and that we're wanting people to notice something we've been hiding too long. What would that say about the men (and women) in our society dreaming of letting it all hang out? 

In a lot of naked dreams, we discover ourselves standing in front of strangers, rather than those we keep parts of ourselves hidden from in our everyday lives. If we feel anxious and cover up, or if we feel proud and confident, in front of these faceless or nameless onlookers, what does that mean?

We're all born naked and learn to feel embarrassed by our exposed bodies based on the cultural and social norms where we're raised. And that in the right places, even in conservative societies, being without clothes is the goal–say when we're having sex. Our naked dreams can be about no longer needing to protect ourselves as closely, or even wanting to experience a more natural lifestyle. A good thing, right?

The types of clothes you dream you're taking off (or in) can be significant. Cool, huh! Okay, it's a girl thing, but I'm digging the idea that a uniform means something different than evening wear or casual clothes. That we could be dreaming about leaving one social norm behind and striving  to either appear as we did at birth (naturally) or as something that we can't be as long as we continue to hide behind whatever masks we currently wear.

If naked dreams are about the dreamer feeling vulnerable in front of others, or his confidence, then it's the expressions on the onlookers faces that become more important than what anyone is or isn't wearing.Are you feeling liberated or the need to hide in your dream? Do you look at others when you're exposed or do you stand proudly in defiance of whatever they might be thinking?

I've said it over and over. Dreams show us our deepest selves. In the context of naked dreams, they can be showing us the parts of ourselves we feel most sensitive about (perceived personal imperfections we need to work most on moving beyond). If this is the case, then the simple fact of dreaming about these body parts might be telling us that we're ready. We're feeling more confident, and we're ready to conquer something about ourselves that's held us back. Even if the dream makes us feel horribly uncomfortable and self-conscious, our minds might just be challenging us to take a step away from that very limitation.

Never forget. Our dreams are very much a part of our identity. Don't be afraid of them. Learn from the amazing way our minds work for us, even when we sleep. Relax into dreams about exposing your most vulnerable self. Let yourself see what your dream focuses on the most. Whether it's clothing or others' faces or the part of you that's exposed, there's a message there, an emotion, that's a clue to how you're seeing your world and how you want your world to see you. Each dream is another chance to grow, to be stronger and more vividly engaged in your life.

Take every dream as the gift it is, especially the naked ones…