Cheri Vause's Blog, page 7
November 9, 2015
Is it Lie? (And I Don’t Mean Not Telling the Truth)
Okay, this is one I constantly struggle with. I should know this, but I keep forgetting.
He was lying on the couch.
Remember this: When you place or put an object somewhere, such as a dish on a table, use “lay.” If you’re the young man on the sofa, use “lie.”
The verb “lie” is an intransitive verb, and doesn’t need an object. “Lay” is a transitive verb and it requires an object.
It still confuses me. Thank God for my dear editor. Here’s a sentence that may help. I found it on Grammarly. It perfectly explains it: “… if you remember to lay down your fork before you’re full, then you won’t have to lie down later from overeating.”
Check out her series: Amazon Author Page
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November 3, 2015
Wednesdays With Writers ~ Kurt Vonnegut
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November 2, 2015
WRITING TIPS: Mistakes Writers Make
Here’s a tip that should seem obvious, but it isn’t.
Give internal direction instead of external.
Okay, what does that mean? Help the reader with what someone feels or is thinking, but don’t overdo it. If everything is about he moved here, he ran there, the reader might feel the immediacy, but it can be exhausting if overdone. BE GENTLE! Allow the reader to relax, now and then. Give them internal feelings and insights of your characters.
COMING SOON
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October 27, 2015
Wednesdays With Writers ~ Herman Melville
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October 26, 2015
WRITING TIPS: Mistakes Writers Make
Here’s a flower so that you’ll know we’re friends. But this is a mistake some writers, particularly the new ones make:
Making your plot so complex no one can figure it out.
There is a difference between lots of twists and turns in a plot and losing your reader. Keep it Simple. Less is More. Allow the dialogue to reveal the plot.
Controlling the Reader.
Your reader is smarter than you think. Don’t push them, set the stage and let them step through the door. Don’t talk them death with backstory. Allow it to unfold, and use dialogue when you can to tell backstory.
COMING SOON
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October 21, 2015
Henry Miller’s Reading List
Love him or hate him, Henry Miller is an intriguing writer, filled with the unexpected. Here’s his reading list. See if there are some books you might want to pick up and read.
What a difference between his list and Ernest Hemingway’s. Interesting, isn’t it?
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October 20, 2015
Wednesdays With Writers ~ Edgar Allan Poe
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October 19, 2015
Interview with CatholicFiction.net
Note: The following is a reprint of my June 10 interview with CatholicFiction.net. I wish to thank them for the opportunity. Blessings!
Most Recent Book: The Truth and Nothing but Lies
Education: Two years at Orange Coast College and Christology at Portland State.
Current Employment: Author with GWL Publishing in the United Kingdom.
Profile: I believe every good Catholic would love for others to see them as a faithful Catholic. All of us know we fall short of that simple goal, but we keep trying to be better. Once upon a time, I heard someone talk about raising children, and they said that they were raising their children to be saints. Even if this person failed, the goal set should always be high. Even if you miss that mark, you, at the very least, will come close to that goal. I would like to fall into that category of the ones who aimed as high as they could, and would gladly climb those arrows until I reach that ultimate goal. I’m still climbing and I have a long way to go. In the meantime, I pray, study scripture, go to confession, write, and follow God’s leading.
The Garden of Souls (Xulon Press)
The Truth and Nothing but Lies (GWL Publishing)
The Night Shadow (GWL Publishing)
The Touch of a Shadow (GWL Publishing)
Author Website: http://www.authorcherivause.wix.com/noirthrillers
Author Facebook: https://www.facebook.com/CVause.Author
Author Blog: http://www.jvause.wordpress.com
Author Twitter Account: https://twitter.com/CheriVause
Favorite Quote: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth on him should not perish, but have eternal life.” ~ John 3:16.
Favorite Poem: “The Second Coming” by William Butler Yeats.
Favorite Novel: The Brothers Karamazov by Fyodor Dostoevsky.
Favorite Movie: Casablanca (1942) and Sense and Sensibility (1995) equally.
Favorite Painting: Jacob’s Ladder by William Blake.
Favorite Piece of Music: The Seventh or the Ninth Symphony by Ludwig von Beethoven (How can you choose between two pieces of perfection?).
Favorite Song: “O Holy Night!” by Adolphe Adam and Placide Cappeau.
Favorite Place: The woods or at the beach alone. But my all-time favorite is drifting on a boat on the ocean.
Favorite Meal: Roasted Lamb chops with garlic mashed potatoes and mushroom gravy, steamed asparagus, and an excellent Brunello. Followed by an Italian wedding cake and an espresso.
Favorite Cocktail: A straight Margarita.
Last Book Read: Julius by Daphne du Maurier, and Billy Budd by Herman Melville.
Last Movie Seen: Ben Hur (1958).
Last Trip: We took our daughter to Wimberley, Texas.
Last Non-literary Feat: Cleaning my house. If you saw it you would understand.
******
Catholic, Ink.
Be part of the Catholic Literary Revival
Catholic Fiction.net & Tuscany Press
CatholicFicton.net: Why do you write?
Chéri Vausé: I once wrote an article on this very topic. I will tell you exactly why every true writer writes. We do it because we must. We don’t write because we want fame, fortune, or we think we’re God’s gift to the world. It’s a calling. And the story is everything. We are the medium through which the story is written. Some of us take it a step further. We must have an idea behind every story. Dostoevsky believed that a story was empty if it didn’t have an idea behind it. He wouldn’t write unless he had one. I cannot agree more. You cannot read Crime and Punishment or The Brothers Karamazov or The Demons and not see it. Those stories came from his faith, as much as Charles Dickens wrote about conditions in his country wrapped inside a compelling story.
So, why do I write, because I must. God has called me to write stories of worth, stories that teach us to pay attention, stories that connect us and give us grace, and to connect the ordinary things of our life to a sacramental life.
CF: What first inspired you to become a writer?
CV: I discovered at a very young age that telling stories was a part of who we are as humans. Nothing rivets our attention more than a great story, and if that story has meaning, has value, it’s unforgettable. Think of stories like Crime and Punishment, or The Christmas Carol, or The Hunchback of Notre Dame. These are stories that challenge the rigid, the delusional, and the person who believes that what they are doing is good but base their reasons on a false narrative. Understanding that part of human nature, is it no wonder that fiction is a bigger seller than nonfiction? We would like to believe that nonfiction can teach us more than fiction, but the reverse is actually true.
Brain studies have shown that fiction lays down pathways within our brain, that we become more empathetic by reading fiction than nonfiction. When we struggle to understand the motives of a character, of another person, we exercise our brain in ways we don’t with just facts. Fiction wins over nonfiction in the brain science studies every time. That’s why it’s crucial to write stories with true meaning.
I intuitively learned this when I was a kid. Jesus taught lessons of value through parables, a kind of simplistic fictional story to relay a sacred message. Upon rereading His parables, you can delve deeper and deeper into each one until you see the connections like glowing threads running from God, to us, and out to others. Every parable has more than one dimension, for it has depth, and breadth, and height. As a child, I could see those things, and just knew that one day I would write, that I would tell stories to enchant, to reach into the hearts of readers and make them laugh and cry. I started with poetry and short stories and it blossomed from there.
CF: If you were a critic writing about your own books, how would you describe the defining characteristic of your writing style?
CV: Poetic with haunting metaphors. The use of language that draws you closer to the mystical aspects of life, and helps you soar above the curt mundane.
CF: Is there a favorite place you have to write? Describe your usual workspace and writing routine.
CV: I turned our huge dining table into a workstation, and shoved it to the wall. On the side against the wall, I have three book shelves filled with reference books and dictionaries on everything from Mathematics to Psychiatry. On my right is my Oxford English Dictionary, and on my left is a small file holder for references I’ve printed out on my searches through the Internet. I keep a folder for each book with character studies and plot points. I have plenty of room to write by hand, and the space for my books as I do my research. I’ve become quite comfortable with this configuration.
Since our children are all grown, my husband and I use a small table in the kitchen for our meals. Our dining room was going to waste so it seemed the perfect solution to solve my ever shrinking desk problem and the stacks of books on the floor. I still have stacks of books on the floor, but I’m more organized on my desk where I work.
I rise in the morning, say my prayers, have breakfast with my hubby, and I start to write. Sometimes I stop for lunch and then work until dinner, but mostly I write straight through to dinner. I take Sunday off, and sometimes Saturday. I only write on Saturday if I have a deadline with my publisher.
CF: What is your cure for writer’s block?
CV: I have several methodologies that work for me. The first is always to pray. The next might be taking a walk among the trees, which is an excellent way to get your blood moving and oxygenating those “little gray cells.” I also love to listen to music that is appropriate to the book I’m writing. I must have listened to “Mack the Knife” by Bobby Darrin dozens of times while I was writing The Touch of a Shadow. Depending upon the story, I listen to everything from jazz, or blues, to classical. Some of the song writers are great poets, like Willie Nelson. You’d be surprised what great writing goes into some songs. My personal favorites are the standards with Dean Martin and Frank Sinatra.
The next thing I do is watch a movie that will create the appropriate mood for the book or story I’m writing. And if that doesn’t work, I take our dogs for a walk. Focusing on something other than writing always helps.
CF: What is your cure for procrastination?
CV: I’ve always been a good self-starter. I don’t rely upon others or deadlines to get me started. I’m an intractable introvert and introverts are notoriously good at working alone. I learned a long time ago that I have to just get up and do it. I’ve also learned that once I get started it feels good to complete whatever it is I must do. Occasionally, I put off things I must do to do something I feel takes priority, then I beat myself up over it. Eventually, all of it gets done. But you have to know the difference. Sometimes we allow minutiae to control our lives, when it’s the big things that matter. But there are always times when doing the little insignificant things will have big results. It’s divining the differences that is important. That takes practice and a lot of faith.
CF: Describe in your own words what the “Catholic imagination” is – or alternatively, what it means to be a “Catholic writer.”
CV: Being Catholic means everything comes from that center of faith, including the stories you imagine. We see everything through Catholic eyes, and our words flow out from the heart of it. Even Graham Greene’s pulp fiction carried a Catholic view. He couldn’t help it, because it was who he was, as much as he tried to deny it. You don’t have to use a religious subject to write from a Catholic perspective. The entirety of your story can carry that view into doing ordinary things that take on moral implications. That makes it more Catholic than the stories that are about faith. I’ve always thought that the film Flatliners (1990)is a much more religious film than many of the religious movies talking about God. Within the Catholic imagination, sin becomes a form, a physical reality you must deal with or it will destroy you.
Still, I like to use the language of faith in my metaphors. I’m compelled to do so, and to view the world where my characters dwell from that point. Everything is about redemption, baptism, marriage, vocation, and on and on. The language is so much a part of me I cannot help but use snippets of scripture or canonical law or from the catechism to describe what my characters might be feeling or seeing. I’m married to my faith, and cannot divorce myself from it for any story.
CF: What three writers – alive or dead – would you like to invite to dinner?
CV: G. K. Chesterton would be an excellent dinner partner. I would love to sit and eat while we exchanged ideas about our hideous culture today. I think he wouldn’t be amazed at where our selfish ways have taken us, but he would say something totally amusing while agreeing with me.
Then, I’d love to dine with J. R. R. Tolkien and Flannery O’Connor. Having lived in the south, in Texas, I would have a great deal in common with Ms. O’Connor, as well as a similar view of the world around us. With Mr. Tolkien I’d love to talk about Catholic meanings behind writing certain characters. He was a master at it, and I think I could learn a lot from him in one conversation. Can I have several dinners?
But I’d also like to discuss story origins with Daphne du Maurier. She was a master at Gothic, and mysteries, which are my genres.
CF: What would you serve them – appetizer, main course, dessert and drink?
CV: There’s no question that I would serve them all a full course meal. I’d want the evening to progress slowly from drinks before dinner to appetizer to the main course, and we would linger over dessert, then have a glass of brandy or port at the end. Then feeling full and satisfied, sip on that brandy or port until we are blissfully tired and call it an evening.
With someone like Daphne du Maurier, I would love to just talk about stories and what they mean to her over a good lamb stew. Then serve something unpretentious like a pecan pie made from pecans grown here in Texas. I think she’d like that.
CF: What is the “best thing” about being a writer?
CV: I love words, turning phrases, finding the perfect metaphor. I look up words all the time, never being satisfied that I might know the meaning. I also love the origin of words and phrases. But it’s the story that really moves me. I love telling a story where no one can guess what’s going on. I like to keep people off balance. It makes them pay attention. The best part is when the reader says that they didn’t see that coming.
CF: What is your latest book about?
CV: An FBI agent is called into investigate a series of women’s clinic explosions and finds the truth is closer to home than he expected.
CF: What inspired you to write this story in the first place?
CV: This story has been percolating in my head for twenty years or so, ever since I left my position as director of Birthright. The casual disregard for life was appalling and screamed for an exposé, but one that everyone would read. The problem was how to write the story that wouldn’t turn off the person who thinks they believe in abortion. How would you have them listen to the other side without prejudice? Stories have a way of breaking through that barrier better than nonfictional accounts. I believe that by using it as the basis of a fictional tale, and keeping it real enough, that it would have more of an impact than if I just talked about what happened to me as I sat across from a young woman contemplating having an abortion.
CF: Did you hold onto the idea for a long time before giving it shape, or did it come together in a flash?
CV: This was a long time in coming. I wrote The Garden of Souls first. That is story about a young priest and his best friend, an Israeli, who dig up a map leading to the Cave of Abraham (Cave of Machpelah). The action, adventure, buddy type comedy did help me work a book from the simple story of the many women who’ve been harmed by abortions. It helped me put a touch of humor in a very dark story. Having written that Talmudic-based story in The Garden of Souls also helped me to focus on the subject as objectively as I could. I self-published The Garden of Souls, but it also strengthened my skills to be accepted by a traditional publisher for The Truth and Nothing but Lies. Up to that point I wrote articles and theology pieces for publication.
I realized when I was accepted by the small press, GWL Publishing, that I needed someone from the opposite side of my view of the world to temper me. My editor gets me, and even though she doesn’t believe the way I do about the world, she lets me run with my language of faith because it’s poetry. And poetry is one of the last bastions where you can freely write about faith, God, and a sacramental life without someone frowning and looking down their nose at you like you’re a superstitious fool. Well, I guess I’m a fool for God.
CF: All fiction comes from a mix of past influences and impressions – things we’ve lived, seen, imagined, or read. Can you talk about some of the elements that came together to shape this particular fiction?
CV: When we converted to Catholicism, my husband and I talked about being pro-life with each other and our children, and what it entails to subscribe to that belief. Believing in God and His word is one thing; however, we must be active in our faith, going from in our head and private practices to outward works. It isn’t enough to just believe, we have to live our faith within a world that hates us. Part of that is telling the truth. We don’t have to hit people over the head, but speaking the truth to a world that would rather believe in lies is very hard. That is when I decided to volunteer as a counselor at Birthright. While I administered the pregnancy test for these women, we would talk. The excuses, the machinations of self-delusion is nearly unbelievable. If I hadn’t had some science in my background, I would have been completely flummoxed. Fortunately, my faith and my education pulled me through. Understanding the psychology behind self-delusion eventually led me to the directorship, then ultimately to writing this book. All of those experiences on that journey helped shape my story.
I think the time is right to tell this story to the entire public, not just Catholics or Christians. The whole world is ready to hear the truth. It did take fifty some years to get to this point, but we’re here now. Young people are ready, and we as older folks need to share this with them.
CF: What did you learn about yourself in writing this book?
CV: I learned to have a more delicate touch when it’s necessary, and knock the person off their feet when they least expect it. Right when they’re falling, you know you have them.
CF: What did you have to do to prepare for this book in terms of research, etc.?
CV: I did read a book called Unprotected, which was written by an anonymous M.D’s experience as a college clinic doctor. The price the young must pay for a free-wheeling promiscuous lifestyle is horrid, and the women are the ones who suffer the most.
I also used all my previous experience at the Crisis Pregnancy Center and my personal experience with doctors when writing The Truth and Nothing but Lies. Most of the characters are based on someone I met during my tenure as director, with the exception of my two leads. Every incident actually happened. Only the explosions haven’t. All that experience just came pouring out when I began to write, and I remembered each person in great detail.
CF: How does this book differ from either a) previous books you’ve written or b) other writing work you’ve accomplished?
CV: This was the only controversial book I’ve written. Controversial in that the subject of abortion is always very divisive. But I wrote a story wrapped around it that contained familial love, concern, and finding your soul-mate. It’s also about sacrifice. Would you be willing to sacrifice everything to stop evil? As Catholics we must consider that one day we might be pushed against the wall. The signs are already there in the political landscape. Will we be able to stand up against the overwhelming forces of evil and speak the truth, or not? Would you be willing to go to jail or to sacrifice your life? I think about this all the time.
CF: What was the most challenging aspect – a character, a plot point, etc. – of writing this book?
CV: The hardest part of writing this book was not being political. As a person of faith, I’ve become so angry with the political nature of the abortion debate that I had to rely on someone who was quite progressive and not religious at all to help me cut out the political positions. We both felt that remaining neutral and presenting the facts spoke for itself. That was hard, but it had to be done in order for it to appeal to those who believe in abortion as a choice. We are both proud of the book as it stands.
I wrestled with it, hoping that my faith shone through, and I still worry that I might not have given enough truth. If you read the book, even the title, The Truth and Nothing but Lies, you see the meaning to it, and how walking through the world of political-speak, you can become attached to the many lies because it’s too easy. The Truth is hard and ugly, and it stands against everything else. I received one review that the person said it made them rethink their position on abortion. Amazon removed it after it had been there for a day. I found that odd, and my publisher and I protested to no avail. I didn’t even know the person who reviewed my book. It would be nice to receive a hundred positive reviews and rub Amazon’s face in it.
CF: Which characters in this book did you find most challenging to work with, and what was it like to write with them? Conversely, do you have any characters that came particularly easily to you?
CV: Grantham “Grant” Greene was easy to write. He’s an amalgamation of my husband and myself. His journey through the book was difficult because he had to walk that line of being a good leader without imposing his view of abortion on his subordinates.
The rest of the characters were all women types I’ve known. It was hard to write humanity into the abortion providers. Everyone I’ve known personally in the business is a bit off kilter. You have to be able to justify what they do. Many eventually cross the line into madness, like Gosnell and my character, whom I based on a doctor I knew who provided abortions in a Women’s Clinic in the Orange County area of Southern California. This was when Planned Parenthood was just getting started and hadn’t become the billion dollar entity it is today. He was cold, calculating and had no bedside manner whatsoever. In fact, he didn’t even speak to his patients. And he was from India. He would come in, perform the abortion and walk out, leaving the woman to the volunteers to help explain what was happening, and help to endure the terrible pain, the remorse, and all the swelling emotions following from violating the law written on your conscience. Two of the workers in my book were taken directly from people who worked in that clinic. They were very hard to write because I like to give my villains a humane quality, something they wrestle with as they cross the line toward evil. Unfortunately, in that industry, most of the people sear their conscience so they no longer have a humane quality to offer. Occasionally, they show some compassion to the woman coming in, but mostly it’s all business, a billion dollar business. Anyone who has been in it long enough becomes very hard.
CF: Creating a work of fiction is a spiritual journey in itself. Can you talk about your own spiritual life – realizations, doubts, crises, etc. – that came during the writing of this work?
CV: This was almost as hard a spiritual journey as having my entire life turned upside down when I gave my heart to Jesus. I love it when God sort of smacks you on the head and forces you to rethink the direction you’re going. It’s always a hard lesson, but once you sheepishly apologize to God for being a schlemiel, then you can move forward with boldness inside His grace. It was exactly like that when I wrote this book. Yes, I feel God wanted me to write this book, but He also taught me many lessons on guiding a story with a delicate hand, rather than being loud and obnoxious.
CF: Name one good habit you do have as a writer and would like to continue to cultivate.
CV: I’m very focused. I have no problem blocking out the world around me.
CF: Name one bad habit you have as a writer that you would like to break.
CV: I’m very focused. I have a problem coming back to reality after blocking everything out for hours on end.
CF: Name one good habit you would like to have as a writer and do not have at the moment.
CV: Killing my darlings, as Stephen King is wont to say. I rely upon my editor to point out the most glaring ones. I have to have the courage to kill them myself. I’m getting better, but I need more work.
CF: What is the most discouraging aspect of being a writer?
CV: No one buys your books.
CF: What one project do you daydream about accomplishing as a writer – your magnum opus?
CV: A Revolutionary War epic. I have a story plan, but haven’t moved forward with it.
CF: If you could no longer work with words, what medium would you work in to create art?
CV: Photography.
COMING SOON

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October 13, 2015
Wednesdays With Writers ~ Fyodor Dostoevsky
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Ernest Hemingway’s Reading List
Check out Hemingway’s List of books that must be read. Compare it to yours.
Filed under: An Authors Thoughts Tagged: #2015, #Amazon, #AmazonCart, #Amazonwishlist, #American authors, #ARC, #artofwriting, #Author of Literary Mysteries, #authorcherivause, #authors, #Best Books, #bestmysterybooks, #bibliophile, #BookBlog, #BookBlogger, #BookBoost, #booklist, #Books, #bookshelves, #bookshops, #bookworm, #cherivause, #crime, #crime novel, #crime thriller, #culture, #deals, #detective, #Ebooks, #famous author, #famous writer, #Fridayreads, #genre fiction, #ghost stories, #Gothic, #Gothic books, #Gothic mysteries, #Gothic suspense, #Gothic thrillers, #indiebooksbeseen, #IndieWriterSupp, #KindleSelect, #KindleU, #KindleUnlimited, #literary awards, #Literature, #murder, #MUSTREAD, #Mystery, #Mystery/Thriller, #mysterywritersofamerica, #Mysticism, #noirmystery, #noirthriller, #psychologicalmystery, #psychologicalthriller, #read 2015, #Readers, #Reading habits, #reading is good for us, #readinglist, #Romance, #Romantic suspense, #Romantic Thriller, #romanticmystery, #seriouswriter, #sisterincrime, #Suspense, #suspense mystery, #suspense thriller, #the future of reading, #the joy of reading, #the novel, #the physical book, #TheNightShadow, #TheTouchofaShadow, #TheTruthandNothingbutLies, #Thriller, #to-read, #WeNeedDiverseBooks, #Women, #womenmysterywriters, #womenwriters2014, #womenwriters2015, #writing, #writing tips, All About Books, Ernest Hemingway







