Author Archives: Wendi Knape

Clarity

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When I dream of becoming a published author, I see myself as a stand out amongst a large populous of romance authors. My books sit alongside those written by authors I’ve admired and learned from by reading and being absorbed by the characters they’ve created and the stories they continue to roll out year after year. I want people to get thrilled when they see a new release date, from author ,Wendi Knape, and automatically click the to read category on their goodreads.com account, so I keep moving forward. Nonetheless, in my writer’s life, there are days when things weigh me down, a little voice whispering I won’t succeed no matter how many edits. However, I never let myself forget my end goal and always remember that I have a lot of encouragement from writer friends, plus all the resources in books and blogs regarding the writing craft.

With my first manuscript I didn’t stop writing to try to publish, I jumped to the next manuscript, and the next, and so on. In my experience, through writing and wise words from other authors, it’s best to leave a completed manuscript alone and come back to it to see what needs fixing.

When I moved on and was about halfway through writing book two, I went back to my first manuscript and tackled editing it several times so I could enter the RWA Golden Heart contest. All along, I’ve felt there’s been something missing from its pages, even after several edits. That I didn’t place in the contest let me know it still needed work, but now I had scores to lead me in the right direction. But still, it wasn’t a decisive critique it was just numbers relating to content.

I kept asking myself, where’s the spark that encourages the reader to turn the page? The spark was elusive, as if it was a living thing, hiding in the dark, just waiting for me to come to its rescue. I was becoming more and more frustrated each time I sat down to edit, mired in words that had gone blurry, lost in a sea of plot. The characters got what they wanted with little conflict. I couldn’t find my way out of the editing fog. Until reading, Make a Sceneby Jordan E. Rosenfeld, and nearly at the same time, a blog piece titled, The Difference between Idea, Premise and Plot, by Janice Hardy on Janice Hardy’s Fiction University website, things didn’t click. When I combined the two ideas, I got excited. Now I held the flickering spark and watched it dance on my fingertips. Fixing problems wasn’t going to be easy but it also wasn’t going to be like Atlas holding up the celestial sphere.

First, let’s look at The Difference between Idea, Premise and Plot. My idea was a good one, the premise was simple and strong, the plot was tagging along like a good pet, but it wasn’t quite pulling me forward like an excited puppy. When I got to story–which Janice Hardy added after a comment from a reader–the emotional element, the internal conflicts my characters would have to overcome, they easily overcame the problems. When I say easy, my hunky hero quickly decided he wasn’t afraid to take on the vampire protagonist–really an alien that needed to feed off human blood–to his home where he would help her find her mentor. Not only in the beginning did the protagonists acquiesce to circumstance, it was throughout that they jumped in feet first and fell in love in a blink. Usually, the reader is at the halfway point before the first love scene. Three quarters through, the protagonists discover they love each and still are keeping it from each other. The declaration of love is a highlight near the end.

If readers know what happens so soon, why should they turn pages?

What was missing?

Janice Hardy’s article allowed me to see that, though my idea was a good one, it wasn’t a complete story. Her break down from Idea, to Premise, Plot and finally her addition of Story, gave me a clearer vision as each consecutive step built on the other leading me to a stronger story concept. I even went on to develop other story ideas that I want in the series based on characters I love. When I got my hands on Rosenfeld’s book, Janice Hardy’s article only enhanced my start-up thoughts as each story came to life.

Half way through Make a Scene, I can tell you that I’ll re-read this book. It’s that good. I’m not saying this is the only book out there to help improve my writing, but Rosenfeld has a way of telling the reader, through examples and clear explanation, how to take my writing to the next level. Butterflies were flitting around in my stomach, my excitement palpable again. What Rosenfeld reiterates throughout is, “plot and character cannot be separated”[1]. I saw the holes in my story, now I could fill them.

The fixes came to me like magic causing me to write like the Mad Hatter at teatime. Narrative and dialogue I wrote, that included thoughts and actions of my protagonists meeting in opposition, help push the plot forward while still building a crescendo as the two characters come together and fall in love, simultaneously dealing with outside forces pulling them apart. Without tension, the reader will put the book down, and I definitely don’t want that to happen.

In my first draft and up until my latest draft of, A New Life, I was telling the reader some of Miseeka’s, my female protagonist’s, back-story. She already knew she would need to drink human blood. Here is an excerpt.

Her parents were blinded by their need to place her on the throne, to pass down their legacy to her. They thought him a wonderful influence on her and the Liti people. But Miseeka knew what a twisted soul he harbored. He was evil. She wouldn’t be beaten or manipulated by him again. So, her plan to flee Liti had formed and she looked for help from Healer Bacchius and other’s he trusted still on Liti.

The problem with the plan was that she would have to feed on humans. He said that Earth’s atmosphere was made up of oxygen, which the Liti could not breathe. Therefore, to survive, any Liti that resided on Earth would have to consume the blood of humans directly from, based on a human’s anatomy, the carotid artery.

It repulsed Miseeka to think she would have to feed off humans. She feared consuming all the human’s life blood. Would she have to kill to survive? She had to contact Bacchius as soon as she landed, if she survived. There were few canisters of Liti air, and it wouldn’t last for long.

While Miseeka dreamed, she could barely get her lungs to work as the escape pod, programmed for Earth, moved through the vast silence of space.

Being a first draft, this is a mess. I use passive voice, I’m telling instead of showing and the tension is nonexistent.

Now look at my latest draft, the one I wrote after reading Make a Scene. I’ll let the section of manuscript speak for itself. Just know that Miseeka has crashed on Earth and realizes she’s no longer near her ship.

Miseeka came awake, blinking and confused.

She slowly got up, swaying in the darkness, as if she was drunk. Looking down to take stock of her form, she saw a sticky wetness smeared over her hibernation suit. What happened?

More aware of her surroundings, she noticed her lungs working efficiently. Miseeka took another breath and suddenly the most delicious aroma filled her renewed lungs and her hands automatically lifted to her mouth as her nose followed the scent to meet them. She swiped at her chin and mouth, and began to lick the unfamiliar treat from her fingers without conscious thought. At one point, she groaned aloud. There was an instant reaction to the liquid she consumed, making her heart pump faster and her desire for more reach a new high. What was this ambrosia, she wondered? She moved to find the source, stumbling, losing her balance toppling onto something.

Miseeka’s mind screamed at the horror of what she had fallen upon. Dear goddess! A human. She scrambled off the male, caught in his limbs, kicking out to get away. “Let me go, let me go?” She screamed, falling over on her belly. She clawed at the undergrowth, the pine needles pricking her hands, digging into her knees, the earth turning over to reveal it’s pungent smell, when she proceeded to vomit onto the forest floor everything she had stolen, until she felt hallow and her breaths became labored once again. Her stomach cramped with the emptiness.

What is happing to me?

Her mouth gapped and sucked in the atmosphere as she tried to remain on her hands and knees, but her lungs continued to burn and her surroundings started to darken as she became lightheaded. Why couldn’t she breathe?

She fell to her side and rolled to her back. Miseeka turned her head toward the human. The man was dead. I am a killer. Her mind went wild with the repercussions; the line of thinking that suddenly came upon her caused the shakes to start riddling her body deep within. She had torn the man’s neck out and fed on him. She was a monster.

Miseeka wanted to laugh. She was now the monster she was trying to escape. She lifted her red hands blackened by the night and realized the only source for her survival, human blood.

With that painful truth, she gave in to the darkness and passed out.

Can you see the difference? By withholding information that I had given Miseeka in the first draft–she would need to feed on human blood–I’ve added a slice of heart pounding tension that ups her internal and external conflicts. Now Miseeka is worried about killing the next human she encounters plus becoming a monster, adding complications. This also bumps up Miseeka’s character development letting the reader know that she has good morals and doesn’t want to hurt anyone. I want the reader to care about her so they’ll keep reading.[2] To complicate her life even further, Kyle, my leading man, comes upon Miseeka just as she stirs from unconsciousness needing to feed. That adds even more tension. What will she do next? The reader will have to turn the page.

Between my first draft and the latest one, a lot had to change. I still want to change more. The lesson? Staring at my own work can leave me hitting my head against a brick wall with an impression of said wall on my forehead. We as writers’ sometimes need to take a step back and reevaluate, so we can get our book on bookstore shelves next to our favorite authors. If we need to find help to see how, the good, the bad, and the downright ugly really look in our manuscripts, a book about writing might do the trick. All writers’ occasionally need is a refresher course in their writing life. So why not find it in one of your favorite books on writing.

What’s your favorite go-to book on writing?

Happy writing!

 

[1]Jordan E. Rosenfeld, MAKE A SCENE Crafting a Powerful Story One Scene at a Time, (Writer’s Digest Books 2008) 106.

[2] Jordan E. Rosenfeld, MAKE A SCENE Crafting a Powerful Story One Scene at a Time, (Writer’s Digest Books 2008)21-28,63

Finding the Mind of a Villain

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Recently, a computer guru, otherwise known as my husband, replaced my hard-drive with a solid-state drive. Arriving the following evening at the local coffee shop to write, I realized all my files had been transferred to our computer network, leaving me without my manuscript.

“So now what,” I asked myself, taking a sip of my coffee.

It took a few minutes to decide what would be the best use of my time. I decided research stemming from my blog post titled Fear, appearing on June 10, 2014, sounded interesting. I wanted to delve into the psychology of a Villain. Why is he the way he is? I tapped Wikipedia for basic information, and found some good resources to read, regarding Maslow’s hierarchy of needs and Frederick Irving Herzberg’s Two-Factor Theory (A theory to improve job satisfaction, oddly enough).

Maslow’s hierarchy of needs, combined with Herzberg’s Two-Factor Theory, made for an interesting dichotomy of how I could create sanity and insanity in a character, based on my interpretation of the theories. Look at Maslow’s theory of needs that include, self-actualization, esteem, love and belonging, safety, and finally physiological needs, and combine this thinking with Herzberg’s theory, using it as a life satisfaction theory instead of a job satisfaction theory. It makes things a little clearer as to what a villain’s motivation will be and where his life diverted from happy and content to one that dips into insanity.

With the list of human needs that Maslow speaks of, each of us makes the decision to be happy or not, but what if that choice is taken away from us by outside forces. Looking back to my blog Fear, the child seeing friendly ghosts is now a teenager. The boy would have turned out sane and well balanced if left alone, but instead is locked away in a mental facility by his evil stepmother. Drugged by the doctors on a regular basis, per the stepmother’s wishes, and mentally bombarded by evil entities like the one I described toward the end of Fear, it is easy to see why the entities follow him into adulthood. He has no shields against them. The evil shadow creatures have free reign to whisper their vile thoughts and twist the teenagers mind.

Based on Maslow’s list, what does the character lose? One, I can assume the character loses self-actualization because he is drugged. Two, previous friend’s label him crazy when they find out he’s in an institution, losing his respectability causing his self-esteem to plummet. Does he find love and belonging sitting in an 8×8 white room in a drugged out haze? No. This turns love and belonging into hate. The people that were supposed to protect him threw him away. He’s no longer safe. The entities voices slither into his thoughts, his drugged state causing him to lose independent thought. Top everything off with his physiology, he’s now skinny and white in pallor, because the doctors don’t let him get out for exercise, and the character has become something entirely different.

These two theories combined create a catalyst to the characters motivation. While he’s trapped in the mental facility, ideas spin, evil overwhelms. All he can think about is revenge.

Now a man, he escapes.

Whom does he go after? You guessed it, the family that threw him away. Only the stepmother is dead and the only one left is the daughter, his only focus. To make it more interesting, the evil entities tag along with our villain, attacking the heroin in the dark alley, which I described in my blog titled Fear.

It’s amazing how an hour of research, that wasn’t planned, is now motivation to develop a story based around a couple paragraphs from a blog post. How do you think a story might flourish once you do a little research?

Happy writing!

Here are some other subjects I researched regarding psychology of the human mind.

Phobias

Paraphilias

Motivation

Psychoanalysis

 

Fear

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Human beings deal with fear every day, be it from external forces or internal pragmatisms. Usually hidden behind a fake smile or a cocky demeanor, it haunts our thoughts and bogs down decisions. Fear affects how we do things, see things, poisoning or strengthening us from the inside out.

Think about this. What happens once fear breaches the surface? The outcome depends on choice. Do we allow this particular poison to spread inward or outward? Or, do we stop it in its tracks? With each of us, the results are about how much we allow the fear to control us. How each of us deals with it is what can change everything. Or, if you’re a writer, it’s how it can change a character.

Paranormal romance novels can carry fear as suspense novels carry tension. Say, for backstory, ghosts or demons start haunting your character as a child entering puberty. What kind of adult did fear create ten years later? Would the incorporeal creature shape a hero or villain as it influences a child surrounded with love? Or is the child without love? In these circumstances, the result pushes either him or her, in most cases, to get help. Sometimes characters respond by dealing with them internally. If they don’t have a good support system, fear of ghosts or demons might result in a negative outcome, possibly causing some kind of psychosis. In walks your villain.

Paranormal romance can also take a fear and turn it into a positive giving enlightenment or sending the hero to rescue the fair maiden. Picture a child surrounded by loving support, she befriends the ghost she originally fears, because children are supposed be scared of what lies in the dark, but as the child grows up, the ghost becomes a safe, constant presence. It warns her of danger or tells her when something bad might happen, acting as a familiar, strengthening her against evil and those that would harm her. In walks your heroine.

External fear is everything else that isn’t inside a person’s head already. Take for example a dark alley. Do you like walking down dark alleys? Not many of us do, but it’s a good way to add fear as it applies to your characters physical reactions.

Imagine a demon, which you can only hear, not see, chasing you down a dark alley. The silence is heavy; the only thing you can hear is your own heartbeat, uneven breaths make your chest itch as you struggle to breathe. With no warning, something crashes behind you, breaking glass shatters the night, and you look back. There’s only darkness and the slapping of your high heels on cracked pavement. The second you turn your head, you trip and fall. In shock, the pain overwhelming, you struggle to get up on cut hands and knees when an icy chill slithers around your leg and up bare skin. What feels like a hand reaches and curls around your neck, tightening, the cold seeping into your flesh, darkening the world to nothing. You gasp for air as another hand, and then another, and another, violates you. You try to scream, but the fingers closing around you won’t allow it. About to die, a cold tongue eliciting a putrid smell licks the line of your jaw, your eyes start to water, the creature loosens its grip, and laughs but you’re the only one who can hear it say, “You’re mine now.”

Pretty creepy, right? How many of the five senses did I use in the scene? Sound, sight, touch, and smell. I didn’t use taste, unless you count the demons wayward tongue. Using the senses adds immediate fear to your characters vision, and you can connect with your readers as they fear for your characters well being.

Fear is part of a characters growth, or decline if that’s your desire, but it’s important that you look at it from both an internal and external point of view. How does it effect and affect the character you’re building? Think about what you want your character to be, a sociopath who hates cops, or a paranormal detective that sees dead people.

Happy Writing!

Soft, Hard, Harder

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When you think romance novel, what’s the first thing that comes to mind? Sex, right?

Now don’t get distracted visualizing.

As the title suggests, sex scenes come in different levels. They can even lean toward a softer side, the more graphic content eliminated. Each has their place in the pages you write. So let’s look at intensity, and what you might bring to your manuscripts; which I’ve learned from reading romance, research and (brows bouncing) experience.

Most writers have a preference and style to their sex scenes, depending on their genre. When I first started reading romance novels my go to author was Nora Roberts. If you’re a fan, she has a way of making us care about characters quickly and deeply. When her stories progress and hero and heroine are intimate, Ms. Roberts blankets us in a warmth, a caress, or a look using words that elude to what’s happening as main characters wrap themselves in each other. She skips over minute details that would be too graphic. Obviously, you know there’s nudity at some point, but she presents it in a way your grandmother who gets offended by a Victoria’s Secret commercials wouldn’t have a heart attack if she read the scene. On the other hand, she sometimes ramps up the intensity depending on the characters nature.

In Lori Foster’s, Men Who Walk the Edge of Honor series, scenes are a little steamier. The alpha males are intense in physique, mannerisms, and sexuality. Foster’s novels add descriptive instances adding more depth in sex scenes, baring more skin and, more heat than a PG-13 movie. When writing a sex scene use adverbs with more grit and aggression to get up close and personal with the sexy action verbs. This allows readers imaginations to overtake them making a cold shower or a romp with a significant other sound like a good idea. Be careful though, you don’t want to overuse adverbs. If you read any of the romance novels or series I’ve mentioned, in this or previous blogs, you’ll notice that the authors I’ve referenced use adverbs as little as possible. You want to show not tell. Look at this sentence. “Jacob was wildly out of control, as he took Charlotte.” Instead, omit “wildly” and describe what’s happening. “Jake was out of control. With no thought of time or place, he ripped open Charlotte’s shirt and pressed fully against her, desperate to feel her heated skin. His fingers wove through her hair and held tight as he yanked her head back and devoured her lips like he would go mad if he didn’t have her.” I think you can see how using just the word, wildly limits your creativity.

The next stop on the sexy train is Fifty Shades of Grey by E.L. James. Most romance readers know what I’m talking about, even the common lay person. Erotic romance novels like this have been taboo a long time and for good reason. Words on the page are stronger, harsher and can be offensive to readers who aren’t used to the subject matter. Some instances delve into BDSM and D/s (Dominance and submission). The details are so specific there’s nothing left to the readers imagination or in the least are so taboo they make readers uncomfortable. Nonetheless, the draw to the genre increases. Due to the stir that Fifty Shades caused, publishing houses are creating PG-13 covers drawing in broader spectrums of readers that won’t fear reading the hard core romance novel at their local Starbucks or in a doctor’s waiting room.

If we delve a little deeper into the examples above and look at the plethora of other romance novels out there, the sex scene is character driven; not solely on the page for sex’s sake. If you write an insipid man your female lead doesn’t enjoy being with, do you make the male character strong and commanding in the bedroom or a plain old missionary style man that she compares to a wet noodle? Pair violence with sex plus your main character, a scene becomes a catalyst vital to a protagonist’s character. The reader has to understand what kind of man is infringing on your heroines well being. The HEA (happily ever after) the reader expects has been turned upside down, creating conflict that tears at your heart and leaves readers wondering if the hero will scale the highest mountain to reach his soul mate, even if that mountain is an emotional jungle that resides in the heroines mind.

Your sex scenes are about the story you’re trying build. Use sex as an integral part moving the story forward. If you want to be soft, hard, or harder, if you need to express characters intensions, pick your words carefully. Ignore limits. Don’t be afraid to write what’s taboo either. If you’ve never written a sex scene, the first time is always the most nerve wracking.

On my website, Writers Canvas on May 10, I’ll introduce you to Jacob and Charlotte, so you can see how they meet. On May 17, 24th, and 31st I’ll show you the different levels of sexual content using Jake and Charlotte as their relationship grows. In the meantime, you can see why I feel, that just because something is classified erotica doesn’t mean it’s all about the sex, in my August 4th, 2013 entry.

Happy Writing!

Paranormal Traits

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A trait is a distinguishing characteristic or quality, especially of one’s personal nature, defined by Dictionary.com. When using traits with a paranormal twist you can go with classic takes, such as mind to mind communication that Bram Stoker uses in Dracula and, one of the most common vampire traits, the elongated fangs. Stoker takes Dracula’s desire to speak to Mina enhancing it into a physical experience in mind and body transcending all logic, creating intimacy where there was none.

Taking things a step further, let’s look at the Argeneau Series by Lynsay Sands. The mind to mind communication in Sands vampires (Immortals as she calls them) becomes sexually charged as the heroes and heroines learn they are life mates. They share each other’s pleasure to a point their intimacy boils to such a peak they pass out, anywhere. She’s created a situation where she uses all the five senses, smell, sight, sound, taste, and touch. However, what happens goes beyond the physical and becomes a sharing between the two characters on a mental level. With humans, to the extent she explains, this would not be possible in real life. This adds something to her vampires that no one had ever seen yet in the genre.

Conflict develops when the no-fangers, vampires without fangs come on the scene. Let’s just say, they’re a tad bit crazy. To make it even more fun she adds a third type without fangs called edentates, another generation not touched by the crazies. She goes into detail about the three distinctions adding history to the series and to her characters. These are some of the steamiest, funniest, and scariest scenes I’ve ever read. Lynsay Sands uses the physical trait to drive the plot arc in several of her books, motivating good and evil in a race to meet their goals.

My favorite character trait is smell. With most predators, smell is a basic tool in their repertoire. J.R. Ward uses the trait brilliantly in the Black Dagger Brotherhood series. Introduced first in Dark Lover, Wrath and Beth meet, and at first, Wrath is lead to her by duty. However, when he gets near her, her scent is so intoxicating he has to have her. Eventually Beth can’t resist him either. His scent is headier than a spicy merlot laden with pheromones. He’s like a drug and she’s drawn to him in every way. As intimacy grows, the musky scent cloaks the chosen mate of the vampire, warning any other males or females to back off. With this one trait, J.R. Ward creates some sexy heart pounding moments in and out of the bedroom.

Werewolves, another classic paranormal creature, can also compel readers with the use of unique traits. For example, take a snap shot of the wolf in its normal habitat and find traits that translate into the human hero or heroine. Nalini Singh does this in her Psy/Changeling series. Ask yourself, how does a male wolf act/react to a female wolf? Outside forces threaten the female, how would the alpha wolf handle the threat? Immerse yourself in the five senses of a wolf. What would he do around a female to show his interest? Would he rub, lick, or bite the female to mark her with his scent? Even the words rub, lick, and bite spice up a scene, heating up the romance between human characters. How would it enhance a paranormal romance? Would he use sound, his howl to attract a female or scare away an enemy, let someone know he was hurt? How do these questions translate from wolf to human characters? Does the alpha male fight other males to stake his claim of the female? Is the human hearing extra sensitive alongside sight, smell, taste, and touch?

My examples above of vampires and werewolves are not the only human traits to translate into paranormal characters; the two are just more widely recognized. You decide what traits work best for your characters helping create intensity, intimacy, and excitement that ramp up your plot, compelling readers to turn pages. Use the five senses and physical traits to open doors in your mind. But be careful. The traits you decide on have to have purpose that drive the story forward, twisting the normal into paranormal.

Happy Writing!