Creating a New Character

J J Dare, author of False Positive and False World, delights in creating evil characters. A fellow collaborator in the Second Wind serialization, Rubicon Ranch, J J Dare created the monstrous victim in Rubicon Ranch: Necropieces, the second book of the series, along with a couple of his offspring. She calls her evil characters Bad Wasps.

We’re starting a new book,  Rubicon Ranch: Secrets, and seeing how much fun J J Dare has with her evil characters, I’d considered exchanging my ongoing character for a bad wasp, but my character, Melanie Gray, still has so much to accomplish that I can’t just dump the poor woman. She needs to find out who killed her husband and why, and she needs to resolve her feelings for the misogynistic sheriff.

I considered writing another character in addition to Melanie, and I almost gave up when I couldn’t think of a character I’d be willing to spend the next year with, but then I discovered Lydia Galvin. Or rather rediscovered her.

Lydia was an offscreen character in the first book of the series, Rubicon Ranch: Riley’s story — Sheriff Bryan’s lover. Told from the sheriff’s point of view, she was a grasping woman who wanted him to divorce his wife and marry her, but when he wouldn’t fall in with her schemes, she ended up turning him in to the disciplinary committee.

Here’s the excerpt (written by Lazarus Barnhill):

“Anyway, Lydia Galvin . . . Lieutenant Lydia . . . she and I had an affair. What Lydia wanted was love. And she wanted me. She could not believe I didn’t love her to the extent she loved me. She wanted me to leave Monica. When I wouldn’t, she threatened to tell her. I told Monica first, as a preemptory strike. Lydia had visions of confronting Monica. Boy was she surprised when Monica confronted her. Monica told her to be content with what she had with me, that she was going to mess up all our lives if she kept on.”

Bryan paused for a reaction from Melanie, but her serene face gave no indication of her thoughts.

He took a sip of tea. “Somehow Lydia got the idea that if she came between me and my career, between me and my marriage, I would magically realize how much I cared for her. Once she told the right people on the force what was happening, the disciplinary procedures couldn’t be stopped. And of course discipline issues on the police force become public record. I had been the beloved, fair-haired boy before. It was so totally different to become the pariah. Lydia came to me—even after I had cleaned out my office and watched them paint over my name on my parking space. She came to where I was standing and said, ‘Can’t you understand how much I love you?’”

“What did you say to her?”

“I said, ‘I’m still licensed to carry a sidearm in California and if you come near me again I’m going to shoot you between the eyes.’”

On rereading the passage, I realized how much of a philanderer’s point of view it portrayed. In trying to see the situation from Lydia’Lydias side, I got the impression of a woman, perhaps a bit lost, perhaps hard used by the sheriff who obviously wanted only one thing from her, and it wasn’t the love she so desperately craved. It must have hurt her deeply to try one last time to connect to the man she loved, and to have him threaten to kill her. Might this (and whatever in her background that made her so desperate for love in the first place) have turned her into a stonehearted woman willing to kill to serve her ends?

I’ll find out in the coming months as I develop the character. It should be fun to discover if she’s a bad wasp or merely a woman who’s had too much pain in her life.

f you have not yet checked out Rubicon Ranch, you can do so here: Rubicon Ranch.

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

Rubicon Ranch: Secrets — The Story Begins!

RRBookThreemidsizeRubicon Ranch is a collaborative and innovative crime series set in the fictional desert community of Rubicon Ranch and is being written online by the authors of Second Wind Publishing. The very first chapter of the very first book (Rubicon Ranch: Riley’s Story) was posted on October 24, 2010, and we are still going strong! In fact, we are getting better and better. Seven authors, including me, are involved in the current story — Rubicon Ranch: Secrets, which is shaping up to be a psychological thriller.

The  body of a local realtor is found beneath the wheels of a blow-up figure of a Santa on a motorcycle. The realtor took great delight in ferreting out secrets, and everyone in this upscale housing development is hiding something. Could she have discovered a secret someone would kill to protect? There will be suspects galore, including a psychic, a con man, a woman trying to set up an online call-girl service, and the philandering sheriff himself. Not only is the victim someone he had an affair with, but he will also have to contend with an ex-wife who has moved back in with him and a jilted lover, both with their own reasons for wanting the realtor dead.

Although some of the characters were introduced in Rubicon Ranch: Riley’s Story, the first collaboration in the series, and further developed in Rubicon Ranch: Necropieces, Rubicon Ranch: Secrets is a stand-alone novel, so don’t worry if you are new to Rubicon Ranch. A new chapter will be posted every Monday on the Rubicon Ranch blog. I’m posting the first chapter here, but if you don’t want to miss further chapters, please go to the blog and click on “sign me up” on the right sidebar to get notifications of new chapters.

We hope you will enjoy seeing the story develop as we write it. Let the mystery begin! Whodunit? No one knows, not even the writers, and we won’t know until the very end!

(If the Christmas theme seems unseasonal, well . . . considering how long it takes to write a book at the rate of a chapter a week, in a few months, the season will catch up to us!)

Chapter 1: Melanie Gray
by Pat Bertram

Sunday, December 22; 7:05pm

Melanie Gray typed THE END, then sat back and studied the words on the computer screen. She’d found no satisfaction in telling the story of famed horror writer Morris Sinclair’s macabre life and death, and she felt no elation now that she’d finished the task. The evil man should have been buried in unhallowed ground and left to rot rather than be immortalized in a book, but she’d needed the money her publisher had offered. With the generous advance, she would be able to devote herself to finding out who killed her husband five months previously and, more importantly, why the murderer wanted Alexander dead. Morris had wooed death his whole life, so it was no surprise that death had come for him, but Alexander’s murder could not be so easily dismissed.

Tears stung Melanie’s eyes. She scrubbed the tears away, furious at herself for still grieving. She’d always considered herself a strong woman, up to any task, and yet she couldn’t write “the end” to her grief.

Damn you, Alexander! How could you do this to me?

She rose stiffly, stretched to get the worst of the kinks from her body, and tottered to the front closet for her coat. Except for a few hours of fitful sleep each night during the past nine weeks, she’d spent all her time at the computer, and she was sick of it. Sick of Morris Sinclair. Sick of death. Sick of Rubicon Ranch.

She opened the front door and blinked at the shadowy figures gliding through the darkness. Morris’s fans had descended on the neighborhood when news of his demise had hit the airwaves, and they had stayed when they learned that not all of Morris’s body pieces had been recovered. Dressed as vampires and zombies and ghouls of every imaginable—and unimaginable—ilk, they roamed the neighborhood and the nearby desert looking for necropieces in some sort of grisly treasure hunt.

Melanie hesitated, wondering at the wisdom of going out so late in the evening, but the twinkle of Christmas lights adorning a nearby desert willow made her set aside her caution.

Alexander had always loved Christmas, and no matter where in the world they happened to be living, he managed to find a tree and decorate it. If Alexander still lived in her memory, he’d want her to wander through the neighborhood so he could see the lights.

Smiling at the whimsical thought, she locked the door behind her and strolled down the driveway to Delano Road. Even with half the houses lit up with holiday decorations, the neighborhood seemed dark. Too many people had left the area, temporarily abandoning their homes, though the flickering of candlelight through closed curtains hinted that squatters had taken up residence in some of the empty houses.

Melanie stood at the curb, trying to decide whether to go right or left. “It’s your fault, Alexander,” she murmured. “Until you died, I never had a problem making decisions.” But now, it didn’t make any difference whether she went north or south, whether she left Rubicon Ranch or stayed. Without Alexander, everything seemed uniformly bleak.

A house across the street all at once came ablaze with thousands of small white lights. Melanie cut across the road and headed for the brightness, wishing Alexander could see the decorations for real. Lights outlined the driveway, every bush, every rock, and dripped from the eaves like dazzling falls of lace.

She walked leisurely, savoring the radiant display on Alexander’s behalf, then hurried past the next dwelling, which was dark, and slowed again at the following house to look at the whimsical blow-up figure of Santa on a motorcycle.

After the brilliance of the lights at the first domicile, she had to wait a moment to let her eyes adjust to the relative dimness of this scene. And then she wished she hadn’t hung around to get a better look. Santa, with a wide grin and an upraised hand, seemed to be gleefully running over the prone body of a woman. A mannequin, it looked like.

Melanie drew in a sharp breath. Who would create such a morbid tableau for Christmas? But then, seeing a vampire with glowing teeth run past her, she sighed. Anyone in this insane neighborhood could have done it. After Morris Sinclair’s demise, Rubicon Ranch had become a bacchanalia of death, a celebration of the worst in humanity.

A car moved along the street behind her. The headlights illuminated the scene as clearly as if it were day, and suddenly something seemed wrong. So very wrong.

The woman being run over by the cheery Santa looked stiff in the way of death, not stiff like a mannequin.

Melanie told herself to continue on, to forget the gruesome sight and enjoy the rest of the decorations, but her leaden feet refused to do her bidding. Finally, wishing she were anywhere but here, she crept closer to the scene.

She caught a faint whiff of death—like meat just beginning to go bad—and her heart beat faster.

No. No. She’d had enough of death. Alexander. Poor kidnapped little Riley Peterson. Morris Sinclair. How could so much death be associated with a community as small as Rubicon Ranch?

Melanie bent over the body and touched a finger to the side of the woman’s neck to check for a pulse, though she already knew the truth.

She fumbled in her coat pocket for her cell phone and wondered if the sheriff would continue to believe in her innocence. Hell, she didn’t believe it herself. Maybe she was some sort of Typhoid Mary when it came to death. She’d been the one who found Riley Peterson’s body out in the desert, stuffed in a television console. She’d been the one to lead the sheriff to the desert where they’d found the body of Riley’s birth father. She’d been the first one to come across a necropiece—a dismembered foot—after Morris was killed. And now once again she had found death.

She punched in 999, but when the call didn’t connect, she realized she’d used the emergency number for Britain. She cleared the number, then punched 119. Crap. Wrong again. That was the emergency number for Mozambique. Where was she? She took a deep breath, and let it out slowly.

Rubicon Ranch. Rojo Duro County. Mojave Desert. California. USA. Ah, yes. 911.

Melanie made the call, gave the information to the dispatcher, then pulled her coat more firmly around her to protect her from the chill of the high desert winter night.

She’d expected to wait a half an hour or more until the sheriff or his deputies could make the thirty-mile trip from Rojo Duro, but only ten minutes had gone by when a dark SUV pulled up to the curb, and Deputy Kelvin Midget slid out from behind the wheel more nimbly than seemed possible for such a massive man.

The SUV didn’t have official county plates, so Melanie supposed the vehicle was the deputy’s private ride. She felt a spasm of guilt at cutting into the man’s personal time, but then she remembered what Deputy Midget had once told her—that he’d lost his wife to pancreatic cancer about three year and a half years ago, and had come out west to start over so he could heal. Maybe, like Melanie, he had no real life but was just going through the motions of living.

“What seems to be the trouble, Ms. Gray?”

Shivering, Melanie pointed to the body.

Midget picked his way through the xeriscaping, got down on his haunches to check the woman’s neck as Melanie had, then rose to his feet without using his hands to shove himself upright.

“Did you see what happened?”

“No. Just found her lying here is all. Checked her pulse. Called it in.”

Midget walked around to the other side of the body, scanning the ground, his dark brow furrowed. “Did you find her purse?”

“No, but I didn’t look for it.” Melanie wondered about the deputy’s concern for the woman. It seemed more than simply a law enforcement officer’s professional interest in a crime scene. “Did you know her?” she asked.

“Didn’t you?”

“I don’t think so. I don’t know many people in the neighborhood.”

“Seth—Sheriff Bryan—thinks you notice everything.”

“Well, the sheriff thinks a lot of things that aren’t true.”

Midget made a small sound that might have been a chuckle. “Hit a nerve, did I?”

More to get away from the uncomfortable topic of the Sheriff than because she wanted to identify the woman, Melanie circled the body so she could get a better look. The woman did appear familiar at that. Aquiline nose, close set eyes, coiffed hair, manicured fingernails with a shimmering design painted atop the polish, high heels, tailored business suit.

Melanie backed away from the body. “I think she might be a real estate agent. I’ve seen her around the neighborhood.”

“Nancy Garcetti,” Deputy Midget said. “She sold me my house. Poor woman. She was such a terrible judge of character. Looked at the superficial and assumed she knew what the person was about. Kept notes of everything. You sure you didn’t find her purse?”

“Maybe the person who murdered her took it.”

“What makes you think she was murdered?”

“What else could it be? Nancy got tired, so she decided to take a nap by the wheels of Santa’s motorcycle and froze to death?” Regretting her caustic tone, Melanie huddled deeper into her coat. Had she become so used to murder that all death seemed so unnatural? But death was unnatural. A deletion of life. A void.

“People die from many causes,” Deputy Midget said. “It’s possible she had a heart attack. A stroke. Some sort of accident. A mugging gone wrong. Could be anything. We won’t know until the ME gets here.”

A tan Navigator parked behind Midget’s SUV, and Lieutenant Rosaria Frio stepped out of the vehicle.

The lieutenant looked even more like an Hispanic Barbie doll than when Melanie first met her. No emotion showed on the law enforcement officer’s beautiful face, and the dim light made her skin look plastically perfect. Only the glitter of the lieutenant’s dark eyes and her easy stride confirmed her humanity.

She greeted Deputy Midget with a nod. “You got here fast.”

“I just bought a house here in Rubicon Ranch over on Adobe Pobre Court. I told you about it. Got an awesome deal from a couple who could hardly wait to get away from the area. They said there was too much crime.”

“Imagine that.” Lieutenant Frio turned to stare at Melanie. “And here is our one-woman crime spree herself. Or maybe cadaver dog would be a better description.”

Melanie returned the Lieutenant’s gaze, but refrained from answering in kind. Lieutenant Frio seemed to have taken her in dislike when they met after Riley’s murder and her manner had only grown colder with the passage of the months. Melanie didn’t entirely blame her. If their places were reversed, she’d probably be just as skeptical as the lieutenant about her penchant for finding corpses.

Lieutenant Frio walked to body and stood over it for a moment, then slanted a glance toward Melanie. “Sheriff Bryan will be here shortly. He and his wife were dining out, and he needs to take her home first.”

Melanie remained impassive. She already knew the sheriff and his wife were back together. Melanie had talked to him a couple of times to get details for her book, and he had told her his wife had decided the celebrity-ridden area might not be such a backwater after all. He’d sounded apologetic, but other than behavior that bordered on unprofessionalism, he had nothing to apologize for. They hadn’t had an affair, not even a fling. Just a little bit of flirtation and a lot of anger.

“Can I go?” she asked.

“I’ve questioned Ms. Gray,” Deputy Midget said. “If we need her again, we know where to find her.”

Lieutenant Frio turned her implacable gaze toward Melanie. “Don’t leave the county.”

If anyone else had deadpanned such a remark, Melanie would have assumed it was either a friendly suggestion or possibly a joke, but coming from the lieutenant, the command sounded like a jail cell slamming shut.

Melanie wanted to run back to her place, but she forced herself to walk since she was sure the lieutenant would see haste as a sign of guilt. She tried not to look at the houses she passed. The joyful decorations suddenly seemed obscene.

She didn’t believe Deputy Midget’s suggestion that Nancy had died of natural causes. The missing purse hinted that something grimmer was going on. What secrets Nancy had kept in her purse? Everyone in Rubicon Ranch seemed to have something to hide. And someone—perhaps someone in one of these very houses—might have a secret they would kill to protect.

***

Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” All Bertram’s books are published by Second Wind Publishing. Connect with Pat on Google+

Where My Books Originated

Last night, while working on an online interview to be posted in a few weeks on a book interview site, I had an interesting epiphany. (Interesting to me, anyway.) I’ve written one non-fiction book about grief and four suspense novels, which at first glance are all completely different from one another. I did know the four novels had similar themes, but since the grief book was a personal account of my first year of grief rather than an imaginative story, I didn’t think it had anything in common with my fiction, but it does.

The unifying theme in all of my books is the perennial question: Who are we? More Deaths Than One suggests we are our memories. A Spark of Heavenly suggests we are the sum total of our experiences and choices. Daughter Am I suggests we are our heritage. Light Bringer suggests we are otherworldly. And Grief: The Great Yearning suggests we are what we love.

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I’m also a bit of an iconoclast, and my books reflect that character.

Both More Deaths Than One and A Spark of Heavenly Fire debunk much of what we know about our shared past, especially when it comes to government control and human experimentation. (We have entrusted our lives to men and women who have not only not protected us from willful harm but instead have sold us out for . . . quite frankly, I’m still not sure what they sold us out for. Cash, in some cases, I’m sure. Power and political position, probably. The good of the whole at the expense of the few, possibly.)

Daughter Am I debunks some of the gangster myths that have been propagated by Hollywood.

Light Bringer debunks UFO myths, while at the same time postulates a greater UFO mystery.

And Grief: The Great Yearning debunks many of the myths about grief we have come to accept as truth.

The grief stages that Kübler-Ross proposed often don’t hold true for someone who has suffered a grievous loss, such as a child or a soul mate. In fact, those stages represented what she observed in terminal patients grieving for themselves and their own life. The final stage is acceptance, and acceptance of one’s own death is completely different from acceptance of another’s. I can learn to live without my soul mate and even accept it. I can admit that death relieved him of his suffering, but it is not my place to accept his death, since acceptance carries a connotation of it being okay, and I will never believe that it is okay for him to be dead. (For articles about the real stages of grief, see: The Mythic Stages of Grief, Grief and Lingering Feelings of Resentment, and Why “Grief: The Great Yearning” is Important.)

I suppose it makes sense that the same themes appear in all my books, no matter what the subject matter is since they all originated in the same place: a questioning mind that has often pondered the questions: Who are we? and What is life all about?

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” All Bertram’s books are published by Second Wind Publishing. Connect with Pat on Google+

Pick a Shamrock and See What Ebook You Won!

Pick a shamrock and win a free ebook from Second Wind Publishing! Each number represents a Second Wind novel — even numbers for romance and chick lit; odd numbers for mystery, mainstream, and adventure. So, do you feel lucky? Go the the Second Wind blog (just click on the photo) and follow the directions. You won’t win a pot of gold, of course, but you will get a coupon for a free ebook in the format of your choice. Who knows, you might even win one of my books! (Hint: mine would be an odd number.)

shamrocksbb copy

Best of luck to you!

Offer ends March 24, 2013.

My Favorite of the Books I Have Written

A friend asked me if I had a favorite of the books I have written. The truth is, each is a favorite in it’s own way.

More Deaths Than OneMore Deaths Than One is my favorite because of all the rewrites. I rewrote it four different times, each time making it better, and so I learned to rewrite and to edit. I also liked the ironies that showed up in the book.

Click here to read the first chapter: More Deaths Than One

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A Spark of Heavenly FireA Spark of Heavenly Fire is my favorite, because halfway through I realized I’d learned how to write, and because it is a solid, classic story of life and love in impossible times.

Click here to read the first chapter of: A Spark of Heavenly Fire

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DAIDaughter Am I is my favorite because of the fun we (my mate and I) had coming up with the great characters, and because it was the fulfillment of a desire to write a “hero’s journey” story.

Click here to read the first chapter of: Daughter Am I

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Light Bringer is my favorite because it’s the culmination of a lifetime of research, combining modern and ancient myths into a plausible whole, and because some of the descriptions were stunningly beautiful.

Click here to read the first chapter of: Light Bringer

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Grief: The Great Yearning is my favorite because writing it helped me get through the worst year of my life, and because unwittingly, it turned out to be the story I always wanted to write, the story of a love that transcended time and physical bonds, told with wisdom and sensitivity.

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

My Wish List

Wish lists, such as things you want to accomplish before you turn thirty (or forty or fifty) or things you want to do before you kick the bucket (I finally figured out that’s what a bucket list is!!), seem to be perennial favorites as blog topics, so I though I’d share my list:

1.

Yep that’s it. A total blank. Looking back, there are only two things that were ever on my mental list of things I wanted to do with my life when I grew up: read and write. For most of my life, I indulged my habit of reading rather than doing something that might have been more lucrative, such as striving for a high-powered career. I also tried to write a novel when I was young and it was one of the regrets and sadnesses of my life to discover that I had no talent for fiction, yet eventually, I did become an author. (Proof that you don’t need an innate talent for writing but can learn how to tell a story in a compelling way, which in itself is sort of a talent.)

There are things that I would have added to a life list if I had been aware that I would experience them. I would have wanted to be deeply connected to another human being, to have the privilege of being there at the end of his life, though I had never aspired to doing either of those before they happened. I would have chosen to experience for a brief time such disparate places as a mesa in the high plains of Colorado, the edge of the north woods of Wisconsin, the high desert of California, but again, those are not things I would ever have added to any list since I’m not easily uprooted. I would have also wanted to reconnect with my best friend from high school, and now I’ve done that. (The visit was wonderful, by the way, and wonderfully strange considering all the years that have passed since I last saw her.) Besides, now that I’ve done these things, I would have crossed them off any list anyway, and the list would still be blank.

A couple of times I tried to do the creativity stimulation exercises in Julia Cameron’s The Artist’s Way, and I generally stuck with the morning pages (three pages every morning to write whatever came to mind) and the artist’s date (a weekly date with yourself) but always, when I got to the part about making lists, the excercises screamed to a halt. There are various exercises in the book involving lists: What would I try if it weren’t too crazy? What would I do if it weren’t too selfish? What five things would I never personally do that sound like fun? What do I wish for?

I’d like to be able to make a living with my books, of course, but other than that, no wish comes to mind. I’ve never had any desire to go to Paris or London, never had any desire to travel to exotic locales to see ancient ruins, though I wouldn’t mind seeing such places if I could figure out a way of simply being there without having to make the long trip. I did have a desire to see the Olmec heads, and one came visiting at a museum nearby, so I satisfied that desire.

I’m not sure it’s possible for me to become a wisher. I used to want things, of course, but too often I didn’t get what I wanted, so I learned not to want. I know it’s important for a character to want something — it’s what makes them compelling. But is it important for us to want things? Or is it better for us to be more zen in our approach, to accept what comes our way? This is where I am now, stuck somewhere in the middle of those two questions.

Maybe this could be my list?

1. Find something to wish for.
2. Wish for it.

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

For Now . . . Just Write.

writingbIn an online writing discussion, one writer said that the first nine chapters of her book went through a readers review and most of the readers agreed that the first paragraphs really grabbed their interest, but then her editor suggested placing the opening sequence later in the book to make the beginning more appealing to guys. The writer wanted to know if she should follow the editor’s advice, or go with the original beginning.

To be honest, the question confused me. Why would a writer have an editor if the writer didn’t want to follow the editor’s suggestions? And who are the readers? (And what the heck is a readers review? Do I need one, and if so, where do I get one?) What stake did this “readers review” have in the book? If the readers were family and friends, then it doesn’t make any difference what they say. And, if the readers only read the original beginning and did not have the editor’s suggested revised beginning to compare, it seems to me that the readers’ opinions don’t really account for much.

Even more confusing, why is the writer having someone edit the book when she has only nine chapters? Every writer knows that a novel takes so long to write that by the time it’s finished, either the writer has changed or the focus of the book has changed, sometimes both. It’s entirely possible that by the time the author finishes writing the book, the story would have strayed from the original premise, becoming stronger and more vibrant, in which case that first chapter would be superfluous, and any discussion about keeping the beginning or changing it would have become irrelevant.

To spend any time debating the beginning of a book before the entire thing has been written puts too much emphasis on something that is unimportant for now. The beginning sequence of a work in progress is merely a starting point for the writer, a place to anchor the story while s/he is writing it. In many cases, especially with new writers, a story will be stronger without that first chapter, but no one — not the writer, the editor, or the readers — will know that until the entire book is finished.

All an author has is his or her vision to see the way through to the end of a story. When a book becomes a committee project, then it is no longer the writer’s vision but the vision of anyone who happens to have an opinion. Sometimes new writers seek readers early in the process because they are unsure of themselves, but the way to become sure of yourself is simply to write. And sometimes writers want to make certain they are on the right track, but even the wrong track is sometimes the right track since everything you write helps you become the writer you were meant to be. (I’ve heard it said that you don’t become a master at the craft until after you have written a million words. I’ve also heard that it takes four million words. In other words, you need to write a lot of words!)

If you too are in the middle of your book and are pondering whether to change the beginning — don’t. For now, it is serving its purpose. When the book is finished and you are reviewing every minute detail, then you can decide how to improve the beginning to foreshadow the premise of the book and hook readers into wanting to continue exploring your vision. But for now . . . just write.

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

Rubicon Ranch ~~ Prepare for Mayhem!

Rubicon Ranch: NecropiecesI enjoy finding out how other writers approach their craft, and especially how they develop their characters. J J Dare, author of False Positive and False World, delights in creating evil characters. As a fellow collaborator in the Second Wind serialization, Rubicon Ranch, J J Dare created the monstrous victim in Rubicon Ranch: Necropieces, the second book of the series, along with a couple of his offspring.  In her blog post Bad Wasps, J J Dare said of her two POV characters:

They’re bad. Bad to the bone. Bad in ninety-five percent of their molecular makeup. If an ice-cream flavor was named after them, it would be “Vinegar and Vinegar” and it would taste just as sour as it sounds.

They are evil, narcissistic, self-centered, selfish and plain mean. Both characters think nothing of climbing over the living and dying bodies of anyone in their way. They are Bad Wasps.

So, why did I write them this way? It’s not a reflection of me. I’m fairly mild, with only a bit of flair once in a while. And I’ve never wanted to murder my parents.

I’m glad she added those last two sentences. Someday J J and I will meet, and I’d hate to have to go to the meeting prepared for mayhem.

Seeing how much fun J J Dare has with her evil characters, I’d considered exchanging my character for a bad wasp (or perhaps revealing a waspish side, which I might someday do), but my character, Melanie Gray still has so much work to do that I can’t just dump the poor woman. She needs to find out who killed her husband and why, and she needs to resolve her feelings for the misogynist sheriff.

J J’s characters might not reflect her, but Melanie Gray is a lot like me. She’s a writer dealing with grief, she wanders in the desert, she’s fairly calm and passive though she can be riled. Even though she started as an alter ego (but younger) she turned out to be a world traveler, which I am not, and she has a penchant for finding dead bodies, which I don’t. Thank heavens for that! Being some sort of human cadaver dog has never been an aspiration of mine.

If you have not yet checked out Rubicon Ranch, now would be a good time. You can download the first book free in the ebook format of your choice here: Rubicon Ranch: Riley’s Story and you can follow the second book as we finish writing it here:  Rubicon Ranch: Necropieces. And you will have to prepare for mayhem!

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

Striving For Clarity in Writing

stageThere seem to be two vociferous groups of writers nowadays:

1. Self-published writers who insist that they can do everything their way without regard to grammar rules, publishing conventions, and even readers.

2. Writers who want to be published by the major publishing houses, and who scrupulously follow every dictate in the hopes it will bring them the acclaim they strive for.

The first group of writers often strive for originality at the expense of readability. They take the easy way out by choosing limp words that demand to be propped up with adverbs and adjectives. Or they throw out grammar rules, which comes across not so much as being creative but as being too lazy to learn the right way. Grammar is not a straightjacket but a garment that flows softly around readers, keeping their attention on the story rather than the structure. If readers have to read and reread a paragraph to try to make sense of it, then the author has not done her job.

Some of these authors believe that readers should have to work to make sense of their story, that it’s okay if readers are pulled out of the story to look up an unfamiliar word, or to admire a particularly well-turned phrase, but readers for the most part want to be immersed in a story. If you’re watching a play, you want to see the characters, the action, the set. You do not want to be shown the backstage bickering or the ugly scaffolding. You simply want to be immersed in the play. (Unless, of course, the play is Noises Off, in which case all the bickering and scaffolding are part of the story.) And the same goes for books.

The second group of writers strives for perfection at the cost of originality, especially originality of style or voice. These writers are often too assiduous in their dislike of “was”,  “it”, “ly” adverbs, adjectives, or any number of words that make our writing seem amateurish. Yes, an abundance of such words does make our writing seem amateurish and even hard to read, but removing every single was or it or modifier makes for a stilted style.

The truth of good writing lies somewhere in the middle of those two groups.

As I read in an old book called The Practical Stylist by Sheridan Baker: “Clarity is the first aim; economy the second; grace the third; dignity the fourth. Our writing should be a little strange, a little out of the ordinary, a little beautiful with words and phrases not met everyday, but seeming as right and natural as grass.”

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+

Are Book Trailers a Good Idea?

rainbowSomeone asked me for advice on how to get people to see his book trailer and then called me negative when I explained how difficult it would be. I admit I’m burned out when it comes to promotion. I’ve spent the past five years researching book promotion in all its many facets, tried hundreds of different things, and I still don’t know how to turn a sleepy seller into a best seller, though I know a lot about what doesn’t work, or at least what doesn’t work for me. Other people do the same sorts of things I’ve been doing and find a pot of gold at the end of the promotion rainbow, but I’m still searching for the rainbow.

Book promotion is a lot like the house that Jack built. You have a book you want to sell, so you create a video trailer to promote it. Then you have to promote the video that promotes the book you want to sell. Then, you join Facebook to get more viewers for your video, so now you have to promote your FB page that promotes the video that promotes the book you want to sell. And on and on and on.

Some people can just throw a book out there and make a fortune on Amazon, but the rest of us have to promote. Have to find a way to get people interested in us and then in our books. As I said in What Works When It Comes to Book Promotion?, the first authors to blog or use the various social networking sites to promote their books found a strong readership, but now all of those means of promotion are so common that they are simply an expected part of being an author.

It’s the same with book trailers. The first people who created book trailers to promote their books did well, but now video promos are just an expected part of being an author. Even if the video is great, the problem is getting people to see the video.

Sometimes people will stumble across a book trailer when they are surfing Utube, but it’s not as if people by the thousands will be searching for his book trailer. I wanted to hear Madonna’s “Playground” the other day, so I used the search function to find it since I knew what I wanted to listen to, but what if I didn’t know there was a song out there I’d like to hear? How do I find it?

The problem is, you have to promote the book trailer as assiduously as you promote the book. If I knew how to get people to see his trailers, I’d be good enough at promotion that I’d be selling millions of books.

Still, book trailers are a good idea, and the better they are made, the better they will do. I don’t want to discourage him from making his video because . . . who knows? His might catch people’s attention and go viral. At the very least, it will give him something other than the book itself to promote.

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Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+