How the Heck do you come up with your ideas?

Image from writerstoauthors.com

Have you ever been asked that? Bet you have. Bet we all have. The answers to the question are as varied as the ways we DO come up with our ideas.

My book An Unsinkable Love came from an open call from a small publisher. A friend in a critique group was editing for them and she posted the call for a story that included the Titanic in the storyline (it was for the 100th Anniversary of the sinking). I had never considered writing a book about the Titanic - that’s been done, right? But I didn’t have anything else I was really passionate about right then so I thought,  What the hell? Four months later I found myself sitting in my car in a dark parking lot where my beta reader passed over the manuscript to me from her car. I’m lucky we weren’t turned in for a probable drug deal. I submitted it at ten o’clock the next night, beating the deadline by two whole hours (I wouldn’t recommend waiting until the last minute – it’s hard on your blood pressure). I got the contract and that story is history (pun intended).

The point I’m trying to make is that your story idea can come from inside your head (I’m trying frantically to get all those stories out because the racket they’re making in there is unbearable at times!). They can come from something you see. From something, you read in the newspaper. From a TV show that mentions something that catches your interest – basically, anywhere, if you let them.

For me, I immediately write those tidbits down. If I don’t, I forget them and the Great American Novel might have just been lost (eh, maybe). I keep a “potential story” file on my computer – most entries are just a single sentence or two, or a scan of an article cut from the paper or a magazine to remind me what I need to research.

My current series is about Classic Car restoration, so I subscribe to the Barrett-Jackson and Mecum auction sites. They have color photos and details on cars to give me lots of info to work with. When I travel I make notes of interesting things I see, like the absolutely ginormous ammunition depot on the way back from Las Vegas that had more than a hundred huge underground bunkers and other interesting-looking structures. I drive through a cemetery to get to work and often walk there on breaks or lunch; I keep a notebook with me and write down names and dates from stones that have interesting artwork or sayings on them, especially those that are from the 1800’s.

Where do you get your ideas from? Do you keep a list of ones you want to write about someday? What’s the oddest tidbit you’re holding on to?

If you think you have writer’s block, or just need something to work on while you’re waiting to get that six figure contract, pull your list out and WRITE ON!

Say No! Say it “Now!” How the power of now frees you to be your best

 

I’m listening to a fascinating audiobook about the power of the present. There are so many ways of expressing it.

Stay in the now.”

“It’s called the “present” because it’s a gift.”

“Mindfulness.”

Deepak Chopra refers to it as slipping in the gap during meditation.

 In this audiobook, Eckhart Tolle says that living in the now is the “truest path to happiness and enlightenment.” Tolle stresses that mindfulness, and a learned ability to stop the ever-chattering, negative inner voice will free us of the chains of the past created by mistakes and failures in times gone by. Stilling that inner voice will also free us of anxieties and fears when contemplating the future.

Of particular interest to me was Tolle’s observation about creativity. Creativity cannot exist in the past, or in the future. Creativity inhabits only the now. As I recall my most creative times, writing lyrics, poems, short stories and novels, I experience a “melting away” of life’s gnarly details—social complexities, financial responsibilities, life’s frustration—all that slips off my shoulders and evaporates, and I am in … the now.

Looking at a lake, a mountain, a deer, a flower, the ocean’s waves—these are the rejuvenating gifts of vacations, when we successfully escape “the voice” and simply … live.

All one must do is still that voice—the one that we ‘think’ is us but is really a compilation of parental ‘shoulds’ and ‘musts’ and family/community/global expectations and standards—and we can enjoy simply being, every day of our lives, not just during getaways.

This message is also found in Buddhist and yogi writings, and in Deepak Chopra’s books and videos. Chopra in fact recommends The Power of Now.

Reviews for this book cover the spectrum, from deep appreciation for the book having helped people change their lives, to others who call it regurgitated rubbish and New Age babble.

For your further study, should you wish to do so, check out the reviews on Goodreads.

I was reminded of two important truths from the book.

  1. Unless you have a time machine, nothing happens in the past. Nothing happens in the future. The only place anything really happens is in the present. It makes sense to silence any voice of the past, whether you think it’s your own or some kind of universal/conglomerate voice that seems motivated to make you suffer or limit you based on activities in those time periods. (Excepting criminal acts, of course.)

2. As it pertains to writers, our chiding, deriding inner voice does not belong in our creative “now.” I really like Tolle’s suggestion that we have the power to silence that destructive, crippling voice. I’ve had some good success countering it with yoga and powerful affirmations. I like to think of nurturing my “critique friend inner voice,” the one that’s based on the positive. Rather than, “This scene stinks. What makes you think you’re a writer?” my CFIV offers, “This scene can be more effective if the conflict is ramped up—how can we do that?”

I can envision a writers’ therapy session, where we gather and write a “silencing scene” in which we explore possible dialogues to say, "No!" --to quiet The Voice.

“Time’s up, buddy. Out you go.”

 “Who are you, and what are you doing in my head?”

 “There’s an app for that!” (pushes red ‘eject’ button)

 “Sorry. Wrong number.” (gestures as if hanging up)

 “No membership card? You don’t belong here.”

 “I’d heed you, but then I’d have to kill you.”

Or my favorite –

“Get a life! Oh, that’s right—you don’t have one!”

The Power of Now offers writers insights into how to quiet that negative, often destructive inner voice so we can reach our potential and realize our dreams.

I’m wishing you many peaceful, creative moments!

I Did It My Way (But Why Would Anyone Want To?)

After more than thirty years of writing genre fiction, I will finally be able to answer “yes” to that irksome, miserable question that all would-be novelists get at cocktail parties, “Are you published?” On November 2, 2016, I signed a contract with Five Star (Cengage/Gale) for publication of my historical romance, Love’s Last Stand. Yes, yes, yes, the publication monkey is off my back forever. I am finally a so-called “real” writer. But getting published took so long I thought I’d also answered that other nagging question would-be novelists sometimes get. “If you knew you’d never get published, would you keep on writing?” Lately, my answer has been, “Well, yes, I’ve pretty much done that already.”

I first started writing fiction in 1981, in the most clichéd manner possible. I heard somewhere that Harlequin would give you $1500 for three chapters and an outline. How hard could it be to write romance? Yes, dunderhead, harder than your thick skull. I didn’t get my advance or a contract, so I went to law school. But the writing bug had bitten, and I simply couldn’t abandon that story I’d started. After graduating and working for the Department of Justice for three years, I managed to finish the book, and without ever taking a writing class, reading a book on writing, or attending a critique group. How good could that book be?

Lo and Behold! My classic story of romance took second place (or was it 3rd) in the RMFW contest, way back when we still awarded places. I was a genius! Fortune and fame were close enough to touch. Ask me about my smug smile, please. Alas, it was not to be. The story, which I still love, violated every rule of fiction writing imaginable, especially those of romance writing, and I invented a few new rules to violate along the way. I shudder at the memory. That manuscript will remain forever buried, not in a drawer, but even further out of reach, in the murky depths of Word Perfect 4.0, where no one will ever find it, except perhaps, Robin Owens.

Undeterred, I continued to write. And, more importantly, I found RMFW and my critique group, not to mention my future wife (thanks, RMFW!). I was still not getting published, but it could have been my fear and loathing of rejection, as much as the quality of my writing. I simply didn’t query much. At least not as much as I should have. Not as much as you should, if you’re not already published. I much preferred the writing and, if I wasn’t going to publish, the one thing I could do is win or final in a contest.

And contests I did with a passion. Between 2002 and 2016, I was a contest finalist twenty-seven times. On top of that, I won the RMFW Colorado Gold Contest twice, and got first place in the Crested Butte Writers Friends of the Library Contest (twice), the Southern Louisiana Romance Writers Dixie Kane Contest, the Land of Enchantment Romance Authors contest, the Central Ohio Fiction Writers contest, and the San Antonio Romance Authors Emma Merritt Contest. I was Champion of the Contest World! But I still wasn’t published.

Eventually, I simply read ten pages for Five Star editor Tiffany Schofield at the RMFW conference, and the rest is history. What to make of it? You tell me, please. Was it as simple as not sending out enough query letters? Was everything I wrote “over the top,” as one agent told me? Was it just plain dumb luck? Being in the wrong place at the wrong time all these years? Truly, I don’t know.

Mine may be a cautionary tale, and I can’t recommend my strategy for getting published. What I can recommend is finding a good critique group, continuing to write come hell or high water, and, of course, never, ever giving up. Sorry, there’s nothing new or innovative in my advice.

I may never get published again, but at least now I know it’s possible, even for me. As long as it took, I’m not ready to rest on my laurels. My smug smile has been replaced by one a bit more knowing and patient.

After all, I’m just getting started.

 

When he’s not writing fiction, Steven Moores is an attorney for the U.S. Environmental Protection Agency. In addition to law, he has degrees in journalism and fishery & wildlife biology, and his interests in writing are as varied as his education. He has written contest-winning stories in romance, mystery, young adult, and middle grade genres, and he is currently under contract with Five Star Publishing (Gale/Cengage) for publication of his historical romance, Love’s Last Stand.

Yada Yada Yada: Give Your Characters Distinct Voices

Just like real people, your characters have unique personalities, backgrounds, and worldviews—they should also have unique voices. Newbie authors often miss this lesson, and as a result, all 15 characters in their novel end up sounding exactly like the author. Here’s how I took my writing to the next level by giving my characters their own distinct voices.

There are two layers behind character voice: how they speak, and why they speak that way. Here are a few examples:

How                                                  Why

Big vocabulary                                 Insecure, trying to impress

Big vocabulary                                 Highly educated

Longwinded                                     Used to work as a teacher or lecturer

Longwinded                                     Arrogant

Blunt                                                  Doesn’t care about others’ feelings

Blunt                                                  Comes from a country where directness is valued

Loud voice                                        Lives with a hard-of-hearing relative

Loud voice                                        Attention-seeking

Notice, from the list above, that each how has multiple why possibilities. Also note that some of the whys on this list are personality traits (such as insecurity and arrogance), while others are related to the character’s environment (such as occupation and hometown).

Your job is to first understand your character’s whys, from both personality and environment perspectives. There are many factors to consider: character traits, education, upbringing, location, sense of humor, political and religious views, and overall attitude toward the world. Are they a glass-half-full or glass-half-empty type of person? A leader or a follower? What are they afraid or superstitious of? Do they appreciate sarcasm, puns, or black humor? What kind of local slang or colloquialisms might they be exposed to? What job or hobbies do they have? Are they timid, assertive, or brash? Self-confident or insecure? How old are they, and how emotionally mature?

Next, determine how these whys inform how the character speaks. This means vocabulary, grammar, sentence length and structure, directness and subtext, just to name a few. This also includes verbal tics, similes and metaphors, and references to history, pop culture, etc. For instance, a college professor will likely have a wider vocabulary than a high-school dropout. Someone who studied abroad in France might exclaim “Mon Dieu!” while someone who grew up in Alabama might say “Criminy!” A professional engineer may use words like “delta” and “deviation,” while a hobbyist gardener may make analogies to roots, leaves, and flowers.

Then make a list of each character’s key hows and whys. Your lists might look like this:

Allison                                                                           Xweebob

12-year-old girl from New Jersey                               Middle-aged alien from Neptune

Hates school, but loves athletics and gym               Expensive education, has traveled extensively

Uses lots of slang, sentence fragments                    Speaks more formally, full sentences, big words

Makes references to sports                                        Makes references to home planet

Sarcastic sense of humor                                            Doesn’t understand Earth humor

Once you have a rough list for each of your important characters, do a round of editing just for dialogue. Print out your manuscript and skim through the whole thing, highlighting each character’s dialogue in a different color (you can do this digitally, but I much prefer doing it by hand). Then go back to page one, and read through only one color of dialogue. You’ll notice immediately if that character is repeating himself, saying things that don’t fit his voice, or using a verbal tic too often. Make edits as needed, then go back to page one and start reading through the next color. It’s time-consuming but well worth it.

And remember, crafting distinct voices doesn't mean slathering on the dialect or slang. For instance:

Character A: “Well, hawney, sun’s a-settin’, so yew’d better git on down the road thurr.”

Character B: “Croikey! Is it dusk a’ready, mate? Oi’d better get outta here ‘fore Oi get eaten boi a croc!”

Character C: “Dude, I’ve never seen, like, a real crocodile. That would be, like, super intense, like, you know?”

For one thing, no reader wants to wade through this jungle of phonetics. For another, this is so heavy-handed that the characters come across as stereotypes rather than real people. The art of good character voices is much subtler. Here’s a better example:

Character A: “Gettin’ dark out there. You better get on home.”

Character B: “You’re right, mate. Hope the crocs aren’t out tonight.”

Character C: “I’ve never seen a crocodile—you know, a real one.”

See how these lines give a flavor of the characters behind them, without choking readers with dialect?

As with dialect, verbal tics and pet phrases will add depth to your dialogue, but be careful not to overuse them. If a character says “I dunno” or “Holy crap!” every other paragraph, readers will notice—and not in a good way. Same goes for references, analogies, and metaphors. As with anything, moderation is key.

Hopefully, this gives you a good starting point for your own character voices. Now dive into that story and start talking!

 

WOTY & iWOTY Guessing Game – Answers to All Your Burning Questions

Over the past few weeks, we’d provided five separate questions that our lovely WOTY & iWOTY finalists answered. Today is the day you learn all!

  • Shannon Baker - A
  • Colleen Oakes - B
  • Robin Owens - C
  • Bernadette Marie - D
  • Stephanie Reisner - E
  • Wendy Terrien - F

Ready? Here we go:

What is your favorite comfort food?

Doritos and Dr. Pepper - Stephanie Reisner

A perfectly made grilled cheese. I have spent a lot of time perfecting this creation and I can share it here: sourdough bread from the most expensive bakery in town, a combo of Tillamook Sharp Cheddar and Colby Jack, & Land o' Lakes Unsalted Butter. Perfection, I tell you. - Colleen Oaks

Mac and cheese (but the bad kind, with Velveeta) - Shannon Baker

I can’t pick favorites. The comfort-food-of-the-moment depends on what part of me needs comforting, time of year, how hungry I am, how much I feel like making something versus just opening something, how accessible certain foods are…you get the gist. - Wendy Terrien

Favorite comfort food, depends, right now it is creme brulee. Chocolate is always good. I suppose I shouldn't say bon bons because that smacks of [REDACTED] writer cliche, but, well, truffles. - Robin Owens

Chocolate! - Bernadette Marie

 

What was your oddest job?

Folding boxes for bulk packed tomatoes. (Dad owns a food warehouse) - Bernadette Marie

Either a busgirl at the Original Pancake House or a nanny at a house in NYC that was most definitely haunted.  - Colleen Oakes

Driving a fork lift.  - Shannon Baker

Must we? Trapeze artist. No, not kidding. - Robin Owens

Training and certifying people to drive buses. Especially because I hated driving those buses.  - Wendy Terrien

Guessing people's age and weight at an amusement park. - Stephanie Reisner

 

What was your childhood nickname?

Stink (which is actually the nickname of the ghost my sister made up, but if I gave you my real nickname, you'd know who I am) - Shannon Baker

Beanie. It was not my favorite thing. - Colleen Oakes

Rob. My family still calls me Rob. - Robin Owens

Berni (boring). - Bernadette Marie

Never really had one. Maybe someone reading this post can think up something fun for me. 🙂 - Wendy Terrien

Steph  (Kind of gives it away) - Stephanie Reisner

 

What’s your favorite book?

Can I Get There by Candlelight by Jean Slaughter Doty - Stephanie Reisner

Hard to tell, like many in RMFW, I've written since I was a child. Greek Mythology, Fairy Tales, learned to read on The Cat and the Hat. Andre Norton, as a youngster. Hmm. I don't know. - Robin Owens

Skinny Legs and All by Tom Robbins - Shannon Baker

This is like picking a favorite—seriously too hard for me. But I can tell you the majority of books I loved the most growing up were fantasy, so it seems there might be an influence… - Wendy Terrien

If Tomorrow Comes by Sidney Sheldon - Bernadette Marie

The Abhorsen Trilogy by Garth Nix - Colleen Oakes

 

What’s the best writerly advice you have for those wanting to someday win a WOTY or iWOTY?

Outer validation is a wonderful drug that you can't rely on to motivate you to write.  Inner validation is your strength:  You wrote the best book you could with the resources you had. - Robin Owens

It's a great life if you don't weaken. - Shannon Baker

If you think you can sit down and write an amazing book without spending years learning about craft you will most likely be wrong. - Colleen Oakes

Why not you? - Wendy Terrien

No matter how many times you fail, get up, dust yourself off, and try again - Stephanie Reisner

Puke out that story and don't go back to edit until you have it all out. - Bernadette Marie

 

Thank you to all our lovely contestants and to those who played along at home! It looks like Patricia Stoltey is our winner. Pat, we will be in touch with your awesome prize!

 

Launch Week

Okay, I'm writing this on Launch Week, so my mind is focused on trying to juggle normal life, extra life events (which are part of normal life) and the launch of my second thriller, RED SKY.

The book officially came out on June 13th, so most of the "heavy lifting" for launch was done in the weeks and months prior. My blog "Singing the Book Promotion Blues" detailed how and when things were done, which were the responsibility of my publisher, and which were on me. So what didn't I tell you? Note: I did factor these costs into my overall budget, so I'm not going to break them down here, except to demonstrate the payoff (or lack thereof).

Weeks ahead of the launch.

The likely response and attendance rate to event invitations varies widely depending on the event, the target audience and the relationship of the sender to the sendee. You can expect an 83% RSVP and attendance rate from most wedding invitations, according to RSVPify—a stat borne out by my daughter's wedding in February. Even though she was married in Hawaii (or maybe because of it?) approximately 80% of the invitees attended, regardless of whether they lived on island or on the mainland. That said RSVP and attendance rate for direct mail is more like 2%, according to McCarthy & King. That's two for every 100 mailed.

Just to set the stage, the Tattered Cover-Colfax launch had about 40 or 50 in attendance (depending on who was counting). A great turnout for me, and I was thrilled to learn that I had sold the bookstore out of all but five books. I couldn't have asked for better. To be fair, there was a mixture of family and friends, but there were also a number of people I didn't know that showed up. So what helped the most?

Who knows? Maybe it was the TC promotion (the ad in the paper they always take out, and/or the in-store promotion they do prior to launch), or maybe it had something to do with my efforts. To up the hope that I would have good attendance at TC, I did a couple of things:

1. I sent snail mail postcards to 180 people—friends, family, grade school classmates (I grew up in Evergreen, so we're talking locals)—inviting them to come to one of two signings: TC on June 15th or Hearthfire Books in Evergreen on June 22nd, and adding a personal note. The list can effectively be divided in half for who would come where. Out of 90 postcards sent, at least 10 of the people attending the signing would have received the postcard. That's 11% on a direct mail campaign. Better than the norm for attendance. The cost of that mailing (90 pieces, postage, etc.), meant it cost me $7.16 per person. I needed to sell 26 books to break even. Was it worth it?

2. I did an email campaign. My email list has over 3,000 names on it, so I sent an e-blast about the release and included my signing dates. I have no idea how many people that were in attendance received that, but that comes out to something like .02%, so much lower than the estimate for attendance. Still, how many of those folks bought the book? Who knows? The cost of getting that info in front of that many people totaled about $40, and as a traditionally published person I need to sell 110 books from that mailing to break even. Was it worth it?

3. I posted events on Facebook and to the various writers' list serves I belong to, put notices in the writers' organizations newsletters, etc. Of the group in attendance, there was only one person who would have heard about the signing from ONLY that venue. Of the rest, there were seven or eight others who received at least one of the other type mailings—snail or email. Big plus—this notice was free to send. No reason to question whether or not this was worth it. The answer is yes.

Spreading the Word

That is how one has to think about this. A basic marketing tenant says that someone needs to see or hear about something three times. With some folks, they've seen RED SKY or my name at least three times. With others, you hope they mention it to a friend, who then reads about my signing in TC ad, who then sees the book on the shelf at the Barnes & Noble, and buys it.

What about the people who I didn't know from anywhere? Were they TC patrons? Had they read about the book in a Publishers Weekly, Kirkus or Booklist review? Were they fans of Lee Child or Catherin Coulter, and found me because of the blurb on the cover of my book? (FYI, I've received several emails saying that someone read my book because, "If Lee Child liked this, I knew I would, too.") Were they waiting for the release because they'd read DARK WATERS?

I have no clue. A signing where so many who showed up and wanted books signed, was not the place for a survey. One person, I learned, was an old classmate of my daughter's who hoped to run into her there. He bought a book, so...

The Bottom Line

For me, the promotion is worth it. Locally, it's easier to have a profile. I do a lot of volunteering for my writers' groups—I present workshops, judge contests, participate. The more you give or give back, the more you receive in return.

National recognition comes harder. But I know I'm increasing my profile, if only because more people are offering to buy me drinks at the bar. More agents, editors and "big namers" recognize me. Does it mean I'm ever going to reach "star" status? Who knows? Would I love to have someone make a movie of one of my books so I can complain like every other author I know who has had a movie made from one of their books? Hell, yes!

There's only one thing I know for sure is I am thankful every day for the support of such a wonderful writers' community—thankful for all the pushes, for all the tips, for all the critiques, but mostly for all the friends that I've made. You guys, rock!

Now, however you decide to do this, go forth and tell us your stories!

#Gravity and a Toast to Science Fiction

In the song written by John Mayer and Mike Perry—Gravity—John explains that the words are about making sure you (still) love yourself, making sure you (still) have your head on…because it’s easier to mess up than it is to stay here (successful).”

Another explanation I heard about this song is “…staying up even when you’re melancholy, staying grounded in a fast-paced, quickly-changing world, fighting the gravity of everyday challenges in order to achieve your goals...”

Werner Von Braun said this: “We can lick gravity, but sometimes the paperwork is overwhelming.”

Cameron Diaz let us know her thoughts on the subject: “I’ve been noticing gravity since I was young.”

I too have noticed the results of quantum particles for quite some time. And hey, thanks to gravity everything above my knees is at a whole new level.

Sylvester Stallone had this to say about the topic, “I think that gravity sets into everything, including careers, but pendulums do swing and mountains do become valleys after a while…if you keep on walking.”

Remember the movie, Happy Gilmore? Here is what the character, Gary Potter said which, in a roundabout way relates to Earth and its gravity: “Oh yea. Lotta pressure. You gotta rise above it. You gotta harness in the good energy, block out the bad. Harness. Energy. Block. Bad. Feel the flow, Happy. Feel it. It’s circular. It’s like a carousel. You pay the quarter, you get on the horse, it goes up and down, and around. It’s circular. Circle, with the music, the flow. All good things.”

And he said it with a straight face. You’ve gotta love actors!

This quote is for you Sci-Fi/Military writers: “What’s aerobraking? That’s a way to use the gravity and upper atmosphere of Earth to slingshot a ship either deeper into space, or slow it down to be ‘captured’ by Earth’s gravity.” Buzz Aldrin

As a kid, I used to watch the black and white series, Sci-Fi-Fic; maybe on channel two. The shows made an indelible impression on my mind. People that really know me can attest to that fact.

Just thinking about my first experience with H.G. Wells is, well quite horrifying. War of the Worlds. (Oh crap, is it real?) The Invisible Man (I keep listening over my shoulder.) Of course, The Time Machine is…The Time Machine.

Michael Crichton (and screenwriter David Keopp) are masters of tension—and dinosaurs.

Space Odyssey—Arthur C. Clarke was 51 when he co-authored the screenplay for this movie.

Farenheit 451!  Ray Bradbury scored big with this hit.

Orson C. Scott = The Ender’s Game.

Jules Verne. Need I say more?

Do you know an aspen tree’s anchor root is relatively minuscule when compared to the height of the tree? That’s applicable to particles that make us stick to the surface—isn’t it?

Okay, here’s one for you hardcore Sci-Fier’s. Can any of you explain why rocks in the garden defy gravity? Over and over and over…

~~~~~~~~~~~~~~~~~~~~~~~~~

A Colorado native, Rainey, (writing as L. Treloar), has been a RMFW member since 2012 (or so), and is happy to belong to one of the best critique groups ever: The 93rd Street Irregulars. She has self-published The Frozen Moose, is currently re-editing the first manuscript in a political thriller series, and has entered two contests with her 2016 NaNoWriMo Historical Fiction novella. In her spare time, she enjoys organizing anything from closets, to military family retreats, to rodeos and parades. Along with teaching her cat to retrieve, she volunteers at church and The Horse Prote

 

 

Writing Romance – the Warrior Poet

The last romance hero archetype we’ll look at is the Warrior Poet.

The website TVTropes says this about the WP, “He's fought in a battle and is no slouch at war making, but he thinks about the purpose behind all the bloodshed and philosophizes on the meaning of life and death.

Remember the last line of Braveheart?   "They fought like warrior-poets. They fought like Scotsmen. And won their freedom."

This hero archetype isn’t just broody, though he may be broody - he isn’t your Theta or Delta.  He’s a warrior, but not your Alpha.  He’s genuine and courteous, but not your Beta.

The WP is fighting for something bigger than himself.

Here are some more examples from TVTropes

  • “D'Artagnan gets the Musketeers to like him in The Three Musketeers (1993) by tossing out a one-liner. D'Artagnan: I may not wear the tunic, but I believe I have the heart of a Musketeer.
    Porthos: Warrior.
    Aramis: Poet. “
  • Captain America - thoughtful and introspective.
  • Picard in Star Trek with “the heart of an explorer and the soul of a poet.”

Eileen Charbonneau really nails this when she states that “his roots are in the Irish Fianna, an ancient society of professional protectors of the poor and voiceless.”

She points to Robin Hood and King Arthur, and St. George.

This hero may have darkness in his past.  But he has also had light and love to show him the way.

Susan Sarah calls him the M&M Hero - crusty on the outside, soft on the inside.  She notes that he is restrained emotionally but has a deep capacity for love.  Of course, his heroine will bring that out in him, giving him a safe place to be himself.

William Wallace is often pointed to as this Warrior Poet hero.  Real quick, let’s look at his life (in the movie Braveheart, of course.)

  • A father that loves him.
  • An uncle that loves him and takes care of him when his father is killed, raising him to love books and education.
  • He comes home to build a life - take a wife - have a family.  He doesn’t want trouble.
  • He attends the wedding and, in one of my favorite moments, has his eye on Murran but when he’s interrupted by another village girl asking him to dance, he says, “Of course I will.”
  • He falls hopelessly in love with Murran and only goes to “war” when she is murdered.
  • Even though the “war” starts with her death, it becomes something much bigger.  Scotland.  Freedom.
  • This Warrior Poet makes those around him better. More courageous.  He does this with his friend Hamish, Stephen, Robert the Bruce (Unite the clans) and even Queen Isabella (“If I swear to him, then everything that I am is dead already.” And, “Every man dies, not every man really lives.”)
  • He inspired the Scots with this infamous speech

“Wallace: I AM William Wallace. And I see a whole army of my countrymen here in defiance of tyranny. You have come to fight as free men, and free men you are. What would you do without freedom? Will you fight?

Veteran soldier: Fight? Against that? No, we will run; and we will live.

Wallace: Aye, fight and you may die. Run and you'll live -- at least a while. And dying in your beds many years from now, would you be willing to trade all the days from this day to that for one chance, just one chance to come back here and tell our enemies that they may take our lives, but they'll never take our freedom!!!”

Again Susan Sarah:  “In some ways, the Warrior Poet is the most realistic of heroes, the most balanced, the most attainable and familiar sort of hero. He is everywhere, on the news every day, and living in our own homes. He has strength and gentleness, courage and hesitancy, power and tenderness. He’s fascinating, and he can live without his heroine: and therein lies a great challenge and journey for her, and the writer, and the reader too.”

Of my own heroes - I think Daniel Fraser (Book 4 of True Heroes series) is the Warrior Poet.  He’s an ex-Navy Seal - who gave up “Sealing” for the love of a woman.  He’s introspective - his team calls him Professor.  But he’s courageous, kind, and his whole being is wrapped up in helping people.

I hope you've enjoyed this look at our wonderful romance heroes archetypes.  I imagine you might be ready to jump into something more.  No more archetypes, I promise.

Until next month, remember BIC-HOK - Butt in Chair, Hands on Keyboard.  Scribendo disces scribere.

WOTY & iWOTY Guessing Game – Final Round

Below are answers to one question for today’s Guessing Game.

Read the question, and then in the comments, assign the correct answer to the correct finalist.

On June 21st, all answers will be revealed.

  • Shannon Baker - A
  • Colleen Oaks - B
  • Robin Owens - C
  • Bernadette Marie - D
  • Stephanie Reisner - E
  • Wendy Terrien - F

Sample answer: C, D, A, B, F, E in the comments.

Ready? Here we go:

What is your best one-sentence (or more) advice for writers?

Outer validation is a wonderful drug that you can't rely on to motivate you to write.  Inner validation is your strength:  You wrote the best book you could with the resources you had. ____

It's a great life if you don't weaken.. ____

If you think you can sit down and write an amazing book without spending years learning about craft you will most likely be wrong.____

Why not you? ____

No matter how many times you fail, get up, dust yourself off, and try again ____

Puke out that story and don't go back to edit until you have it all out.___

 

You are all fabulous! Thank you for playing along.

Remember to check the blog on June 21st for the answers!

Conference Spotlight: Critique Round Table Sessions

Greeting from Conference HQ!

Thinking about signing up for a critique round table at conference? Act now, because registration is required and these sessions are filling up! NOTE: Registration for these sessions closes July 15.

The critique round table sessions are among the most popular offerings at RMFW Colorado Gold. Three and a half hours in length, the round tables offer you a chance to receive detailed critique on ten pages of your work and allow you the time to give feedback on the work of the other members in your group. The round tables are a unique opportunity to experience specific critique with other writers as well as an agent or editor. This year, we have 14 sessions to choose from, monitored by an attending agent or editor. Attendees may sign up for one or two round tables. Sessions are offered Friday morning at 8:00 AM and Friday afternoon at 1:00 PM. The tables are open to 8 critique participants and 2 auditors.

Critique Participants: You will submit the first ten pages of your manuscript, plus a one-page synopsis of your story, to be critiqued by the agent/editor of your choice as well as by the other participants at your table.

Critique Auditors: You will only observe; you will neither submit pages nor offer critiques to participants. This is a great way to see how critique works and be a fly on the wall. Hear other authors' feedback on the submitted work and listen as the attending agent or editor shares their insights.

Once registration closes, participants will receive further instructions from RMFW volunteer, Scott Brendel, who manages all the things with Round Table Critiques. He will provide details on everything, including where and how to submit your pages, which will be due August 9.

These sessions are a $40 add-on for participants, $15 for auditors. Deadline to register is July 15. Pages are Due Aug 9.