Showing posts with label Lynx. Show all posts
Showing posts with label Lynx. Show all posts

Friday, April 28, 2017

Writing Emotion into Your Novels by Connie Vines




Are you ever emotionally drained by writing certain scenes, and how real are your characters to you?

For romance novelist the emotional involvement is the 💖 of the story.  Whereas fear would be the emotional of a horror story, etc.

So, like so many other romance novelists of my era, I have one key movie and one key television series which spelled out emotion in capital letters.


The opening of the movie Romancing the Stone, where author Joan Wilder (played by Kathleen Turner) is bawling because she has finished her book with a very emotional scene in her book.






The television series,  Beauty and the Beast, starring Linda Hamilton and Ron Pearlman (as Vincent, the beast).  The opening music was enough to make my throat thick and my eyes teary.

"Beauty and the Beast" with Vincent (Ron Perlman) and Catherine (Linda Hamilton) 1987-1990:

 I've read meany books that brought me to tears (Jane Eyre, to name my favorite), and I must admit, I still cry when I re-read scenes in my own novels, too.  Talk that dark moment in Lynx, Rodeo Romance, Book 1, when Rachel turns down Lynx's proposal.  Or in Brede, Rodeo Romance, Book 2 when my heroine is willing to sacrifice her life to save Brede and his daughter.  Well, you get the picture , ,

I plot my novels and short stories, however, I emotionally live my scenes.  Since my settings are places I have lived or visited, I have memories and sensory reactions. In real life, since  I can feel other people's emotions, which is difficult at times, and it helps for me to write it out through my characters.

Emotional draining? Yes.
Rewarding?  Always.


Happy Reading!

Connie





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Sunday, February 28, 2016

Cowboys and the Wild Wild West by Connie Vines

I love my tech toys but I am also a history buff.

I thought I’d share some interesting findings.  Since I spent summers in Texas as a child, I had inside information on several facts.  The other snippets came from watching the History channel and reading a multitude of historical documents.  The information is in parentheses are my personal discoveries.


Feral camels once roamed the plains of Texas.




The U.S. Camel Corps was established in 1856 at Camp Verde, Texas. Reasoning that the arid southwest was a lot like the deserts of Egypt, the Army imported 66 camels from the Middle East. Despite the animals’ more objectionable qualities—they spat, regurgitated and defied orders—the experiment was generally deemed a success. (Camels can kick side-ways with all four feet.)  The Civil War curtailed the experiment and Confederates captured Camp Verde. After the war, most of the camels were sold (some to Ringling Brothers’ circus) and others escaped into the wild. The last reported sighting of a feral camel came out of Texas in 1941. Presumably, no lingering descendants of the Camel Corps’ members remain alive today.


Billy the Kid wasn’t left-handed.

A famous tintype photograph of Billy the Kid shows him with a gun belt on his left side. For years, the portrait fueled assumptions that the outlaw, born William Bonney, was left-handed. However, most tintype cameras produced a negative image that appeared positive once it was developed, meaning the  result was the reverse of reality. There’s another reason we know Billy the Kid was thus a right handed. His Winchester Model 1873 lever-action rifle--Winchester only made 1873s that load on the right.


The famed gunfight at the O.K. Corral wasn’t much of a shootout and didn’t take place at the O.K. Corral.



One of the most famous gunfights in history—the shootout between the three Earp brothers (Morgan, Virgil and Wyatt), Doc Holliday, Billy Claireborne, the two Clanton brothers (Billy and Ike) and the two McLaury brothers (Frank and Tom)—didn’t amount to time-frame often depicted on the Silver Screen. Despite the involvement of eight people, the gunfight only lasted about 30 seconds. Furthermore, the shootout didn’t take place within the O.K. Corral at all. Instead, all the shooting occurred near the current intersection of Third Street and Fremont Street in Tombstone, Arizona, which is behind the corral itself. (I have visited the area.  Tombstone is brutally hot in the summer. The incest large. ) Bloodshed made up for the brevity.  Three of the lawmen were injured and three of the cowboys killed.


The Long Branch Saloon of “Gunsmoke” fame really did exist in Dodge City




Anyone who watched the television show “Gunsmoke” is well acquainted with Miss Kitty’s Long Branch Saloon of Dodge City, Kansas. What viewers may not have realized is that the Long Branch really did exist. No one knows exactly what year it was established, but the original saloon burned down in the great Front Street fire of 1885. The saloon was later resurrected and now serves as a tourist attraction featuring a reproduction bar with live entertainment. According to the Boot Hill Museum, the original Long Branch Saloon served milk, tea, lemonade, sarsaparilla, alcohol and beer.

What did Cowboy really eat?




Cowboy food used a limited number of ingredients, partly because imported foods were expensive and partly because they needed food that kept well on the cattle trail. Coffee was an essential part of breakfast, which was large and high in fats and protein. Lunch was commonly beans, and dinner generally included something sweet like vinegar pie or apple dumplings. Because a large percentage of cowboys were of Mexican origin, spices and flavorings of that cuisine were popular.
Cowboys loved "mountain oysters," sliced and fried calf testicles. These were harvested in the spring when preadolescent bulls were castrated so they would be steers. (Served with horseradish sauce and are very tasty).

The Wild West was Wild.

But when it comes to Western Romance--it's all about the booths, Stetson, and the cowboy who wears them.

Happy Reading,

Connie Vines







Sunday, June 28, 2015

The Horse in Your Western Novel – Horses are not Zebras or Misguided Unicorns By Connie Vines

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Ten Pet Peeves, or Horse-Related Mistakes to Avoid in your Novel

1)   Misusing the specialized and precise vocabulary of horsemanship, especially the size, color, age and sex of the horse.

2)    Defying the laws of nature. AKA: Creating the ‘superhorse’.

3)   Horses trained or controlled by either ‘mastery’ or ‘magic,’ ignoring the real behavior of horses.

4)   Mixing up Western and English terms and styles.

5)   The stallion!  (Not the mount of choice).

6)   The self-conscious or uncomfortable expert rider.  An expert is an expert—no need to hang on for ‘dear life’.

7)   Good riders are relaxed in the saddle.  No kicking, kneeing, or flapping of elbows are needed.

8)   Forgetting that horses are animals and need to be fed and watered.  Even in modern times, your transportation requires gas, oil, and water.

9)   Talking horses—horses who neigh and, heaven forbid, scream on a regular basis.  Horses are generally rather silent beasts, though they will whinny if parted from their stable mates, or nicker softly in greeting at feeding times.

10) Tada! My personal favorite, and, unfortunately, too often seen in print and on television—the mare who takes all night to foal while the hero and heroine sort out conflict.  (Nature ensures that healthy mares foal fast.  A long labor requires someone calling for the vet—not working out ‘conflicts’.)

The Facts, please:
Since horses are flesh and blood creatures, the faster the horse goes the shorter the distance he can maintain that speed without harm. If the ride involves difficult terrain, jumping, or carrying extra weight, both speed and endurance will suffer.

Modern Endurance Rides: take 11-15 hours to cover 100 miles (part of this time the rider spends running beside his mount).

1860s: The Pony Express averaged nine mph over 25 mile stages.

For additional information, check the records from modern Thoroughbred Racing.

The Terms:

Mare: a female horse.

Stallion: a male horse that is not castrated.  Also called ‘entire’ in England and in the West, a ‘stud’ horse.

Gelding: a castrated male horse.

Foal: a young horse from birth to January 1 the next year. The female is a ‘filly foal,’ the male is a ‘colt’ foal  this may change per region).

Filly: a young female horse, up to 3 years old.

Colt: a young male horse, up to 3 years old.

Yearling: in the year after the birth year.  A yearling is too young to ride!  Most saddle horses aren’t worked hard until they are at least 4 years old.

Height: horses are measured from the ground to the top of the withers in ‘hands’. One hand is four inches. The average horse is 15 to 16 hands.  17 hands is very tall and only unusual specimens reach 18 hands.  Ponies are usually less than 14 hands.

Gaites (‘Paces’ in England): walk, trot, canter, gallop—also ‘pacing,’ ‘ambling,’ ‘running walk’ –describe precise and different ways in which a horse moves its legs. 

Rainbow Colors?  Certainly Not:

The English horsemen use fewer and simpler terms than Western horsemen, partly because English breeding has selected for fewer colors. Essentially two colors are taken into considering when describing horses. The main body color and the ‘points.’ The ‘points’ in this context are the ear tips, the mane and tail, and the lower part of the legs.

Black body, black points: A Black horse—may be smoky black, jet black, coal black, raven black.

Brown body, brown points: A Brown horse—may be seal brown, or standard brown.
Red-brown body, black points: A Bay horse—may be dark bay, mahogany bay, sandy bay.  Every Bay horse always has black points.

Reddish body, self-colored (non-black) points: A Chestnut/Sorrell horse—in the West, reds of All colors. Western horsemen use ‘sorrell’ to describe all red horses.  Light sorrel draft horses are known as ‘blonde.’

Yelllowish body, (generally) black points: Buckskin is the term used in the West.
Other colors and terms (you may wish to conduct additional research) include: A Grey, a Roan, a Palomino, a Isabella, a Paint or a Pinto, White horses and Albino, Piebald, and Skewbald.  There is also, the closest thing to a ‘horse of a different color’, the Appalossa.

Information online:


For fantasy (naming your unicorn):

Caring for your horse:

The dollars and cents factor of horse ownership:

A horse is the projection of peoples' dreams about themselves - strong, powerful, beautiful - and it has the capability of giving us escape from our mundane existence. ~ Pam Brown
Happy Riding,

Connie

Two of my loves: Tulsa and Midnight
(during my rural life in Ramona, CA)


Tuesday, April 28, 2015

Just Me and My Besties--Slugging a Path Through Those 'Sagging Middles' By Connie Vines


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Yes, I have friends, associates, family, and other writers to converse with though out my day.

Yes, I network, attend workshops, and belong to online writing chapters.  I even have other writer friend only a text message away.

But at 3 AM, when I'm slugging my way through a 'not-quite-working' middle of a novel, and I've started talking to myself.  It's nice to have a BFs at your disposal.

While the focus of the movies and television seems to be on helpfulness of minions and the like--I prefer the company of a good listener--or cheering section.

Well, it's not conventional--but then I'm a bit quirky, most writer's are.  After all we do spend quite a bit of time in our own company.

For a person who did not indulge in, or particularly like, dolls as a child  (I held my baby doll by a foot allowing her head bounced around in the dirt).  I did like monster movies (The old Universal Monster Movies).  I collected the model kits and read all the magazines about horror make-up and read bios about the great actors.  So I guess this type of cheering section makes perfect sense.
(See qualifying statement in earlier paragraph).

So did I come up with any sure fire way to get through those 'sagging story middles', with or without the help of Besties?

I've changed to Pandora Radio for evening listen, and Slacker Radio during the day. When I'm working though a snag, B.J. Thomas is usually singing in the background.

Let's face it. the middle of a story can be depressing.  Our hero becomes overwhelmed.  Things look savage and harsh.  Paths disappear (for both the hero and, unfortunately, the writer).

To quote, Nancy Kress, The function of the middle is to develop the implicit promise made by a story's beginning.

After all, a promise is a promise.

This is when we must ask ourselves, whose story is this?
Who are the point of view characters?
What is the main plot line (throughline is the film term)?

Not certain?  Boy, do you have a problem!

Getting a clear focus on your plot line can make the middle of your book easier to write.  Where should the emphasize be--which scenes, which characters.  I used to rely on 3 x 5 index cards, now I use several writing programs and apps.

Since I write in series of threes: chapter 1-3, 4-7, etc. my middle seems longer because it over laps sections.  I also like to have 3 scenes in each chapter, with a scene often breaking at a chapter's end and ending in the following chapter opening.

Still experiencing a bit of trouble?  Choose three novels you know well.  For each summarize the plot line in a sentence or two.

Jane Eyre: Penniless in a region of England she does not know, Jan experiences three bitter days of begging, sleeping outside, and nearly starving.

 Dracula: One of Dr. Seward's mental patients, Renfield, lets Dracula into the asylum where the others are staying, allowing the count to prey on Mina.

It's the Great Pumpkin, Charlie Brown!:  When Linus sees a shadowy figure rising from the moonlit patch, he assumes the Great Pumpkin has arrived, and faints.

Now, pull out your WIP or a few of your unfinished stores.  Summarize its plot line.  List the scenes.  How does each scene advance the plot, develop character, contribute to the middle plot line?

Do you need to add an additional scene?  Should a scene have more emotional intensity?  I find this to be true in my stories.  My stories are character driven and  the emotional reactions are a force which drives my plot lines.

Keep your characters from having a mid-life crisis by shoring up those 'sagging middles', and relying on your "Besties".

Happy Reading,

Connie

novelsbyconnievines
Word Slinger
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Saturday, March 28, 2015

Negative Traits = The Perfect Villain by Connie Vines

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Looking for the perfect, or not so perfect, villain for your story?

Finding a hero, well that is perfectly simple.  A dash of Prince Charming, a sprinkle of Albert Einstein, a quarter cup of Fred Astaire, a hint of Hans Solo. . .well, you get my drift. A quick whisk or two and TADA!  You have a hero!

Not so, with a villain, that is an entirely different cup of (hemlock) tea. 

Deeply flawed, and driven by: dark forces, questionable morals, a wounded soul, or simply bad fashion sense, villains must connect with readers in some realistic way.  A strong villain forces the hero to step up, demanding more moral fiber than he, the hero, knew that he possessed.  Remember, there is no “Happily Ever After” without the twists and turns supplied compliments of the villain!

Remember unless your villain is a serial killer, or the embodiment of pure Evil, he—the villain, must possession a rich and complex character and past.  He must be a worthy antagonist for protagonist (aka: Our Beloved Hero).  So, how exactly do you plan to come up with the perfect villain?

I like to start with back-story (of course for most of the novel this is known only to me). I pepper hints and drop in a few clumps of info.  Later, the reader will say, “Of course!  I should have guess sooner!” The reader may harbor sympathy (which I like to develop in my Tween stories).  Everyone can relate to an event, which made a profound change is his/her life.  Sometimes this even makes a person better/stronger.  Other times (as in the villain’s case) it drives them to the edge of insanity, or damages them beyond (mental/emotional/physical) recover.  However, in the beginning, the story all about the hero.

It is not until the middle of the story; we appreciate the villain’s ability to set those nasty plot twists into motion.

Your villain can be your hero’s mirror.  Oh, you can go for the classic blonde vs brunette, if you are looking for campy.  Or, you can look to character traits.  The hero may be shy, fearful of horses, and a back-words sort of dresser with a gentle way with those in need.  While the villain is confident, articulate (with a sexy accent), owns a stable of show-horses, wears Armani suits, and (at times the veil slips) he sees gentleness as weakness.  He discovered as a child, only the strongest survive!

Give him quirks, sensitivities (remember the movie “Red Dragon”), an awareness of himself. Your villain must evolve also.  He may escalate into pure Evil, or see the light.  Or, perhaps, reside somewhere in between the two places. 

Remember to open his old wounds.  Something, be it a place, event, smell, or sound must trigger his behavior.  Show the villain trying to avoid a situation, event.
I can’t divulge too much about my “villains” due to the manner in which they tie into a story’s plot.  However, I will give you a hint, or two.

Whisper upon the Water, my YA/Tween novel set in the late 1880s in a Native American boarding school deals with the aftermath of the Indian Wars.  The story also addresses the way the children were treated and forced to become “White”.  My villain is Sister Enid.  The reader will discover that Sister Enid as a story of her own.  My romance and romantic suspense novels, Lynx and Brede (Rodeo Romance Book 1 & 2), also have carefully constructed villains.

My next BWL release, is an anthology, Gumbo Ya Ya has five separate stories.  
And, a myriad of delightful villains to boo and hiss at! 

·        “Marrying off Murphy” my villain is a friend who shoves my hero into an ‘unwelcomed situation’. 

·        “Love Potion # 9” brings us two villains: “element of magic” and. .well, that’s enough of a hint. 

·        “A Slice of Scandal” is a murder mystery where villains abound. 

·        “The Ghost of Gombi Island” we have a pirate, a ghost, and a witch on the high seas (I will let you ponder the villain’s identity.)  

·        “1-800-Fortune” (a T.A.R.A. and Fool for Love, finalist). Brings us an unnamed villain (at least until the final pages—remember, no peeking when you purchase the book).

What character traits.

Or what I’ve discovered usually irritate me, and, consequently, my hero the most.  Remember, just like the menu at “Denny’s” you can mix or match your selection.
Abrasive, Antisocial, Catty (one of my personal faves), Confrontational (perfect for a co-worker when combined Catty and Devious).  Or, Obsessive (no wait, that’s me!), Paranoid, Perfectionist, Self-Destructive, Vindictive.  These are just a few traits, I am certain you can name many, many more.

Does you villain need the limelight? Alternatively, does he prefer to hide in the shadows?  Does he have a driving need to belong? To be loved?

Your villain did not just crawl out from beneath a toadstool. 

Write that backstory and make certain your villain is the worst that he can be!

Thank you for visiting the BWL blog today.

Connie Vines





Saturday, February 28, 2015

The Power of Emotion by Connie Vines

In my opinion, all successful/popular novels, no matter what genre, have one key element: emotion.  Emotion lies at the core of every character’s decision, action, reaction, and motivation.  All of which drive the story. A character’s personal journey does not exist without emotion—it would be pointless. The plot would be made up meaningless events that a reader would not invest any time to read.  Why?  Because above all else, the readers choose a novel to have an emotional experience.  Be it a wild roller coaster ride of pure terror in a horror novel; reliving the sweet courting experience of an inspirational romance; discovering a new unexplored, heart-pounding world of a sci-fi; the pleasure of solving a who-done-it; or, pure laughter and fun in a read-it-at one setting comedy—readers want to connect with your characters.  With this connection to characters, who provide entertainment and whose trials and experiences may, in turn, add meaning to their own life journeys.

We are emotional beings.  Feelings propel us. Drive us.  Define us. Moreover, while it may seem that most of those exchanges happen during conversation, studies show that 93% of all communication is nonverbal.  Even in instances where we try not to show our feelings, we are still telegraphing messages through body language.  Because of the, each of us is adept at reading others without a word being uttered.
           
    Readers have high expectations.  Long done are the long intros: “There was no possibility of taking a walk that day.  We had been wander, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so somber, and a rain so penetrating”.  . . I am certain you recognize the first sentences of my favorite classic novel, Jane Eyre by Charlotte Bronte.  A delightful read, rich in detail and thick with emotion—but not a read easily consumed during a pause in a workday, or after getting toddlers off to bed.  Readers no longer wish to be told how a character feels; they want to experience the emotion for themselves.
               This leaves the writer with the challenge of ensuring that our characters express their emotions in ways that are both recognizable and compelling to read.  Personally, I find that less is more.  I am always aware of the pacing of my story.  Too many clues to describe a character’s feelings can dilute the reader’s emotion experience.  Backstory is only pepper in to allude to a ‘trigger’ emotion.  Example:  Marty, in the BACK TO THE FUTURE series of movies.  A cliché, but calling Marty ‘chicken’ worked every time—the viewer knew and expected ‘something’ to happen. Not that I have ever, I hope, have resorted to a cliché, but my characters have a ‘fatal flaw’.  I cannot divulge any that I have used because it would ruin the storylines.  But we all have our ‘trigger’ emotion.  If you have siblings, undoubtly, you were tormented with it on numerous occasionally.  Our ‘characters’ may or may not recognize a personal tigger emotion.  This is writer’s preference in relationship to plot and character development.
               One emotion that I find fun to watch (in young children) and it easy to work into a YA story is amazement.  To a toddler everything is new and amazing.  The child’s eyes widen.  The child becomes suddenly still.  May suck in a quick breath/hand covering one’s mouth. Stiffening posture.  Rapid blinking followed by open staring.  Reaching out and touching or taking a step back. I am certain you could add to the list my recalling your personal experices or observations.
               Now how would that young child feel, internally?  A heart would seem to freeze, the pound. Tingling skin. Adrenaline spikes. The mental reaction in the amazed person could be disorientation, momentarily forgetting all else, or wishing to share the experience with others.  Now say your character is a shy or too cool to give anything away.  How could this emotion be suppressed? Self-hugging, jerky, self-contained strides, Eyes widening a bit before control is asserted, mouth snapping shut.  The clues are always apparent. 
               I like to get to know my characters, savor my scenes, and always dig deeper for the right word. The right motivation.
               I enjoy the journey to discover my characters, their hopes and wishes.  I feel blessed to tell each one of their stories.  And I hope that my novels, in turn, bring hours of enjoyment into each of my readers’ lives.
               In closing I’d like to share a bit of my past.
               When my first YA historical novel was published, I was honored at a Red Nations Powwow.  The tribal elder, Jacques Condor, told me I was being honored as a StoryTeller.  We both knew this was a great-honor among the tribes. He reminded me, always, to be humble, because it is the Story who chooses the StoryTeller to bring it Life. 
               My mandella hangs my living room wall, and my hand-tooled silver ring is worn to remind me of both my gift and my duty.
               Thank you for taking the time to read my entry to my publisher’s daily blog.
               Fondly,
               Connie




Sunday, February 10, 2013

What Woman Doesn't Love A Cowboy?


I was sitting on a hard, cold wooden bench, watching a rodeo in Thedford, Nebraska at the time.  This town had been a spot on my usual off-the-tourist radar places I frequent during family vacations.  This was the second time my husband, two young sons and I, had visited the small town and were absorbing the ambiance the western United States offered.  My father,  a fourth-generation Texan, amature rodeoed when he attended high school, so I understood the battering bronc riding had on the body. However, I hadn’t realized how strong the rodeo fan base was outside of the Lone Star State.

Everyone I’d spoken to loved cowboys, though he/she was a cowboy/cowgirl, wanted to become a cowboy, or simply loved the concept of ‘being a cowboy’.
That was when Lynx Maddox entered my life.
What a cowboy! 
With a dangerous reputation for taking chances and tempting, fate, rugged cowboy Lynx Maddox had one goal in life—to win the coveted Silver Buckle rodeo championship.  But when he sets eyes on lovely Rachel Scott, he becomes determined to capture her as well. . .

I hope you enjoy reading my Rodeo Romances.  “Lynx” is Book 1 of the series.
Please log on and watch my book trailer: http://Vimeo.com/57894742
I’ll be back on blog in 30 minutes, and will be blogging throughout the day.  So, grab a cup of coffee, watch my book trailer and read my book teaser—www.amazon.com/dp/B00ATSATM2. Or, visit my website: www.novelsbyconnievines.com
Today’s blog updates:
A recipe for “Cowboy Kisses”.  Nope it’s not a sweet candy.  Interested in other culinary recipes?  Look over my blog: www.naughtynibbles4you.wordpress.com
 An interview with Lynx Maddox.
My own ‘western days’ and photos of my horses.
"Never approach a bull from the front, a horse form the rear, or a fool from any direction,"

Connie

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