When to Bend the Rules by J. S. Marlo

J. S. Marlo BWL Author Page

Most publishers have one thing in common. They like unusual settings or characters. To be honest, it never occurred to me an election office could be considered an “unusual” setting. I worked Canadian elections for more than twenty years—inside polling stations and election offices—and they hold no secrets for me, but then it struck me how often strangers had asked “What do you do in there for two months?”

Well, we perform many different tasks, and in northern and remote districts, these tasks are wrapped in a few extra layers of complications. We have to find polling stations in the middle of nowhere and secure leases. We often have to order our ballots through out-of-town printers, wait to receive them, and then rush to deliver them to these polling stations by car, by plane, by helicopter, by boat...or by snowmobile. It takes days to reach all the stations—and longer if the weather isn’t cooperating. We fear winter elections and snowstorms. If our fax machine dies, it takes a week to get a new one, and we can’t function without a fax for a week—we tried, but we ended up borrowing one from a school. We hire 400 to 600 workers, train them in a few weeks, and pray to every God that they will show up to work on Election Day. We register electors, update their information, and let any eligible electors vote in the office ahead of time even if they don’t live in our district. Did I forget to mention every task is governed by a series of rules? There are even rules about rules. And don’t get me going about the paperwork we have to fill and the authorizations we have to obtain.

Many years ago, on the last evening of special voting, an elector came in our election office. He didn’t live in our district—he lived seven provinces and four time zones away—and his driver’s license listed a post office box, not a real physical address. We need a real address to place the elector in the right district. I suggested a utility bill—gas or electrical bills always mention the address of the dwelling for which the service is provided—but he didn’t carry any with him. As you can imagine, there are rules about acceptable documents an elector can show to vote. We went through the list of documents twice, but he didn’t have any of them with him. The man really wanted to vote, and above all, we have to ensure that every eligible elector is given the opportunity to vote.

In the spirit of “giving him the opportunity to vote”, I asked him to Skype his wife back home in front of me. It was midnight over there and he woke her up.  She rummaged through the kitchen drawers in her nightgown looking for a bill. She was a good sport, and once she found a utility bill, she showed it to me. The name of her husband was on it along with the physical address of their home. The elector received a ballot—and he owed his wife a dozen roses.

On a different occasion, we lost a remote polling station a couple days before the election. An elderly person had died, and the wake and funeral were taking place inside the community hall we’d leased. We struggle to find an empty place. In normal times, every polling station has to be pre-approved and meet a long list of requirements before we can use it. If the place doesn’t meet all these requirements, we need to request a special exemption. In the end, the only place available in the small village was a lodge without running water. The toilet was an outhouse behind the lodge. Needless to say, we didn’t have time to fill any paperwork or request any exemption. The two workers who manned that polling station for thirteen hours on Election Day went above and beyond the call of duty.

During the course of an election, many challenging situations arise and decisions must be made. Returning officers are dedicated men and women who sometimes are caught between a rock and a hard place and forced to bend certain rules in order to fulfill their obligations. Problems are rarely black and white, but we all do our very best to solve them the right way.

In my latest novel “Voted Out”, Thomas is a devious, sleazy, and despicable returning officer, the type of character you wouldn't encounter in an election office. I had a blast creating him. He doesn’t bend a few rules to get the job done, he breaks as many as he can for his enjoyment and personal gain. He crosses all the lines for all the wrong reasons. And he doesn't get caught...or does he?

“Voted out” is a romantic suspense that takes place inside an election office. It’s a tale of betrayal, deceit, extortion, blackmail, sex, murder, justice, integrity, dedication, passion, and love. It will make you laugh, growl, blush, shake your head, pull your hair, and leave you guessing until the last chapter.

Warning: this author assumes no responsibility if you stay up all night reading.

 J. S. Marlo's Website

The Impact of Editing, Witing and Reading by Ginger

This is how I hope readers view my work.  I want to make colors so vibrant, emotions so real, and characters so likeable, that people can connect with the storyline and experience my tale through the eyes of the hero or heroine.  That's the sign of an author who knows their craft.

I have confidence that I've achieved my goal in most of my books.  Short stories, not so much.  I find reviewers comment about the length, wishing for more, so that tells me that I've connected in some way, but there is only so much you can pack into fewer words.

New rules crop up every day and make me question where they come from.  As someone who has been writing for over ten years now, I wonder if they existed way back when, and my editors weren't versed enough in writing themselves to know about them.  When I first started, a great majority of the editorial staff on board were authors with credentials and experience not much more than my own.  My first editor was very knowledgeable about historical facts, and I learned a ton from her about showing my story to the reader, but passive voice, head hopping, and cause before effect didn't seem to matter to her, nor did the numerous times I used "that" which later was cause for a rejection from another house.

Now my latest quirk has become the use of identifying tags that are now deemed unnecessary.  Evidently, in the characters' POV, the reader will assume that the person doing the knowing, seeing, hearing, etc, is the main character, so sentences starting with she heard, she knew, she watched, she saw, etc., add nothing but words to the story.

Speaking of words...I tend to see lots of the above sentences in mainstream writing...in fact in most books I've read lately, so I wonder are authors adding them to up their word count.  I also wonder if readers notice the number of times we use a character's name in paragraphs...especially when forced to in order to help them decipher between characters.  I recently received a critique where the critiquer had highlighted every instance of the heroine's name, which seemed excessive to her.  I wrote back and explained that through various editing experiences, I'd learned pronouns reflect back on the last person named, so if I introduced another character into the scene, I had to name my heroine to differentiate.  Confusing?  Yes!  Of course, when you use too many pronouns, editors take issue with that too.  It all comes down to being able to reword sentences or use phrases that allow a breather from the norm.  I'm learning still.  Writing is one career or pastime where you never stop acquiring new knowledge.  The problem is determining whether it's factual or fiction.  Not everything passed along is true or worthy of time spent changing your writing habits.

Each writer has a voice unique to themselves.  Some houses abhor "ing" starts to sentences, but I assume that's because all authors haven't figured out how to use them correctly.  I critiqued a story a few days ago which was worded something like, Entering the room, her heart fluttered.  If you read it quickly you may gloss over the fact that her heart entered the room.  Where was the rest of her?  I'm sure this is something I did in my earlier writing, but now I try to pay attention and send the whole body along with the heart.

Other publishers want us to avoid 'ly' words and use strong verbs.  There are just some instances where you want to share with the reader that she spoke softly.  She didn't whisper, but she wasn't speaking in her normal tone, so an 'ly' word is called for.  In my opinion, the problem with rules is that we take them literally and don't apply them with rationale.  I had one editor comment that I had removed so much passive voice from my story, my writing sounded stilted and had no flow.  I was only trying to adhere to everything I'd learned.

The rule with rules is to apply what works.  Take them with a grain of salt and try to avoid redundancies, find stronger verbs, send in the whole person and not just a body part, and remember that eyes don't roam the room, a gaze does.  Someone doesn't fling their hands in the air, but they might lift their arms over their head.  Leave out the amazing body tricks. You can't chuckle a response, but you can before or after your character speaks, so omit that comma.  Even more annoying for me, are tags that describe a person's speech before they've even spoken.  Which is better for you?

He whispered, "Are you okay?"

"Are you okay," he whispered.

A ton of rules are applied at the discretion of your editor.  You may find one who is annoyed by something as simple as the above example, or you may have one assigned who is more concerned with how many times you use "was."  Tomorrow, it may all be different.  Just remember to check house rules when you submit.  I'm finding a vast difference in requirements concerning punctuation, fonts, spacing, margins, indents, and whether to use "Chapter" or just a number.  Oy vey....so much to absorb and so little brain cells left to work with.   Writing is a challenge, so make sure you're up for it.

Feel free to comment on some of your pet peeves.  I'd love to know that me and my internal editor are not the only ones finding some habits more annoying than others.