Getting Emotional in Writing

Yesterday I had a friend (who is also a fan!) tell me how much she loved my books except for one thing - they're too short! An avid reader, she went on to say how she got so caught up in my characters and the story that she couldn't put the book down and was disappointed when it ended.

Way back in a high school psychology class, I had to write a paper on the central nervous system versus the peripheral nervous system and used writing as an example of how to describe each. I use my brain, a part of the central nervous system, to create the work. When I re-read and edit, I use my peripheral nervous system since my hands sweat, my heart beats faster, and my body twitches in response to what I have read. This allows me to build a scene as though I am the character I've written and make the story more real to my readers.

As a writer, I also get caught up in the emotions of my scenes and characters. My palms would sweat when I wrote about Lucy and her ex-husband's relationship in The Mystery Lady as well about Katie's life with Maddox in The Bookstore Lady:

She’d never awakened in a motel room alone and naked before. Someone had always taken her home. Usually Maddox. She pushed that thought out of her head and splashed water on her face. In the mirror, her skin seemed almost green in the bad lighting. Someone had beaten her, probably Maddox, judging from the bruise on her cheek and the cut on her lower lip. Probably from the diamond he wore on his pinky.

Beside the toilet, bright blue fabric speckled with purple spots along the hem hung over the shower rod. Her favorite dress. The one she wore yesterday. At least she thought it was yesterday. She fingered the spots and fought off a wave of dizziness.

Blood stains. Whose blood?

 

In The Mystery Lady, Lucy becomes paranoid when she spots a car parked on her street for several days then strange men in her neighbourhood. Her concern for the well-being of she and her children actually left me a bit on edge and I found myself peering out the window a few times as well!

 Roger always said she’d make a good writer because she was such a drama queen, but maybe she was a drama queen because she was a writer. In truth, her mood was more about Roger and her deep down reluctance to let her kids go with him for the week. Normally, she’d probably have a hard time staying mad at someone like Clancy.

“Look, sweetheart.” He chuckled. “You go back to whatever it is you do all day and have fun with your kids. I’ll pad my tools with bubble wrap so you can relax.”

 “You are such a jerk.” She snapped.

“That’s quite an observation considering you just met me. Maybe you should give me a chance to actually be a jerk before you accuse me of such a heinous crime.” He toyed with a wrench.

Fondled? Stroked? Darn her writer’s brain. What was wrong with her? Lucy blew out a frustrated breath then rolled her eyes and stomped away. “Men.”

 

One of my favourite characters in the Wild Blue Mysteries series is Leo Blue. I find it easy to put myself in his place to see what he sees and think what he thinks. Leo looks at life a little differently than most, which makes him a lot of fun to write and  great foil for Danny since he will say and do pretty much whatever he wants.

The scenes with Leo and Christina in The Bakery Lady were some of my favourite (and steamiest!) to write. I allowed my emotions to run wild and tried to take inventory as I wrote to capture the moment as realistically as I could. In fact, one of the best ways for me to develop a scene, is to write a rough draft then go back and "feel" the emotions and "live" the scene in my head. Here's one example:

Leo clenched his hands at his sides to keep from reaching out to push back the damp hairs off her neck for a better view of the butterfly. “You’re right, she is cute. And funny.”

She spun around and knocked a steel bowl full of cookie cutters off the counter. The bowl clanged on the painted concrete floor and rolled toward the oven while the cookie cutters clattered to the white tile floor. Her freckled elfin face was dusted with flour, some of which rose off her lips as she huffed. When she glared at Clancy, her eyes reminded Leo of the slate gray-green Himalayan Mountains at sunset. Her red lips shone like the juicy flesh of a watermelon. He’d forgotten how much he liked watermelon.

 

 I find that the more I write, the more emotional my writing becomes as I become more connected to my characters and learn more about them. Currently, I am working on a new book in the series, The Painted Lady, which should be ready for release in 2017.

 All three of my Wild Blue Mysteries are available through Amazon & Books We Love as well as at Coles/Chapters/Indigo in Canada by special order!

WRITING GREAT HISTORICAL ROMANCE - MARGARET TANNER

HISTORICAL ROMANCE - DO'S AND DON'TS - MARGARET TANNER.

Why do I write historical romance: Because I love history.

The most important aspects are:

You must be passionate about your subject in a historical novel. You might get away

without this passion in a contemporary, but you won’t in a historical:

Historical Accuracy. Without that, your novel is doomed and so are you.

Write about an era that you are interested in.

I am not into Medieval or Regency, so it would be tedious trying to do the research required for this, and I wouldn’t have the passion about it, and I am sure this would show in my writing.

Research Options:

The internet (use with caution as you can’t be 100% sure that the person who posted knows what they are talking about).

Library reference books – a great place to start.

Museums

Cemeteries

Quizzing elderly relatives (depending, of course, which era you are writing about)

2^nd World War, Vietnam, Great Depression – all o.k. because they would have lived during these times.

Reading family diaries and/or letters.

Actually visiting places where you story takes place or somewhere similar.

e.g. I visited the old Melbourne jail for my novel, Daring Masquerade, set during the 1st World War,  because my heroine was jailed for being a spy. I wanted to see what it was like. The walls were solid bluestone, and cold, even on a warm day. The cell was small etc.

Settings:

Name towns: Know the area. What grows etc. I always set most of my stories in N.E. Victoria because I know the area well. Mention a few main towns, but I never be too specific, because you can get easily caught out.  I always make up a fake town near a main town or city.

In my novel, Allison’s War, set in 1916, I said the heroine lived at Dixon’s Siding (made up name) i.e The left the farm at Dixon’s Siding, and after an hours riding (horses) reached Wangaratta.

I PURPOSELY DID NOT SAY Dixon’s Siding was (10 miles west of Wangaratta on the Greta/Myrtleford Road, because I didn’t know for sure, that there wasn’t a giant lake there or a massive quarry at that time (1916).

QUIZ: WHAT IS WRONG WITH THESE STATEMENT?

Lauren’s Dilemma

1.30a.m. 25th April 1915. Gallipoli Peninsula, Turkey

Pte. Danny Williamson shivered in the chilly air as he waited on the deck of the troopship.

A.    0130 hrs – not 1.30a.m. No soldier would say 1.30a.m. The army always uses the 24 hour clock

My novel, A Wicked Deception is set in 1854.

On arrival at the homestead, Melanie unsaddled the mare and let her loose in the stockyards James had constructed from split logs. Surprising how neglected a house became after being left empty for a few days

Within 5 minutes she had dusted the kitchen and was sitting down having a cup of hot milky tea?

A.    Where did she get the milk? She would have had to milk the cow.  

Water would have to be boiled on wood stove? She would have had to light the stove, maybe even cut the wood for it. This would certainly take more than 5 minutes.

In Daring Masquerade 1916. The heroine goes to ring Colonel Andrew Smith. She punches in the telephone number and waits for him to pick up the phone? No.

A.   She rang the operator, dialled the exchange etc. And she certainly didn’t use her mobile phone.

On her wedding night, her nightgown was exquisite, a soft, white polyester, lavishly trimmed with lace.

A.    No polyester in those days.

Beware of modern language and slang.

A poor, uneducated person wouldn’t speak the same way as a rich, educated person.

So, as you can see there are many pitfalls to writing historical fiction, but if you have a genuine love of history it is a pleasure to write in this genre.

 DARING MASQUERADE

When Harriet Martin masquerades as a boy to help her shell-shocked brother in 1916, falling in love with her boss wasn’t part of the plan.

http://amzn.com/B0081CJECY

WHAT TIME IS IT? by Shirley Martin

Amazon

Hard to believe, but pocket watches date back to the 1400s.  Both men and women wore pocket watches, and these could be expensive when new.

How we tell time has changed dramatically throughout history.  In 3500 B.C.  Greeks and Egyptians used shadow clocks that depended on the movement and rotation of the sun.  The time of day was determined by the length of the shadow cast by the column as the sun passed from east to west.   The shadow cast by the markers around an obelisk calculated time and indicated morning or afternoon besides the summer and winter solstices.  Obviously, these shadow clocks were useless at night or on cloudy days.

Another method of telling time was the hourglass, believed to be invented by the Egyptians.  Two vertically aligned chambers are connected by a small opening, and grains of sand fall at a steady rate from one chamber to another when the hourglass is turned over.

By the end of the 9th century people used graduated candles to determine time at night.  King Alfred’s candle clocks measured 12 inches in height of uniform thickness and were made from 72 pennyweight of wax.  A mark illustrated every inch, each one denoting 20 minutes.  They burned for four hours inside glass boxes framed by wood to keep the flames alive.

Clock originally meant “bell.”  In the Middle Ages, religious institutions used bells to schedule daily prayers and work hours.  Christian monks became technically proficient and became the first clock makers.

Locksmiths’ and jewelers’ guilds gave rise to the first professional clockmakers.   The specialized craft slowly developed into a major industry in England and Europe.  In Germany the Black Forest focused on cuckoo clocks; carved wooden birds emerged and sang the time.

The English became renowned watchmakers and passed an act in 1698 that required watchmakers to place their names upon the watches they crafted.  When immigrants landed in the American colonies they brought their skills with them, but it was unusual for colonial watchmakers to sign their name, so we know little of their history.  Most of the watches sold in colonial America were imported from England.

In the colonies the affluent could purchase watches and clocks.   By 1750, newspapers advertised locally-made watches.

The first mechanical alarm clock, invented in 1787, could ring only at 4 a.m.  Eighty-nine years later, Seth P. Thomas patented a wind-up alarm clock able to be set for a wake-up time chosen by the owner.

Around 1850, with the beginning of the American system of manufacturing, Americans used automatic machines to mass produce watches with attractive interchangeable parts.  The watches were uncomplicated, reasonably-priced and of a better quality.

Women wore wristwatches at the beginning of the 20th century.  Men didn’t wear them until after World War I.  By war’s end, wristwatches had become fashionable.

The U.S.  National Bureau of Standards and Technology presented the atomic clock in 1999.  The most accurate timekeeping device recognized today, this clock is able to run for almost 20 million years without gaining or losing a second.  It’s used to define official world time, and modern life runs on the official measurement of time.

And speaking of time, we all know that the continental United States has four time zones–Eastern, Central, Mountain and Pacific.  Ever wonder how that came about?  The completion of the Intercontinental Railroad in 1869  prompted the designation of time zones.   By 1876, a wealthy man could travel from New York City to San Francisco in 83 hours.  (For a man of lesser means, the trip took ten days.)   So if a man left New York City at 9 a.m. and reached San Francisco 83 hours later, it could hardly still be 9 a.m.

We’ve come a long way from the shadow clocks of 3500 B.C.

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