Last week I started work on a short story, a prequel to my Touched by a Demon series. It features Dara’s grandparents and explains how Esther and Lonnie met and how they came to start the demon-fighting ministry that plays such a major role in Dara’s life.
I’ve had it in mind to write this story for a while, so that I’d have a free taste of my Touched by a Demon world to offer potential readers. I’ve written short stories before, even won awards with them, but they were women’s fiction rather than romance. (If you’re interested, you can find a couple of them at www.jeanneestridge.com under the Extras tab.)
As discussed previously in this post, romances are inherently more complex than other forms of genre fiction. Because you have a main plot arc, a romance arc, and character arcs for both the hero and the heroine, even the bare minimum is a lot to juggle. Because I write paranormal, there’s an additional layer of complexity with the necessary world-building.
I couldn’t quite wrap my head around how I’d do all that in 10,000 words or less, so I signed up for a short story writing class through OIRWA, the online international chapter of RWA. In the first lesson the instructor handed me the solution, which is so obvious I’m embarrassed to share it: No subplots. Continue reading
Yesterday I started drafting The Demon Goes Hungry, which will be the third book in my Touched by a Demon series. (The Demon Wore Stilettos has been pushed out to the final book in the series. It made sense as Book 3 when I was planning a trilogy, but now that I’m planning an ennealogy it needs to be Book 9.)
The premise of the story is that heroine Katie Rose Landry owns a food truck called “Devilish Delights,” from which she sells Cajun-spiced food, including deviled eggs that Satan adores.
In fact, Satan loves them so much he orders Belphegor, the Demon of Gluttony and Master of Hell’s Kitchen, to recruit Katie to become his private chef.
Much silliness and danger ensues. I hope. Continue reading
This week, I’m sorry to say, I’m a bit overwhelmed and a bit under the weather. While I don’t have the energy or mental focus to write a new blog post, I thought I’d share this one that I wrote two years ago, in which I discuss how stories mold our minds and attitudes, and can ultimately change the world.
How Story Shapes Our Brains
How long did the last fiction book you finished stick with you? What about the romance or mystery or classic you read over and over again as a teen? How about the books your parents read to you before you were old enough to read on your own? Turns out, the fiction we read might just be making us more engaged, empathetic humans according to researchers studying the brain through magnetic resonance imaging (MRI). We’ve known this for a while now.
In a New York Times article published more than five years ago, Annie Murphy Paul reported: “The brain, it seems, does not make much of a distinction between reading about an experience and encountering it in real life; in each case, the same neurological regions are stimulated…Indeed, in one respect novels go beyond simulating reality to give readers an experience unavailable off the page: the opportunity to enter fully into other people’s thoughts and feelings.” Wow, heady stuff, you authors out there. Continue reading
Would you take part in an academic study called The Get Creative Feel Good Test?
The payoff is that all participants receive a personalized Feel Good Formula based on their responses, intended to boost their creative habits. It’s open to anyone, anywhere in the world, provided they are over 18 years old.
The cost of entry is to answer a ten-minute online questionnaire.
The test is part of a study undertaken by the BBC, the Open University, and University College London, to explore how participation in creative activities can manage mood and boost wellbeing. All data is collected and stored on an anonymous basis. I don’t usually sign up to online questionnaires, but I took part in this one.
On Sunday, Jilly talked about the class we’re taking, Inside Out: Crafting Your Character’s Emotional Conflict, with award-winning author Linnea Sinclair.*
One of the things that makes me such a slow writer is because it generally takes me 100 or more painfully typed pages to know my characters well enough to understand what they’ll do in any given situation. Up to that point (and sometimes, as with my current WIP, even longer) I head off in wrong directions and follow blind alleys and generally wander in the wilderness while I get to know them.
It’s not an efficient process.
Now Ms. Sinclair has given me a tool to (I really hope) shortcut that painful process–the Enneagram (pronounced any-a-gram). According to the Integrative 9 website, the Enneagram is an archetypal framework that offers in-depth insight to individuals, groups and collectives. Put more simply, it’s a psychological test that categorizes people into 9 different groups based on personality/character factors. Continue reading
Last Saturday, I was hiking with a friend who was around for the full pre-publication lifespan of The Demon Always Wins. (I started working on it in May, 2012 and didn’t publish until September, 2018.)
She mentioned that she’s reading Dante’s Inferno.
In preparation for writing The Demon Always Wins, I read:
- Dante’s Inferno
- Milton’s Paradise Lost
- The Book of Job (multiple times)
- The Screwtape Letters by C.S. Lewis
- Books about the Book of Job.
- Critiques of The Inferno.
- Critiques of Paradise Lost.
Can you read the caption? “Andrina Wood at the console of a BTM computer. Tabacus: The Magazine of the British Tabulating Company, August 1958.” The photo was republished on the Twitter account of Mar Hicks, a professor and historian of technology. Many of the vintage photos I’ve seen show women at computer consoles working with a legal pad or paper notebook.
I’ve started a new book. For lack of any better ideas, I went back to a project I last worked on in about 2006—the adventures of my genius computer hacker and the FBI agent who arrested her.
I wrote two books of these characters before I switched to lighter storylines—there’s just something about your hero sending your heroine to prison that tends to get dark pretty fast. And it’s hard to write genius, too, if you’re not genius yourself. Using Sheldon Cooper as a role model, especially for a female character, has its limitations.
The reception I got for these books after I’d finished them was lukewarm. The first book is about stealing an election, a topic that every agent and editor I talked to said would be stale in months. And we all know how that turned out.