Crossing The Finish Line

It's taken me five months and an equal amount of beta readers, but I think I'm finally there. My WIP, Remembering Iris, is polished up and ready for viewing by my agent. I wrote the first draft, edited it using Margie Lawson's techniques, added in the senses where they were missing, made sure there was enough conflict, dumped it into a word program, read through it, ran it through my editing software, let five people read and comment on it (Thank you all, BTW. It was a real help.) Then I read it again. And again.

I finished the final read-through this week. The fingers off the keyboard read-through (well, almost, anyway.) I'm ready to send it off and begin the next story. And therein lies the dilemma. What to do next? Shall I write Gaston's story? He's been nagging me for years now. Or Anjanette's? She unexpectedly wouldn't leave the pages in the work I just finished. How about Lily? All I have for that one is a wealth of information on building mazes from boxwoods, a kilt and a broadsword. The rest of what I'd written has been scuttled. What do do? Which way to turn?

I'm headed for the hills this weekend, where I will discuss my Lily plot with someone who's got a good grasp of puzzles. Perhaps by the time the weekend is over, I'll know which way to turn. 

Filling In

I've used the analogy before of comparing the body of a book to a body of a human. I am proud to say I just finished the skeleton of my current manuscript and now am working on adding meat to my story.

I read through the story last week and am pleased with the way it spools out, but I noticed a few things that need fixing. There are a couple beats in the book that must be BIG, and right now they're only big. I need to strengthen them, beef up those sections of the book, maximize their impact. I'm working on it.

Most of you who follow along with me weekly know I've started going to a fitness center on a regular basis for the first time in my adult life. I alternate between water walking and using the Lightline exercise equipment. I've noticed a few little muscles starting to define my upper arms. I'm working on it.

Now I just have to do the same with my story. Give those sections of the book more definition, a better-looking mid-section. I've enjoyed a lot of my female characters–Ginger Fitzpatrick, Elise Lafontaine and Rosemary Fitzpatrick come to mind readily as favorites. But Iris Wilson, a mild mannered bespectacled bookkeeper who has kept her family on an even keel for years, may be my best heroine yet. Can't wait to share her beefed up story with you.

Keep an eye out for it.

Character Development

There's a theory in the writing community that in order to make your characters believable, you need to know them inside and out. Some people do character sketches and go way beyond hair and eye color, getting fixated on what caused their internal conflict as well as their external ones.

Each author has a different approach to crafting a new story, so here's mine: I write a beat sheet, a couple sentences for each of the 15 points that will carry the story from start to finish. Then, I write a synopsis, expanding on the beat sheet to make it into two or three pages. I put together a bible if I'm writing a series, but I merely list age, hair and eye color and any distinguishing marks or traits of my characters. Nothing about their conflicts. I want to know the route the story is going to take and I figure out how many miles I can go in a day, but if I have a few detours along the way, or an interesting sight alongside the road attracts my attention and makes me slow the story until I check it out, I'm okay with it.

Every good story needs a cast of characters other then hero/heroine. After all, we all have family, friends, neighbors, business acquaintances, etc. Most of the time, they play bit parts and their time on the pages is minimal. However, there are times when these characters demand to stand up and be counted.

Such is the case with my latest WIP. My hero owned a detective agency and I needed to give him a case other than the big one, to make his agency legit. I chose a philandering husband and a wife with means. Little did I know the mistress would become a character who demanded to be treated not merely for her charms as a courtesan, but as an intelligent, beautiful woman. She quickly morphed from being called Miss Sumptuous Breasts, a casualty of their detective work, to the classic beauty, Anjanette Shelby.

I've had other books where the secondary characters won't leave me alone and I usually write their stories later. Such was the case with my Legend Award winning hero Jake, who first surfaced in Banking On Temperance when he was every bit the gentleman when Temperance spurned him for Basil. Now, before I even go through the editing process and put a spit polish on Remembering Iris, the next Flower Girl novel, my courtesan, Anjanette, is tapping me on the shoulder demanding for her entire story to be written.

Patience, patience Miss Sumptuous Breasts. I'll get to you.