Showing posts with label romance. Show all posts
Showing posts with label romance. Show all posts

28 September 2019

Being a Goddess Sucks When your Characters Won’t Behave… (warning: more silly stuff from Bad Girl)


(Dave, are you smiling down on me? My comedy is back)

Recently, my characters have become more mouthy.

I like to think of myself as their creator. Goddess material. Without me, they wouldn’t have a life on the page, or anywhere, for that matter. This should buy me a certain amount of respect, I figure. Sort of like you might give a minor deity. After all, I have created five series for them to live in.

Unfortunately, my characters haven’t bought into that. Worse, they seem to have cast me into the role of mother. That’s me: a necessary embarrassment for the perpetuation of their lives. And like all kids, they squabble. They fight with each other for attention. I liken it to sibling jealousy.

To wit: “You haven’t written about me lately,” says Rowena, star of Rowena Through the Wall.

I try to ignore the petulance in her voice.

“Been busy,” I mumble. “Gina (The Goddaughter) had to get married in Vegas. And Del, a relative of hers, started a vigilante group.”

“I don’t care if she started a rock group. You’re supposed to be writing MY story.”

I turn away from the keyboard and frown at her. “Listen, toots. You wouldn’t have any stories at ALL if it weren’t for me. You’ve had three books of adventures with men. A normal gal would be exhausted. So please be patient and wait your turn. Jennie had to suck it up for Worst Date Ever. Del and The B-Team were next in line. You can be after that, maybe.”

Maybe. I wasn’t going to tell her about the 6th Goddaughter book currently in the works.

“It’s not fair. I came first! Before all those silly mob comedies,” Row whines. “Don’t forget! I was the one who got you bestseller status.” She points at her ample chest.

“Hey!” says Gina, fresh from cannoli central. “And which book won the Derringer and the Arthur Ellis? Not some trashy old fantasy novel.”
“Who are YOU calling trashy?” says Rowena, balling her hands into fists. “Just because my bodice rips in every scene…”

“Like THAT isn’t a plot device,” chides Gina.

“Oh, PLEASE don’t fight,” says Jennie, the plucky romance heroine of Worst Date Ever. “I just want everyone to have a Happy Ever After. Can’t you do that for us all, Mom? Er…Melodie?”

I look at Del, from The B-Team. “What do you think?”

Del shrugs. “Sounds sucky. What kind of crap story would that be? Bugger, is that the time? I got a second story job that needs doing. Cover for me, will you? And this time, let me know if the cops start sniffing around.”
“Cops?” says Gina. “Crap! I’m outta here.”

“Cops?” says Rowena. “There’s that little matter of a dead body in book 2…” She vanishes.

“Cops?” says Jennie, hopefully. “OH! Is one of them single?”






Book 15 is now out! THE GODDAUGHTER DOES VEGAS

(Don't tell Rowena…)

27 May 2017

If The Goddaughter moved to other Genres (a seriously non-serious post)


Last year at about this time, my publisher gave me a challenge.  “We want to try some women’s
fiction for the Rapid Reads line,” she said. "So I need a book from you by August."

Huh?  Me, the scribe of mob comedy, write Chicklit?  Romance?  Okay, can I make it funny, I asked?  Luckily they went thumbs up.  And so WORST DATE EVER comes out in September this year.

More on that later.  This column is about something else.

Point being, all this writing-out-of-genre got me thinking.  Crime has always been my thing.  I write about a mob goddaughter who doesn’t want to be one.  Her inept mob family never gets it right.   

What would happen if Gina Gallo, the original mob goddaughter, were to be dragged kicking and screaming out of crime, and plunked right down into another genre.  Or three.  So here goes.

Western:
(on a stage coach near you)

Gina:  “Please move over.  You’re taking up two seats.”

Bad guy Cowboy: “Hey little lady.  You can sit right here on my lap.  What’s a pretty little thing like you doing with that mighty big revolver, anyway?”

Gina (demonstrating):  <BLAM>

Cowboy drops to the floor.

Gothic Romance:
(in a seriously spooky old manor)

Fiendish male character, rubbing hands together:  “You’ll never escape me, my pretty.  Never!”

Gina (looking around): “Are you sure this isn’t a set for The Rocky Horror Picture Show?”

Fiend:  “Enough!  You’ll be my wife with or without the church.”

Gina (extracting knife beneath skirt): <THWOCK>

Fiend drops to the floor.

Literary:
(at a slam poetry evening)

Male Poet:  “Stop.Cry.Laugh.Love not war.Peace not profit.Climate change.Capitalists.Love crimes.War crimes.Killing oceans.Killing whales.Every other cliché you can think of.Pain.I’m in pain.A pain so great.

Gina: <BLAM>

Poet is out of pain, and so is everyone else.

To be continued…(or not, if someone takes out the writer first)

Just released!  THE BOOTLEGGER’S GODDAUGHTER, book 5 in The Goddaughter series
“…the work of an author at the absolute top of her game” Don Graves, Canadian Mystery Reviews



On Amazon

26 March 2016

What to Eat When You Read (They let me off my leash again...)


by Melodie Campbell

I like to get in the mood, when I’m reading. Here’s my list of how to pair your nosh to your book:

Westerns
Riders of the Purple Sage. Cow country. This would suggest a certain menu. Steak, medium rare. Tempting, but hard to cut a steak while simultaneously holding a book and turning pages. Really, Mel Brooks had the right idea. Beans, and plenty of them. Make sure you’re NOT reading in public.

Chick-lit
Slipping into the realm of the unknown here. Chicks are slim young things, right? They would eat salad. I hate salad. Ergo…hand me a western.

Action-Adventure
The trouble with Bond-clone movies and books is you’re apt to spill your martini with all that racing around in the plot. Things blow up a lot in the action-adventure genre. This might suggest popcorn. But make sure you pop it before you eat it. Keep the explosions to your book. (Or switch to westerns.)

Horror
This is obvious. Ribs. Dripping with BBQ sauce.
Herself's personal additions: Cilantro and goat cheese <<shivers>>

Romance
Chocolate.

CanLit (Literature, for all you American types.)
It will be unusual, expensive, and unpalatable. You won’t “understand” why others think it is so good. Your palate has not been suitably developed to appreciate such fineness. Caviar. Escargot (it always sounds so much better in French.) Duck liver (you can look up the French spelling.) If you get beyond the first bite (er…page one,) Yay for you. Hard to read – hard to eat.

Mystery
Should be obvious, right? Chinese food! Get someone else to order it for you, so the mystery deepens.

Fantasy
Try to find Ambrosia. They really dig it on Olympia. If you can’t find that, substitute ice cream. (I know. You thought I was going to say wine. But my fantasy is ice cream with a suitably delicious Greek God-ling. Okay, he doesn’t have to be a God yet. Just young and Greek. Okay, this is slipping into erotica…

Erotica
Forget the oysters, artichokes, or other silly vegetable-type aphrodisiacs. (Fish is almost a vegetable. Trust me.) The answer is more chocolate. (Silly. That’s the answer to almost anything.)

Sci-fi
KIND nut bars. Okay, is the metaphor too obvious?

What to Eat if you’re a Writer:
Coffee.
And humble pie.

Melodie Campbell’s latest mob comedy, TheGoddaughter Caper, has just been released. It’s an offer you can’t refuse. Available at all the usual suspects.

25 July 2015

No Sex Please – We’re Crime Writers!


I write short.  This stems from my comedy writing roots, where each word must be carefully chosen for impact.  So my publishers don’t delete a lot of scenes from my books.  In fact, they usually tell me where to add more words.
With one exception.

There seems to be a convention that crime books shouldn’t contain sex.  Oh, they can refer to sex. Sex can be a powerful motivator for all those violent scenes we are allowed to describe in painstaking detail. (Irony alert here.)

So you can refer to sex. But Lord help you if you – ahem – ‘Show-not-Tell.’

Okay, so I show a bit.  But just a little bit.  I don’t write X-rated, honest.  In fact, I write with the sort of silliness that might be associated with old Benny Hill skits.  So we’re not talking Fifty Shades of Naughty here. (otherwise known as Fifty Shades of Boredom.  But I digress…)

Still, my naughty bits get censored. No sex please, we’re crime writers!

It’s a crime <sic>.  Heck, it’s enough to make a poor gal swap genres. Have you read any steamy romance books lately?  Those novels can be practically pornographic.

When did romance books become more adult than crime books?

I explained to one of my publishers why a certain sexy blackmail scene was essential to the story. It provided motivation that was completely necessary.  So here was their admittedly canny solution:
Leave the dialogue in, but take out the other senses – the sounds, the visuals, the - let’s leave it there.

Yes, it still works.  You get what’s going on by what is being said.

Does it lose impact?  Well, yes.  I work hard to include all the senses in my writing.

But does it work for the plot?  Yes, it does.  It might even be funnier without the senses.

You be the judge.

From THE GODDAUGHTER’S REVENGE, winner of the 2014 Derringer and Arthur Ellis awards:

“Now Carmine, move up front here and pay close attention to this video,” I said. “You might know the people.”

Everyone came closer. You could almost hear each individual breath. Except then I turned up the volume and you could only hear the heavy breathing and moans coming from the laptop.

“Oh Carmy! Do it – do it – ahhhhh”

“I’m doin’ it, babe – I’m doin’ it –“

“Faster, Carmy! Faster – don’t stop”

All eyes were glued to the screen.

“Oh, gross,” said Lou.

“Holy shit!” yelled Carmine. “How did you get that?”

“Carm, that ain’t your wife. Tracy’s not a blond.” Bertoni was confused.

“How the heck is she doing that?” Pete stared at the video with far too much interest.

Has your publisher ever dialed back a particularly sexy scene? Give us the dirt <sic> in the comments below.



THE GODDAUGHTER'S REVENGE (from Orca Books)
at Amazon
at Chapters

20 June 2015

Killing People is what I Do



by Melodie Campbell (Bad Girl)
 
“Why would you ever want to write about murder?” said the horrified relative.  “Why not write a nice little romance?”

Why indeed?

As I quickly added another relative to kill in my next book (you would be shocked how often that happens….) it occurred to me that there were many reasons to write about murder.

1.. It’s the challenge of creating the clever puzzle.  Plotting a mystery is like playing a chess game.  You always have to think several moves ahead.  Your reader is begging you to challenge them, and is working to beat you – meaning to guess the killer before your detective does - to the end.

2.  Plot is paramount.  Murder mysteries start with action – usually a murder.  Yes, characterization is important, and particularly motivation.  But murder is by nature an action, and thus something happens in the book you are writing.  And quite often, it happens again and again.

3.  It’s important.  This is murder, after all.  We’re not talking about a simple threat or theft.  A lot is at stake.  Murder is the final act.  The worst that can happen.  The end of it all.
 
4.  It’s a place to put all your darkest fantasies.  There are a few people I’ve wanted to kill in my life.  They did me wrong.  And while I do have a bit of a reputation for recklessness, I value my freedom more.  So what I can’t do in reality, I relish doing in fiction.

5.  Finally – it’s fun. This is the part I don’t say in mixed company (meaning non-writers and relatives.)  I can’t explain exactly why it’s fun – you’ll have to trust me on this part.  But plotting to do away with characters in highly original ways is a real power trip.  I’m smiling just thinking about it.

Of course, I can understand where some of the relative angst comes from.  In A PURSE TO DIE FOR, a gathering of relatives for a funeral results in the death of one or two. 

In THE GODDAUGHTER’S REVENGE, a cousin of Gina’s does her wrong.  So she does him back, in a particularly crafty and oh-so-satisfying way.

It was entirely accidental, that use of relatives.  Honest.  I wasn’t thinking of anyone in particular.

 Not much I wasn’t.

(You can follow Melodie at www.melodiecampbell.com.  Better still, buy her Goddaughter books.  It's an offer you can't refuse. Especially since her maiden name was 'Offer' - not kidding.)



Available at all the usual retail locations, including Amazon

27 June 2014

Explosive Theory and the Impact of Romance on Mystery


by Dixon Hill

Four weeks ago, I posted here, asking what readers thought of mixing romance and mystery genres. I wondered: When do the two genres make a good fit, why does this happen (or not), and how can a writer mix the two genres to best effect?

Readers provided excellent comments, ranging the gamut of romance/mystery collusion.

  • Leigh mentioned the difference between the concepts of a story categorized as ‘romance with mystery elements’ vs. one presented as a ‘mystery with romance elements’—a very large difference, indeed, it seems to me, particularly in terms of structure and emphasis, where writing is concerned, as well as readers’ expectations. 
  • Fran and Janice pointed to a connection between the essence of dance and the essence of mystery—a concept that may, perhaps, be more important than it might at first appear—while Fran went on to provide an interesting “visual” in her comment. 
  • Elizabeth gave us some excellent specifics, stating that romance and mystery elements work well together, depending on story characters and plot conflicts, as well as story arc, stressing the need for these elements to organically fit the story, serving the plotline, instead of being gratuitously tossed in.   
  • An anonymous reader broached the subject of mysteries enjoying a romantic tension, even when the story arc doesn’t necessarily conclude with a Happy Ever After ending. 
  •  And, C.S. Poulson, a reader I’d not encountered before, but warmly welcome, asked how the addition of romance to any well-written story could ever be a bad idea. 

Ms. Poulson's question surprised me, frankly, because it so closely resembled the question in my own mind, which had set me on this track of thinking in the first place.

A properly executed romance subplot should—at least it seems to me—provide added depth to the story and help us get to know certain characters a bit better. Surely, I’d think, injecting the protagonist into a romantic relationship of some kind—even if it’s never acted upon—ought to provide a writer with ways to illuminate aspects of the protagonist’s philosophy and behavior that might otherwise be difficult to mine in a mystery without this flavor.

On the other hand: 

While I’ve read many mysteries in which romance elements increased story depth and fleshed-out characterization, sometimes even raising plot stakes and ratcheting-up dramatic tension, I’ve also, unfortunately, encountered those in which romance elements seemed at odds with the mystery, breaking the mystery’s tension at inopportune moments or simply tripping-up the flow of the storyline.

Which is why I found myself asking almost exactly the question posed by C.S. Poulson, in her comment: I wondered how the addition of romance to any well-written story could be a bad idea, and why?

Looking for answers to this question, as well as wondering how to prevent the aforementioned problem, is what led to my last two posts, and this one today.

Explosive Theory and Romance/Mystery Interplay 

In my last post, I told you about an experience I had, in the army, experimenting with impromptu explosive sine wave modulation. These shock waves, created when explosives are detonated, manifest themselves as sine waves that travel through those items targeted for demolition. In fact, according to explosive theory, they are largely the force that does the dirty work: tearing steel girders apart, punching holes through reinforced concrete, or throwing dirt high into the air while creating large holes in the ground.

Sine Waves, properly combined,
can result in great beauty.
I wrote that post because, having ruminated about this subject, I’ve become rather convinced that there is a relation between what I view as sine wave modulation and mystery/romance genre interaction.  It's a simple truth that has undoubtedly been quite obvious to many of you reading this. I, however, hadn’t given it any thought before. And, consequently, the idea is new to me.

In short, it seems to me that success or failure in genre-mixing, in general, is not only concerned with points made by readers in the above-mentioned comments, but is also reliant on something I would call “genre harmony and resonance” and the resultant “amplitude modulation” incurred by the story’s dramatic tension.

That mouthful may be enough to make you cross-eyed, though your own experiences may naturally have led you to internalize the same idea, but couched in a very different manner. I tend to think in fairly mathematic or scientific terms, however, and therefor think it might be a good idea to express myself visually.

We’ve all seen drawings of story arcs, and these drawings come in many different versions:








These plot diagrams look rather blocky in nature.



 But, others seem to model along a curve, or general curve . . .

                                                             




 . . .  some of which tend to resemble sine waves or modified sine waves.













We've all enjoyed books or stories that employed mutiple layers of plot or depth.  One of the more complicated story arc diagrams I encountered rather closely resembled my own mental picture of story arc interaction within such a multi-level, or -- as in our case -- cross-genre, story:

And this mental picture, which existed in my head long before I ever found this diagram online, is what led me to think about successful genre mixing in terms of sine wave propagation.  Which, naturally (for me, at least) called explosive theory to mind, and made me remember that experience I had modulating sine waves at Ft. Bragg all those years ago.

In diagram terms, this is what the visiting blaster was trying to train us to:




(Example 1) Locate and time our explosive charges so that their resulting sine waves would cancel out.




(Example 2) Meanwhile, my friends and I managed to locate and time our charges so that the resultant sine waves piggy-backed on each other, thus increasing the sine wave's amplitude -- which got us in hot water with a couple of generals.




(Example 3) A more realistic example of what we achieved, however, probably more closely resembles this: The sine waves we created probably didn't quite piggy-back, being slightly out of phase (i.e.: the purple and blue waves are out of sync with each other), resulting in a sine wave (red wave) with increased amplitude, but not a sine wave with amplitude increased to the level we were targeting.


This interaction of sine waves, that are out of phase with each other (Ex. 3), or else in direct conflict with each other (Ex. 1), became of particular interest to me when considering mystery/romance cross-genre pieces that did not seem to work.

I'm still thinking about ways in which mixed-genre story arcs might be combined to create "sine wave" arcs of increased tension, or perhaps sometimes accidentally cancel each other out--resulting in reader disappointment.  I'm also thinking about how to properly locate and time disparate elements, within a single story that enjoys a mix of two or more genres, with their tension arcs arranged in proper phase.

And this question of Phase seems potentially crucial to me.  Sometimes, when sine waves interact, the result is a wave with perhaps a greater amplitude -- that wave is no longer regular.  It's no longer a sine wave.

As I explained earlier, I really don't understand music.  Don't get me wrong: I enjoy listening to it.  I like singing along, even.  But, I've never been able to truly understand it.  Which is why I'm a writer and not a musician.

On the other hand, I do enjoy dancing.  A LOT!  And, I also know that musical notes or tones involve waves, and that these tones may be altered by modulating the frequency or amplitude of these waves.

Another design created by sine waves.
Harmony and resonance are two terms most people probably identify with music, thus I believe we begin to see why the concept of interacive wave theory (such as the one I practiced that day on the demo range) and dance come into play here.

I used a dance metaphor in the pictorial portion of an earlier post, to illustrate my thoughts about the interplay of mystery and romance. This wasn’t a conscious decision my part. However, I’ve since come to think it may well have sprung from my unconscious (and not necessarily correct) understanding of the mixed-genre relationship.

I'm sure that anyone who constructed a book with all the pieces fully plotted on a graph would only succeed in creating something too static to appeal to most readers.

Literature is not math.  Yet, I can't help wondering about sound waves (which I understand ARE mathematical) that combine in harmony pleasing to the ear -- as well as the phase, frequency and amplitude of their component notes --wondering if this might help serve as a model for the preferable shaping of literary wave forms when combining plot elements or other genres.

While doing my research, I was surprised to run across site about perfume fragrances at http://www.indieknow.net/2013/08/a-beginners-guide-to-fragrances.html  in which "Lisa C." writes:  “Ever learn about a story arc? It starts off with your intro, leading to rising action, punctured with a climax and then falling action tying everything up in the conclusion (obviously there are more complicated arcs as well).

“Your perfume has a similar ‘adventure’ while sitting on your skin.  You might see the anatomy of perfumes' notes depicted as a pyramid, but I find I understand it better when I give my perfume its own story arc because your perfume is constantly in a state of evaporation and change while on your skin.”

Some interesting videos I found may be located at the following URL's.

 http://www.indiana.edu/~emusic/acoustics/phase.htm

 Discordant and canceled sine waves on this page: http://www.math.umn.edu/~rogness/math1155/soundwaves/ 

https://www.youtube.com/watch?v=uIuJTWS2uvY

Let me know your thoughts.

--Dixon