Saturday, April 04, 2009

And the Winner is....

Shredder!! :) Head over to Michael's MySpace profile and congratulate him, if you wish :)

This is a free for all Saturday and I thought it would be great to open up the blog for everyone to share what they're reading today :)

Today, I'm actually re-reading a favorite of mine. "Justice Incarnate" by Regan Black. This was the first Echelon full-length book I read in print and I was blown away by the story. It's an absolutely intriguing tale about a woman, Jaden Michaels, who's been reincarnated time and again to slay a demon, or face dying a horrible death--which has happened for the century she's been trying to kill him.

What I really, really loved about this book was how real Regan Black made the year 2096 for me. Not just the technology, but the differences in the societal norms between my time and this future. This, I think, was the first 'awakening' I had an as author to the possibilities of creating a believable universe. Not because I hadn't read other books that do the same thing, but because this combined everything I love about fiction--and I read it at a time when I was deeply consumed with the study of the craft. At this point, I was working so hard to make every detail of my books be absolutely accurate--the idea that I could change that reality in the way Black did, was something I found thrilling.

Aside from that, though, all by itself it's an awesome read! :)

I'm nearly finished with this book (and loving it all over again) and have two other books waiting in the wings. Invasion of Justice, the second book in the Shadows of Justice series from Regan Black, and Immortal Bride by Lisa Childs, a book in the Nocturne line by Silhouette. (Here's the trailer.) I'm intrigued by this paranormal romance category and wonder if I might try my hand at putting my old favorite (romance) together with my newly discovered passion (paranormal) somewhere down the road.

Okay, so what are you reading? If you're not reading today, or between books, what would you like to be reading now? Maybe your interest will be a book someone else has read and they can let you know if the book did or didn't live up to its hype ;)

Enjoy your Saturday and be thankfurl Birds Don't Read!! :)
Warmly,
Jenny:)

Friday, April 03, 2009

New Blog Schedule

Hello everyone ;)

As many of you know, I’m under doctor’s orders to *destress my life as much as possible. This has led me on a campaign to get organized and map out my days to achieve the most productive outcomes possible.

One of those areas that’s been difficult for me is maintaining my blogs. Oh, I’ve got lots to say and lots to share and lots I want to do, but half the time I’m struggling to figure out when, what, and how I want to do all that. So, I’ve decided to create a schedule for my blogs:

Monday: Maybe—maybe not. This will be my free-for-all day in which I can post whatever is needed or wanted, but I may take a break on this day as I find Monday’s can be a bit overwhelming for me.

Tuesday: Tuesday is now Talent Tuesday. On this day I’ll be discussing other authors, what I’ve gained from reading them, or showcasing an interview with another author. (I also plan on having y’all submit questions to ask these authors.)

Wednesday: Writer Wednesday: this is the day I’ll be offering advice and tips and tricks of the trade. On this day will be the query and excerpt critiques I’ve offered in the past. (Such as the Hook Critique—first three paragraphs, etc.)

Thursday: Is now Thursday Thrills. This is where I’ll be sharing information about what I’m working on, which happens to be my YA horror Extreme Hauntings series. I will also be sharing genre-related information and updates on when books are coming out, reviews, and open calls for collaborations ;)

Friday: You guessed it: Fun Friday! From here on out, every Friday will feature a fun contest of some kind with varying degrees of prizes. From Amazon gift certificates, book thongs (of course! ;)) downloads and print books.
(I'm a day late posting here, so the contest this Friday is on my MySpace blog and you don't want to miss it! Great gift for the winner!)


Weekends will be an anything goes—socializing, chatting and all around getting to know each other ;)

I hope y’all enjoy this plan!

Warmly,
Jenny:)

Friday, March 27, 2009

Cyber Walk Down Memory Lane

I figured that someone out there might be curious about my journey from wanting to write a novel, to where I am today. This is sort of a cyber-walk down memory lane :)

1) The first place of any real signifigance I joined to learn the craft of writing was Writer's Village University. There I met a wonderful group of women, though my Aunt Beth, who were my sisters for the first five years of my writing life. We went through much together and I still consider them the writing sisters of my heart.
Writer's Village University

2) From there, I branched out, and joined Charlotte Dillon's Romance Writer's Community, which is a fabulous website and email list. Their critique exchange helped me tremendously.
Romance Writer's Community

3) About a year into my first novel, I met a wonderful woman in a chat. Milli Thornton. She encouraged me tremendously, helped me get through a very rocky issue with my writing confidence, and eventually hired me to create her online writing course based on her exceptionally helpful book, Fear of Writing.
Fear of Writing

4) I struggled tremendously with self-editing and joined the Adult Creative Writer's Club. Their monthly contest was a real eye opener for me and when I finally--finally!!!--won that contest, I was over the moon! Having your writing judged annonymously by so many writers is truly a test of your skill and helped me learn what my strengths were, and where I truly needed to develop my craft.
Adult Creative Writer's Club

5) RWA contests, where I got detailed judges reports from more than one person, and then eventually went on to win one, gave me the industry insight I needed to understand the romance novel and how to write in that genre.
Romance Writer's of America

6) This last is a sort of no-brainer, but I have to add it because as a self-taught author, I spent legions of hours here: the library. While we were still a struggling young family, I coldn't afford much and all these wonderful writing books people recommended to me would have been out of my reach if it weren't for my public library. The research I did for each of my books there still saves me a mint on technical and/or informational books. (Such as using their college texts on genetics to create the basis for my werewolf novel.)

I hope some of you all will maybe check out one or two of these places and see if there's something that they might help you with as well. While I've been a member of many great places, like WRWA and online forums that helped tremendously, the above list is where I did the bulk of my growing as an author.

Do you have a fond memory of somewhere you began that you'd like to share? Or maybe someplace that is important to you today? If so, share them in the comments as I'd love us all to wallow in positivity today! *GRIN*

Warmly,
Jenny:)

Thursday, March 05, 2009

Good and Bad News

First, the bad news, because I always like to end on a positive note :) As many of you know I was ill at the end of last week. Well, I went to the doctor today because while I was back on my feet, I never fully recovered.
It turns out that the stress I'm under is effecting my health. I was prescribed medication and told to lighten my load. So, I've decided that I'm going to postpone the workshop I planned for this weekend until the medication I'm taking begins to work and I'm back 100%. I hope everyone will understand and not be too disappointed. I will do this soon, just not yet.
Now to the good news! :)
I heard from Marc Vun Kannon, who is a fabulous writer himself, that he picked up my book, DFF: Dead Friends Forever at the SC Book Festival. He wrote: "I have been reading the latest books from Echelon, in particular DFF: Dead Friends Forever, and I've started Witch's Pawn. DFF is a stunningly good book, by far Jenny Turner's best book yet!"

I was over the moon!! What a compliment to come out of the blue like that, from someone I was always dying to hear enjoyed one of my books in that way :) He went on to say that he began reading it in a hotel room and actually got the heebie-jeebies because it was that spooky! :) He compared it to Buffy the Vampire Slayer, but with a darker edge, like Angel and then ordered extra for a library event he's going to.
How cool is that??
You can check out more about Marc Vun Kannon here:
http://www.marcvunkannon.com/


Okay, just wanted to share and I hope that everyone is having a fantastic week! :)

Warmly,
Jenny:)

Tuesday, March 03, 2009

Quick and Easy Contest

My blog at Teen Seen today includes a fun and easy giveaway! Head on over right now to be entered to win :) It only takes a minute, and hey, you never know, I might choose a few winners rather than just one *wink* *wink* :)

See ya there!!

Warmly,
Jenny:)

Wednesday, February 25, 2009

Today I'm sharing the first chapter of the second book in the Extreme Hauntings series. This follows directly the end of DFF: Dead Friends Forever.

Let me know what you think or if you have any questions about the series! :)

Warmly,
Jenny:)

School's Out 4Ever
by J.R. Turner


Chapter One

The car slowed, waking Kaylee from her doze. Heavy traffic clogged the highway as they drew closer to Duluth. Her dad played a CD of some old guy who sang about a shark with pearly teeth, making the big fish sound as dangerous as Spongebob Squarepants. A dense fog drifted across the St. Louis River like huge rolling cotton lit by the early evening city lights. Damp, misty air made those lights prism on her wet window. The wipers beat a slow, steady rhythm to clear the condensation. No wonder she’d fallen asleep.

She yawned and stretched, then laid her forehead against the cool glass. How good it felt to sleep without nightmares. Real life was the nightmare now. Just a few weeks ago nothing truly bad had ever happened to her. Pretty good for a girl going on fifteen. Never saw a pet run over by a car, never got beaten up by anyone, had an okay time in school, and her parents were mostly supportive.

Well, until she told them she was seeing ghosts, demons and angels. Funny how that worked. One minute they’re cheering for her on the soccer field and at swim meets the next they’re packing her off to a boarding school for wayward girls. So what if her dad worked it out so she wouldn’t go to Lincoln Hills juvenile detention facility for grave robbing? That didn’t give him to give up on her like some game system stuck on the red ring of death.

Get over it and stop moping, Reason, the little voice in the back of her head said.

Kaylee thought, Yeah, right, hold on a sec while I get happy.

Maybe leaving everything you’ve ever known and going to a place a zillion miles from your best friend was fun for some people, but given the choice, she would have preferred ingrown toenails. And that meant something coming from her because if she couldn’t skate, couldn’t run on the field, couldn’t snowboard, then she might as well become a nun or something.

But only if I wouldn’t have to wear a dress all the time.

She wasn’t a tomboy, though, not like most people thought. No way would she ever flat out say she loved pink, even if it was her favorite color. Yet she was interested in make-up, admired girls in her class with cool streaks in their hair and who knew how to dress. And that was the whole problem. She could lead her team in goals, ollie high on her board or kick total butt at a swim meet, but put on mascara or get the stupid nail polish not to drip down the side of her toe? That might as well have been rocket science.

Her father put the blinker on and merged left as they neared a bridge shrouded in thickening fog. A horn sounded behind them and he shouted at the rearview mirror, “Up yours!”

“Max!” her mother, Diane, said in surprise. She lowered her voice. “You’re setting a bad example.”

“No, dear,” he said, voice. “If some guy hogs the road, ignores our daughter’s blinker, and then honks at her, I want her to express her anger in a healthy way. Shouting where no one can hear you is healthy.”

“But we can hear you. Do you want her to yell like that in front of her children?”
He didn’t answer and the silence was almost worse than his anger.

Kaylee wanted to roll her eyes, but didn’t. With her luck, her father would see it in the rearview mirror. Max Hensler was a shrink (though she couldn’t call him that to his face or he’d go ballistic.) He never missed an opportunity to evaluate every second of every day—not just at work, but with his family too. How many days had she sat down to dinner only to be psychoanalyzed on the spot? Or how often did she get called into his office and grilled about the most embarrassing stuff? She’d rather face down the Waukesha Blasters on the soccer field than answer another question.

Life is not a spectator sport.

Mrs. Mead, her homeroom teacher had that hung on her wall back in Marsden. Every day she read it, not because she wanted to, but because she sat directly across from the Jackie Robinson poster it was written on. She stared at it when she was bored, which was most of the time. That wasn’t the full quote, and you’d think she’d remember all of it but no matter how she wracked her brain, she couldn’t recall the rest.

I’m just lucky to still be sane, not complaining about a little loss of memory here, Fate or God or whoever listens to this sort of thing.

The sound of the tires changed as they hit the new pavement of the bridge, transmitting the empty space beneath. The fog steadily thickened, oozing between the steel beams. She had the eerie sense something ahead wanted to hide, to keep her from knowing its presence. In her parka, she shivered and forced the thoughts out of her head. That stuff had gotten her in too much trouble already.

Her parents already believed she was having hallucinations and injuring herself on purpose. Which was really dumb. She bet they already talked about how they could keep her from passing on her crazy gene to their future grandchildren. Maybe it would be better if it was a crazy gene. Better than being a witch.

She couldn’t really be a witch, could she? Those were all just made up stories, right?
That’s what I used to think about ghosts.

Her father cursed at a slow driver and merged into the right lane. Her stomach flipped all on its own. He slowed as did the cars all around them as the fog made it impossible to see more than a few feet ahead. She clutched the handle on the door, clenched her jaw, held her breath.

“Mom?” Her voice cracked.

A distant rumbling came from the opposite side of the St. Louis River. Brakes squealed loudly beside her. Kaylee jumped. Tears pricked her eyes and she asked again, “Mom?”

Her mother glanced back, then around, her forehead wrinkled with worry and a nervous hand on her throat. “Max, maybe we should pull over? Wait it out?”

The wall of fog shifted and the whole world went white. The car died, the old guy stopped singing and the heating vents went quiet. Her father turned the key. A faint click, then nothing.

“What happened?” her mother asked.

“I don’t know.” He tried again, nothing. “Great. Just great. Now we’ll never get there in time. Since traffic isn’t moving, maybe someone out here can give me a jump.”

The rumbling grew louder.

“Hurry,” her mother begged. “I don’t like this.”

“Shh,” he said, unmoving, his head tilted down. “Do you hear that?”

Kaylee ran a dry tongue over dry lips and closed her eyes.

It’s coming.

It’s coming.

Oh God no, not again, she thought. Not again.

Something smacked the window by her face and a high-pitched squeak escaped her. She dodged back reflexively, hands coming up to protect her face as she searched for the threat. The glass was clean. Nothing and no one stood on the side.

“Honey?” Her mother asked. “Kaylee, you okay? Max, we can’t just sit here.”

“Be quiet. Do you hear that?”

The rumble turned into an oncoming roar. Kaylee covered her ears. Her mother cocked her head as if the sound was too faint for her to hear.

Please don’t let this happen again. Her heart knocked heavy in her chest. Half expecting the bridge to collapse with everyone on it, she dared a glance ahead.

A little boy stood in the middle of the road. She bit her lip, hard. If her parents heard the scream bubbling in her throat they’d send her to the mental hospital in Chester for sure. She closed her eyes tight.

Go away.

Go away.

She opened her eyes. The roar filled her head, vibrated in her molars. He stared at her through the windshield. His dark hair was cut short and he wore a plain button-up shirt and brown pants. His eyes…

Oh Jesus…

They glinted with a red animal shine of evil. Pasty skin pulled tight across his skull made angular points of his cheekbones. A manic glee danced in eyes staring from sunken sockets.

“What is that? Is there an accident up there?” Her mother’s voice trembled.

“I think so. I can’t see through the fog.” He spoke quietly, still listening.

They just sat there, as if the fog would clear and everything would go back to normal. They couldn’t see the ghost and couldn’t hear that unbelievable roar that made Kaylee want to press herself so far into the seat she ended up in the trunk.

The ghost boy smiled at her, exposing baby white teeth in a pitch black mouth. His lips spread, extending the grin to impossible proportions, then in a flash, he disappeared.

In the same instant, a station wagon in southbound traffic flew across the concrete median. Kaylee heard her mother scream and felt pain in her throat from her own. The wagon T-boned the blue Honda in front of them—a moving grenade of roaring engine and explosive steel. The impact shoved the Honda into their Saturn. Her head snapped back and forth hard, teeth coming down on her tongue.

She screamed again and braced herself on the seat. Twisted metal screeched, the chaos of shattering glass erupted all around her. The back tires of the Saturn hit the wall of the bridge and stopped with a shudder. Something popped and hissed. Steam mingled with the fog, blended, hid the carnage the wagon had left in its wake.

“Diane? Are you okay?” Her father reached for his wife who nodded, eyes wide and wet. Before she could speak, someone screamed near the Honda. The sound morphed into the noise of skidding tires unable to stop. It grew in volume and Kaylee struggled with her seatbelt, ready to run, to get out of the way of whatever was coming next.

Her father looked in the mirror. “Oh, Jesus.”

Kaylee looked back. A jackknifed semi shoved cars ahead of it, forcing them into one another. The Saturn shivered with the bang of every collision.

“Max…” her mother said hoarsely.

Then the car behind them, the driver shouting in pain, rammed into the back of their car and Kaylee shrieked and grasped for anything and everything. The nose of their already damaged car went up the side of the retaining wall that kept cars from falling into the river far below. The windshield shattered as the frame twisted and the bottom scraped along the concrete.

“Max!” Her mother shouted, leaning toward him as the car tilted.

The semi finally stopped. A horn blared constantly somewhere. All around, people cried out and shouted for help. The Saturn creaked and groaned, half on and half off the retaining wall. Kaylee whimpered, afraid a scream would unbalance them and send them over.

Her father grabbed her mom’s hands and pulled her across to him. The car pitched toward the road, throwing Kaylee against her own door. “Hold on,” her father yelled. “Just hold on. Don’t move.”

“Max, we have to get out of the car.” Her mother breathed hard, her voice trembling with panic.
“Shh. Just sit tight. We’ll get out of here. Give me a second to figure this out. You okay back there, Kaylee?”

She nodded, then realized he couldn’t see her and cleared her throat. “I’m okay.”

But she wasn’t, not really. A big part of her had hoped that when she left Marsden the craziness of ghosts and demons would be left behind as well. Somehow, this was all her fault. If she hadn’t been on the bridge…

Through the dissipating fog, the semi-driver’s door shrieked as he opened it and hopped down. He wobbled on unsteady legs, then found his balance and hurried toward them.

Her father must have seen him too because he said, “Okay. Help’s coming. It’s going to be all right.”

He didn’t sound convinced though as a high gust of wind shook the Saturn. Kaylee hissed a frightened gasp between her teeth, pressing herself harder against the far door to keep the Saturn heavy on the bridge side.

“Everyone okay in there?” The trucker, his bald head pink and ears turning red from the cold yelled into her father’s window.

“We’re shook up, but okay.”

“I’ll get you out of there. Just hold on.” He grasped the door handle and yanked, but even Kaylee could feel it wouldn’t budge. Her father’s door had been shoved in and bent closed.

The trucker gave up and moved to the front. “Can you climb out the window?”

Her father shifted to support her mother so she could make a try, but the Saturn leaned precariously toward the river.

Her mother screamed.

“No, we can’t move or we’ll…” he paused. “We can’t move.”

“Okay,” the trucker said, disappeared and then appeared by her door next. “Sit tight kid, we’ll get you out.”

Her door didn’t want to open either, though she couldn’t see where it had been damaged. Please, get me out of here! She didn’t speak, couldn’t find her voice. Trembling, she worried that something more than damage kept her door closed. Were they trying to kill her? The boy and whatever that roaring noise had been?

“I’ll be right back.” He dodged around the end of another car. Sirens rang in the distance.
In the eerie quiet, her father whispered, “He’ll come back. Help’s coming. It’s going to be okay.”

No one moved. The wind gusted again, coming in through the busted windshield. The tears on Kaylee’s face turned icy, her hands went numb. The wait seemed to last forever, but the man reappeared at her window, a tire-iron in his hand.

He yelled at her through the glass. “Turn away, cover your face.”

She started to do as he asked, but the car shifted and she stifled a scream, freezing in place. When it settled, she carefully moved her coat up to cover her head. The window broke with a loud pop. A hand fell on her shoulder.

“It’s okay. Come on out now.” He spoke softly.

She put a hand on the back of her father’s seat to boost herself out, but halted as metal ground on the retaining wall. “I can’t.”

“Yes, you can. Here,” he pushed on the roof of the car, forcing it down a mere half inch. “I won’t let go. Come on out.”

Kaylee nodded and when she moved again, the car stayed fairly steady. Careful not to cut herself on the safety glass, she was surprised to find a circle of people watching. One lady ran forward and helped steady her. “Just lean on me.”

Kaylee did, gratefully. As soon as her feet touched down though, she turned back. “My parents…”

Already her mother had slid back, working carefully into Kaylee’s seat.

The woman tried to hold Kaylee back, but she shrugged her off and rushed forward to help her mom.

“Kaylee,” her mother asked even before she was all the way out. “You’re all right?”
She could only nod as fire trucks, police cruisers and ambulances arrived. With their arms around each other, she and her mother watched the trucker work harder to hold the car steady now that Kaylee and her mother’s weight weren’t helping.

Her father started to move, and the entire weight shifted, lifting the trucker off his feet. He cried out even as her dad shouted for help.

“Dad!” Kaylee cried, her voice raw.

“Oh my, God,” her mother said, sobbing against the back of her hand.

A group of four men, all wearing Green Bay Packer coats, gloves and hats, ran to assist. They added their weight to the back, holding the car down. “We got you, man! Come on!”

Pale, shaking, his glasses slipping down the slope of his nose, he scrambled backward and out the window in seconds. His weight on the door frame wedged the Saturn firmly onto the bridge.

Her mother broke away and ran to him, throwing her arms around his neck. Kaylee embraced them both and bawled into her mothers coat sleeve. “I’m so sorry…”

It’s all my fault…

All my fault.

They weren’t even all the way to school yet. If they were all nearly killed when they were still miles away, what would she find when she arrived? “I want to go home, Mom. I want to go home.”

Tuesday, February 24, 2009

Interview with Regan Black!

I'm excited to have one of my favorite authors here today! Regan Black is an awesome writer. I loved her Justice Incarnate series tremendously. She has a wonderful new series: The Pixie Chicks and I'm so thrilled she'll be here with us today! :)





1. How did you first become interested in writing?

Reading. I read all the time, even with a flashlight under the covers when I was supposed to be sleeping. (Still do.) I read all kinds of things from Anne McCaffrey's fantasy world of Pern to sweet teen romances. Being well read, having a true love of reading, made English and literature classes easier and I must have shown an aptitude for writing because all my teachers thought I should go into journalism.

2. Do you use an outline or write by the seat of your pants?

I'm a pantser. I've tried outlining and pre-writing and actual plotting, whatever you'd like to call it, but at the heart of it, I just sit down and let the story lead me. I've learned to use a rough guideline and notes to keep me on track, but I love the rush of a new discovery. Sadly, this makes for more time in revisions, but I'm happier and more productive when I'm not fighting my natural process. According to Deb Dixon (author of Goal, Motivation, and Conflict) I'm also a quilter, which means I'll often write parts of the story out of order and piece them together in the rewrites. In July, one of my critique partners (a die-hard plotter) and I will be giving an online class for the LowcountryRWA chapter on the topic of Pantsing vs. Plotting - I guarantee that will be one riot of a classroom.

3. What inspired your latest plot?

The Pixie Chicks, my young adult series of short stories was inspired by my own high school years with the marching band and the social whirl that went with it. When I was a kid it was still pretty safe to walk around town with friends at night (though the pterodactyl patrol could be pesky) so that's often what we did. I cringe to think my own kids would do that now (my parental prerogative.) One of the places we found was this huge old garden full of statuary, hedge mazes, etc. and we'd dare each other into games of hide and seek. None of the statues were actual portals, but our vivid imaginations gave us thrills aplenty.

4. How many books do you think will be in the series?

As many as Quake wants to put out there. These shorts are fast and fun to write and I love the characters more with every misadventure. Writing Pixies is a great outlet, especially when I'm working on longer books, because it's an affirmation that I can make it from a beginning, through the middle, to a great The End.

5. Where can readers purchase your book? Links to share?

YA Pixies are available at Quake (http://www.quakeme.com) and fictionwise

My full length adult thrillers Justice Incarnate and Invasion of Justice are available from Echelon Press (http//:www.echelonpress.com) as well as fictionwise, Amazon.com and Justice Incarnate is available at Kindle. (Invasion is coming soon to Kindle, as are the Pixies)

Readers can meet me on my blog at: http://www.regansrealm.blogspot.com
Or learn all sorts of Regan trivia at http://www.reganblack.com
I'm a regular contributor to the Quake Teen-seen blog too: http://teen-seen.blogspot.comThey can follow me on twitter: http://twitter.com/ReganBlack
and Myspace is more for the adult stuff but I'm there http://www.myspace.com/reganblack
I also write articles on greyhounds too for http://www.associatedcontent.com look for the Regan Black byline.

Thanks Jenny!



Thanks so much to you too, Regan! :) It's truly a great blessing that you'll be here to respond to comments and questions during the day! Thank you tons for that as well!!


Warmly,
Jenny:)

Wednesday, February 18, 2009

Confessions of a Chocoholic

When I do interviews, speak at conferences and schools, or am asked questions at a book signing, a lot of the time what folks ask about is "how" I write. Sometimes it's about what time and day and for how long, other times it's whether or not I outline or wing it. Most, however, don't ask me how I gain the stamina to write three books, edit two books, edit shorter works, market and promote, blog and interact on social networking sites or participate in other online communities--all in one day.

(Not to mention meeting the demands of motherhood and being the head of the household while hubby is driving cross country as a truck driver.)

Now I know a lot of folks joke about how much they love chocolate. I know I've talked about this recently before, but it truly is how I make it through my days. Dark chocolate, Ferrera Rocher, Hershey's Pot of Gold truffle collection, Dove dark chocolate, Mounds bars, Resees Peanut Butter cups, Kit Kat bars--all of these are my coworkers :)

Coffee compliments the chocolate perfectly, btw ;)

I'm not saying that I eat it all day, every day, but it's a great motivator. "When I finish that chapter." "When I finish the outline." "When I find the answer to this research question." "When I send back the completed critique." "When the book is edited." These are all moments to celebrate with chocolate and bring a little sweetness to my life.

So there you have it, my true confession about my love affair with chocolate. How do you make it through your days? Do you have little tricks to make sure you have the energy to meet all your obligations? To reward yourself for a job well done? (Or at least just done! :) )

Let me know how you make it through ;)

Warmly,
Jenny:)

Wednesday, February 11, 2009

Best Gift Ever

Hey everyone :) Sometimes, when looking through things I've written in the past, I find a little nugget that I wish had been shared--so today, I'm sharing this little true story I wrote:

The Best Gift Ever
By J.R. Turner

When I was a girl, I rode the bus to school and enjoyed the many sights, sounds and scents of the seasons from my perch on that high seat. For an hour every morning and afternoon, I would daydream about the places and people I saw. One such place was a second hand shop called “Amalia’s.” I thought the name beautiful and later, my grandmother told me her grandmother was named Amalia.

As a child of divorced parents and an increasingly divided family, I grew to love that name as I imagined my life, my future. Someday, I would find a good man and marry him. We would have a daughter and name her Amalia.

I met that wonderful man the year I graduated high school and married him three years later. Soon after, our first child came into this world. He was an adorable baby boy—but of course I couldn’t name him Amalia! I began dreaming of a little sister for him.

We tried for six years to have another child while we traveled cross country. My husband, a truck driver, took our little family everywhere. One of our favorite places was a small truck stop in southern Wisconsin that sold the best chocolate éclairs on the planet. We sometimes drove out of our way just to have one.
Every time I took that first bite, felt that unique chocolate on my tongue, tasted the heady mix of cream and sweet, I would sigh with pleasure and say, “Eating one of these makes it seem like everything is all right in the world.”

Those happy days faded into my son’s first school years. Unable to travel during the school year and with my husband gone from us more and more, getting pregnant seemed a far off dream. Still, we continued to try and when we finally did conceive, we were ecstatic. I was certain the baby would be a girl. My Amalia was finally on her way.

I started buying pink dresses, blankets, and anything with ruffles and bows. Smiling, I went about my daily chores, and it seemed that life couldn’t be better. Until my worst fear came true.

Carrying a load of laundry, I casually pushed a chair back into position and felt something give in my abdomen. I called my husband and he immediately came home to take me to the hospital. After hours of excruciating, heartbreaking pain, I lost the baby.

For weeks, the only time I smiled or felt joy, was in the presence of my growing boy. My love for him sustained me, but alone now, there were all too many hours to grieve for the daughter I didn’t have. Little by little I packed away the pink sleepers, blankets, and ruffled dresses I couldn’t bear to part with.

One evening, my husband returned from the road with a take-out box for me. I was surprised, as it seemed a strange gift—his leftovers from a truck stop? I opened it and discovered my favorite éclair. The sweet scent of that special chocolate tantalized me with the promise of making everything all right again. I laughed through my tears and kissed him. He had remembered my words, gone three hours out of his way, and brought me the second best gift ever.

The following year, we got the best gift ever. Our daughter Amalia was born on Mother’s Day. Today she is nine years old and loves our family's favorite eclairs as much as we do!
***

I hope you enjoyed seeing a little bit into my family life and learning a little bit about me, the love I have for my children--and of course the reason why all my author bio's mention chocolate ;)

Warmly,
Jenny:)

Tuesday, February 10, 2009

I've Been Honored!!

I was going to write, "I've been Quoted" in the subject line, but this is far more than that. It truly is an honor!

I got this forwarded to me (Chris Roerden didn't have my email address) in my email today:

"I quote a passage from her first book, STARK KNIGHT, in my 11th book, DON'T SABOTAGE YOUR SUBMISSION. Her passage includes a terrific example of one of the dozens of writing techniques this book editor analyzes: allusion."

This is such an honor! I am so thrilled. I met Chris at two different confrences and she is just fabulous. I had no idea she was going to do this. Wow! Very cool!!! Check out the book at this link:

www.snurl.com/25as7

Thanks so much, Chris!!!! :)

Warmly,
Jenny:)

Monday, February 09, 2009

Page 99 Test: My Biker Bodyguard

The Page 99 Test: My Biker Bodyguard

Hey everyone :)

If you’re familiar with “The Page 99 Test” you already know what this blog about today. A famous quote launched the whole test: “"Open the book to page ninety-nine and read, and the quality of the whole will be revealed to you." Ford Madox Ford

There is a wonderful blog devoted to just this test:
http://page99test.blogspot.com/

With Valentines Day heavy on my mind, I thought I’d post my page 99 from My Biker Bodyguard, my favorite romantic suspense novel:

Finally the announcement that boarding could begin eased them apart.

“I love you, darlin’.”

His wet cheeks undid her. She hitched a breath and her vision blurred. She hated crying, though she’d cornered the market on it the last few days. “I love you too, Daddy.”

He kissed her cheek and without wiping his face, he looked at Mitch down the length of his nose. “Anything happens to her…” He left the threat unfinished.

“Nothing will. I give you my word,” Mitch said solemnly. The weight of his vow hung in the air for a heartbeat, then he urged Jess forward.

Among the chorus of gruff farewells, Jess followed Mitch into the gate, Mordstrom and Davis converging behind her. When she turned back for a last glimpse of her father, her line of sight was blocked by the agents.

It was official. She was on her own. Away from home for the first time since she’d left foster care. Away from her father for the first time since he’d been released from prison. Away from everything she knew, loved and held dear. She was going to see a mother she didn’t know, someone so cold and distant to her, Jess couldn’t tell imagined memory from real memory.

In California she’d be alone. Her family would be strangers, the house wouldn’t be hers, the lifestyle utterly foreign. With her mother in a coma, it would be far from the joyous reunion she’d imagined in her secret heart. She wasn’t a fish out of water, but an alien on the wrong planet. She had no one.

Mitch placed a hand on the small of her back, guiding her past the ticket takers and onto the plane. Down the aisle, his hand warm and safe and secure, behind her was a comfort. In all the craziness of the weekend, in the turmoil of the morning, she would never have expected to let herself want him. As they settled into their seats, she realized something unexpected.

She wasn’t alone, she had Mitch.
**
Now, only the reader can judge whether or not a page 99 excerpt passes the test or not. Personally, I think this fulfills the purpose of the quote as it shows the core of the story: the transition Jess makes from her comfortable normal world and into that of the unknown—a consequence of killing a hitman in broad daylight ;) I hope you enjoyed reading it as much as I enjoyed writing it! :)

Warmly,
Jenny;)

Friday, February 06, 2009

Fifth Mistake, Recap and Exercise

We've covered the four initial mistakes:

1) Setting up the Emotional Punch
2) Over the Top Purplw Prose
3) Isolated Emotion
4) Writing Outside the Plot

Today we'll cover the fifth, and final mistake in our series on developing deep emotion in your writing:

Fifth Mistakes–Undermining the Finale

Be sure that you reserve the most emotionally difficult obstacle for the grand finale. Think back to the fireworks display–how much of the audience would stay for the whole show if the fireworks were lit in reverse order, beginning with the big bang and ending with a lone firework lighting up the sky?

Carefully crafted early emotional punches should end with a promise of the ultimate struggle yet to come. Delivering large, expansive emotionally explosive scenes early in the story leaves little room to develop suspense and tension and undermines the purpose of the plot, which usually means bringing the protagonist to a point of personal triumph as well as victory over the external plot elements.
Early scenes should never bring the character too close to the fulfillment of their personal quest or you run the risk of repeating and diluting emotion later on, or essentially end the character growth before the story is over.

Delivering Emotional Punch Essentials
We’ve discussed the many pitfalls of crafting emotional depth, but there are many exciting ways to convey the protagonists emotional journey.
Setting and Scenery:

One of the best ways is through setting and scenery. Have you ever traveled down a road that inspired homesickness? Have you ever been shopping and seen an item that reminded you of someone you loved? There are times in our lives that we’re unexpectedly overwhelmed with emotion. Analyzing what triggers this emotion in us is a terrific way to apply your own experiences to those of your characters.

The orchids in the earlier example are just one way to introduce an item which will emotionally impact the character. The options are limitless, but should always remain character specific.

Imagine our jaded inner-city police officer watching children cross the street on their way to school, and how he’s suddenly overwhelmed by the memory of the six-year-old child he mistakenly left with her abusive father, and who’s body was discovered two days later, beaten to death. This would be an excellent way to introduce a kidnapping plot.

Or perhaps it’s not a kidnapping plot, perhaps it’s a plot about police corruption and as he’s driving, he spots a cop from his division walking out of a strip club, brazenly counting pay-off money. The words the author chooses to use, words directly related to the character, will show the reader if the jaded officer is truly as jaded as he believes himself to be. In either case, the setting and scenery are instigators for the emotional punch–without them, the officer would feel isolated emotion demanding the need for a lengthy telling paragraph in order to explain these feelings.

Dreams and Memories:
A word of caution here–this is a very difficult technique to pull off. We all remember the waving images, accompanied by harp music that sent soap opera actors into a dream sequence or back in time. Avoid this type of dream and memory cliché at all costs or your work will be flagged as written by an amateur.
Often the dream or memory is haunting, either a nightmare or tragic recollection, or a blissful time before a single event that scarred the protagonist for life. By themselves, these memories and dream sequences appear as cheating, a quick way for the writer to entertain the reader by telling them what happened in the past.

Yes, I used the word telling here because so often, this technique is used instead of a fully developed plot thread. To show these dreams and memories correctly, the portion of the story they share should be shown throughout the previous sections of the work. Remember too, these should directly effect the goal of the scene and the purpose of the character’s journey.

Internal Thoughts and Monologue:
This is the most popular method of delivering emotional depth. Sharing with the reader directly what is happening inside the character is almost instinctual with a writer. Doing this correctly, however, takes some practice and some self-analyzing. Have you ever been in a situation where you were forced to lie, even if just to keep the peace or avoid hurting someone? Do your inner thoughts reflect an entire history of why you do this? Probably not. They likely reflect the truth you’re not willing to share.

Juxtaposing the inner needs, worries, and yes–frailties of a character with the outer actions, either courageous or seemingly cowardly, speaks volumes about the inner struggle of your protagonist and can often make them empathetic, despite how terrible their actions could appear. For instance, what makes Hannibal Lechter such an amazing character? He’s a psycho cannibal who feeds on human pain. But yet–he’s fascinating because he’s also very educated and puts Miss Manners to shame with his stringent abidance to etiquette. It’s this juxtaposition that makes him an emotionally compelling character.

Exercise:
Choose a highly charged emotion–rage, hilarity, grief, joy–and craft a few paragraphs that don’t once use any word that describes these emotions. Use inner thoughts, inner monologue, physical actions, and dialogue to convey compelling emotion a reader can empathize with.

Feel free to share your exercise in the comments. Also, if you like, you can pass these blogs on to anyone you think may find them helpful. I only ask that you include a link back to where you found them and my name as well ;)
Thanks so much everyone, for reading and supporting me! :)

Warmly,
Jenny:)

Thursday, February 05, 2009

4th Mistake: Writing Outside the Plot

Fourth Mistakes–Writing Outside the Plot

Make every word, sentence, paragraph, scene, chapter count. Great storytellers never intrude with an emotional aside during the tale. Many new authors explode all over their first book with everything they’ve ever daydreamed, including the kitchen sink. Curbing that need to divulge all the very best of what they’ve fantasized writing is often a frustrating task. There is a simple way to choose what is and isn’t important to convey the story.

The work isn’t about the entire lives of these characters, it’s central to the one story you’re relating, the one moment that these characters are living. Imagine if Romeo and Juliet began when the two families fell out of favor with each other. There obviously would be ample room to include all of the story elements Shakespeare loved, but would it have been such a compelling tale? Romeo and Juliet is solely a story of tragic love. Decide what your story is solely about and set aside any elements that don’t directly connect to this theme for another work.

How is this connected to writing with emotional depth? Contrast is highly important to reaching emotional depth. If there are continuous tragedies, overwhelming grief and pain, without the joys of triumph, without the relief of humor, the story becomes so darkly focused the reader begins to wonder if the protagonists have any redeeming value, if they’re unable to feel happiness or even fight for their own success. Choose your obstacles wisely–they must directly reflect both plot and personal stakes in order to achieve empathy with the reader.

Wednesday, February 04, 2009

Writing with Deep Emotion: Third Mistake, Isolated Emotion

This week we've been discussing how to write with deep emotion. The first two were Setting up the Emotional Punch and Why Purple Prose Won't Work. Today we're going to take a look at Isolated Emotion.

Third Mistake–Isolated Emotion

Another difficulty with writing emotion comes from the internal desire of the author to detail the depth of emotion they themselves feel when crafting a high stakes scene. Many first drafts of those first novels are littered with emotional moments that seem not to have any real rhyme or reason. This is created by a lack of information, or wrong information, earlier in the story which leaves the reader feeling as if they’re missing something essential in order to empathize.

An example of isolated emotion might be a heroine who suddenly bursts into tears when the hero brings her a bouquet of beautiful white orchids. Through the rest of the scene the heroine explains white orchids were her mother’s favorite and since the funeral two years ago, she simply can’t look at the flower without becoming unglued. This is isolated emotion.

There are two ways to avoid isolated emotion–curb the reaction, keep it subdued, showing the reason through internal thoughts, or secondly, set up the reaction in an earlier scene.

Imagine the above scenario where the heroine smiles, accepts the flowers with a soft utterance of gratitude, but between the dialogue, her thoughts return to the day she buried her mother. She then becomes a heroic character, holding back her own pain in order to protect the hero from embarrassment over his inadvertent misstep.

I believe setting up the emotions has the most impact. We touched on this a bit earlier, but in the scenario above, it’s obvious the mother’s passing is something that deeply affects this character. Therefore, it would behoove the author to use this during the preceding pages as a means to showcase the vulnerability of this particular heroine.

Perhaps she wishes she could ask her mother for advice, or she remembers the funeral as she thinks of the last time she saw an estranged family member. However the memory is conveyed, sharing how she can’t see or smell orchids without thinking of that tragedy in her life should be layered in throughout.

So when the hero comes, obviously trying to get into her good graces or offer comfort—either because he owes her an apology or he feels badly for her and wants to cheer her up—and offers her the orchids, her bursting into tears has real and immediate value and impact. The reader supplies the impact without the writer having to divulge the obvious, making this an interactive read with an emotionally invested audience.

Be aware of the goal for the emotion. If there is no goal, then perhaps the emotion is not necessary. If the goal is to create an emotional aura where other things may happen–such as using the flower scenario to make the heroine more accepting of whatever the hero has come to say–be sure you choose the correct method to accurately reach the goal with the most impact.

Don’t throw in emotion for emotion’s sake. Give it real meaning.

Hope that helps! If you have any questions, please feel free to ask and I’ll do my best to answer in the comments. Tomorrow we’ll cover the fourth mistake made when trying to reach emotiona depth: Writing Outside the Plot.

Did you see what’s new over at the Teen Seen today? I think this blog is starting to get pretty interesting!

Warmly,
Jenny

Monday, February 02, 2009

Deep Emotion-Character Development

Deep Emotion–Character Development

As authors, we bring our own emotional burdens and joys to the page. Communication with an audience is often the key compelling motivator to share our tales of human and spiritual struggles. Whether we write comedy, romance, thrillers, or literary novels, the protagonists journey is always fraught with some emotional danger, at least they are in the very best works. Our endeavor here is to highlight the missteps new authors often make when first exercising this fundamental need to explore and share these intense, human emotions.

#1First Mistake–The Emotional Punch

We’re often taught to start by showing the protagonists in their every-day world then quickly introduce an instigating event that drastically changes their lives. This every-day world is difficult to craft and yet create a compelling hook that will kidnap the reader for the duration of the story. Many times, new authors attempt this hook by delivering emotional punches within the first few pages—which can come off as gratuitous violence or shock for the sake of shock.

The problem here is the reader is not yet invested and instead, they enter a story at a time where characters are going emotionally ballistic and are not yet sympathetic, having had not time to develop a relationship with the audience, or make them care about what happens to them.

For instance, imagine how Scarlett may have appeared if we were introduced to her at the moment she steals her sister’s fiancé as the men are heading off to war. Without the every-day world–her amusing and harmless defiance, stuffing her face, flaunting her milky skin in the sunlight, flirting with all the boys, we wouldn’t know she’s simply a bit spoiled, boy-crazy, and more importantly–feels inferior to her more respectable sisters and mother. This sense of inferiority is intimated through these charming bits of rebellion.

Her betrothal is reached out of a sense of embarrassment, the total devastation of Ashley Wilkes rejecting her, and then Rhett Butler’s ridicule. Without this information, the reader could never sympathize with Scarlett when she regretfully accepts Charles’s marriage proposal. Without that opening, the entire tone of the novel would have been much different. Margaret Mitchell knew what she was doing.

When we approach our stories, it’s not the emotional punch that needs to come first, but merely the promise of an emotional punch soon to come. Intimating the underlying frailties of the protagonist, suggesting these frailties are going to be put to the test, is the purpose of the opening in any well told story. These are the introductory promises, the foundation of emotional threads that will knit together a tight and emotionally compelling tale for the reader.

Start small, work with creating questions that will take the reader to the next paragraph, the next page, and on to the height of the climatic moment. Get concrete about the climax. What are those emotions? Joy, sadness, fear? Why does the protagonist feel those emotions? The answer to those questions will tell you what questions you need to create in your opening scene.

Let’s take a look at a famous novel, “Twilight” by Stephanie Meyer:

My mother drove me to the airport with the windows rolled down. It was seventy-five degrees in Phoenix, the sky a perfect, cloudless blue. I was wearing my favorite shirt—sleeveless, white eyelet lace; I was wearing it as a farewell gesture. My carry-on item was a parka.

Notice how her frailty is shown through her attachment to the shirt she’s wearing? How it’s implied this is a security blanket? Look at the questions created:

Why is she going to the airport?
Why is she feeling so vulnerable that she needs her favorite shirt for comfort?
Why is she saying farewell?
Is it going to be cold where she’s going?
Why is this important to the story?
What will happen when she gets where she’s going?
This book is about vampires, right—so will she meet a vampire when she gets there?

A simple paragraph, but chock full of questions that urge the reader to continue.

Can an opening begin with strong emotion? Yes, absolutely, but it should be directly related to the story and character as they appear in the time of the opening. Take Julie Garwood’s “Saving Grace” that begins with this:

The news was going to destroy her.
Kelmet, her faithful steward and senior in charge since Baron Raulf Williamson’s hasty departure from England on the king’s personal business, was given the responsibility of telling his mistress the god-awful news. The servant didn’t put off the dreaded task, for he guessed Lady Johanna would wish to question the two messengers before they returned to London, if his mistress could speak to anyone after she heard about her beloved husband.

The opening scene is abundant with unanswered questions and we can feel the dread of having to tell someone horrible news about a loved one. But take a look at how masterfully Garwood hooks the reader in by reading the way this ends:

“I must pray,” she whispered. “My husband is dead. I must pray.”
She closed her eyes, folded her hands together and finally began her prayer. It was a simple, direct litany that came from her heart.
“Thank you, God. Thank you, God. Thank you, God.”

By juxtaposing the opening dread and turning it instead to heartfelt relief, the reader has no choice but to read on and discover why this woman would find widowhood a blessing. Yet even in this opening, as taught and fraught with emotion as it is, the questions are what makes it successful. The question at the end makes it a page turner.

So instead of focusing on creating emotion, focus on creating questions that engage the reader’s curiosity and they won’t be able to put the book down.

Tomorrow we’ll look at #2: Why Purple Prose Won’t Work

I’ll also be blogging at the Teen Seen ( http://teen-seen.blogspot.com/ )tomorrow, so you should come on over and check it out. :)
Don’t forget either, that we’ve got a Query Critique Day coming up—so get those puppies polished!:)

Warmly,
Jenny:)

Saturday, January 31, 2009

Here's To You Mr. and Mrs. Working Writers of the World

*Here’s To You Mr. and Mrs. Working Writers of the World*
~nominated to the “Real Writers of Genius” hall of fame by your ‘bud’ Jenny

Have you ever heard someone sing so well it gave you chills? Have you ever looked at a painting and been amazed at the richness of color, the depth and vibrancy of each brush stroke? I have heard how the vocalist caressed every note, owned it, held it, made it live inside of me. I’ve seen the sensual shapes and the merging of vision and color beneath the tender touch of an artist transforming a moment into awe.

As I reflect on my week, how feeling poorly and the stress of my husband’s layoff in this tough economy effected my ability to work, I’m humbled by a new insight. While I’ve always felt exceptionally blessed and grateful for having a life that allows me to write for a living, I have never truly connected with the words of friends, peers and coworkers. When they shared the pain and frustration of attempting to tap into their creativity after a stressful day at work, I thought I understood. I may never be able to understand fully, but I have a deeper appreciation for these writers than ever before.

In the old days, artists were apprentices, living humbly as they studied under the guide of the masters. They weren’t expected to spend more than forty hours a week being ridiculed by clients or customers, yelled at by bosses, or engaging in the drudgery of a daily grind. They were allowed to immerse themselves in the craft.

Every day I’ve sat down to work, taking advantage of having my husband home to run the household. Every day, I’ve felt like I’ve been pulling teeth to be creative as my health and financial worries ate at the back of my mind. That changed today. This morning, I heard the song, “Arms of an Angel” by Sarah McLachlan and as usual, it gave me chills.

I thought about all the beauty in the world. The works of Michael Angelo, Da Vinci, Rembrandt, Monet, Norman Rockwell, the sounds of Beethoven, Tchaikovsky, Strauss, and my favorite, Vivaldi (his guitar concertos are fabulous.) And as writers are wont to do, my imagine ran away with me a little. What might have it been like if Da Vinci had to flip burgers at McDonalds and paint in his basement without the master Verrocchio to guide him or much respect for his pursuit? Or how well might have Strauss composed his Blue Danube if he had to bartend all night and work on cars during the day?

How in the world do my friends, peers and coworkers manage to evoke such extraordinary works from themselves when they work in government, teaching, medicine, accounting and any other myriad non-writing careers? I am absolutely humbled. But even more so, I want every one of you to know how truly heroic your efforts are to follow your dreams and passions. I see now. My hat’s off to you with sincere admiration.

I also owe you a thank you. No telling how much time I would have wasted pouting about my situation if I didn’t have such wonderful examples in each and every one of you. I only regret that I didn’t recognize your efforts sooner. Know that you are appreciated and also, that you’re supported!

Warmly,
Jenny

Thursday, January 22, 2009

4th Requirement: Determination

Yeah, okay, so we covered love of reading, imagination and insight--now it's time for determination--and that ain't easy.

I don't know if you beleive in a god, or in karma, or fate, or destiny--I'm not even sure I could define my own beliefs, but these are a few thing I believed and it helped me tremendously:

On Rejections:
I decided that the "universe" had determined I would get a set number of rejections--say 45. Therefore, each rejection sent to me got me that much closer to the day I would be accepted. You can adopt something similar, because it's true--the majority (if not all) published authors have gotten rejections.

On Motivation:
Everyone of us have a naysayer and a supporter in our lives. Get those that support you to help you prove the naysayer's wrong. It's a blessing for those moments when you feel completely overwhelmed and don't think you can write another word. Those supporters need to be informed though--communicate with them, this is very important. Don't be afraid to share your obstacles--because then you'll have great company when you triumph ;)

On those Naysayers:
I recently saw this great quote from Mark Twain and I think it sums it up nicely:
"Keep away from people who try to belittle your ambitions. Small people always do that, but the really great ones make you feel that you, too, can become great. "
Truly, surround yourself with positive, energetic and motivated people who will support you and your goals.

On Writing Every Day:
When I began, I wrote every single day, for as long as possible. Unless the family had some major crisis, I was writing. You do need to do this--but don't beat yourself up if you miss a day here and there. At least write a paragraph, even if you have to scribble it on scratch paper--but in these early years, you need to stay connected and entrenched in the world you're creating.

There's another aspect that is important here. It's not just for your own benefit, but also for the benefit of your friends and family. You'll need to train them for the life you'll have once you become published--because it truly does not get easier--only tougher. The more you're published, the longer you'll need to remain on the computer, and therefore, it helps if you begin training your loved ones now to respect that time you need.

On Goal Setting:
Don't get bogged down with first chapters--your goal should be to complete that manuscript. Besides, you never know what the beginning should look like until you get to the end of the book. Learn the craft as you go, stretch yourself as an author through short stories and flash fiction, but keep your eye on the end of the book--it's the first step in one of many to seeing your dreams come true. Using the above should get you there as soon as possible.

And last, keep trying:
They won't know about you unless you tell them. Somewhere out there is the person who loves your book, wants to see you succeed and will give you the shot you've prepared for. (Luck happens when opportunity and hard work meet.) Be not only determined to write your book, but to keep mailing (or emailing) queries in batches. Once you send out, compile the next list you want to send to and when you get your responses, send out to the new list immediately. Repeat.

Determination isn't just a feeling. It's not just a vow. It's not just something you choose to be--determined. It's taking action. Without the action, you sell yourself short. Don't create that regret!

Please let me know if you found any of this helpful or if you have any questions. I'll be happy to respond in the comments!

Warmly,
Jenny:)

Wednesday, January 21, 2009

3rd Requirement: Insight+Exercise

The first (love of reading) and second (imagination) are on this blog, so if you haven't had a chance to read them, they're there whenever you have the chance :)

Today I'm discussing insight and why that is a requirement. Now, some of you may be familiar with a red flag I've mentioned in the past. This red flag tells me who does, and doesn't, have what it takes to be a writer. (I discussed this in a blog about honesty.) This red flag is a level of maturity that allows a person to have the insight necessary to write believably.

This does not mean age-wise. I've met sixteen year olds who have a higher level of maturity and insight than some sixty year olds. It also doesn't mean one has to be the MOST insightful or mature person on the planet. Without maturity to accept what your insight tells you however, that insight will be useless.

Let's begin by defining insight:
*Clear or deep perception of a situation

For our purposes, the above definittion is the one we need. The study of mankind, in many different ways, is how one can come to that clear and deep understanding of a situation. The path to insight is paved with curiosity. Those who are incurious are the ones who often end up stunted in their maturity, and hence practice a type of insight that is based solely on what they themselves would or wouldn't do (projection, as it's often called.) This is a shallow reflection of true insight.

See, true insight accepts the good with the bad, the positive with the negative. There's a saying in fiction that the villain is the hero of his or her own story. This is true. If we aren't curious to know why, if we are dismissive and judgemental to the exclusion of understanding, then we fail as a writer to create a three-dimensional--and otherwise believable--character. Without a believable character, there really is no story.

The one essential element of insight is not just being honest about human nature, but about your own human nature. To create a character who is TSTL (too stupid to live) means to create a character based on your conceptions of your own innocence. This is the character who's never accountable for the man/woman he/she chooses to marry or the friends he/she has or the situations he/she choose to be in. This is what raises the red flag for me.

If you cannot be honest about your own short-comings, about the areas of your own character that need addressing, then you can't be honest about the character you're creating. Being vulnerable on the page isn't easy. During a recent review, it was mentioned that my heroine (Kaylee, in DFF) was too forgiving at one point. I don't know which point that is, but I was shocked to see that offered. It's something I struggle with in my personal life--being too forgiving. I don't see that as something to be proud of, but rather, how I can often allow people to wipe their feet on me one too many times. It's a weakness I have to overcome--especially if it's making it's way into my writing.

I allow myself to be vulnerable on the page, however, and that's why the rest of that review spoke about how much they loved Kaylee as a strong heroine who doesn't back down--because it's not only about your flaws, it's also about your strengths. Think of Stephen King and how he's used his own history and the culture of his upbringing to pepper all his writings. He is vulnerable on the page. The same can be said for Anne Rice, and J.K. Rowling, and Clive Cussler.

Anyone who's studied poice procedure understands how ten eye-witnesses can tell ten differing stories. We each bring our own perspectives to the table, we each bring our own expectations as well. We bring our flaws and our strengths. So, let's take this factual event and imagine how two or more different witnesses might have reacted:

A pair of young black men attempt to steal a white man's car. This white man, accompanied by a group of his white friends, uses a baseball bat to beat them so badly, they fracture one man's skull--and they do this while shouting racial slurs. When the white men complete this beating, they steal the black man's sneakers.
You can choose any type of witness you like: a card-carrying member of the ACLU, the daughter of a Grand Dragon, an elderly hispanic man who speaks little English, a sixth-grader on his way home from school...

Try to choose characters completely opposite from yourself in gender, economic class, ethnicity and age. Use insight into human nature, think of different historical or important figures you read about in school or biographies of people who had experiences completely alien to your own (Anne Frank, Lincoln, Pocahontas, Einstein, etc.) Use your own personal experiences in social settings. Define the emotion--and then remember a time when you, yourself felt that emotion, and walk in the shoes of these utterly foreign characters.

You can do this exercise privately, or share in the comments. Please let me know though, if this helps or if I've only confused everyone :)

Warmly,
Jenny:)

Tuesday, January 20, 2009

2nd Requirement: Imagination

My last blog post about the four requirements neccessary for being a writer discussed the love of reading. Today I'm going to discuss why imagination is important--and it may not be what you're thinking ;)

First, let me say that there are no new stories under the sun. Trying to come up with a unique plot twist is an exercise in futility. What one really needs to focus on is how to lead the reader down a path, without them knowing the true path they are on. That's the key.

In The 6h Sense, the audience is led to believe they are following the life of a lonely child therapist attempting to help a child who sees ghosts. The twist at the end is discovering Bruce Willis's character is the ghost. The idea that a ghost doesn't know he's dead is not unique. We've seen it time and again in a zillion different stories.

Second let me also say that there are no new characters under the sun. Every 'type' has not only been used, but defined over and over again from the time of Aristotle and Socrates to Vogler's Hero's Journey. To attempt to create a unique character is an exercise in futility. What one really needs to focus on is how to create a memorable character. That's the key.

A person who has fallen into insanity and obsesses over something he cannot have is not memorable: Golem from the Lord of the Rings by J.R.R. Tolkein is.

So where does imagination come into play if there are no new characters or stories to write? Why is imagination so important then?

Because without imagination we can't take what's been done and make it unique to our own style, writing, theme, plot, novel and voice. Imagination, therefore, is not how we create a story--but how we create a memorable and unexpected story. It's not nearly as easy as one would think.

There are a few methods for exercising your imagination in a productive way. The Snowflake Method is one example. There are others more or less along the same lines. The methods are based on the belief (and I agree) that our first ideas or thoughts are more shallow, have less depth, than those that would follow. The method teaches how you can take a central thought and make "branches" (or the design of a snowflake) and further brainstorm off a central theme. (There's more to it than that, but that's good for our purposes here.) Here's an example:

In the previous blog, I shared how to decide on your subject matter and what you're passionate about. Mine was apocalyptic settings with characters who are altered. Let's take a very popular option: A character surviving a nuclear holocaust. We'll call her Jane.

(Because I don't have the freedom to do circles with connecting lines, I'll do this in descendning order.)
Jane was a school teacher.
She has the polly anna style optimism that either infuriates, or charms.
She has darker secrets, the polly anna facade hides them.
Maybe these secrets give her an inner strength no one would believe.
Maybe her father was a perfectionist--maybe he abused her.
Or maybe her dark secret is deeper, more magical?
Maybe she surrounds herself with children because she can see people's souls?
(This can also be done for scenes and overall plots.)

So now, instead of having a bright and chipper Jane teaching the children who survived the holocaust, we now have a secretive woman with supernatural powers who prefers to avoid the pain caused by seeing into the souls of adults, a pain she learned at the hands of her perfectionist and abusive father. How might a character like this react to her secret being revealed? How might a newly emerging power struggle for governance believe an ability like hers could benefit them? What might this mean as a story of survival?

As you can see, very little thought went into the above--you're witnessing what it looks like to "wing" it--but I wouldn't be able to do that without applying experience and insight (coming soon!) into human nature with a focus on creating a memorable character. What will make her memorable (or not) will depend on how much she's challenged by the situations I put her in--and how unexpected is the nature of the path I take the reader down.

Had I focused on trying to be unique--I would never have chosen a nuclear holocaust, a cheery elementary teacher, an abusive father, or a 'psychic' ability. None of those things are unique. They do have the potential, however, to become memorable.

So when you start using your imagination, draw from the real world around you to make it believable, allow yourself to be vulnerable on the page (more on this when we discuss insight) and practice some derivitave of the Snowflake Method above to go deeper into that imagination to create memorable stories and characters.

Hope that helps and I look forward to reading what you think in the comments. If you have any questions, or want me to further explain anything I may have glossed over or been unclear about, please let me know!

Warmly,
Jenny:)

Sunday, January 18, 2009

4 Requirements for Being a Writer+Exercise

There are some things that one can’t teach a writer. They must be either adopted as a lifestyle, or be inborn in the person. These include:

1)A love of reading.
2)Imagination
3)Insight
4)Determination

Without the above four traits, one might want to reconsider becoming a career (fiction) author. Of course technical writing and other non-fiction writing venues may be possible, but for the most part, the four listed traits are a must. Let me explain further for each trait in the list over the course of the upcoming week. We’ll start with number one today:

1) Reading is mandatory.
If you have no appreciation for the written word, becoming a career author in fiction is a little like an anorexic attempting to become a food critic. Whatever you choose to read, however, is solely up to you and what you’re passionate about. Some people enjoy reading biographies. Does this mean they have to write solely biographies? Of course not. They would be better off, though, attempting to write in a “biographical style.”

I have an exercise I often do with new writers. If you like, you can do this with me now. All you need is a piece of paper and a pen or pencil.

*Make four or five columns down the page. (The more you make, the more you’ll get out of this.)
*At the top of each column, write the title of an all-time favorite book.
*Beneath each one, list four or more reasons why you loved that book.

A quick example from mine:

The Stand(King)------Swan Song(McCammon)-----Strangers (Koontz)
Flu Apocalypse ------ Nuclear Apocalypse -----Challenged Reality
Good vs. Evil ------ Good vs. Evil -----Gov. vs. Citizens
Altered Characters--- Altered Characters -----Altered Characters
Supernatural ------ Supernatural ----Alien Aspects

As you can see from these favorites of mine, they share common traits. These common traits indicate what I love to read, and hence, what I would love to write: Apocalyptic stories with a clear definition between good and evil, supernatural aspects and featuring characters altered in some significant way by the apocalypse.

My last book most closely matches what I should have been writing all along. Kaylee’s world is destroyed (apocalypse) when she starts seeing ghosts. The more she battles (good vs. evil) these supernatural elements, the more her innate powers begin to emerge (altered.) As you can see, the translation doesn’t have to be literal—Kaylee’s apocalypse was simply being unable to maintain a “normal” life.

If you’d like, take a moment to share the results of this exercise in the comments. I’d love to see what you thought of the exercise and what you came up with!

Warmly,
Jenny

Saturday, January 03, 2009

Who Deserves Our Help?

Once in a while (well maybe a lot :)) a comment is left on one of my blogs that gets me thinking about a subject so much that I believe it needs it's own blog post. In a recent reply, SD offered a comment that inspired me to write this post:

"It comes down to motivations and goals. Why do you write? Is it for self gratification or is it a career. Hopefully there's a balance of both."

This, I think, is where the root of so many problems crop up.

My husband, who comes from a much wealthier home than I grew up in, once became angry with me when I gave five dollars to a beggar on the street. I was surprised. Our conversation went something like this:

"Y'know Jen, he's just going to go buy drugs or get drunk with that money. Probaby the reason he's begging to begin with."

"How do you know that?" I asked. "Just because he's down on his luck doesn't mean he's an addict. Besides, we can afford to give him the five dollars, it won't hurt us."

"You don't know if he isn't an addict either."

"I don't have to know if he's an addict. I need to know that *I'm* a person who, when seeing they can help, doesn't refuse that help. Whatever happens to that money is on his soul--not mine. Refusing to give him aid when I could WOULD be on my soul."

I'm Christian, but I don't like to discuss that much becuase I don't think it matters, truly, what religion someone is. However, I do believe in what the Bible teaches and the story of the angels disguised as beggars being refused aid from all the prospersous and finding it in the impoverished couple has always stuck with me. It's a good lesson to teach and to learn.

See, at one point, I was also homeless (a runaway) and as I was under 16, I couldn't get a job and had to find a way to eat. When I was given money--I used it to buy food. There is no hunger worse than that which you have no idea will be satisfied or not.

About now you're probably wondering where all this is going :)

The point is--the goals and motivations of others don't matter. Our goals and motivations do.

Are we going to be motivated to help only those writers who have a career goal in mind? Or are we going to encourage and support others who are interested in writing and learning the craft, regardless of what they choose to do to make themselves happy?

Will we tell that angel knocking on our door that his goals don't appear lofty enough for us to help him learn the craft?

In the end, we'll be known by our actions. Our focus should be less on what another person wants to do privately with the knowledge we can share, and more on how we wish to impart that knowledge.

Now of course all that would fly out the window if a child molestor tried to hire me to edit his child-porn magazine! I would be on the phone with the authorities so fast it would make everyone's head spin.

But of course, most writers here are merely interested in learning what they can in order to make their own informed decisions about what they would most like to accomplish. Some discover that they really don't love writing enough to do the grueling work of completing and preparing a manuscript for publication. If we help them discover that about themselves, then we have done our part and given what we could. If we help a passionate, driven writer along on their journey, then we have done our part and given what we could.

I believe that life is so much easier when you simply concern yourself with reaching your own goals and allow others the room to do the same. (Barring of course, those who have goals to cause another person harm.)

So do writers intent on self-publishing deserve our help? Do writers intent on writing political works that oppose our own ideas deserve our help? Do writers of a different religion, ethnicity, or culture deserve our help?

Of course they do.

The only time we should refuse our help is if that person is intent on causing harm to others.

At least that's the way I see it :) What do you think?

Warmly,
Jenny:)

Monday, December 22, 2008

Controversy?

So they say there's no such thing as bad PR. Is that true?

My publisher once said that I wasn't controversial enough, that I was too laid back and easy going for my own good (career.) That's always stuck with me. Yet I find that I despise drama and headaches, that it detracts, rather than aids, my ability to move forward in any area of my life.

Looking at what has worked for other authors, and what hasn't, leaves me confused.

Frey lied about his book "A Million Little Pieces" to Oprah, and destroyed his career/sales.

The movie version of Anne Rice's "Interview with a Vampire" disgusted Oprah, and became the Queen of horror. Becoming a born again Christian, however, seems to have reduced her popularity.

How big would Stephen King's career be if the reading public hadn't decided he had a "twisted" mind? What if they just accepted his brand of horror as par for the course?

And what about contrversial figures outside of the publishinge world?

Who knew who Paris Hilton was until she started partying it up and recording her sex life? How many heiresses aren't household names?

What about Britney Spears? There are some that think her public displays of mental instability were merely ploys to keep her career alive.

Does the child-star-gone-bad seem to be a way for adult actors to work their way back into the business?

How did Brooke Shield's battle with Tom Cruise over post-partum depression effect her career?

Even if I chose to follow my publisher's suggestion--what are the odds that I might hinder, rather than fuel, my progress? Is that worth the risk?

Or, is the more tried and true method of working hard and keeping my nose to the grindstone, the one I feel most comfortable with, the better option?

Do nice girls and boys truly finish last?

What do you think?

Warmly,
Jenny:)

Sunday, December 21, 2008

How to Get Published

Mostly, getting published is a no-brainer:

Create a quality product the market(s) want to purchase.

Easy, right?

Well, yeah, not so much.

What does quality really mean, especially when it comes to writing?

First--you have to know what you see as quality. I know many new writers get sucked into the life of an aspiring author. They read the works of other aspiring authors in an attempt to exchange critiques and hone their craft. This is a great way to learn to self-edit as well--what you can point out needs work in another person's writing might help you see similar errors in your own.

Aspiring authors usually go through a reading drought--because they are so focused on learning the craft, their critical eye gets in the way of their enjoyment. They see sentences that wouldn't make it through round one of the critique group, or past their creative writing teacher or mentor. Or, they find themselves taking notes on how an author managed to accomplish something they're struggling with.

(The above passes, by the way, so if you're trapped in reader limbo and feeling agitated about missing something you enjoyed immensely, know that this is merely a phase that you're moving through, not staying in.)

So what does the above have to do with judging the quality of a written work?

Everything.

If your bookshelves are filled with decades old novels, or worse, empty, then you're subjecting yourself to an uphill battle in a career that is already bloody and brutal.

Make it habit to seek out newer releases that are highly popular in the field you write in. Don't worry about it informing your writing. Of course it will, as does everything you do and live. You'll not accidentally begin writing like Dean Koontz or James Patterson--that's not possible. Your voice will always shine through.

In these tough economic times, the library is always an excellent resource. Often they'll have new releases to "rent" in hardcover before the paperback even comes out. Find a way, but get those novels read!

Nothing can replace the first-hand experience of reading a book the market is devouring currently. Once you get about six or seven of these under your belt, you'll begin to see the difference between what you write, what your aspiring friends write, and what is getting published.

Of course learning the craft is an ongoing process. I'm still learning, and will still be learning for the rest of my life. I tend not to take on new projects unless there's a challenge for me in the work--that's what drives my passion--wanting to make every story bigger and better than the one that came before.

Once you begin to discover what your challenges are by reading how the experts handle them (how does Anne Rice write such descriptions? How did Stephanie Meyer work her magic? How does James Patterson or Dean Koontz make science so entertaining? What makes Cussler's Dirk Pitt someone you always want to read about?) you'll be on the right track to creating your own brand of quality product for the market.

If you want to get published, then you need to be an avid reader.

Then of course comes self-discipline and learning to be prolific, but in those glorious developing years where you're free to write what you want, linger where you need to, and explore to your heart's content, take the time to find out what type of quality you're interested in creating--and then practice and practice some more.

Once you have that quality product, you'll need a quality advertising pitch to the publishing house or agent of your dreams. This includes a query letter that'll knock their socks off, and a synopsis that shares just how exciting the plot, characters and writing is in your novel. Making industry friends through attending conferences and such is another great way to get your completed quality product in front of the right people.

I hope this helps and if you have any questions, please feel free to ask in the blog and I'll answer as best as I can!

Warmly,
Jenny:)

Thursday, December 04, 2008

Hypercriticism and Spongebob Wisdom

My little one is home sick today with a stomach flu that is going around. Cartoons have replaced my normal musical morning writing time. What's funny, is that I actually got sucked in to this morning's episode of Spongebob.

In this episode, "Artist Unknown" Squidward is determined to teach Spongebob how to be a great artist. In class, Spongebob tries to impress Squidward with what he thinks is art: draing a perfect circle freehand, intricate oragami, and creating a perfect likeness of Michaelangelo's statue, David--using a seashell to cover his privates:)

Squidward refuses to see the expertise in Spongebob's creations. He berates them, and Spongebob, for not creating art along the same lines as Squidward has, namely depicting Squidward's likeness in multiple forms and mediums.

Spongebob, destroyed by this unnecessary and harsh criticism from his hypercritical neighbor, runs away to Bikini Bottom dump and puts a box over his head. Meanwhile, the wealthiest art collector of all time shows up at Squidward's art school looking for a masterpiece and promising fame and fortune to the artist--of the look alike David with the seashell.

Squidward claims the work as his own, but on transport, decapitates the sculpture. The art collector suggests that recreating the sculpture should be no problem for an artist of his caliber and promises to come back the next day.

Squidward then hunts down Spongebob and tries to get him to make another sculpture, only to discover though, that the mental and emotional beatdown he gave Spongebob earlier has destroyed his confidence and made it impossible for him to recreate the masterpiece.

What a wonderful message, I think, for a kid's cartoon! It's something I've seen happen to too many young or new authors. Their talent and inherent voices are so hyper-criticized that they abandon what made them unique and wonderful in favor of following the advice of those with more ego than taste. It's almost criminal, if you ask my opinion, to destroy someone's dreams like that.

Of course there's always the opposite point that a new author is responsible for who they choose to listen to and take advice from. That of course is true, but in the legal world, they have what is called an "eggshell tort." It works this way:

If a perfectly healthy person slips and falls due to the negligence of a business and incures only $500.00 in damages, the business cannot use this as a baseline for all those who are injured. So, if a person with brittle bones (like an eggshell) falls and incurs $500,000.00 in damages, the business liable for those *actual* damages.

In other words, simply because some folks have had the opportunity to develop thicker skin and may withstand hyper-criticism at a vulnerable stage, does not absolve the hyper-critical of respnsibility if they direct that hyper-criticism at a person with more brittle skin.

Personal responsibility doesn't begin and end with the effect our actions have on others--but with the actions we take ourselves. We might get lucky in that when driving intoxicated we don't mow down a crosswalk full of school children--but that doesn't mean the law hasn't been broken. Lack of consequence for bad behaviors is not an indication one should continue those bad behaviors.

So, in my opinion, Spongebob got it right: we lose future masterpieces when we fail to be objective and honest enough to recognize and nurture potential in others. We take on the responsibility to be objective and honest when we fashion ourselves an authority or an expert.

I'll end with this fun quote from Spongebob:

"Squidward, I used your clarinet to unclog my toilet!"

Warmly,
Jenny:)

Sunday, November 30, 2008

Strong Leading Ladies

Funny thing happened this morning. I was thinking about my published books, books I’m currently writing, and books I plan to write, and realized they all have very strong leading ladies. These girls are not damsels in distress, they are dames who distress others. In fact, my first book (unpublished) featured such a strong heroine, that I had to create a whole alternate lifestyle in order for her views to make sense in the context of the time period.

From there, I was unstoppable:

Bulletproof Bride: Mina, an out of work waitress who uses a gun to ‘steal’ her life back.

My Biker Bodyguard: Biker and tattoo artist Jesse fights to survive the hit ordered on her.

Stark Knight, Silent Knight, and Good Knight: Sara, orphaned young, brought up in the system, becomes a kick-butt, high action, fighting machine in her quest for justice.

DFF: Dead Friends Forever: Kaylee may only be fourteen, but she’s already one tough cookie, and will only get stronger with every book.

From there, the books I have in progress and in the idea bank for future works include:

The rewrite of Racing the Moon: Amanda is a science geek, but she’ll do what it takes to cure the Alaskan Inupiat of the Lycan Virus.

My Twins Book: Lucy is a twin, with a strong psychic connection to her sister. When she’s released early from prison, she learns there are strings attached—namely hunting down her sister who has a highly important government secret coursing through her veins. (I’m really excited about this one.)

My Post Zombie Apocalypse Book: A cross between Mad Max and 28 Weeks Later (though more like 28 years later) starring Morgan, a female soldier who learns too much, becomes a threat to the political machine controlling the remaining population, and gets fed to the walking dead as punishment. Only…she doesn’t die.

And currently, I’m halfway through Extreme Hauntings Book 2: High Spirits, where Kaylee starts serving her time at Barclay Hall, a fancy boarding school for wayward girls—and one overflowing the spirits of dead children.

As you can see, each of my heroine’s has one thing in common—they are not the sort to sit back and hope someone else saves the day. This got me to thinking about what I’m trying to tell the world about women, what my message might be, because obvious there’s something I want to say if I keep finding my literary passion ignited by the strong female lead.

I’m not some uber-feminazi that hates men and never shaves my legs (do they even really exist?) So it doesn’t have anything to do with some odd distaste for the male gender. Actually, I’m a big fan of men in general. I have a long list of “hotties” (all of whom I respect as professional actors or models!) that I greatly admire. My husband topping that list, of course! 

I’m also not attempting to overcome some great idea that I’m a victim of some sort, where I need to live vicariously through my characters to seek some strange revenge of imaginary people. Some of which happen to be women, in fact, in the Knight Inc. series, the biggest baddie in the bunch is a woman.

So why in the world am I so compelled to keep writing these leading ladies as strongly as I do?

I think it’s because I didn’t realize my own power (as many people don’t) until I was much older, maybe in the last ten years or so. It would have been nice if I could have lived strongly all my life, but I won’t lie and say I have. I’ve known cowardice and weakness—but through those experiences, I learned how much I lose when I give in to those very human emotions.

Only through courage, strength, fortitude, and heart have I gained all that’s most precious to me, and had far fewer regrets than before. I think in my books, I want to show people, my female readers in particular, that it’s okay to take a stand, to demand better from yourself and others, to assert ourselves and make sure we are not those good women who stand by idly while evil happens.

Or worse, depend on others to battle that evil.

It’s worse because there is no ownership of our lives, of our communities, of how we are responsible for more than our own happiness and wellbeing, but also for our impact on our environment. We hear a lot these days about leaving as small a footprint as possible on the earth, that we should recycle and live green. Yet rarely do we have conversations about how we impact our social environments and the choices we can make to ensure we are a positive influence.

In the end, maybe that’s my underlying PSA to the world: Be part of your community, know your own power, and never expect others to do what you are fully capable of yourself.

Or something like that. Maybe I’m just overanalyzing things this morning. Maybe it’s only because I love excitement and blowing things up, beating up bad guys and fighting off supernatural entities is a pretty cool way to spend the day :)

Warmly,
Jenny :)

Monday, November 10, 2008

Pre-Order DFF at Amazon.com Today!

Hey everyone! :)
You can preorder your paperback of DFF: Dead Friends Forever, the first book in the Extremen Hauntings series today! :)

DFF at Amazon.com




Visit my official website to read an excerpt!

Wednesday, November 05, 2008

I want to Interview You!

Would you like to appear in an upcoming book in the Extreme Hauntings series? Asia, Kaylee, and T.J. appeared in the first book, DFF: Dead Friends Forever. Fill out the interview below and your name could be given to the next new character!

First Name:

Age:

Favorite Movie:

Favorite Music:

Favorite Book:

Favorite Horror Movie/Game/Book:

What Scares You:

What Annoys You:

What Angers You:

What do you love:

Would you like to be notified if you’re name is included in an upcoming book?
If so, please send the interview and an email address where you can be contacted to jturner4@charter.net