With every pre-order of the BRANDED TRILOGY my publisher, Imajin Books, will give you 3 FREE novellas! Amazing, isn't it?
HOW IT WORKS:
Forward your Amazon proof of purchase email to email@example.com and you will get your FREEeBooks! *Offer is open until Sept. 30, 2017
BUT THAT'S NOT ALL!
For every pre-order your name will be entered in to win a ruby necklace and author swag! *Winner announced October 1st.
Three full-length novels in one boxed set available in e-book only!
LAKOTA HONOR, Branded Trilogy book 1
Fate has brought them together, but will a promise tear them apart? In the small town of Willow Creek, Colorado, Nora Rushton spends most of her days locked up in her home with a father who resents her and fighting off unwanted marriage proposals from the wealthy Elwood Calhoun. Marked as a witch, Nora must hide her healing powers from those who wish to destroy all the witkowin—crazy women. What she doesn't know is that a bounty hunter is hot on her trail.
Lakota native Otakatay has an obligation to fulfill. He has been hired to kill the witkowin. In a time when race and difference are a threat and innocence holds no ground, courage, love and honor will bring Nora and Otakatay together as they fight for their freedom. Will the desire to fulfill his promise drive Otakatay to kill Nora? Or will the kindness he sees in her blue eyes push him to be the man he once was?
BLOOD CURSE, Branded Trilogy book 2 “Upon mine death for the blood ye have shed, Every daughter born to ye shall die before it draws breath, to which ye will know pain and worse, I cast unto ye mine blood curse.” ~ Vadoma
Four years after the Blood Curse, Pril of the Peddlers vows to protect her child against the evil men who hunt her. With her clan unaware of the branded girl among them, Pril has to keep the identity of her daughter a secret. When her child is kidnapped, she is forced to ask Merchant runner, Kade Walker, for his help.
Kade Walker needs to find the gypsy child. Blackmailed and pushed beyond his own moral code, he is determined to do whatever it takes. When he comes across the Peddler clan, he is sure the girl is there, however all hope is lost when the gypsies capture him. Time is running out—until Pril makes him an offer he cannot refuse.
Amidst greed, lust, revenge and love, Pril will need to trust Kade. But as the evil nears and doubt creeps in, will she discover that the enemy has been standing next to her all along? ***
SACRED LEGACY, Branded Trilogy book 3 Tsura is a Chuvani, and with that comes great power…
Desperate to escape the memories that haunt her, Tsura Harris returns to Jamestown, the very place her mother forbade her to go. A gifted Chuvani, Tsura has sworn off all magick, thus making her vulnerable to the Renoldi clan, who wish to kill her and take the pendant that is the key to her power.
Red Wolf is hell-bent on living his life on the sea, until he runs into Tsura on the docks. His pride wounded from her rejection years before, he hoped to never see her again. But when the evil Corsair, Romulus Black, demands to know where she is, Red Wolf must protect her, as is his duty.
But is duty and honor his only reason, or does Red Wolf still carry a flame of love in his heart? And will Tsura finally discover her destiny?
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__________________________________________ Thank you so much for supporting my books, and buying the BRANDED TRILOGY! I hope you enjoy these stories as much as I did writing them. Happy Reading!
When Eileen Edwards, a former-cop-turned-PI, is given the task to find a missing street kid named Zipper, she has no idea what she has let into her life. Not only did the boy witness a murder, he’s now being hunted by at least one motorcycle gang. Finding Zipper is the easy part; keeping him alive is the challenge.
As a killer prowls the streets of Vancouver looking for the kid, Eileen discovers that Zipper not only can’t remember what he saw, he’s also hiding a shocking secret. With the assistance of Constable Larry Norman from Eileen’s old Gang Task Force unit, she helps to expose a ruthless killer, and in the process, Eileen learns that sometimes one must let go of the past in order to move forward. See who Cheryl Kaye Tardif is...
When the famous Bushman exhibit of a lowland gorilla goes missing from Chicago’s Museum of Natural History, no self-respecting Chicago police detective wants the case. So the assignment is pawned off on an ‘old fart squad’ of retirees called back into service and led by the classy Aubrey Hamilton. But how does one profile a thief who has stolen a 500 lb. stuffed ape?
At first, Aubrey and her team suspect a hoax or fraternity joke—until bodies turn up inside the museum. Now the elderly sleuths must treat the case as a multiple-homicide investigation. However, the brutal nature of the attacks suggests Aubrey and her team have stumbled upon something…supernatural. See who Robert W. Walker is...
A gardener who uses plants to heal, Fern Montgomery is an outcast who refuses to be pushed out of town. When her friend is murdered and all fingers point to Fern as the only suspect, she must find a way to prove her innocence while fighting off unwanted feelings for the sheriff.
Sheriff Gabe Bennett has his mind set on arresting Sarah Fuller’s killer. But his key suspect isn’t what he expected. He soon realizes there is more to the quiet gardener than he’d first anticipated. As passion blooms, Gabe is forced to face his feelings—and the woman who has stolen his heart.
The beginning of a book is where you will set the stakes for your story. How do you do this? Start your story with tension, action, or a problem. I always begin with a conflict. This enables me to introduce the reader to the plot in a way that will grip them and hopefully keep them turning the pages.
In freelance, journalism, short stories, novellas etc. the key ingredient is to hook your reader, just as you’d hook a publisher when querying them; writing a novel is no different. Bring the reader into your story by setting up the action. Keep your reader engaged by giving droplets of information about your character and the plot, or sub plots while building toward the climax of the story.
As authors we are always told to keep the story moving forward. When telling backstory writers often get confused with how to continue forward when it is a contradiction to the rule. Tell, not show the reader in a paragraph, or page important facts relevant to the character or setting.
Exposition is breaking away from the action to give information. You will need to decide when it is appropriate to place necessary background facts within your novel. This can be tricky, but always remember the story comes first.
Do not bog down the plot with flashbacks of exposition. What I like to always remember for exposition is…telling it when the story allows.
* Three ways to present your exposition is to place it into the scene, put it between scenes, or let a character explain.
Write them to be tangible. If your character is the antagonist, who is a serial killer, explain how they became this way by foreshadowing, inner dialogue, and actions of other characters. Do not assume your reader doesn’t care who the antagonist is because he is the bad guy. Make it believable, and always ask yourself why, when flushing out character biographies.
Do not change the rules. Characters that don’t follow his/her actions will pull the reader from the story. When you’ve written a character that is shy and timid then all of a sudden she is argumentative and abrasive you will piss your reader off. There is nothing like being stopped dead in a book from poor characterization. If your character starts out meek and mild but you want her to become stronger, build toward it. Do not change her in a few pages. People don’t behave this way. Keep it real.
Well handled, subplots can deepen the story’s background, and be used as pacing to turn the action from a break in the plot. If you’re going to have one or two subplots pertaining to the main characters, start the first one right in the beginning of the story. If you’re choosing to have your subplot around someone other than your protagonist, allow the reader to get to know them first before starting the subplot.
Subplots should be woven throughout the novel, each taking a turn at being the central point of the story. This can be complicated and I’d advise taking notes on subplots so you don’t get confused.
Tie up loose ends. Like plots, subplots need development, crisis, and resolution. Even if the subplot is minimal, treat it the same way you would your plot. Mention to it once in a while throughout the story. Try to write the subplots predicament to be directly involved with the main plot.
This is the end of your story. Similar to the beginning, the end will solve the problem you’ve built the reader up to throughout the whole story. Endings can come in three ways, happy, unhappy or both together. It is up to you, and the story you’ve written as to which way you will end things.
The resolution is the winding down of the rocky middle. Here you will resolve the central conflict. The main plot will end, and if you choose to write a series, you can keep a sub plot open, but do not leave the reader guessing on your central plot. Wrap it up!
Thank you, Kat for having me on your blog. It’s an honor to post here about editing a romance novel. This is about editing the story structure not the words.
There are many areas to evaluate when editing a first draft, and today I’ll cover four Key Elements of Fiction important to romance novels.
Point of View
Characters on Stage
Spice (Conflict and Tension)
Purpose of each Scene
Even in real life, romance takes effort. The same is true for creating a romance novel that sizzles.
Point of View
Point of View (POV) is the perspective the story is told from. It is generally accepted that each scene is written from the point of view of one character.
In a romance novel, you have to make choices on who the POV character will be. It can be mostly the hero, mostly the heroine, or an equal balance between the two. By using both points of view, you’ll be showing the feelings and thoughts from both characters.
The Feedback tool for writers illustrates how many scenes each POV character has and what order they appear in. In Look The Other Way, Shannon (heroine) has the POV for 47 scenes, and Jake (hero) has the POV for 37 scenes. The graph along the bottom shows the order of the point of view, allowing me to make sure I’m switching between the hero and heroine regularly.
Characters on Stage
There can only be romance if both the hero and heroine are in a scene together. Keep track of how many scenes you have where only one is in the scene versus scenes where both characters are onstage. The Feedback app does this for you.
Below, Jake and Shannon are both in the scene along with another character Debi Hall. Kendra is Jake’s cousin and is only mentioned in the scene. The scene is from Jake’s point of view, so the reader will see and hear things from his view point only. The reader won’t know what Shannon thinks or feels unless Jake comments on it or thinks about it or Shannon says something.
To keep the story exciting there must be conflict and tension between the hero and heroine. If you’re writing a happy-ending romance, the hero and heroine will resolve the conflict and tension by the end of the story and live happily ever after.
The two can be working toward the same goal, but maybe they go about it differently and that causes the tension. This resolution must not happen until the end. Each scene until the end must have conflict or tension or both.
Feedback enables you to see what conflict and tension are in each scene. You can see if the tension and conflict are in line with the purpose of scene. Just make sure you have either conflict or tension in every scene. You don’t have to have both.
Here you’re getting a sneak peek at my work in progress, Evolution.
Purpose of Each Scene
The romance genre requires a special look at the purpose of each scene. In a mystery, the sole purpose of a scene may be to drop a clue or a red herring into a scene. But in a romance novel, the purpose of a scene may revolve around character development, driving the romance forward, or driving the romance backward.
Here are some of the key scenes you’ll need.
• Introduce heroine and set up her world
• Introduce hero and set up his world
• Inciting incident – something happens in their world that will cause them to meet.
• First kiss
• Plot point one – the hero and heroine face something difficult
• Middle – the characters can’t turn back to the story. They may also decide they are not right for each other.
• First quarrel
• Plot point two – their relationship is at its worst
• Finally get together
In the following, which is the Feedback insight into Purpose of Scene for my work in progress Evolution, you can see in the first 9 scenes, the hero and heroine meet, there is tension between them and they have their “first kiss.” You can also see 44% of the scenes in this novel are moving the story forward. This means there is more than romance in the story and the hero and heroine have a goal they are desperate to achieve.
Feedback will help you keep track of the romance and its progression as you self-edit your novel.
More Self-Editing Advice
If you’re looking for more help on self-editing download the free eBook, BIG-PICTURE Editing – 15 Key Elements Of Fiction To Make Your Story Work and learn how big-picture editing is all about evaluating the major components of your story. We call these components the Key Elements Of Fiction.
Our eBook shows you how to use the key elements of fiction to evaluate your story and become your own big-picture editor.
Interested In An Automated Approach To Big-Picture Self-Editing?
Feedback is the first web app to help fiction writers evaluate their own work with a focus on story, not words.
With Feedback, you can focus on plot, character, and setting. You can evaluate on a scene-by-scene basis or on overall novel structure. Feedback will show you the most important structural elements to work on first.
Feedback will guide you through the rewriting process by asking you questions specific to your manuscript, enabling you to evaluate your own story.
Feedback helps you visualize your manuscript. Forget about yellow stickies or white boards. Feedback will draw character arcs, provide reports on scene evaluation, and show your rewriting progress.
Happy editing and thanks for reading…
Kristina Stanley is the author of the Stone Mountain Mystery Series. Her books have garnered the attention of prestigious crime writing organizations in Canada and England. Crime Writers of Canada nominated her first novel for the Unhanged Arthur award. The Crime Writers’ Association nominated her second novel for the Debut Dagger. She is published in the Ellery Queen Mystery Magazine.
Before writing her series, Kristina was the director of security, human resources and guest services at a resort in the depths of the British Columbian mountains. The job and lifestyle captured her heart, and she decided to write mysteries about life in an isolated resort. While writing the first four novels, she spent five years living aboard a sailboat in the US and the Bahamas.