
Image acquired from the Internet Hive Mind via ifunny.com

Image acquired from the Internet Hive Mind via ifunny.com

Amazon Cover for: This Crumbling Pageant
Write Scared
Award winning screenwriter and best-selling novelist Patricia Burroughs did a guest appearance on Magical Words in 2014 as part of a book tour for This Crumbling Pageant. The blog “Of Adders and Writing Process” meanders for a while, setting the stage. But she eventually cracks down to her take away advice:
…As a writer, you must write those scenes that scare you. … Write about whatever your story requires and your characters deserve, especially if the thought of putting those words on <paper> terrifies you. Write the scenes you are afraid people will judge you for. … If your book needs them, if your characters deserve them, you have to write them…
You can read the full posting and related comments here: s/
WRITING EXERCISE: Look over your body of work. Have you ever written scared? Have you ever avoided writing scared?
I have several vloggers I follow on youtube – Acapella Science (the science singer), Action Movie Kid (family fun and special effects), Jill Bearup (on writing and fandom with her lovely accent), and, most recently, the Pop Culture Detective. His posting for today was especially insidious. (Fair Warning – Watching today’s episode, linked below, may wreck some of your favorite movies. It did not for me, since I had long ago realized these issues. I never saw the Bladerunner scene for anything other than what is described in the video; I saw it as an college-age female after … well, we don’t discuss such things in mixed companies, it might hurt our male friends to know. They’re fragile.)
You know, never mind. I watched Bladerunner after I had two experiences of being thrown against a wall by a male – once in college from a guy I had been friends with for over a year and once by a random guy in high school. The high school guy put his hands either side of me against the wall to hem me in and waited for a reaction. My friend, FRIEND, tried to strangle me because he was angry – I had been ragging him about school as teenagers are wont to do for a while and he exploded. Guys are stronger. The friend was actually shorter and younger than me, and I couldn’t break his grip. To this day, I still can’t have a massage on both sides of my neck at the same time. In any situation where a woman is alone with a man she is offering a trust beyond anything a person used to being in a position of strength can ever understand.
And, here is the truly crazy part, I blame myself for the friend one. I had been the one teasing him and I “should have known better”. Why?
Because our culture says it is the female’s job to avoid getting herself hurt. I won’t walk out a door unless my keys are in my hands so I can get either in the house quickly or in the car, and they, as I have been taught, double as a weapon. A piss-poor weapon because we are to throw them at the bad guy’s face, and then how are we to get away? I won’t go on about the rape culture; if you are on social media, you are aware of the issues. Thanks to social media, it’s an open secret.
Anyway, like I said, the vlog didn’t show me anything new. What it did make me do is look at my writings. I love romance and I love sci-fi. Both of these formats heavily lean on the predator-prey dynamic of the “woman doth protest too much”. Have I done this unconsciously, just like I absorbed it was me who is to blame about the friend getting angry? I had to look.
It’s so easy to fall into the classic “woman saying no but meaning yes”. I have consciously tried to avoid such scenarios. Just like avoiding my pet peeve of the couple not saying they love each other, or making assumptions without talking to each other, just so the author can keep them apart as a tension device. I endeavor to make my characters be mature adults. Even Dewayne in Honestly didn’t strike out physically, but left when asked to (and if I ever write the next story of that family unit, we will even see him mature a little, not a lot, but some). One of my readers mentioned expecting to see a physical altercation between Dewayne and Troy, and even during my initial writing I was thinking I needed to do that to prove Troy was the Alpha Male so often seen in romances. But as I wrote the story, the characters revealed themselves to be beyond the caveman-must-pound-chests … not by much admittedly with the screaming matches Kassandra and Dewayne regularly participate in, but they were real people.
So I reviewed my novella. In each scene Troy and Kassandra asked permission before closing, before touching. They respected boundaries and did nothing to weaken each other, such as playing games with the prosthesis. Each exchange was as honest and complete as they emotionally could handle at the time. (wipe sweat from brow) I had done what I had set out to do, write an erotica where both people were sexual, healthy beings.
Now the rest of my writings. Looking over the blog, the closest one is The Bleue Toscano Eggs of Power. In this one I was trying for the predator-prey vibe, since the couple about to become sexual were both super-power villains. But I also wanted it to show each was giving the other permission to move forward. They circled, touched, backed off, and bartered. Even with two forces of evil(ish), I managed to avoid coercion through mundane or magical literary devices. Meaning it can be done. American culture has it so women cannot wholeheartedly act sexually and this is unhealthy. It’s one of the reasons why I find erotica so freeing when done right.
We need to do it “right” more often, allowing the free and open “Yes” of women and men. Allowing tender touches and secret smiles, the sizzles and spanks. The only way to do that is “normalize” healthy behavior and phase out the unhealthy.
I promise to continue to write about Alpha Males who stand equal to their Alpha Females, if you promise to continue to tell me and other writers this is what you want to see.

Image courtesy of Stuart Miles at FreeDigitalPhotos.net
Book Two
Book One is complete and off to the publisher, and you are looking at the notes for Books Two and Three. Well, the ideas you wrote off to the side as Book One metastasized into a full manuscript over the last year. If the publisher who asked to see the first three chapters really, really likes the book and requests a sequel, you want to be ready (thank goodness you attended that convention and got her business card).
But how?
Jenny Bravo ran into the sequel question after completing her first book, These are the Moments. Unlike you, she was even more behind the eight ball because she never even considered doing a second book until the fans of the first book asked for more. She shares “Ten Crazy Realities About Writing a Sequel” from her experience.
As an editor I highly recommend following the advice under #3.
“3. You have to remember things that you don’t.
Details, my friend, Details are the clincher.”
After taking a break, reread your original book. Look for the hooks and hints of what to expect in future books you gave yourself without knowing you had done so. That gift the werewolf ex-boyfriend had sent which bounced out of the trash can never did get picked up. The bartender who carefully listened to the main character’s sob story wasn’t what she seemed; the question is friend or foe? A throw-away line in backstory becomes the plotline for Book Two.
Other advice about how your options are both amazingly broad and equally restrictive, needing to respect the readers, and enjoying working in an already created world can be found here: http://jennybravobooks.com/blog/writing-a-sequel.
WRITING EXERCISE: Look over one of your completed works (flash, short, or novel) and find a throw-away line or action which can create a primary or secondary plot line in another story. Would the same main character be used or is a different point-of-view (POV) character needed? Write five sentences fleshing out the basics of the plot line.
READING EXERCISE: Pull from your completed reading pile (you know, the shorter pile beside the to-be-read pile) a Book One and Book Two. Review Book One to see how it fed into Book Two. What are the hints and hooks placed in the first book? Think about each one: did the writer set the hook deliberately or was it organic?

Image acquired without permission from (multiple) Facebook postings