Showing posts with label Action. Show all posts
Showing posts with label Action. Show all posts
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Richard Parry Says No Plan Survives Contact With the Enemy @TactualRain #AmWriting #Fantasy

Wednesday, September 24, 2014

No plan survives contact with the enemy, but plans are really useful anyway.
The thing is, my writing tends to be pretty organic.  The conversations my characters have aren’t manufactured through some formula.  The path the story takes?  It’s not set in stone.  I tend to outline just enough to give me a path to follow, maybe some high points to hit, and then write.
The outlines I write are more detailed at the start of the story, and less so at the end — often having a single outline point like, “Hero saves the world.”  I mean, that’s enough: it says everything it needs to say.
Making characters real means you need to allow them some flex in their interactions.  If you need John to get that cat out of the tree, but it’s more fun or interesting to have the cat escape from him instead, you’re kind of screwed if your whole story revolves around him returning to Andy with the cat.
The better writing gets lost in service to the outline you’ve drafted, and that’s not okay.
Different writers have different views on this, and I think that’s great.  I’m not trying to tell people that there’s only one way to tell a story — I’m saying that when I write stories, I try and make sure there’s room for my characters to grow through that story.  After you’ve spent 100,000 words with someone, they’re a lot more real than they were on page one, right?
When I wrote Night’s Favour, the basic outline — hand drawn in blue pen — was on a page of my notebook, and some supplementary pages for specific scenes.  Writing Upgrade, a more complex story, I’ve needed to bust out Scapple to do a quick A4 on the moving parts.  There’s lines everywhere.
Funny thing is, both stories diverged from the originally planned ending.  It’s meant more work for me in terms of the writing, but it makes me happier with the end result.  I’d rather the end show a believable outcome for my characters than keeping to an outline that was started months — if not years — ago.
Outlines are great, but like the rest of what I write, they’re disposable in favour of the better story.  To make things better, you sometimes need to throw your initial thoughts into the trash.

Valentine’s an ordinary guy with ordinary problems. His boss is an asshole. He’s an alcoholic. And he’s getting that middle age spread just a bit too early. One night — the one night he can’t remember — changes everything. What happened at the popular downtown bar, The Elephant Blues? Why is Biomne, the largest pharmaceutical company in the world, so interested in him — and the virus he carries? How is he getting stronger, faster, and more fit? And what’s the connection between Valentine and the criminally insane Russian, Volk?
Buy Now @ Amazon
Genre – Action, Thriller, Urban Fantasy
Rating – R16
More details about the author
 Connect with Richard Parry on Facebook & Twitter

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Night's Favour by Richard Parry @TactualRain #Fantasy #Action #Thriller

Friday, April 25, 2014

“I’m still sweating.”  Val pulled his wet shirt away from his skin.  Much as he had to admit that transparent shirts on a fat guy looked bad, he’d carried his jacket rather than putting it on.  A light breeze was nudging against the fabric.  “I thought a cold shower after the gym would help.  This isn’t selling it for me.”
“That’s a mark of pride, buddy.  Just don’t get too close to me.”  John grimaced.  “Did you use deodorant?”
“Wait.  I can’t remember.”  Val sniffed under his arms.  “Yeah.  Smells like Axe.  I’ll probably sweat it off, but my intentions were pure.”
“No doubt.  You did good today.  Really good.”  John seemed distracted — he wasn’t checking out the women on the street, and he wasn’t really paying attention to where he was walking.  His phone had rung a couple of times, and he’d just ignored it.  John, the man whose digits were in more single women’s phones than anyone else alive, was ignoring his phone.
It was uncanny.
“You don’t sound like I did good.  You sound like we’re discussing my funeral.”  When he’d been a kid, Val had come off his bike.  He’d fallen a long way down a bank, rolling a couple times before the bike had caught up with him.  The tumbled images of earth and sky along with the taste of green grass and dirt in his mouth stayed with him.  He remembered the clank of the bike following him down, banging its way through the brush.  He’d wrenched his shoulder pretty badly.  Nothing serious, the doctor had said.  Rest it, it’ll be fine.  They say you don’t remember pain, but he swore this felt the same.  Wincing, he rubbed his shoulder.  “Damn.”
“Well, shit.  Ok.  Give me a minute.  I think I need to break this down for you.”  John continued on a few more paces, then stopped.  A couple of women almost walked into him, veering at the last minute.  One gave him a look over her shoulder as she passed.  He didn’t even notice.  “Look.  So you benched a lot today.”
“Dude, you just got a hair flick.”
“What?”  John looked around, but she was long gone.  “Was she hot?”
“I dunno.  I guess.  It felt like a lot.  Man, I’ve never hurt this bad.”  A memory came, stark against the mundane street around him.  She’d been bleeding so bad.  He could remember that damn headlight shining in his face through her shattered passenger window.  “Except maybe after the accident.”
John didn’t seem to notice the reference, focused on something different.  “Do you know how much is, ‘A lot?’”
“I dunno.  You said it was more than you could bench, but I figured that for a sort of motivational speech.  So I guess maybe less than you, sure, but a lot, right?”
John just stared at him.
“What?  Man, say something.”  Val looked around the street.  “What!”
“Ok, stupid, we’ll play it your way.  Today, you benched around six hundred and fifty pounds.  Maybe a bit more, a bit less.”  John slapped the mixed roll of cash his back pocket.  “It’s what’s buying the beers tonight.  That six fifty press.”
“I guess that sounds like a lot.  But it’s all Smurfberries to me.”  Something else was hurting in his back.  Val arched, trying to work the kink out.  This is why exercise isn’t more popular — it hurts too damn much.  You could read it in the papers: man killed riding a bike.  You never read about a man killed sitting on a couch.
“Smurfberries?  Are you on coke?”  John looked him in the eye.  “You can tell me.”
Val snorted.  “I’ve only got a thirst for Jack.  There’s this iPhone app, Smurf Village.”
“I don’t see where you’re going with this.”
“Give me a sec.  I’m trying to play your six fifty pounds game.  Trying to get it in my head, ok?  So in this app —”
“Smurf Village.”
“You got it.  In Smurf Village, you can build houses, go fishing, whatever.  I don’t know, bang Smurfette, whatever you want.”  Val frowned.  “Ok maybe not that, it’s for kids.  But the game’s free, except it’s not.”
“Smurfette’s a hooker, right?”
“You’re on the right track John, but it’s a kid’s game for fuck’s sake.  You need to work that out somehow, it’s creepy.  You can play the game, but you can sort of… I don’t know, incentivise your Smurfs.  Buy them Smurfberries.  And Smurfberries come right off your Mastercard.”
“So what’s a Smurfberry get me?”
Val clapped his hands together.  “Exactly.  We know how much a Smurfberry costs, because those thieving bastards charge your Mastercard for them.  But before you go in, before little Johnny —”
John winced.  “Jemima, please.”
“Sure.”  Val nodded.  “Before little Jemima gets hooked on the game crack that Smurf Village is, you’ve no clue as a consenting parent what a Smurfberry costs.  So when Jemima comes in and bothers you in front of the big game, asking for twenty bucks for some more Smurfberries, what do you do?”
“I dunno.”  John rubbed his chin.  “The big game.  Is it half time?  Does she leave me alone for another half hour?  I might pay twenty bucks for that.”
“Sure you might.  But that’s the thing.  You just don’t know.  It’s like any other arbitrary measurement, like —”  Val waved his hands in the air.  “Like, I guess, a megawatt hour, or a megabyte maybe.”
“I know what a megabyte is.  I work in a gym, but I’m not prehistoric.”
“Ok wise guy.  What’s a megabyte?”
“It’s, well…”  John trailed off, then tried to man up to the challenge.  “It’s a bunch of emails.”
“How many?”
“A lot?”
“Is six hundred and fifty pounds a lot?”
“You fucker.”
Val nodded.  “You see, I know what a megabyte is, and I might even be able to work out what a Smurfberry is worth.  I know cheese comes in pounds.  I can maybe imagine a six fifty pile of cheese, but I don’t know.  Is that a lot?”
“Seriously, you’re an asshole.”  John turned away and started checking out the talent, looking for the next hair flick.
Val dragged him back with a pat on the shoulder.  “Can an ordinary dude lift six fifty pounds worth of cheese?  I mean, it’s not something I’ve tried.”
“Fair enough.  Ok.  You got me.”  John walked on a few more paces.  “Here we go.  You know a guy called Scot Mendelson?”
“Does he work with you?”
“I wish.  Scot holds the current world record for the raw bench.”
“Raw?”  It’d been a while since meals.  “Like, uncooked?”
“Raw, like unassisted.”
Val gave John a blank look.  “How can you assist a guy on the bench?  Are there two guys pushing up?  One pulling from above?”
“It’s not important.  Well, it’s a little bit important, because you strap on a special shirt, and you can lift more.  But the raw bench is where it’s at, ok?”  John watched a woman walk past, head tracking as she sashayed past him.  “Ah.  So Scot, he’s the world record holder.”
“I know you’re dying to tell me.  What’s his record?  A thousand?”
“Not even close.  You need to think much, much lower.”
“Eight hundred?  We can play this game all day.  You should just tell me, since I made you famous on YouTube today.”
“We should probably get you a beer first.  Make sure you’re sitting down.”  John patted the wad of cash in his pocket again.  “You’re going to need to be lubricated for this one.”
“Now you’re scaring me.  What’s his fucking record?”
“Seven hundred.”  John paused, every so slightly — damn drama queen.  “And one.  Seven oh one pounds.  Dude’s been powerlifting his whole life, he’s a real significant piece of machinery, and he benches just fifty pounds more than you.”
Val stopped so suddenly the guy behind him on the sidewalk walked right into the back of him.  He turned and stared at John.  “You’re just trying to make me feel better for hurling at the gym.”
“I’m really not.  I had to clean that up.”  John rubbed the designer stubble on his jaw.  “Look, you did an amazing thing today.  Really, truly amazing.  So amazing, you shouldn’t have been able to do it.  I’m sort of impressed, but I’m wondering when the guy from Candid Camera is going to come out and have me on.  What you did, well, it’s a bit like the Coyote finally catching the Road Runner.  It breaks all the rules.”
Val laughed, a slightly weak and hysterical sound.  “You know me.  I just keep breaking rules.”  He swayed a little, then leaned against a parking meter.
John slapped him on the arm.  “It’s ok man.  You did good.  I just — I just can’t really believe it.  Even now.  I think I need that beer more than you do.”
“There’s one thing I don’t get.”
“Just one thing?  What is it?”
“Your friend, the guy who was there?”
“Emilio?”
“Sure, I guess.  Why’d he back me to six fifty?”
“Emilio’s crazy.”
“He bet a hundred bucks — our drinking money — that I’d bench six fifty.  Just fifty shy of Scot Wosshisname’s record.”  Val stared into the sky for a second, then back to John.  “If I was a judge of character, I reckon Emilio’s rigged this.”
“Maybe.  He’s coming down to drink with us tonight, so you can ask him then.  Since we’re sharing though, there’s one thing that I don’t get.”
Val stood up, pushing his bulk away from the parking meter.  “What?  I’m really thirsty.  It’s kind of inhumane keeping me out here like this.”
“How do you know what a Smurfberry is?”
Val chewed the inside of his cheek for a moment.  “That can’t be what you want to know.”
“No, I really want to know.  You’ve got no kids —”  And there was that damn memory again, burning as bright as the headlight through the shattered passenger window.  Rebekah was looking right at him, grasping his arm.  She was begging him to not leave her, What about the baby, she’d said.  “— But you know what a Smurfberry is.”
Val shook off the memory.  Just a dead relic.  “Let’s get that beer.”

Valentine’s an ordinary guy with ordinary problems. His boss is an asshole. He’s an alcoholic. And he’s getting that middle age spread just a bit too early. One night — the one night he can’t remember — changes everything. What happened at the popular downtown bar, The Elephant Blues? Why is Biomne, the largest pharmaceutical company in the world, so interested in him — and the virus he carries? How is he getting stronger, faster, and more fit? And what’s the connection between Valentine and the criminally insane Russian, Volk?
Buy Now @ Amazon
Genre – Action, Thriller, Urban Fantasy
Rating – R16
More details about the author
 Connect with Richard Parry on Facebook & Twitter

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@KsterlingWriter Says "Writing Novels are a Dance between the Left & Right Brain #WriteTip #TBR

Friday, April 4, 2014

If you’re an author or someone who has at least made a valiant attempt at writing a full-length novel, you know it’s not a piece of cake. Still, I’ve met plenty of people who think writing a novel is as simple as sitting down at a computer and just typing out one’s story, letting it flow out page by page until it’s finished. Wouldn’t that be great?
The truth is that writing fiction is a complex task, even if you’re just banging out a short story.  And if you’re shooting for a full-length novel, your storyline will get complicated, and your book will turn into a mind-numbing, convoluted mess if you don’t keep it under control. So, while creating stories is an art that most certainly utilizes your creative right brain, you must integrate the left to bring it all together. That’s why people who are equally strong in both brain hemispheres (not clearly dominant in one or the other) are often the most successful creative writers.
The task of writing by itself entails a lot of technical components. There’s grammar, spelling, punctuation, and sentence structure just to name a few. Then there’s the art of phrasing and word utilization to help make one’s writing “interesting” to the reader. Most writers have a distinctive “voice”, but it is their clever manipulation of words (both right and left-brained) that make it sing.
When you add the dynamics of novel-writing, those technical items multiply, as there are industry standards to adhere to, and they must be at the forefront of our consciousness as we write. For example, the point of view (POV) must remain consistent in each section or chapter, even when writing in third-person. That means every thought or opinion originates from a single character, and nothing about any other person may be revealed outside of what the primary character already knows or observes. In addition, the tense (past or present) must be consistent throughout the book, and there are hundreds of rules and guidelines about things like what should be italicized, where hyphens or ellipses should be used, when colloquialisms trump proper grammar, crafting active versus passive writing, and how to structure dialogue so it maintains a faced pace without making it hard to determine which character is talking.
Still, the hardest part about writing a novel is keeping the storyline straight, and I’ve always used an outline to help with that. At first, it gives me an initial road map to work from. But as great new ideas and changes pop up along the way, as they always do, a domino effect occurs, potentially affecting numerous other chapters. Perhaps an earlier event can’t happen anymore, or something different needs to happen instead to make the new scene possible. Maybe a character can’t say or do something because they weren’t part of an earlier incident, or something you planned for them to do later doesn’t make sense anymore.
But what do most of us do? We scribble down notes to go back and fix those conflicts later because we don’t want to squash the new momentum we’re riding. Then those notes start to multiply, and we end up with a colossal mess. Not only that, but we can’t keep things straight anymore, which leads to even more mistakes and storyline corruption.
My solution? Let the left brain take over and fix everything right now, as hard as that may be to do. Then edit your outline so it ties perfectly with the new story including all future outlined chapters that may have been impacted. That way, your outline will always be an accurate reference for where you are in the story including what’s happened up until now and where things are going. If you can’t work on your book for a period of time, you’ll know exactly where you are when you get back, and you’ll hit the ground running rather than spending hours going through notes and reading past chapters, trying to figure out what the blazes is going on. It may actually prevent you from walking away and never working on the book again.
Believe me. I’ve been there. And I don’t ever want to back myself in a corner like that again!
Happy writing!
lazar

"James Bond Meets Fifty Shades of Grey"

Immerse yourself in the world class novels that combine action, mystery & suspense with tantalizing and tastefully written erotica. You’ll find all your sensibilities roused at once with Kevin Sterling’s ultra-sexy, action-packed Jack Lazar Series.

In this fourth action-packed thriller, Jack travels to Denmark for a business venture, but what seems to be a textbook transaction turns into a nightmare after he gets involved with Katarina, a vivacious Danish girl who apparently lacks a moral compass, not to mention an off button. After naively believing their liaison was just a random encounter, Jack discovers she’s connected to his business deal, and there’s a dangerous political group with skin in the game, too.
Katarina makes a convincing case of being a victim, not part of the conspiracy, but can Jack really trust her?
The firestorm gets out of control as Jack digs deeper, unearths the convoluted plot behind it all, and discovers that innocent people are being heartlessly killed. He’s not only horrified by the reason why it’s happening, but how it’s being done, and there appears to be no way to stop it from occurring again.
Then the scheme’s real objective emerges, launching Jack into action with intelligence operatives to prevent it. But that’s not so easy with assassins on Jack’s tail, forcing him to struggle for survival while trying to prevent Katarina from getting caught in the crossfire.
Buy Now @ Amazon
Genre – Action, Mystery, Suspense
Rating – R
More details about the author
Connect with Kevin Sterling on Facebook & Twitter

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Christopher Grey on Relaxing, Writing & Social Media @GreyAuthor #AmReading #Action #TBR

Friday, March 28, 2014


Tell us about your new book? What’s it about and why did you write it?
Will Shakespeare and the Ships of Solomon is the first of a series of novels about a secret militant order within the Masonic Knights Templar that operate above society in a secret world. This particular book is how one of the surviving members of the order is racing to save the Holy Grail from being devoured by a hurricane while another secret society is trying to stop him. It's basically Indiana Jones meets Dan Brown. The real impetus for writing it was to explore secret societies from the vantage point of the secret societies. The mainstream point of view on secret societies is generally negative and full of sensational mistruths. After so many years of research, I wanted to cast groups like Masons and Templars in a new light.
Do you have any tips on how writers can relax?
I'm a workaholic, so it's a tough question to ask for me. In many ways writing is relaxing for me--but only when it is going smoothly. I do try the standard tips: yoga, good sleep, etc. For me, though, relaxation is being with the family--turning off work for a while and watching silly YouTube videos with a 5 year-old or going to the local botanic garden. It's important to keep connected with your family, no matter your workload or stress level.
How often do you write? And when do you write?
I write daily, usually about 500 words and when I have downtime. Usually in the morning with coffee before my family gets up or sometimes at night after everyone is in bed. I may be working on concepts throughout the day, but the actual writing part of the process doesn't take a tremendous amount of time on a day-to-day basis. The important part is that it is done consistently so that the work doesn't back up.
Do you have an organized process or tips for writing well? Do you have a writing schedule?
I'm very organized when it comes to writing and will often pound out the plot, without too many details, long before I start the first paragraph. I rely on tools like Scrivener, a wonderful piece of software by Literature and Latte, to keep me organized. Generally the process goes like this: from an idea, I formulate a plot outline and then begin writing at least 500 words per day until the manuscript is done. If I have trouble writing a particular scene I will pigeon-hole it and then move onto another scene and will often write out of order, just to reorganize later (using Scrivener). Once the manuscript is complete, I leave it alone for a couple months and then go back for a major edit. After that edit, I give it to my wife for feedback and comments. Then it goes to a professional editor, finally a proofreader, and then to the publisher. The whole process can take 1-3 years.
Sometimes it’s so hard to keep at it - What keeps you going?
I think most writers have a neurotic compulsion to keep on writing, no matter what is happening in their lives or what the product seems to be. The challenge for me isn’t to continue to write, but to finish what I’ve started. Not only finish the manuscript, but to take it through the whole editing and publishing process. I have finished countless manuscripts that are sitting under dust on my computer. It’s one thing to write, it’s entirely another to turn a manuscript into a product. Finding the motivation to do that is very difficult, but gets easier with each passing project.
What do you hope people will take away from your writing? How will your words make them feel?
I admit whole-heartedly that I am not a literary author. I stretch my legs in literary fiction from time to time, but my secret sauce is adventure storytelling. Those are the movies I love, the books I read, and my inspirational focal point. That being the case, I have no delusions that my words will be shifting mountains, altering societal movements, or providing awe-inspiring emotional moments for my readers. Frankly, if someone felt awe-inspired after my book, I’d wonder if it was my book they read.
However, I do have an underlying theme in my fiction, which is to demystify much of what has been bastardized over the years with regards to conspiracy theories and secret societies. If a reader were to leave with anything, I would hope they left with a broader perspective on what is true regarding history, religion or politics. We take so much at face value, I like to go in and disrupt thinking so that people may second guess what we think we know about Christopher Columbus, the American founding fathers, or the real reasons for war. Scratching just beneath the surface can make us wonder why groups like freemasons have been so vilified over the years—or what agenda religious organizations may have against secular institutions. I also believe the undercurrent of my personal philosophy must be evident in my fiction.
How do you feel about social media websites such as Facebook and Twitter? Are they a good thing?
Whether or not Facebook and Twitter are good things is completely beside the point. Social media is here to stay. It isn’t a fad, it’s a new normal. I think it is very easy to fall into a timeless black hole when using these sites, so while it is important to put a strict (time restrictive) process in place as well as a marketing goal, strategy and set of tactics, before launching into social media, there is no doubt that all authors should be using it. The tricky part is to find that balance of promotional content and social content. And to do it in less than an hour a day. Also, don’t forget Google+ and GoodReads. Very important outlets for authors.
What’s your next project?
It is very likely that my next book will be the collaborative novel series my wife and I have been working on the past few years. Based upon our current trajectory that is the most likely to “pop” first. The series takes place in the present day (a departure for me), and follows the events that lead to the end of civilization as we know it—specifically as told by the Book of Revelation. The catch is that, coming from a secular point of view, the Second Coming is a bad thing and the heroes of the story are the villains in the Bible. Look for it hopefully sometime late 2014. 
How do you feel about self-publishing?
It’s getting harder and harder to differentiate. I’m with a micro-publisher who, by some eyes, may be on the same level as self-publisher. It certainly doesn’t have the deep marketing budgets or broad distribution that other publishers have. With digital technology, limited distribution channels, and the rise of eBooks the traditional model is certainly antiquated. As long as the book is edited and marketed with the same diligence that traditional publishers have, then I’m all for it. Successful self publishing, however, requires that the author be embedded in the whole process from start to finish and an expert on the industry. While it is true this helpful for any author, the role of the author should be to write. That is one reason seeking out an independent publisher may make more sense for someone that is a great writer but that can’t design, distribute or market books. Too many wonderful books and authors fall into the self-publishing trap and, because it is easy to do so, put out subpar artwork and unedited manuscripts with no distribution or marketing. This can hurt them down the road as they try to pursue independent or mass-market publication. My advice on this topic is: if you have the skills to take it all the way, proceed—but proceed with caution.

WILL SHAKESPEARE AND THE SHIPS OF SOLOMON
In the fall of 1947, Will Shakespeare saw the world collapse around him. Shakespeare, a secret soldier for the Knights Templar, barely escapes the slaughter of his entire knighthood at the hands of a rogue militant arm of the Vatican in a small Montreal church. With orders to escort Templar business associate Dorothy Wilkinson back to her home in Bermuda, Will must locate and rescue the most important secret treasure in human history before it is devoured by a hurricane in the watery caves beneath her father's property. The spiraling quest sends Will and Dorothy into uncovering dark secrets that make up the origins of the knighthood as they confront the traps and puzzles that masterfully protect the world's most coveted treasure.
Buy Now @ Amazon
Genre – Action, Adventure
Rating – PG
More details about the author
Connect with Christopher Grey on Google+ & Twitter