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Cover Me

August 15, 2018 by Rebecca Forster in category The Write Life by Rebecca Forster tagged as books, communication, cover, cover design, covers, Craft, design, writing

I find it difficult to write – or speak – in short form. To communicate, I must take not just the road less traveled but also all roads in between. My children say a conversation with me is like trying to keep your head above water in the ocean while being knocked about by swells and the occasional rogue wave. I’m not sure if my husband share’s this opinion. Then again, I’m not sure my husband’s hearing is up to snuff.

When my boys were small they begged me to write a children’s book. I ended with fifty thousand words and killed off most of the characters, so my one effort really wasn’t suitable for children (it was, however, the basis for a later novel).

I had a similar problem with lullabies. As a young mother I realized I didn’t know any. Still, I was determined to be maternal and sing my boys to sleep. In those days Cops was all the rage and the theme song was catchy, so I softly sang “bad boys, bad boys, whatcha going to do when Sheriff Brown comes for you?” Years later, my sons told me that they would stare wide-eyed into the night waiting for the police to come get them because they were pretty sure they were bad boys. Luckily, they have stopped asking me to write a children’s book and these days no one wants to hear me sing.

All this brings me to the point. It can be unbearably difficult for a cover designer to work with someone like me. Up front I am apologizing to Hadleigh O.Charles (cover designer) for my inability to be decisive, my tendency to forward six thousand royalty free photos for her consideration, and my failure to understand that the blue stripes at the top of an email mean there is something for me to download. Since I have learned nothing from my children’s assessment of my communication style, my emails to Hadleigh are like the verbal pinging of a steel ball inside a bell.

E-mail #1: Hadleigh, are you there? Hadleigh? I need a cover.
Hadleigh’s response: I’m here
E-mail #2: Well, it’s for the (fill in the blank) series and the story is about (fill in the character) and (fill in three thousand plot points) and I’m attaching a few images – but then again you probably have some ideas – so shoot me what you think and – oh, wait – how’s the dog? Hope it’s not too hot where you are. But then again the story really is about people buried in the desert – then again maybe a half naked woman on the front would be better. . . in silhouette, of course. . .”
Hadleigh’s response: Silence
E-mail #3 (usually a minute later so to be fair she hasn’t had time to respond): Hadleigh, really, you do what you want, but I don’t think we should have blood. Do you think we should have blood? Have you seen other thriller authors use a lot of blood? I’m going to visit my mom so don’t worry if you don’t hear from me for a day. . . Still, here are a couple of links – okay ten links – maybe more – so you can take a look at the top ten (maybe more) bestsellers in my genre – when you have time. But I would like to be a little different. Like them but not the same. Better. You know? Like bestseller better. No hurry. I’m seriously going to visit my mom overnight.
Hadleigh’s response: Silence (perhaps she knows that I am writing email #4 within five minutes of email #3)
E-mail #4: Five pages peppered with ideas, apologies for bothering her, explanations, useless terms that I think describe typeface, color and composition.

I hit DELETE.

Hadleigh’s response (a day or so later): Three beautiful covers that somehow incorporate tiny specks of rational thought mined from my manic ramblings. She also sends an update on her dog.

Unlike my children, Hadleigh does not lay wide-eyed and paralyzed by my avalanche of input, yet like my children she manages to figure out what’s important. Hadleigh, love you and every other cover designer out there. So happy you have all us authors covered.

REBECCA FORSTER started writing on a crazy dare. Now she is a USA Today and Amazon best selling author with over 30 books to her name. These include the acclaimed Witness Series, Josie Bates Thrillers and her latest, The Finn O’Brien Thrillers. She is married to a superior court judge and is the mother of two grown children. When not writing, Rebecca is traveling the world looking for inspiration, sewing, playing tennis and reading.

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Just a Thought

July 15, 2018 by Rebecca Forster in category The Write Life by Rebecca Forster tagged as Advice to Myself as a Newbie Author, Craft, learning, writing

I am a huge fan of the Wall Street Journal Review section. Reading it reminds me that there are brilliant and talented authors around the world and if I want to protect my little patch of literary real estate I better keep upping my game. The Review is also my favorite bookstore. I often order a new book the minute I read about in the WSJ. But what I really, really love about Review is that I am inevitably inspired by something I read. This morning, it was a quote attributed to Thomas J. Watson Senior, Former CEO of IBM.

“The trouble with every one of us is that we don’t think enough. . .knowledge is the result of thought.”

This is from a new book by book by Bradley R. Staats entitled Never Stop Learning: Stay Relevant, Reinvent Yourself and Thrive. In his book the author argues that human beings are preprogramed to ‘act’. In fact, Mr. Staats believes we human’s have an action bias and that, by giving into it, we might be doing ourselves a disservice. By not thinking we could miss our goal because we’re moving simply for the sake of moving.

Boy, did that hit home.

I’ve been obsessing over my new project, typing for days, gaining word count, moving forward – except I’m not really getting anywhere. I have been screaming at myself to WRITE when what I need to do is whisper, think. In order to think, I have to ask myself the right questions, take the time to ponder them before I answer and, most importantly, understand why the answers matter.

I have a plot but not a theme. The plot, after all, isn’t just about action but about building a stage on which the characters will reveal themselves to the reader. And what about dialogue? I know I can write appropriate thriller dialogue but will it be fitting and true to characters that I have nurtured over the course of a seven book series? Should I be driving headlong into word count or taking more time to choose the right ones that will drive the story forward most dramatically and efficiently?

I guess I have a lot of thinking to do, but thanks Mr. Staats for reminding me that busyness is not the same as accomplishment.

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What a Dog: why you need a pet in your book

May 15, 2018 by Rebecca Forster in category The Write Life by Rebecca Forster tagged as Animals, cops, Craft, Finn O'Brien Thrillers, Pets, police procedural, The Witness Series, thrillers, writing craft

My granddog Tucker & Max roll model

Today a lady wrote to tell me she loved my book Hostile Witness* because I hadn’t killed Max. I’ve been traveling a lot in the last few weeks and it took me a minute to figure out who Max was and why it was so important to her that he was alive. Max, of course, is Josie Bates’ dog; Josie is the heroine of the Witness Series. The reader’s concern for Max made me wonder why a book that includes an animal is richer, more entertaining, and more engaging than one without?

The answer is simple. Pets provide a natural assist in plot, dialogue and emotional content.

Max-the-Dog (his legal name) was originally created as a reflection of Josie Bates, his mistress. Both Max and Josie had been abandoned, had to fight for their lives, and were protective of others. As the series unfolded, though, Max became so much more than Josie’s mirror. Here are four ways Max contributed to the success of the Witness Series:

Max kicked up human action/reaction: Those who attack him were inherently more evil than a bad guy who ignored him. Those who love Max were more admirable because they cared for and protect him.

Max was a great listener:Internal dialogue can be tedious. However, speculation, rhetorical questions, or monologues sound natural when directed at pets.

Max changed the tone: A scene tone can be set by the way a human character speaks to or interacts with an animal counterpart. A whispered warning creates a much different tone than a screaming command; a languid pet conjures up different visions than a playful ruffling of fur.

Max moved the plot forward:An animal’s needs can change a human character’s trajectory. In Privileged Witness, when Josie takes Max out for his evening constitutional they find her fugitive client hiding outside. Without Max, Josie would have no reason to go outside and never would have discovered her client. An animal’s heightened senses can also warn of danger or alert a human to a change in their surroundings without the scene seeming forced.

From The Hound of the Baskervilles to Lassie and Blue Dog, My Friend Flicka and The Black Stallion, The Cheshire Cat and Puss-in-Boots, animals have frolicked as humans, served to reflect human frailties and strengths, and just plain worked their way into reader’s hearts.

So, to the kind lady who was concerned about Max, have no fear. He will never come to a violent end. No matter what happens to him, his presence or lack thereof, will be a decision motivated by story and plot and, of course, love. Max has sat at my psychic feet with every Witness Series book.

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If you like a cop with a brogue and an attitude try the new Finn O’Brien Thrillers! Severed Relations is FREE!

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STUMPED

April 15, 2018 by Rebecca Forster in category Writing tagged as Craft, fun, help, mystery, psychology, thriller, writing

The other day I came home to find the men I hired to build my patio sitting in my backyard looking at a stump. This was not a normal stump. This was a giant. Paul Bunyan, Big John kind of stump. I sat down with them and I, too, considered the stump.

“George had to get his chain saw for that sucker,” one of them finally said.

“Took two hours to get it out,” another offered.

“I think it broke George’s saw,” the first chimed in.

“Why didn’t you leave it in the ground,” I asked. “You know, pour the cement around it?”

“We thought about it,” the third said. “It wouldn’t have been right.”

They told me that they had managed to cut it up into the piece we were looking at but that it had been twice as big and buried deep in the ground; a remnant of a primordial tree. Their task had been Herculean. They told me that if they poured the cement over the stump, the darn thing could rot and my steps would fall in, and I would be upset with them because they had poured cement over a stump the size of San Francisco.

“It looks petrified,” I said. “How many years do you think it would take to rot?”

The first guy shrugged, “Twenty. Thirty years.”

I shrugged back. I would probably be dead by the time the stump rotted and my stairs fell in. I guess it was the principal of the thing. They would have known the stump was there.

We sat in the hot sun a while longer. Someone suggested carving the stump into the likeness of the contractor. I liked that idea but no one knew how to carve. I thought we could make it into a table. Eventually, we all stopped looking at the stump. The men moved it out of the way and started work again; I went inside to make dinner.

That stump has now been in my backyard for months. I can’t bring myself to get rid of it. But, like all things that are hard to get rid of, it eventually served a purpose. It taught me a few lessons:

1) Everybody has a stump. It might be in your real backyard, your professional backyard or your personal backyard, but it is undoubtedly there.

2) What you do with your stump will tell you a lot about yourself. Either you will dig it up and deal with it, or you will leave it to rot.

3) If you’re stumped and need help there is always someone willing to work hard with you to take care of it as long as you work as hard as they do.

4) You can never go through a stump but don’t panic. You can go around them, over them and sometimes even under them but that takes the longest.

5) Sometimes stumps are not as big as they look and sometimes they are bigger. Size doesn’t matter. Stumped is stumped.

SECRET RELATIONS, book #3 of the Finn O’Brien Thriller series is available now.

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Now & Then: An Author Looks Back

March 15, 2018 by Rebecca Forster in category The Write Way by Maureen Child, Writing tagged as author, Craft, history, inspiration, writing

I am updating my early romances and contemporary women’s fiction novels with the intention of re-releasing them. I am excited because these books were my training ground. In these pages I can hear the first tentative sounds of my distinct ‘author’s voice’. I see that I instinctively had a good grasp of what makes a story work (don’t all voracious readers have that instinct?). There is one more thing I see in these books that is hard to embrace: my major author ‘dork’. I have no other word for my early writing stumbles. Some of them were mistakes of publishing fashion and others were born from an untrained sense of drama.

Since hindsight is a wonderful thing, I thought I’d share my top three ‘author dork’ mistakes.

1) Hysterical dialogue: This is not an industry term so don’t use it with an editor. Sill, I think it perfectly describes my use of long sentences, harsh words, and huge banks of exclamation points to get across a character’s anger, distress, fear and passion.

Solution: In my later work, I learned that proper scene set-up, thoughtful exposition, and spare and realistic dialogue give me a lot more dramatic punch.

2) Fad over fashion: Within the first few pages of Seasons (a book I really love) my heroine appears in Laura Ashley dress. If you’re old enough to know who Laura Ashley is, you’re cringing at the image. If you’re not old enough to know then I have made you stumble as you try to figure it out. I have no doubt I will also run across references to big shoulder pads and power suits.

Solution: I now describe clothing generally – jeans, slacks, blazer, leather jacket – to allow the reader to fill in the detail blanks. I use color to underscore character. I never use a designer name or a fad because this dates a book. The only exception is when I need the fad to assist in a plot point. For instance, a label in a corpse’s clothing might call out a specific designer.

3) Overwriting: When I first started writing there seemed to be an accepted rule of thumb that a chapter was twenty pages, that women’s fiction and romance were not worthy unless the author lingered over love scenes and dialogue was drawn out. If there is purpose to long stretches of prose or dialogue then go for it, but if during the edit the author can’t remember what happened in the last three pages of a book then the reader won’t remember either.

Solution: Tell the story. Do not write to word length. Either the story is solid and will move along at a good clip or it won’t, either it will be 100,000 words or it won’t. The readers won’t stick with you.

The good news is that I am happy with these early books and will not fundamentally change them. I will, however, make them better by applying what I know now to what I wrote then. If only we could do the same thing with our high school yearbook pictures the world would be perfect!

Happy writing.

Don’t forget to check out my latest release, Secret Relations, book 3 in the Finn O’Brien Thriller Series.