Showing posts with label therese travis. Show all posts
Showing posts with label therese travis. Show all posts

Tuesday, February 3, 2015

Therese Travis: Dialogue, Character and the Power of Flutterling Little Hearts



Valentine’s Day--the day is coming, promising a peak in candy, balloon and flower sales. Diamonds and restaurants share in the bounty. Singles celebrate at anti-Valentine’s parties, couples watch to make sure their significant other picks up the hints and makes good. Imagine the dancing conversations the walls hear--I saw the sweetest bracelet when I was window shopping with the girls today. Or the table saw--or the shoes--yeah, this isn’t dancing so much.
Or, the guy who dumped me last month is going out with my cousin’s best friend now and if I see them out on Valentine’s Day--

Okay, now we’re getting interesting. A list of things I want is soporific, while threats guarantee excitement to come.

Here’s a challenge: take your main character, and what he or she would do in both these situations. What would he want as a gift from his wife? What would he do to give her hints without coming right out and asking? What would she do if she found out the man she’s crushed on for the last three years is dating a good friend? What would she say to show him he’d chosen the wrong girl?

Now put your couple at the restaurant--present-less, dateless, out with someone else (oh, but she got the gift the man at the neighboring table has been coveting for months), and he looks over at her, and spills his coke, and she says:

It’s up to you. I’m just throwing ideas out at you.

Show their sterling characters through their words. But who says, honestly, over a plateful of red beef and baked potato, “My darling, you’ve picked such a wonderful man. Me. I am the best you will ever find.” (I’ve never read dialog that bad, but it’s come close.)

Instead, you’ve got to get him humbly talking about his “save the cat” moment, because unless his mother has cornered the girl and told her in detail how he rescued the poor thing from under the wheels of a bus going fifty and about to smash it, (and who says she’ll believe said mother, because, after all, isn’t a mother’s goal to get him the best possible girl?), the only way she’s going to find out is by listening to him.

Her: You’ve got a cat? Last time I checked, you hated cats.

Him: She found me, actually.

Her: Tell me about it.

Him: She thought I wanted her to follow me home.

Her: Laughing: You had tuna in your coat pocket?

Him: Shaking his head: I think she just had nowhere else to go. She thought a bus wheel well was a great place, but it moved.

Her: And?

Him: And. Yeah, now I’ve got a cat.

Her: What’s she look like?

Him: An exploded pillow. With claws attached.

Her: You really love her, don’t you?

Him: Naw. I just need a pillow. She ripped up all my others.

Her: You didn’t have to let her live with you.

Him: Like I said, she had nowhere else to go.

Her: Nowhere better, you mean.

Him: She’s all fluff and needles. No brains. She has no idea she’s got better options than me.

Her: She had a wheel well, didn’t she? I think you’re a softie.

Him: So does she.

Not sure I can do as well with those gifts, but that girl who got dumped? And now she and her friends see him present that single red rose to her cousin’s best friend? I’m sure she doesn’t want to come off as bitter, scorned and dangerous, but since that pretty much describes her--well, it’s up to you. What does she say?



In the community of Avalon on Catalina Island, a psychopath is kidnapping children and perfectly posing and painting the bodies of adult victims to resemble disabled artist, Robin Ingram.

Robin struggles with feelings of imperfection, and knowing some madman has a macabre agenda—which includes fixing her—is unsettling. She’s relieved when paramedic Sam Albrecht steps up to help.

Sam believes he knows the identity of the killer, and he wants nothing more than to prove it in order to keep Robin out of danger. Then Sam is arrested as a suspect for the crimes, and Robin’s life is thrown into a fresh whirlwind. She may not know who the real killer is, but she does know Sam is innocent…and she will find the proof to set him free, or she’ll die trying.

Thursday, February 13, 2014

Therese Travis: Romance for Writers


Who doesn’t love a little romance in his or her life? Look at Valentine’s Day—all the chocolate and flowers and fancy cards with sweet verses inscribed inside. (Did I mention the chocolate? Because I’d hate to forget the chocolate!)

Romance writers have a special calling. They need to take the basic plot—boy meets girl, boy falls in love with girl, boy almost loses girl, boy wins girl—and make it new and fresh, and different from the thousands of other stories utilizing the same plot. How to do this? I mean, people have been falling in love forever, right? I’m assuming Adam was the only guy who didn’t have to wonder if Eve liked someone else better—no rivals for him.

Judging from the number of romance books sold, we do a great job. I admit, though, that I sometimes just can’t wrap my pen around the romance. I shudder at the thought that they just might not make it, that some small thing, easily overcome by someone with a clearer vision, will keep them apart forever.

How could I do that to my precious MCs (main characters)?

(I know, as writers, we’re supposed to. It’s still hard.)

But then I started to look at those “small things,” the things an outsider could see as wrong, but the characters can’t. And using those, I began to see my way.

It’s not the lie that will bring love to your characters, but the reveal: The lie is, in fact, really a lie.

Begin on a collision course. Your female MC’s development intersects with the male MC’s, and at the beginning of the story, there’s no way either of them can enter into a relationship with the other person. And yet, that person is theirs, ordained by God. You’ve got the whole manuscript to show your characters the truth of this.

Choosing the lie is the hard part. The fact that you’ve got to find one for each prominent character, and make them mesh, can make you want to toss your options into the wind and let the birds pick for you.

And don’t get me started on what these lies have to do with love. Love should always be honest, right? But if our MCs are lying to themselves, how can they be honest with each other?

Ooh, perfect tension.

I don’t need a man. Or a woman. I don’t deserve love. I don’t like you. You’re not my type. I have my career to worry about first. I have other obligations. No one will want me. There’s someone, or something, I love more. Lots of lovely lies. Lots of lovely ploys to keep your lovers apart.

Add in to this the faith angle, and you’ve got even more tension. None of us are perfect in our faith, and we’re all on our own journeys. We’re not going to match steps. And we have our standards. What if we put those standards, or lack thereof, before the will of God?

The middle of the story is what I sometimes call the muddle—everything can, and should, go wrong. The fight against the lie, loss of ground, proof that the lie is true, all these should come about.

And then—that step of faith—whether it’s faith in God, or self, or another person, leads to the first kiss. Just as it should.

In my latest release, A Fistful of God, a YA, Aidyn believes no normal boy could be interested in her. She needs to realize her worth, that it’s all right to reach out. Miguel believes he has to choose between protecting his mother and loving Aidyn.

Wishing you a happy, romantic Valentine’s Day (because who wouldn’t want it?) and don’t forget the chocolate!

A Fistful of God


She's never taken a drink, but she's recovering from alcoholism all the same.

After the death of her father, teenager Aidyn Pierce spends all her time cleaning up her mother's messes. So when Mom announces she's getting sober, Aidyn doesn't believe her. Mom has tried before, and Aidyn knows there will come a time—a day, a week, maybe even a month from now—when the cravings will be too much, and her mother will start drinking again. So, when Aidyn is encouraged to attend support meetings, she refuses. No point in wasting her time when her mother's going to drink again, anyway.

But what Aidyn doesn't count on is the healing power of love and friendship, and the incredible strength of God to walk both mother and daughter through the dark valley of addiction and recovery.

Therese's books on Amazon