Protecting the Witness

I have to admit, when I bought this book I wasn't sure I would enjoy it because of the gang activity involved. My grandmother owned a bar in the rough side of Phoenix and I teach in an area where there are gang-related drive-by shootings. So why was it the first book I bought on my Kindle? I wanted to read a selection of books from Harlequin's new Heartwarming series (No sex scenes) and I wanted to support a writer from the Desert Rose Chapter of Romance Writers of America that I joined about ten years ago. Linda is a nice, classy woman, as well as a great writer. I chose to support her.

To my surprise, I was pulled into the story immediately. The story is more about relationships than gangs. Not only the main relationship between the hero and heroine, but the strained relationships she has with her brother, her friends, and her co-workers. I immediately felt for her and wanted her to have that happy ending. Linda did not disappoint.

This is the excerpt from Amazon if you are interested in reading more:

Time Is Running Out…
She had vowed never to return to Houston's crime-riddled East End. But Detective Crista Santiago's promotion to the Chicano Squad has put her right back in the violence of the barrio. Determined to transfer out as fast as possible, Crista first has to prove herself by solving a series of drive-by shootings.
Crista has only one witness—four-year-old Samantha Del Rio. Protecting Samantha becomes Crista's number one priority, which means staying close to the little girl. And her widower father, Alex. But "staying close" soon changes into becoming part of the family. And the more attached Crista becomes to the girl and her father, the more she's afraid she's lost her edge…and her ability to protect the witness.

Show More

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Spotlight On Linda Style

Presented by Connie Flynn

www.connieflynn.com 

Linda-Monument Valley AZ

Linda Style is the award-winning author of fifteen novels published by Harlequin Superromance.  She readily admits to being a travel junkie, a photoholic and a tennis fanatic.  And...she can be easily led astray when it comes to listening to live blues music in an intimate little bistro just about anywhere. She won't admit to having way too many pairs of shoes in her closet,  being addicted to  reality shows, or possessing the ability to eat a family-sized bag of Lay's potato chips in one sitting. 

With degrees in behavioral science and in journalism, Linda has worked in a number of jobs, but nothing is more rewarding than writing her stories or romance, suspense and intrigue. Her books--often described as emotional, fast-paced stories that keep you riveted to the page--have won several awards, including the prestigious Daphne du Maurier Award for Excellence and the Orange Rose award for Best Book of the Year.  Linda was recently featured in a USA Today interview to talk about her last book, A SOLDIER'S SECRET. Her current book, PROTECTING THE WITNESS, from Harlequin’s Heartwarming line, is a September 2012 release, available in both print and digital format.

She's here today to talk about PROTECTING THE WITNESS.  


Thanks for the Spotlight invite, Connie, and the opportunity to talk briefly about my new release PROTECTING THE WITNESS, from the Harlequin Heartwarming line. The book is a reprint with several changes that make it perfect for the Heartwarming line and those who like family focused stories. 

As mentioned in my bio, I love to travel and meet people from different cultures and all walks of life, and that passion blends perfectly with doing research for my books. I believe authenticity in a novel is critical, so I always visit the settings I use and talk to people who work in the jobs I choose for my characters. In PROTECTING THE WITNESS, my heroine is a police detective, a woman working in a field that used to be mostly men. In addition, she’s Hispanic... and I decided to give her a job on the Houston Police Department’s Chicano Squad. Needless to say, I had a lot of research to do, and I couldn’t wait to get started. In the process, I met many wonderful people willing to share their lives and experiences. It was fascinating, and I hope readers find my heroine, Crista Santiago, and the people in her life fascinating as well.

PROTECTING THE WITNESS
She had vowed never to return to Houston's crime-riddled East End. But Detective Crista Santiago's promotion to the Chicano Squad has put her right back in the violence of the barrio. Determined to transfer out as fast as possible, Crista first has to prove herself by solving a series of drive-by shootings.

Crista has only one witness-four-year-old Samantha Del Rio. Protecting Samantha becomes Crista's number one priority, which means staying close to the little girl. And her widower father, Alex. But "staying close" soon changes into becoming part of the family. And the more attached Crista becomes to the girl and her father, the more she's afraid she's lost her edge.and her ability to protect the witness.







ORDER LINDA'S BOOKS:
Print:    eHarlequin book link: http://www.harlequin.com/storeitem.html?iid=26541&cid=2878
ebook: Amazon book link: https://authorcentral.amazon.com/gp/books

 

CONTACT LINDA:

Facebook: www.facebook.com/LindaStyle

Twitter:       @LindaStyle_   (an underscore follows her name) 

Website:    www.LindaStyle.com

Bootcamp for Novelists Fall Courses

To Enroll or Get More Information Go to the Bootcamp website

July 22 to September 2
Late registration accepted until July 29
CONNIE'S 6-WEEK BOOTCAMP CLINIC . . .
C1 Applying the Hero's Journey

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method.
FEE: $48

August 5 to September 16
LINDA'S 6-WEEK BOOTCAMP CLINIC . . .
LS1 Secrets To a Killer Synopsis
Plus Query Letter and First Three Chapters

The best story in the world won't sell if the editor can't get past the query letter and the synopsis. Most publishers give very specific guidelines on what they want in a submission, but they don't tell you how to make your submission stand out among those hundreds of submissions they receive daily. In this class, you'll learn how to do just that, and you'll get direct feedback on your query letter and your synopsis. It is recommended that you have completed at least half of your manuscript in order to get the most from the class.
FEE: $48

September 2 to September 16
CONNIE'S FALL 2-WEEK SIDEBAR
SB1 Haiku Magic — a gentle journey into poetry

Haiku is a Japanese poem structure that is traditionally three lines long, each line is a specific length - line one is five syllables, line two is seven syllables and line three is again five.

Why haiku? Bootcamp students know I'm constantly after them to write concisely and make precise word choices. What better way to learn that skill than playing around with a form of simple poetry that limits you to seventeen syllables. Plus, it asks you to form a mental image with those few sounds. Talk about showing, not telling.

It also frees the creative mind, kind of like mental doodling. At $15, this course is a steal, and just what many of you need to relax those overworked mental muscles of yours.
FEE: $15

September 9 to October 7
7B Punch Up Your Prose w/Connie Flynn

You can have great characters, excellent plots,and zingy dialogue but if you don't write the story with brevity and clarity and evocative words you'll lose readers by page three. You'll learn how to stay in active voice, what excitement killers must be avoided and how to exploit sentence structure and punctuation to get the most out of your writing. engaging.
FEE: $28

October 28 to November 18
8P The Big Black Moment

Dramatic, powerful storytelling doesn't just happen. There's a plan. A story plan. The Big Black Moment is only one piece of the plan, but it's one of the most important and many writers fail to get it right. Most writers understand that this is the moment when all seems lost, but they don't understand why or what goes into making it that way. In order for TBB to be emotional, certain components must be there. In this class you'll learn what TBB really is and how you can make it the most powerful, emotional point in your story.
FEE: $28

BOOTCAMP PACKAGES ARE BACK!

Like regular Bootcamps, each of these package courses is a full four weeks and covers the same material as a regular Bootcamp. There will be a one-week break between each course and you still have the option of registering for each Bootcamp individually, just without the package discount.

PILLARS OF STRUCTURE PACKAGE
Begins September 30
1B - Creating Characters
2B -Dynamic Plotting
3B - Sculpting Scenes
4B - Conflict That Sizzles

These four courses develop your basic writing skills and give you the foundation for writing your book. You'll go through step-by-step exercises that can sometimes be frustrating but are designed to help you identify how to create the memorable characters, can't-put-it-down plotting, and tense, crackling scenes that are found in all the best books. Plus, knowledge at a bargain. Individual courses are $28 each. You''ll save $20 by enrolling in the combined package.
PACKAGE FEE: $92

TECHNIQUES OF THE PROS PACKAGE
Begins November 11
1P - The First Three Chapters
2P - Deepening Character
3P - Escalating Consequences
4P - Creating Strong Subplots

The advanced techniques in these four classes are designed to expand and build on your basic foundation skills to take your writing to another level. The lessons and exercises, using your own work, will give you hands on experience as you learn the concepts and practice the techniques that create the kind of stories that make a bestseller...complex stories with memorable characters that readers will remember long after they've turned the last page. Individual courses are $28. You'll save $20 by enrolling in the four-class package.
PACKAGE FEE: $92

BOOTCAMP FOR NOVELISTS SUMMER COURSES

JUNE 17 TO JULY 1
HAIKU MADNESS with Connie Flynn

Connie is offering the Bootcamp's first off-topic course, called a Sidebar, which is a quick two-week course that will cover creative writing areas that are outside the usual areas of novel writing. She's starting with Haiku poetry, where students will learn the basics of this often misunderstood poetry form.

What is haiku? It's a Japanese poem structure that is measured by syllables. Traditionally only three lines long, each line is a specific length — line one is five syllables, line two is seven syllables and line three is again five. Click this link to see a sample haiku: http://www.bootcampfornovelists.com/cf-courses/c-course-csb1-haiku-sample.html

So why haiku? I think it also frees the creative mind, kind of like mental doodling. In this course we will write haiku on various topics, starting with the classic season/nature themes, then moving on to satirical haiku, and then free for all haiku on topics far and wide.

It's a two-week course. You can come in once a week for the lessons or pop in an out every day. There is no constructive (or non-constructive) feedback. You just take your bow each time you post. At $15, this course is a steal, and just what many of you need to relax those overworked mental muscles of yours.
FEE: $15
ENROLL NOW

JULY 15 TO AUGUST 12
A NEW AUTHOR SPOTLIGHT
The Return of Ever Popular Historical Author
DENISE DOMNING!

BRING YOUR HISTORICAL TO LIFE

Learn to weave historical facts into your novel so deftly that readers
feel they've entered a time machine while reading your book.

In this course you'll learn how to create your characters' world view and create conflict by letting some of them rise above the "truth" of their time period. You'll also learn how to balance historical fact and events with your fictional story to make them seem true to their time. Finally, you'll learn what in their environment they need to see and interact with so you can create a bridge between our time and theirs, the bridge that will take your readers on their journey into the past.

But don't think that these research tools are for historical authors only. Any author who writes about an unknown setting or occupation will find this course invauable for creating a believeable world.
FEE: $28
ENROLL NOW

JULY 22 TO AUGUST 5
7P THE ART OF PACING
A 2 week mini-course taught by Linda Style

Pacing isn't all about speed. It's also about moving readers along. And even more. Pacing has many facets and involves everything from the tone of your book to the language you use. In this class you'll learn the ins and outs of pacing from story to scene to paragraph to sentence and how to use pacing to benefit your story.
FEE: $15
ENROLL NOW

JULY 22 to SEPT 2
SUMMER SPECIAL BOOTCAMP CLINIC taught by Connie Flynn
C1 APPLYING THE HERO'S JOURNEY
Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to a reader's subconscious common links are only vaguely understood. Learn that archetypes are actually placeholders and how the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method.
FEE: $48
SAVE $5 ENROLL BY 6/24 Fee: $43
ENROLL NOW

AUGUST 5 to SEPTEMBER 16
SUMMER SPECIAL BOOTCAMP CLINIC taught by Linda Style
LS1 SECRETS TO A KILLER SYNOPSIS
Includes: query letter, voice & style
A unique voice and style can make your synopsis stand out among the hundreds of submissions editors and agents receive. In this class you'll learn all the elements necessary for a successful synopsis and receive direct feedback on your work. In order to get the most from the class, it is recommended that you have completed at least half of your manuscript.
FEE: $48
SAVE $5 ENROLL BY JULY 15 Fee: $43
ENROLL NOW

Bootcamp for Novelists is has been online for over two years. Instructors Connie Flynn and Linda Style teach step-by-step novel writing that starts at the beginning and takes you through the polish. Enroll at http://bootcampfornovelists.com

Bootcamp for Novelists March-April On-Line Class

Bootcamp for Novelists upcoming classes

March 18 to April 15

Taught by Linda Style

3P ESCALATING CONSEQUENCES
Have you ever been so excited about a story that it practically writes itself...and then, somewhere after the third chapter, it stops dead? If so, it's probably because your conflict is staic. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama.

FEE: $28
Taght by Connie Flynn

March 18 to April 15
3B SCENE SCULPTING
Structuring scenes for maximum input is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and hot to connect each scene for ease of flow and maximum impact.

FEE: $28

www.bootcampfornovelists.com

Bootcamp for Novelists-March Courses

LINDA'S COURSES

March 18 to April 18
3P ESCALATING CONSEQUENCES
Have you ever been so excited about a story that it practically writes itself...and then, somewhere after the third chapter, it stops dead? If so, it's probably because your conflict is staic. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama.

FEE: $28
ENROLL NOW


CONNIE'S COURSES

March 18 to April 15
3B SCENE SCULPTING
Structuring scenes for maximum input is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and hot to connect each scene for ease of flow and maximum impact.
FEE: $28

Enroll now http://bootcampfornovelists.com/

Bootcamp for Novelists On-Line Classes for February

February 11 to March 11

http://www.bootcampfornovelists.com/

2B - Dynamic Plotting

2P - Deepening Characterization

ENROLL NOW
FEE: $28 Per Course

LINDA'S COURSES

February 11 to March 11

2P DEEPENING CHARACTER
How your character acts in any given situation is based on multiple variables. Here you'll learn what they are and how to use them to make your characters leap off the page.
March 18 to April 18

CONNIE'S COURSES

February 11 to March 11

2B DYNAMIC PLOTTING
Some people believe that stories come from a magical realm and simply float down to some lucky writers. But could it be possible that given a character with a goal who faces conflict that you can give them situations that makes your story sing?
FEE: $28

Writer's Tip

WRITER'S TIP from Bootcamp for Novelists

http://bootcampfornovelists.com/


Conflict, Conflict, Conflict

Novels usually begin with an immediate initial problem which keeps the reader turning pages until the core conflict develops. How well a conflict builds depends on the inescapability of the struggle. Early conflicts are rarely strong enough to carry a full book, but as the characters get to know each other, new obstacles and deeper conflicts arise.

For a strong conflict to exist, you first need a concrete, specific goal. The goal must be crucial to your protagonists' belief in himself as a human being. It may be all in his mind, but he absolutely must believe it and that he will be destroyed emotionally, psychologically or physically if he doesn't achieve it.

In classic novel structure, stories will have both an external and an internal conflict. The internal (core) conflict is the one that carries the emotional impact. That's because the core conflict is related to the characters' deep-seated values, beliefs and fears - issues such as fear of commitment, abandonment, failure of past relationships. Core conflicts are internal and emotional in nature and must contain the emotional depth to sustain the book.

In a romance novel, the core conflict is the barrier that prevents the hero and heroine from falling in love and it must be resolved before they can have a successful relationship. In any novel, a core conflict should take the protagonists' deepest fear, twist it around and make it the worst it can be. A simple example might be: If your heroine fears abandonment, make sure the hero is in a high-risk job which may mean his life is in danger more often than most.

If you take care to know everything about your hero and heroine, especially their values and beliefs, you won't be tempted to twist them to fit the plot. Your characters will show you how they'll react in each and every situation. If you do this, the conflict will be real, the plot will work and the story will be successful.

Bootcamp for Novelists January Courses

January 7th - February 4th

CONNIE'S BOOTCAMP
CREATING CHARACTERS
FEE: $28

LINDA'S BOOTCAMP
THE FIRST THREE CHAPTERS
FEE: $28

SAVE $20 ON OUR FOUR COURSE PACKAGES
The Four Pillars of Structure
1B -Creating Characters
2B - Dynamic Plotting
3B - Scene Sculpting
4B - Conflicts That Sizzle


The Techniques of the Pros
1P - The First Three Chapters
2P - Deepening Characterization
3P - Escalating Consequences
4P - Strong Subplots

FEE: $92

You can enroll in any of the courses individually, but if you plan to take them all, why not save some money? The packages also make terrific holiday gifts, so if someone in your life is an aspiring writer here's a great chance to set them on that path.


For more information or to enroll in these courses, go to http://bootcampfornovelists.com

Bootcamp for Novelists November On-Line Classes

NEW BOOTCAMP CLASSES OCT 31ST - NOV 24TH

Two classes with award winning author Linda Style

INFUSING STORIES WITH EMOTION
What do bestselling novels have in common? All are stories with emotional
impact. Creating a story that will move readers emotionally is one of the
most important techniques a writer can learn.and yet, many writers don't
even think about it until they realize something is missing in their story.
In this class you'll learn not only how to infuse your stories with emotion,
but also how to keep the reader engaged from the very first page to the
last. Concepts and techniques in this class include:

· Engaging the reader

· The emotional journey

· Necessary elements

· Natural vs Forced emotions

· Affective Memory

· Emotion in dialogue

· Narrative & internal monologue

· The Crucible

· Emotion in action

· Emotional checklist

Course fee: $28 www.bootcampfornovelists.com

SCENE & SEQUEL DYNAMICS

Variations in Structure

Whether using a mini-sequel within an action scene, or inserting a flashback
to convey emotion, it's important to know how and when to use such
techniques. Using variations incorrectly can take a reader out of the story,
disrupt the pacing and kill emotion. Experienced writers know when and how
to vary structure to make their stories stronger. In this class, students
will learn the intricacies of writing scene and sequel using variations from
the structural norm that experienced writers use all the time.and you'll get
hands on experience to learn how to use them.

* Review of basic scene and sequel structure

* The five major variations in structure

* 11 specialized techniques

* Motivation reaction units

* Increasing drama

* Adding suspense

* Common errors

Course fee $28 www.bootcampfornovelists.com

Your Instructor for both classes: .

LINDA STYLE always dreamed of becoming a novelist, but being practical, she
earned degrees in behavioral science and in journalism and, over the years,
she's written articles for newspapers and magazines, worked as a management
consultant, a magazine editor, and was the Director of the Arizona Office of
Grievance and Appeals for the Seriously Mentally Ill. But the dream of being
a novelist persisted and after a few years of writing novels in her spare
time. five books and four RWA Golden Heart nominations later. Linda's last
GH entry was purchased by Harlequin Superromance. Her first book was out in
2000, and now, 13 novels later, Linda's award-winning books are sold
worldwide and translated in a dozen languages. Winner of the prestigious
Daphne du Maurier Award, Linda says she has the best job in the world. "I
get to make up stories and someone pays me to do it. It's my childhood
dream come true."

What students are saying about Linda's classes:

"Another great workshop!!! I just wanted to thank you for all your time and
patience for this growing writer. You are a great instructor and I learn so
much from your lessons, assignments and feedback."

"The lessons were excellent, and I will definitely put them to good use. I
think I'm signed up for a couple more classes, and I am looking forward to
them! The classes I've taken here have been among the best, and I've taken a
TON of courses over the years."

"You are a very good teacher, and for me, you zero in on all the most
important strengths and weaknesses. Can I enroll now?"

Bootcamp for Novelists September On-Line Classes

BOOTCAMP FOR NOVELISTS ONLINE SEPTEMBER BOOTCAMPS

*September 5 - October 2 Author Spotlight*

Synopses - How to Take the Bite Out of Writing Them . . .
. . . using the classic movie, JAWS, as an example

Taught by Harlequin American author Cathy McDavid

*Whether plotter or pantser by nature and whether you write them before
or after you've written the book, the darned synopsis is often the part
of professional writing we hate the most. Yet, to be successful, we must
do a passable job of constructing one.

Unfortunately, there's no secret to writing a synopsis. However, in this
workshop we'll cover basic and simple steps that will let you produce
that passable, and possibly very good, synopsis. We'll also debunk some
common myths about synopses that may have been making the task more
difficult than it needs to be.

If you haven't watched JAWS recently (or ever), you might want to view
it before the course starts. For the romance plot, our example will be
Cinderella.

*COURSE FEE: $30
*
REGISTER AT http://BootcampforNovelists.com/current-courses.html

September 5 to October 2 Bootcamp Courses
*
POLISH TRACK*
*4P SUBPLOTS AND LAYERS/ taught by Linda Style/ *
Some of the most successful techniques used by bestselling authors are
the judicious use of subplots and layering, both of which add depth,
texture and interest to a story. But many writers don't make full use of
their subplots and sometimes even mistake a secondary plot for a
subplot. Many writers believe layering is simply adding more stuff to
make it interesting. Not so. In this class, you'll learn the intricacies
of subplot and layering and how to use them to your story's best
advantage. We'll cover what the subplot can do for your story, the
start, the finish and the why plus weaving, braiding, intersecting and
all that jazz and a look at the secret ingredients of the subplot*

_BASIC TRACK_

5B SPARKLING DIALOGUE /taught by Connie/*
Dialogue is not hard to write. But neither is it like real
conversations. Dialogue has a story purpose beyond showing that your
characters have voice boxes. This course gives techniques on writing
dialogue that reveal character and moves along the plot. We'll master
using dialogue to move your story, learn why how he thinks is how he
speaks, and cover techniques for dynamic dialogue and how to weave it
smoothly into your narrative.

These 4-week courses are delivered as a weekly lesson that
includes an exercise and detailed personal feedback.
FEE PER COURSE: $28
REGISTER AT http://BootcampforNovelists.com/current-courses.html

Writing Tip of the Month

From the gals over at Bootcamp for Novelists-Linda Style and Connie Flynn

http://bootcampfornovelists.com/

THE THREE FUTURES

Each scene must have an outcome or consequence. Outcomes fall into two categories. The character encounters or revisits information that triggers a decision. The outcome of a decision is that the character must act on that decision.

Disaster and/or success trigger three possible futures. First, there is Yes (total success) and No (failure). Both these answers stop the forward movement of your story because conflict vanishes and the result is 'no future,' at least not for this story.

The answers that produce conflict are "Yes, but . . ." which means there's a cost. Yes, you can have the loan to save your farm, but you'll need to put up your mother's farm as collateral.

The other plot-moving answer is "No, and furthermore . . ." As in, "You and your little dog, too."

These are story consequences. As you can see, the future then becomes about more than losing just what you set out to gain. It's now about learning that there's more at stake than your character had the good sense to fear. This is tension, conflict, and it's guaranteed to leave readers biting nails and sitting on the edges of their seats.

August Bootcamp for Novelists

Bootcamp for Novelists August On-Line Classes

http://bootcampfornovelists.com/

LINDA'S COURSE

August 1 - August 28
3P ESCALATING CONSEQUENCES
Pro writers know how to keep each scene simmering with expectation by highlighting external situations and internal conflict to create high drama. This course covers just that topic and you'll never again wonder what to do with that boring but necessary scene.


FEE: $25

ENROLL NOW!

CONNIE'S COURSES

August 1 - August 28

4B STORY CONFLICT
Without conflict there is no story. But what is conflict and how does it affect character and plot? It stems from the obstacles to the character's goal and from the consequences of character action. This course will focus on increasing obstacles and consequences until conflict sizzles on every page.

FEE: $25

9B REWRITING & REVISING
The most exciting day of your writing life is the day you finish your book. That's soon followed by days of revisions which can be painfully less exciting. Still, the process can be made easier, and it should be rewarding. After all, this is your last chance to polish and shine the baby you worked so hard to bring into the world. This course teaches a series of steps that keep revisions organized and let you avoid reworking the same sections again and again, while coming out with the best book that's in you.


FEE: $25

Bootcamp Fees Go Up Aug 1

The bad news is we have to raise fees to $28/course, not a life-changing amount, but it still adds to the cost. The good news is that we will honor registrations for ALL courses at the old $25 rate until August 1, including the new Spotlights series.

So if you already have your future courses picked out, this is a good time to lock in the old rate. And, if you haven't planned that far ahead, you can get the old rate for next month's course.

May/June Bootcamp for Novelists Classes

MAY 5/30 TO 6/25

LINDA'S COURSES

DEEPENING CHARACTERIZATION
How your character acts in any given situation is based on multiple variables. Here you'll learn what they are and how to use them to make your characters leap off the page. Among the areas covered are the character arcs, values and believes and deep point of view.

FEE: $25

ENROLL NOW!
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Linda bootcamp4novelists2@yahoo.com


MAY 5/30 TO 6/25

SCENE STRUCTURE by Connie

Action rules, introspection is dead. Not entirely true, but every author must learn how to write action and bring events to life on the page. The goal is to generate mental pictures in readers' minds so they can feel the story, live the story. This course deals with scene and sequel overview, distinguishing action scenes from sequels and gaining a mastery of the principles of cause and effect, including how to use smaller beats to produce maximum impact.

FEE: $25

ENROLL NOW!
Enroll at http://bootcampfornovelists.com/


BOOTCAMP SPECIAL CLINIC
Coming in May
May 23 — July 3

A 6-Week Bootcamp Clinic
EXPLORING THE HERO'S JOURNEY
taught by Connie Flynn

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method. We'll also use a textbook — THE WRITERS JOURNEY by Christopher Vogler — and take it apart chapter by chapter to discover how to use this structure to enhance our stories. It is highly recommended that you complete 1B-Characterization and 2B-Plot before taking this course.

FEE: $48
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net

The Bootcamp will be on summer break during the month of July
Courses will resume on August 1

WRITING TIP OF THE MONTH

Due to the fact we're all at our local conference and can't moderate the list today, we're bringing you a special feature by two of our dear friends.


WRiTING TIP OF THE MONTH
By Connie Flynn & Linda Style

BASIC POINTS TO REMEMBER FOR
YOUR FIRST THREE PAGES
GMC - Goal, motivation and conflict.
Your protagonist must have a worthy goal (what he plans to accomplish during the
book).He must have believable motivation to want to carry out his goal and there
must be stress-inducing conflict. Without conflict, there is no story. These things
belong in the first three pages, not necessarily fully developed, and all belong
in the first three chapters. How soon you get to some of them depends on the type
of story you're writing.

Once you have these three elements identified, you can move on. I should add that
sometimes I start with only a vague idea of what one or all of the GMC might be,
and if I just start writing, it helps me uncover what they are.

Points for the first three pages include:

1. Start with important action - an unpublished writer doesn't have the luxury of
building up to your conflict. Something should happen immediately to hook the reader.
Every story should have a hook.
2. Develop your conflict as soon as possible- things need to be stressful. If life
is too easy for your characters, you will not hold the readers' attention.
3. Make promises-and keep them. Romance readers want romance; mystery readers expect
a good puzzle. Hint at things to come and then deliver.
4. Develop a main character your reader can identify with, worry about, and root
for.
6. Let the reader know up front what's at stake. What's the conflict? what stands
to be lost?
7. Establish the setting - Let the reader know where we are and when, and use it
to enhance the emotion.
8. The beginning must foreshadow the conclusion. Your story is not a random series
of events. All activities are carefully linked together. All plot elements must
intertwine with one another. It really helps to have an idea of the ending before
you begin...even if it changes.
9. Set the pace - to some degree, the genre will set it for you. Generally, historical romances are more leisurely, suspense moves faster.
10. Don't digress. Everything mentioned in your book must have a reason for being
there. If it doesn't advance the story line, it shouldn't be in the book. this includes gratuitous love scenes, red herrings and plot twists that don't ultimately tie in.

Bootcamp for Novelists March On-Line Classes

March Courses – March 21 thru April 17

FIRST THREE CHAPTERS
taught by Linda Style

There are many reasons an unpublished writer's work gets turned down by editors, but by far, the reason most often cited is "It just didn't grab me," or, "I just didn't care about the characters enough." The first job you have as an author is to get the editor's attention and keep her reading. The First Three Chapters digs deep into the finer points of putting these pages together and helps you discover what you can do to make you book stand out above others.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Linda bootcamp4novelists2@yahoo.com


PUNCH UP YOUR PROSE
taught by Connie Flynn

You can have great characters, excellent plots, and zingy dialogue but if you don't write the story with brevity, clarity and evocative words you'll lose readers by page three. You'll learn how to stay in active voice, what excitement killers must be avoided, and how to exploit sentence structure and punctuation to get the most out of your writing. engaging.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net


CHARACTER DEVELOPMENT
taught by Connie Flynn

Beginners often want to push their characters around, which can result in inconsistent behavior that is labeled poor characterization. This course provides the fundamentals necessary for replacing stick figures with living, breathing people. We'll cover the nuances of goal, motivation and conflict, plus point of view and character integration. But most of all you'll learn specific approaches that make your characters unique.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net


Coming in May
May 23 — July 3

A Special 6-Week Bootcamp Clinic
EXPLORING THE HERO'S JOURNEY
taught by Connie Flynn

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method. We'll also use a textbook — THE WRITERS JOURNEY by Christopher Vogler — and take it apart chapter by chapter to discover how to use this structure to enhance our stories. It is highly recommended that you complete 1B-Characterization and 2B-Plot before taking this course.

FEE: $48
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net

February Bootcamp for Novelists On-line Classes

WHAT'S UP AT BOOTCAMP FOR NOVELISTS IN 2010?

February Courses -- February 14 thru March 13

QUERY, SYNOPSIS, and MARKETING
with Linda Style

Nothing is more important than that first impression with an editor. That first query letter you send, the synopsis you write to represent your story... each is a first impression the editor gets before reading your story. Your query and synopsis represents you and your work, so you want them to be the best they can be. This is a "How To, Hands On" class in which you'll learn not only how to write the perfect query letter and synopsis, but also how to make itglitter and shine.
Then you'll learn how to sell yourself. Query, Synopsis and Marketing is the completion course of the 10-month Polish Track. Because it is so hands-on, it is the only course Linda will teach in February.

Beginning with March, she'll return to teaching two courses per month.

FEE: $25

Enroll at http://bootcampfornovelists.com/

Need more info?
Email Linda bootcamp4novelists2@yahoo.com

SATISFYING ENDINGS
with Connie Flynn

A classic truism is that readers decide to buy your book after reading the first page andthen decide whether to buy your next book after reading the last page. This course shows how the story's ending finds its foundation in the beginning and why no book can end with a bang that doesn't start off with a some fireworks. We'll explore what readers look for in endings and why different genres must satisfy different expectations, and what elements must be present at every ending, whether it's happy, tragic or bittersweet. Satisfying Endings is the completion course of the 10-month Basic Track, and takes students through the last chapter of their book.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie mailto:Conniebootcamp4novelists@cox.net

MOOD and SETTING
with Connie Flynn

The balance of attention paid to mood and setting vs. action varies between and even within genres, but the techniques for developing atmosphere and setting remain the same. This courses will teach you how to build world rules and world views into your story without slowing the pace. You'll create plot devices and touchstones to keep readers oriented and learn how to keep track of details.

FEE: $25

ENROLL at http://bootcampfornovelists.com/

Need more info?

Email Connie bootcamp4novelists@cox.net

Bootcamp for Novelists On-Line Classes

THIS SEASON, GIVE YOURSELF THE GIFT OF CREATIVITY!

ENROLL IN 4 PILLARS OF STRUCTURE TAUGHT BY CONNIE FLYNN
OR TECHNIQUES OF THE PROS TAUGHT BY LINDA STYLE
A $100 VALUE FOR $85

OFFER EXPIRES ON JANUARY 1


LINDA'S COURSES


TECHNIQUES OF THE PROS

The First Three Chapters

Deepening Character

Escalating Consequences

Subplots and Layering



CONNIE'S COURSES

4 PILLARS OF STRUCTURE

Character Development

Plotting

Scene and Structure

Conflict

ON-GOING CLASSES WILL RESUME JANUARY 10


LINDA CONNIE

5P-Infusing Stories With Emotion 5B-Sparkling Dialogue
9P-Developing Voice & Style 9B-Rewriting & Revising



THE FULL 2010 SCHEDULE WILL BE AVAILABLE BY DECEMBER 23

IN 2010 LOOK FOR OUR SPECIAL CLINICS, GUEST
PRESENTATIONS, AND A POSSIBLE FACE-TO-FACE WEEKEND SEMINAR

Go to BootcampforNovelists.com to enroll

For more information contact Linda Style or Connie Flynn http://bootcampfornovelists.com/

BOOTCAMP for Novelists Online November Class

LINDA'S CORNER THE BIG BLACK MOMENT with Linda Style Dramatic, powerful storytelling doesn't just happen. There's a story plan, with the big black moment a major piece of that plan. Many writers fail to get it right. While they understand this is the moment when all seems lost, they don't understand what goes into making it that way. In this class you'll learn how to make the black moment the most powerful scene in your story. $22 ________________________________ BUILDING SUBPLOTS & LAYERS When story action gets high, with lots going on, the pros know how to divide the story lines so they can stay in control. This course teaches you how to separate the plot spine from subplots and how to weave the subplots in so they enhance the spine plot and also shine on their own. ENROLL $25 _______________________________ LINDA'S WINTER COURSES 2010 Voice & Style Query, Synopsis & Marketing Need more info? Email Linda CONNIE'S CORNER DEVELOPING STORY IDEAS with Connie Flynn You've got a cool idea for a setting, but have no idea who to put in it. A swaggering, broad-shouldered, chivalrous hero keeps walking through your head and you can't come up with an idea good enough for him. A publishing house puts out a call for a particular kind of story and nothing comes to mind. Anything like this ever happen to you? This course is about pulling in threads that build on and expand that small seed of an idea until it becomes something that will live on paper. $22 ENROLL STORY CONFLICT Conflict is the final pillar of story structure. Without it, nothing truly matters. Not to the characters, not to the readers, and ultimately not to agents and editors. This courses shows you how to use contrast and pressure and action to build stories that crackle from page one to the end. $25 ENROLL ______________________________ CONNIE'S WINTER COURSES 2010 Rewriting and Revising Satisfying Endings Need more info? Email Connie

Interview with Linda Style

I’d like to welcome our guest today, Linda Style. It’s a pleasure having you come visit us at Much Cheaper Than Therapy, where chocolate is plentiful and advice is free. So grab some chocolate and a lounge chair. Your therapy session has begun.

I understand you have a new release out called “THE PROMISE HE MADE.” Can you tell us a little bit about your fabulous new book?

THE PROMISE HE MADE is really about second chances. When Cole St. Germaine left Spirit Creek, Arizona, in the wake of a tragedy, he never expected to return. He never expected he’d have to face the people whose lives he’d changed forever. Serena Matlock had hoped she’d never see her former fiancé again. But in such a small town, it’s almost impossible not to run into each other. The real heartbreak, though, is that she still loves Cole. But can they move beyond the events of the past, or will Cole always be a reminder of the life-altering decision she had to make?

“THE PROMISE HE MADE” is a very interesting title. How did you arrive at that name?

It comes from the book -- a promise the hero made to the heroine 13 years earlier, and which sets the stage for the rest of the story. The title is also in keeping with my last book, “THE MISTAKE SHE MADE” which was out this last April. Both books are set in the same town of Spirit Creek, Arizona, with recurring characters in both books.

What made you decide to write in this genre?

I’ve been writing Superromance novels (laced with a bit of mystery and suspense) since my first book ten years ago. This book, however, has less suspense and is more home and hearth than some of my other books.

Where did you get your idea for this particular book?

The idea evolved from my last book, which features one of three women who are best friends, and as the characters developed, it seemed natural to go on and tell the other friends’ stories as well. I’m writing the 3rd book as we speak.

Do you have all the key suspense/mystery elements thought out before you begin writing?

Generally, I have a beginning and an idea of how the story will end. I usually have major plot points as well. The details and other events come as I write the story. Sometimes I outline a bit more than others, but I haven’t written a story yet in which I wasn’t surprised by the unusual turns the stories take and things always happen that I didn’t plan on. Even though I know the end, the story dictates the events that happen in the middle.

Did you have to do a lot of research for the book? What are your favorite research books or sites?

I love to research and learn new things, and I always do more than is necessary. And usually, the research sparks ideas for other stories as well. I don’t have any favorite sites for research because each book is different. I have certain sites that I keep on my favorites list that I know I might be using…like the FBI, some police sites and cop speak. I have several books on police procedure, but every state is different and every department is different. That’s nice in a way as it allows a writer to take liberties in some areas. I also have several crime reference books.

Which character did you like writing about the most, and why?

I always like both my heroes and heroines. But that doesn’t mean they’re perfect by any means. Serena and Cole are likeable, but they’re all too human with faults and insecurities along with the good stuff. I really like Serena Matlock, the heroine in the upcoming book because she has grit. She continues on in the face of adversity and doesn’t wallow in self-pity. She copes as best she can with her problems—her twin brother being one of them—and the hero who’s returned after 13 years. Sometimes she gets in her own way and has a lot to learn about herself, but she’s strong and up for the challenge.

Tell us about how you develop your characters. Do you create character charts, interviews, that sort of thing? How does your research affect your character development?

I do character charts with all the details, physical and otherwise. But by far, the most important thing I do is to create an emotional history for my characters. I find the point/event in their lives that makes them decide how they will act in the world at large, and usually that person is different than the person inside. We all have discovery points in our lives where we say, this isn’t working, so I’m going to act another way because it gets me what I want. What we/the characters show the world is the façade. It’s not the real person. I like to get deep inside and gradually reveal the real person.

Do you have any authors that inspired you?

Oh, my gosh. There are so many, I can’t begin to name them. I’ve always been a reader, so I guess you could say I’ve been inspired since I opened my first book. At a very young age, I found a box of old books that had belonged to my father and I started secretly reading them. In the box were novels, complete sets, by Mark Twain, Robert Louis Stevenson, Kipling, Hemingway and Steinbeck. I also read Mary Stewart and Pearl S. Buck. Then I graduated to current contemporary fiction. No Nancy Drew for me. I also went through a comic book stage, which may have inspired me to write strong heroines. ☺

What do you feel is the most effective promotion you have done for your book?

I do booksignings because I like to connect with the fans, but I think the Internet is probably the most effective.

What do we have to look forward next?

I’m really excited to be working on the next Spirit Creek book with Natalia Sokoloff, the third friend from my last two books. She’s so different from the other two heroines that she’s proving to be quite a handful--and I love the challenge. I’m also starting a psychological suspense, something much bigger and more complex than anything I’ve written before…and that’s even more challenging, but exciting as well.

Thanks, Linda!

To celebrate her book release, “THE PROMISE HE MADE”, Linda is offering a copy of her last release “THE MISTAKE SHE MADE,” which received a 4.5 Star Top Pick from Romantic Times, to one lucky commenter on today's blog. She will be around all day today. I'm sure some of you have questions or comments for her, so please ask away... (Please check the blog late Monday nigh to see who won)

Bio. Linda Style always dreamed of becoming a novelist, but it took a while before she saw her dream come true. Her journey began at the University of Minnesota where she studied behavioral science and photography. A move with her family to Arizona, changed her perspective. She graduated from the Walter Cronkite School of Communication at Arizona State University with a degree in journalism, but along the way, she also completed programs in behavioral science, and organizational management.

She’s worked as a photographer, a freelance writer, a caseworker, an internal investigator, the manager of a state program for the mentally ill, and a Management Consultant for the State of Arizona’s Department of Behavioral Health Services—all, she says, a training ground for what she really wanted to do—write stories about people.

Linda left all her earlier careers to write full-time in 1998, and after meeting an editor from Harlequin Superromance at the Romance Writers of America national conference in Chicago in 1999, Linda quickly saw the release of her debut novel, HER SISTER'S SECRET in June 2000. Since then, her books have been nominated for several awards and have won The Daphne du Maurier Award for best long contemporary of the year and The Orange Rose best long contemporary of the year. Linda's books are sold worldwide and in many foreign languages.

Now living her long ago dream, Linda finds it amazing that someone actually pays her to have so much fun! When not writing, Linda enjoys her family of four sons, two daughters-in-law, and three awesome grandkidlets. Researching her stories gives Linda the perfect excuse to indulge her passions for travel, photography and uncovering family history. Among many exotic travel adventures, she's ridden a camel in Morocco, kissed the Blarney Stone in Ireland, climbed Chichen Itza in the Yucatan, trekked the outback in Australia and celebrated the Millennium in Paris.

Check out author’s website at http://www.lindastyle.com/index.html