Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Tagged: squatter’s rights

It’s Squatter’s Rights Wednesday with me, Cait Reynolds. Today, we are going to go the distance. Literally. No matter what genre we write, our characters generally go places. The physical distance between these places impacts the timelines of our stories, pacing, and tension. Distance, great or small, can also be used to create atmosphere or to illustrate differences between characters.

But, before we get too much farther (ha ha, pun fully intended), here is the requisite photo of Denny Basenji, who is determined to go nowhere and do nothing.

GPS, Equipages, and Transporters

Like I said, it doesn’t matter what genre we write. Every story takes place in a…well…place. Whether it’s another planet, a fantasy realm full of dragons, Regency England, or today’s Los Angeles, distance plays a part in shaping and defining the story.

Let’s tackle the easy stuff first. When we write about anyplace on planet Earth, all we have to do is use Google Maps to get a sense of location, geography, nearby locales, and distance (by planes, trains, and automobiles…and bikes and feet).

I generally keep a little written note of the locations in my story and how far from one to the other. It’s quick a quick reference guide for me as I write, and it eventually helps my editors and proofreaders ensure consistency.

Staying on planet Earth but going back in time, we are still dealing with the same locations (for the most part), so Google Maps is still our friend.

However, now, we have to add in another layer: transportation. Whether it’s a pilgrimage on foot, the complex transportation logistics of a Crusade, taking the carriage to the ball, or crossing an ocean or continent using steam-powered engines, the way our characters get places must be factored into the overall timeline and plot.

But…how exactly do we figure out how long it would have taken a farmer’s cart with two old horses to go twenty miles versus a smart little phaeton with a pair of bright, brisk ponies?

Ah, hello, Google, my old friend. I’ve come to talk with you again.

 No, seriously, you can google that stuff. It might take a little bit of digging (depending on how complex the logistics or how detailed you want to get), but the information is out there.

To prove my point, I just typed in, “average travel speed by phaeton and ponies” on Google and came up with a wealth of information about travel speeds and terrains (in both miles and kilometers!). If I really wanted to nail the exact amount of time it would take Mrs. Gardiner from Pride and Prejudice to go around the 10 miles of Pemberley’s  Park in the phaeton, I would probably spend about twenty minutes to half-an-hour digging through Google results.

For science fiction and fantasy, we get to create the rules, but then, *sighs* we then have to play by them. We can create any alien planet or mist-ringed elven realm we want, but as part of basic world-building, we must actually build the world.

Look at classics like Dune and Lord of the Rings. Herbert has very specific rules and details about space travel and distance between Fremen enclaves on Arrakis. In LOTR, Tolkien provides perhaps the most perfect example ever of using geographical distance to create tension and manipulate the pacing of the plot.

For science fiction, it’s worth doing a little Google, Wikipedia, and science magazine website digging to get a basic understanding of the distances between planets, solar systems, and galaxies – and, how long it takes to travel between them in lightyears. Keep a list of every space station, planet, and outpost, and their distances from each other.

We can talk about warp engines and wormholes all we want in science fiction, but we need to keep it consistent. If we get our characters into a situation where the only way out is to go to warp 10, but the scale only goes up to warp 9.9 (looking at you, TNG *wink*), then, we can’t just wave a magic wand and have the raven-haired, emerald-eyed, 22-year-old engineering ensign with a tragic past suddenly come up with a way to achieve warp 10. 

This is a direct violation of Lamb’s Law of Coincidences: You can use all the coincidences you want to get characters into trouble, but you can never use it to get them out of it.

In fantasy, the same rules apply. I would even go so far as to draw what I like to call a “stick-figure map.” That’s a polite way of saying a bunch of blobs and dots on a piece of paper with arrows between the dots indicating distances between cities, kingdoms, continents, etc.

Magical transport needs rules, just like sci-fi transport. Treat dragons like horses: how fast can they fly, for how long, are there different types of dragons that go at different speeds?

Personally, all my dragons come with a V8 standard.

Polite nothings about the roads and the weather.

Conflict! ūüėÄ
Just like it’s natural for us to complain about traffic, tell stories of bad flights, or share information about how to get to a certain location and how long it will take, characters talk about distance and travel, too.

“It must be very agreeable to her to be settled within so easy a distance of her own family and friends.”

“An easy distance do you call it? It is nearly fifty miles.”

“And what is fifty miles of good road? Little more than half a day’s journey. Yes, I call it a very easy distance.”

“I should never have considered the distance as one of the advantages of the match,” cried Elizabeth. “I should never have said Mrs. Collins was settled near her family.”

 

In this example from Jane Austen’s Pride & Prejudice, distance and travel are used to highlight the differences between Elizabeth and Mr. Darcy’s wealth, social status, and character. It’s just one of the many brilliant examples of “show, don’t tell” in the book, but that’s another post for another time.

When I was writing a scene about the journey of one of the characters in Kristen’s and my zombie western, I did spend more time – probably close to an hour – learning about railroad journeys from the East Coast to Arizona territory in the 1870’s-1890’s. This was much more involved for several reasons.

First, based on the exact year we are using, I needed to find out just how far the westward railroad expansion went. I discovered that while there was service to California already, the first tendrils of track had just begun to breach the borders of Arizona.

Therefore, the character would have had to end his rail journey a good 200 miles from his destination and take a stagecoach the rest of the way.

The time I spent researching this was not wasted, and not just for the fact that I was assuring that my facts were correct (socking it to the trolls!), but I realized how much this particular journey would represent abandoning civilization for the character, and it also gave me an opportunity to add in a hint of backstory for his relationship with another character whom he meets at a hotel in Denver when he is making arrangements for the next stage of his journey.

The failure, shortcomings, and limits of transportation provide us with fantastic tools for ratcheting up the tension.

Not to bring up bad memories of math class for many of us, but if character A is 60 miles away and trapped with a bomb set to go off in an hour, and character B can only travel 30 miles-per hour, what is going to happen to character A? (Leave your answers in the comments! Bonus points for creativity and flash fiction LOL.)

***

I love hearing from you!

For the month of September, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES FOR SEPTEMBER AND MORE!

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds, award-winning author and journalist Lisa-Hall Wilson, and Kim Alexander, former host of Sirius XM’s Book Radio. So click on a tile and sign up!

(If you are getting this via email, open the blog post to see all the options and sign up!)

Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

It’s Wednesday, and therefore, it’s time for another dose of ME! ME ME ME! Cait Reynolds and Squatter’s Rights Wednesday. You know you love it. I hope you all had a good eclipse on Monday. In Boston, we had a .70 maximum. Naturally, the only possible option for viewing the eclipse was to do so from our roof deck with several bottles of wine.

Denny Basenji was prepared. He would like everyone to know that while his tiny brain was protected from the eclipse and all alien transmissions, he did manage to get excellent reception on an episode of “The Honeymooners.”

Denny Basenji is prepared.
Wait, don’t click away! The eclipse is relevant! Kristen video-called me this morning from New Zealand to tell me she had a major revelation: the reason the U.S. got a full solar eclipse for the first time in 99 years is because Kristen and I are on opposite sides of the Earth. The sun just can’t handle it, and the moon’s gravitational pull is all out of whack (or something like that).

Between the time difference, Kristen was up late, and I was just getting up (and pre-caffeinated, at that), and this made perfect sense, at least at the time. Yet, we ended up brainstorming together for half-an-hour, coming up with some pretty awesome ideas.

And that’s really the point of today’s blog, and W.A.N.A. in general. Writers don’t have to be alone. Writers shouldn’t be alone. Writers are better when we are connected.

Gryffindor vs. Slytherin

So, Kristen and I are probably as opposite as two people could be.

Kristen is blonde Texan who is good with math and wields chainsaws. She is open with her emotions, quick to love, doesn’t hold back when she’s angry, and will do the right thing no matter the cost to herself. She can spot a trend and is a marketing genius. She is the one who leads the charge into battle.

(One of these things is not like the other)

I am a brunette New Englander who likes snow and books on Greek philosophy. My truest feelings run deep, but I keep them on lockdown. I don’t get angry, I get quiet (which is when you should worry). I do the right thing, too, but in the back of my head, I’m always calculating my advantage/escape routes. If Kristen is riding into battle, then I’m back at the tent, going over the maps and devising the battle strategy.

Kristen is a Gryffindor. I am a Slytherin (let’s hear some green and silver love!). We are at opposite ends of the political and religious spectrum (not saying which is which b/c of the “No F*cking with Religion or Politics” policy of this blog).

She is ALL THE IDEAS NOW. I’m like, “Let’s plan this out first.” We compromise somewhere between her goal of global domination and my infinite to-do lists with what we like to call “The Sock Drawer of Domination.” This is the stuff we can reasonably accomplish in a reasonable timeframe.

When it comes to writing, Kristen is plot and grit. I am “set design” and details. I am most comfortable with characters that move in higher echelons of society. Kristen nails the salt-of-the-earth characters. I am prone to going down the rabbit hole on a fact check, and Kristen is “We’ll figure it out later.” I have trouble getting my characters to make the kinds of bad decisions that drive plots forward. Kristen struggles to have her characters make the right choice to resolve a situation.

It’s a wonder that we deign to speak the same language, though even there, Kristen can use “all y’all” correctly in a sentence, while I have been known to praise someone for his “wicked good pahking job.”

Slytherdor? Gryfferin?

There are traits we share, both personally and professionally. We are both loving, loyal, and compassionate. We both will mess you up if you hurt our friends or family – Kristen with her trusty 9mm head-on, and me outsourcing some blackhat hacking to drain the miscreant’s bank account without leaving a trace. We both get stupid about cute animals.

In writing, we are both believers in working hard before you ever set pen to paper (or fingers to keyboard). We are plotters. We are researchers. We are willing to go as deep and dark as a character needs to be. We are both obsessed with pacing and tension. We are slaves to the beauty of language.

Yet, the chemistry Kristen and I have in our writing doesn’t come from the ways in which we are the same or the values we share. It comes from our differences. It comes from the fact we find different things to be funny, scary, and sad. It comes from how we define darkness in a soul.

Our opinions are so diametrically opposed sometimes that, we end up shouting at each other over the phone, sounding something like this:

This is now known as “Invoking the Goat” for us. We will beat each other’s ideas down until they lay bleeding and whimpering on the floor. We will challenge the logic behind a character’s actions or question the need for a plot twist. We are competitive in trying to out-write each other in terms of the quality of the prose we put down. We are fierce and stubborn about almost every single thing. (Which is probably why it took us the better part of eight months of talking just to nail the concept for our zombie western…”BUT IS HE EVEN GERMAN?”)

However, there is one thing we share that makes all of this possible: our ability to listen to each other and compromise.

Even after she invokes the goat at my idea, I will stop and listen. I will ask her to dive deeper into why she wants me to go in that direction. I will poke and pick at her reasoning until I understand it. That’s the key. Understanding. I may not agree with it, but understanding her perspective allows me to look objectively at my side of the argument and judge its merits and faults more fairly.

Usually, what ends up happening is that I find I agree with some of what she is saying, and she ends up agreeing with some of my idea. Post-goat, we begin to move toward each other’s ideas instead of staying in our corners. What we come up with is almost always better, more solid, more nuanced, and more in tune with what we are trying to accomplish.

And, we get a great core workout from laughing until we cry as we do all this.

What does this mean to you if you’re not co-authoring?

Everyone needs a Kristen or a Cait, regardless of what or how you are writing.

We all need someone who loves us enough to be honest and tell us when something smells bad in the story. We all need someone who knows our writing style, knows what we are capable of, and pushes us when we are slacking. We need someone to remind us that no single idea in a story should be the hill we die on (and we have to love and trust that person enough to believe them and accept what they say).

The point is, we shouldn’t be alone in paving a path of words. That’s where W.A.N.A.Tribe comes in. W.A.N.A.Tribe is a community of writers that is a refuge from Facebook, Twitter, and pictures of your co-worker’s niece’s daughter’s dinner from last night. We are all about writing, helping each other over the finish line, and occasionally (okay, maybe a bit more than occasionally) cat pics.

Every day in the chat room, a bunch of us show up, do writing sprints, hold each other accountable…and sometimes talk about the technical specifics of implanting gills into humans and sub-dimensional travel for cats. *shrugs* What do you expect? We’re writers. We’re weird.

And, we’re not alone.

***

For the month of AUGUST, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

***

NEW CLASSES FOR SEPTEMBER AND MORE!

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds, award-winning author and journalist Lisa-Hall Wilson, and Kim Alexander, former host of Sirius XM’s Book Radio. So click on a tile and sign up!

Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

It’s Squatter’s Rights Wednesday again, and you know what that means! Well, first, it means the obligatory photo of Denny Basenji. But right after that, it means that I’m going to take the Red Pen of Wrath to a topic, and today’s topic is medicine. Specifically, medicine in fiction. Why? Because I’m tired of being jerked out of stories by medical inaccuracies. It’s the literary equivalent of having to dig for a vein…for the third time.

So, first: Denny Basenji.

This is Denny Basenji coming out of surgery last summer. He’s wondering if the patient will get peanut butter ice cream…or maybe peanut butter jello…

Okay, let’s get down to business.

If we are going to put a character in the hospital, we need to know how to do it. We also need to know what happens inside a hospital and how long people stay. We need to know what nurses can and can’t do, what doctors can and can’t do, and why our character’s friend-of-family-doctor can’t simply take charge of her care. We need to know what happens after a character goes home in terms of when they can go home, why they are allowed to go home, and what the follow up care is.

I’m not a doctor, but I play one in my books

Why listen to me? Because I’m a f*cking gold star club card holder at Massachusetts General Hospital. Here’s a list of my experience and “qualifications.”

Yours truly getting her monthly immune suppression therapy intravenously. Still smiling after two tries for the iv and three separate sticks for blood work.
  • I’ve had a kidney transplant since 2007. I’m a walking encyclopedia on infectious diseases, pharmacology, and clinics.
  • I’ve had cervical cancer. Luckily, mine was caught early and completely by surgery. But, I went with my friend Jaime to¬†her chemo treatments – all 19 of them. I know a few things about how chemo works now.
  • I have been hospitalized for infections, accidents, near-death drug interactions.
  • I’ve been taken in ambulances, taxi cabs, and driven myself.
  • I’ve ended up in the hospital in everywhere from Portugal to New Mexico.
  • I was hospitalized for pneumonia. Wheeze, cough. Cough. Ow.
  • I’ve been hospitalized for multiple infections of various kinds as a result of having no immune system (thanks, kidney transplant!).
  • I was hospitalized for a stomach infection (that had an upper GI endoscopy involved – SO much fun).
  • I’ve had miscarriages from 6 weeks to 5 months.
  • I’ve had enough iv’s and blood draws that I could be an iv nurse. Or part-time vampire.
  • I’ve worked in hospital administration. I am surrounded by friends and family who are doctors and nurses.
  • I’ve had ultrasounds, x-rays, CAT scans, MRI’s, stress tests, bone density scans, you name it. Interventional radiology procedures like angiograms are lots of fun, too.
  • I’ve sat at the bedside of my father as he went through heart attacks, surgeries, and finally the strokes that killed him. I know what it’s like to watch someone die.
  • I know how an ICU works.
  • Blood transfusions. I’ve got a frequent customer punch card.

Basically, I am at the hospital 2-4 times every month for various reasons. Mostly outpatient appointments, but I’ve got a collection of more than 30 wristbands that tell the story of my inpatient experience. You can just call me Dr. Cait. Or Nurse Cait. Or Frankencait.

Just one teeny weeny example: how to put a character in the hospital

So…there’s a famous set of books about a color somewhere between black and white…lots of people object to the rather “adventurous” sex scenes in it. Others object to the objectification of women and power dynamics of the main relationship. Me? I object to the ham-handed handling of the protagonist’s injuries that land her in the hospital.

She’s injured. She falls unconscious. She wakes up in a hospital room with her husband’s mother – a pediatrician – helping to manage her care.

Cue the…

 

Let’s call our character “Jane,” as in Jane Doe.

Please disabuse yourselves immediately of the standard “Jane wakes up in the hospital and doesn’t remember getting there.”

It almost NEVER happens like that, and if it does, Jane will have had to have been in a horrific, life-threatening accident. It’s actually pretty rare that people lose consciousness. The body’s defense mechanisms drive us to remain conscious, or at least semi-conscious, as much as possible.

If Jane does fall unconscious, the norm is to “surface” fairly quickly. Minutes, usually. Again, do your homework about just what could cause prolonged unconsciousness – and the side effects. Jane could be facing oxygen depletion in the brain and potential brain damage. Jane could have swelling of the brain, another life-threatening condition. Jane could have sustain other neurological damage. Prolonged unconsciousness is no joke, so please stop using it as a plot device unless you ¬†know what you’re doing.

The Emergency Room

This is going to be the way Jane goes into the hospital in 99% of situations.

In the ambulance, Jane will have a paramedic with her, taking her vitals (blood pressure, heart rate, temperature), and doing emergency stabilization if necessary:

  • Epinephrin shots to reduce allergic reactions, anaphylactic shock, angioedema, etc.
  • Morphine for pain management
  • Possible treatment for diabetic reaction
  • Defibrillation for cardiac arrest, along with emergency cardiac medication (depending on the situation)
  • ¬†Insertion of an iv and bag of saline hookup if signs of blood loss, dehydration, low blood pressure, etc.

Forget what you see on tv about arriving via ambulance. It doesn’t happen that way. Unless you have a machete sticking out of your forehead (I saw that arrive at MGH once when I was in an ER bay myself – that was fun), there will be no running or shouting.

The paramedics will remove Jane’s gurney from the ambulance and wheel her inside. A triage nurse will be waiting, as well as a hospital registration admin. If Jane is conscious, the hospital registration admin will ask her for basic information like, has she ever been a patient here before? Does she have an insurance card with her? Name, date of birth, address, person to notify, etc.

Please note, that even if Jane is in a ton of pain, as long as she is conscious, the hospital registration admin will ask these questions. Trust me, I’ve been there before. It’s not fun to answer questions like that when you are burning up with fever or writhing in pain, but it has to be done.

Fever of 102. Sepsis (life-threatening bacterial blood infection). Missed complete organ failure by just a few hours. Bored out of my mind waiting for further test results. What to do? Play Candy Crush and take selfies. Because you can be near death, in the ER, and FULLY AWAKE.

The triage nurse in the meantime will be getting the paperwork and rundown from the paramedic. This will be happening calmly and quickly. Once Jane is done with the hospital registration admin, the triage nurse takes over.

Treatment in the ER

The triage nurse takes Jane from the arrival area into the treatment bay area. In an ideal world, Jane is given a curtained-off bay right away. In the real world, Jane might be placed “in orbit,” which means that her gurney will be lined up against the wall with other patients on gurneys, waiting for a bay to open up. Jane will receive the same level of care, just not in a bay.

Once Jane is in a bay, the triage nurse will return to her work at the triage station, and Jane’s primary nurse will come to take care of her. Jane’s primary nurse will also probably have an assistant – a patient care assistant or PCA.

Whether able to do it herself or with the help of the nurse and PCA, Jane will be changed into a hospital gown, and her clothes and personal effects put into a big plastic bag labeled with a sticker printed with all of her information and also the same barcode that is on her hospital band. Oh yeah, almost all hospitals now have barcodes on hospital bands now. These are scanned when medication is administered.

Jane’s primary nurse will ask for her version of the story of what happened to bring her to the ER. The nurse¬†will also¬†ask Jane about any medications she¬†currently takes, as well as any allergies she¬†has. While this is going on, the nurse will be putting on a blood pressure cuff (absolutely always), electrodes for echocardiograms (depending on the situation), taking her temperature (absolutely always).

Jane will be asked to rate her pain level from 1-10, with 10 being the worst.

Now, here comes the kicker. The nurse leaves Jane now. That’s right, unless Jane is actively bleeding to death or having cardiac arrest or something similar, Jane is left alone with a call button. This is because the nurse now goes and enters all of her information into the hospital records system, which then feeds it to the assigned doctor.

Ah, finally, the entrance of the doctor…sorta.

Jane will not meet the doctor just yet. The doctor will review Jane’s situation and order bloodwork, maybe a urine test, and possibly other tests like an ultrasound or x-ray. The doctor will also “write an order” for pain medication if needed. The doctor will also write an order for any anti-nausea medication or fever-reducing meds like Tylenol.

Once the orders have been entered into the system, two things could happen. One, the ER has its own mini-pharmacy with basic medications (anti-nausea drugs, Tylenol, certain types of pain medications), and the nurse can unlock the pharmacy cabinet with her ID badge. Or, the hospital pharmacy receives the orders on their computers, and processes all the requests, sending a delivery person to bring the meds to the ER.

This whole process generally takes anywhere from 20 minutes up to an hour and a half. Yup. Jane just has to cool her heels and suffer through this time. It’s not fun, but it’s necessary.

The nurse returns to Jane, drawing blood (which is a whole other post), and administering whatever medications the doctor has ordered. If Jane has to have an x-ray or ultrasound, a transport person will arrive and wheel her in her gurney off to the imaging area where she will be placed in a waiting area until the next available imaging tech is ready for her.

There will be another post about X-rays, ultrasounds, MRI’s and CAT scans, and interventional radiology, but for now, you just need to know the basic tests generally don’t take too long, and they can all be done with Jane either still in the gurney if she’s unable to move, or with Jane standing up.

Jane is returned to the waiting area in imaging until a transport person arrives to take her back to her bay.

The nurse will check on Jane, run her vitals again (blood pressure, heart rate, and temperature), assess her pain, and make sure Jane is as comfortable as she can be (did I mention the WARM blankets that they have available for patients?). There is no food or drink until at least initial results are back.

Denny Basenji strenuously objects to the no food or drink policy.

Then, it’s another waiting period for the results of the bloodwork and the other imaging tests to come back. Once it’s all back and the doctor actually has a minute to review everything, Jane will finally get a chance to meet the doctor.

The doctor will knock and enter, introducing himself (could be a herself, but for the same of less confusion with pronouns, I’ll go with a Dr. Taylor McHotterson), and asking Jane to tell him the story of how she came to be in the ER. Yes, it’s in her records, but every new nurse and doctor she meets from here on out will request her story. It’s protocol.

The doctor will definitely listen to her heart and her lungs, and potentially check her joints for swelling, as well as doing a hands-on exam of her belly to check her organs.

Then, Dr. McHotterson will explain so far what they have learned about Jane’s condition. Depending on what is wrong, this could result in more tests, starting intravenous drug treatment, emergency surgery (and no, they’re not going to run down the hall with her down on the gurney unless she is literally dying), admission to inpatient treatment, or discharge. Any or all of this basically requires Jane to do…nothing. Except wait. And try to sleep. If she going to be admitted, the staff has to contact the correct ward, find out if there are any beds available, and if not, when they might be or where else they would have to put her. All of this could take anywhere from an hour (record-breaking speed) to 12-14 hours, with an average of somewhere between 3-6 hours of waiting.

Do we really need to know all this?

Well, yes. We might not have to describe everything in agonizing detail like I have done above, but knowing the process will make the Jane’s inpatient scene more realistic. Having a basic grasp of the facts about whatever injury or condition our characters have helps us create more detailed, immediate, and immersive experiences for the reader.

Still, it can be daunting, trying to figure out what we need to know and how much we need to know medically, and then learning what we need to leave out in terms of writing craft. The good news is that with a little thinking, a little logic, Dr. Google, and MY CLASS, you can learn not just how to figure out your character’s medical care, but how to use it to up the tension, pacing, and conflict in your story!

 

Instructor: Cait Reynolds

Price: $40.00 USD

Where: W.A.N.A. Digital Classroom

When: Wednesday, August 16, 2017. 7:00-9:00 p.m. EST

From fainting to family doctors in the OR, fiction today is full of medical malfeasance. Watching George Clooney or Ellen Pompeo run through the ER yelling ‚ÄúStat!‚ÄĚ may seem like just what the doctor ordered to up dramatic tension in fiction, it‚Äôs more likely to be 20cc of the wrong medicine.

Nothing shatters the fragile suspension of disbelief for the reader like inaccuracies, whether it‚Äôs historical, behavioral…or medical. Whether your character is injured in a car crash, poisoned, knocked unconscious, or comes down with the flu, it‚Äôs critical to get the details right.

Like a first responder, this class is on the scene to help you resuscitate realism in your medical scenes. This will be a crash course on how to avoid making the most common mistakes and how to get the facts for whatever you inflict on your characters in the future.

This class will cover:

  • From ambulance to admission, how your character actually ends up in the hospital;
  • What happens while your character is inpatient (from blood work and imaging, to iv‚Äôs – especially iv‚Äôs!!! – and hospital food);
  • The different kinds of medications, treatments, and timelines for characters to recover from a wide range of illnesses and injuries;
  • The truth about knocking your character unconscious: how, how long, and what the short- and long-term consequences are;
  • From birth to death, clinical procedures and protocols;
  • How to research medical information and get it right in your descriptions.

At the end of the class, we will have an open Q&A sessions where you can ask about medical scenarios for your characters.

A recording of this class is also included with purchase.

About the Instructor:

Cait Reynolds is a USA Today Bestselling Author and lives in the Boston area with her husband and four-legged fur child. She discovered her passion for writing early and has bugged her family and friends with it ever since. When she isn’t cooking, running, rock climbing, or enjoying the rooftop deck that brings her closer to the stars, she writes. http://caitreynolds.com

 

For the month of AUGUST, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

****And MAKE SURE to check out the NEW CLASSES classes below including the final class I will teach before taking off for NEW ZEALAND! I’m keynoting there for the Romance Writers of New Zealand, which while SUPER COOL….I’d be lying if I didn’t say the trip wasn’t making me more than a tad nervous.

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile¬†and sign up!

How to Dominate Your Sex Scenes (No Safe Words Here). $45.00 USD. Wednesday, October 11, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Painting With Words: Using Description and Sensory Details. $40.00 USD. Saturday, Monday, October 9, 2017. 7:00-7:00 p.m. EST. Click the image to register!
Social Media for Writers. $35.00 USD. Thursday, October 19, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Harnessing Our Writing POWER---The BLOG! $50.00 USD. Thursday, October  26th, 2017. 7:00 p.m.--9:00 p.m. EST. Click the image to register!

It’s Wednesday, which is on its way to being officially renamed in the U.S. calendar of holidays as “Cait Reynolds Blogs for Kristen Lamb” Day. Denny Basenji, however, thinks it should be renamed “Curly Tail Problems” Day.

Announcing that you write erotic romances is certainly a conversation starter. Or stopper. Depending on your audience. Explaining that this is your livelihood and that you are proud of it will get you reactions from, “Wow, that’s cool!” to, “So, when are you going to write a real book?”

Let’s just get something straight, right off the bat. Erotica today is not “porn in pretty dresses.”

One of the first ground rules for taking an objective look at the changing face of romance publishing is to separate the quality of the writing from the message of the content.

The message of today’s romance, erotic romance, and erotica novels is that women are free to associate themselves (and pay the money to buy the books to drive this point home) with sexually experienced, sexually adventurous, and sexually knowledgeable heroines. Heroes today are expected to spend as much, if not more, time focused on the heroine’s pleasure than their own.

While certain tropes like the Cinderella rescue persist, the nature of their portrayal has changed. For example, you now find the Cinderella rescue scenario played out in LGBTQ romances as much as heterosexual romances. Often the “heroine” is just as or more successful professionally than the “hero” (regardless of gender or orientation).

Heroes now have room to be complex, and heroines can genuinely be strong. Erotic romance novels fearlessly explored issues of mental illness, adoption, divorce, depression, anxiety, socio-economic differences, even while so-called “mainstream” books were still tip-toeing around sensitive topics.

The readers of these erotic romances are a truly diverse group, and people are starting to take note of this sociological change (and you can thank good ol’ “Fifty Shades” for the mainstream media attention erotic romance has gotten).

But who are the writers of these books? These are men and women who sit down, day in and day out, and put fingers to keyboard to produce these stories. I am one of them.

I used to be tremendously embarrassed by the fact that I wrote erotica. I felt like everyone was always expecting me to use it as a “stepping stone” to my “real books.”

Well, guess what? The books I write as Fiona Blackthorne ARE real books. I lost sleep, tweeted, swore, chatted, paced, dog-walked, typed, ground my teeth, wrote notes on receipts, and sketched out entire storyboards for these books. I had to submit them to my publisher, Siren Publishing, wait for them to be accepted, then go through an intense, fast-paced editing phase that would leave your head spinning. Then, there’s all the marketing work I had to do to get my website up and running, and promoting my books.

Yes, I work from home, and yes, I can start my day in my pajamas. But my workday starts at 7:00 a.m. and doesn’t really stop until I go to bed. Sure, I can change the laundry in between chapters, but you can bet I’m still working through a paragraph in my head. Yes, I have a flexible schedule. That just means that if I need to work from 7pm to 2am because my day was already full of other stuff, then I’ll suck it up and work from 7-2.

You want to know what it’s like to write a sex scene…or seven for a book? Sometimes, it’s a delightful literary challenge, because I never want to write a sex scene the same way twice. I always am looking for different words, moments, things to notice, ways to enhance the experience for my reader. Sometimes, it’s good fun for *ahem* me as well.

Sometimes, though? Sometimes, it’s like pulling freaking eye-teeth. You can get really tired of writing sex scenes. You always have to be on your guard against dropping into the mechanical and clinical just to get through it.

Then there are those moments when you are thinking to yourself: “Okay, about 700 words left in the chapter. That means if I can get her to her climax, then, hmmm, no, that won’t take enough words. He’ll have to stop just short of it. Oh, and then he can actually pick her up and put her on the bed. That’s about fifty words right there. Then maybe he ties her up? That could be a good hundred words or so, and I could finish this goddamn scene in 500 words after that.”

Yeah. It happens.

Then, I remember Anais Nin, Henry Miller, D.H. Lawrence, and I am strong again.

Erotic writing has been around for as long as the oldest profession has been around…and when people couldn’t read or write, they carved things on walls and painted them in caves. Clearly, something that is so deeply tied to our biological drive for survival and procreation deserves attention, study, and respect, not dismissiveness or judgment.

This is why I am teaching a class on writing erotica. We write the stories that are the mirrors reflecting the changes in society’s sexual mores and gender roles. Good, bad, indifferent, it is our writing that helps to push boundaries, expand horizons, and drive acceptance.

Who are the writers of erotic romance? Why do they write this when they could simply leave out all the sex? What are the blessings and consequences of this life? For once, it’s time to tell our own stories.

Baby, It’s Hot in Here!…a Sizzling New Class from Cait Reynolds

Instructor: Cait Reynolds

Price: $45 USD

Where: W.A.N.A. Digital Classroom

When: Friday, August 4, 2017

Erotica is one of the most difficult genres to write.

Wait. No. Erotica is one of the most difficult genres to write well.

From pacing (literally) to placing, this class is gonna go…deep. Yeah. Couldn’t resist. In all seriousness, how do you handle the paradox of writing a book with compelling characters and interesting story when it’s really about sex?

The answer is this: good erotica is not about sex. It is about seduction and intimacy. In this class we will cover:

  • Understanding why readers choose erotica, what they are looking for, and how to both deliver and guide them to wanting more;
  • How to apply and adapt standard plotting structures to erotica;
  • Creating a story that is interesting enough to sustain a full-length novel;
  • Developing characters that are complex, memorable, and desirable;
  • Avoiding repetitive, mechanical sex scenes;
  • Maintaining the heat throughout a ¬†book;
  • How to push yourself to write¬†better and use¬†quality as a unique marketing strategy;
  • Bonus: history, fun facts, and trivia about literary erotica through history!

A recording of this class is also included with purchase.

In a world of a gazillion forgettable erotica books and romance novels, let Cait help you stand out in the one way no marketing can compete with: hot, unique stories that turn readers into fans who will BEG you for more! 

Erotica GOLD

You get the class (recording included in price) with Cait plus one hour of personalized one-on-one consulting regarding YOUR story. 

Erotica PLATINUM

You get the class (recording included in price) with Cait plus two hours of personalized one-on-one consulting regarding YOUR story and a detailed edit and critique of one sex scene up to 2,500 words.

Register today!

About the Instructor

Cait Reynolds is a USA Today Bestselling Author and lives in the Boston area with her husband and four-legged fur child. She discovered her passion for writing early and has bugged her family and friends with it ever since. When she isn’t cooking, running, rock climbing, or enjoying the rooftop deck that brings her closer to the stars, she writes. Learn more at http://caitreynolds.com.

 

For the month of AUGUST, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

****And MAKE SURE to check out the NEW CLASSES classes below (including writing layered characters and strong females) and sign up!

Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile¬†and sign up!

How to Dominate Your Sex Scenes (No Safe Words Here). $45.00 USD. Wednesday, October 11, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Painting With Words: Using Description and Sensory Details. $40.00 USD. Saturday, Monday, October 9, 2017. 7:00-7:00 p.m. EST. Click the image to register!
Social Media for Writers. $35.00 USD. Thursday, October 19, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Harnessing Our Writing POWER---The BLOG! $50.00 USD. Thursday, October  26th, 2017. 7:00 p.m.--9:00 p.m. EST. Click the image to register!

 

 

It’s Squatter’s Rights Wednesday! I’m back, along with Denny Basenji, opinions on words, and a new haircut.

Also, I do know that I owe everyone my freshman year high school photo. I will post that on Friday. *pinky swear*

So, today, I’m talking about world-building for epic fantasy and science fiction. Of course, there are specifics to each genre that could merit their own blog post (and will eventually get their own blog posts), but for today, I want to talk about what they both have in common, especially when it comes to creating a world that is paradoxically both alien and familiar, comfortable and unpredictable, and just as human as you or I – tentacles notwithstanding.

Two Peas in an Alien Pod

Why are epic fantasy and science fiction similar, you ask? Well, let’s start with the most fundamental problem both face. It’s a misconception on the part of writers that regularly drives me to call upon the holy, withering powers of the Red Pen of Wrath.

 

The problem is this: a premise is not a plot.

I am just as guilty as anyone when it comes to this. I would get the coolest idea for an epic fantasy story with¬†dragons, or¬†a magical sword, or…or…a shy, downtrodden young girl who comes into her magical inheritance and has to save¬†the world. Or, even worse…a¬†space opera or¬†an oppressive alien society bent on conquering a post-apocalyptic Earth…

You get the idea. And, that’s all it is. An idea. It’s a premise, a setting, the faintest concept sketch of a backdrop. It is not a plot. While the plot and characters are shaped by the world we build, we must first have a firm idea of the actual¬†story we want to tell before we go indulging in literal flights of fantasy.

The best, most enduring, and most powerful epic fantasy and science fiction tell stories that are rooted in deep philosophical and ethical questions about how humanity (no matter what the species “we” are in the story) makes choices when pushed at warp speed into a magical corner.

A premise is great, but what is the burning reason why we need to write this story using this setting? If we can answer this question, then we are on the right track and are good to keep going with our world-building.

Culture Shock

Let’s just put it out there from the get-go.

Fantasy that uses the ‘faux medieval fallback’ is lame. Worse, it’s lazy, and I am not going to waste the precious hours of my life reading that crap. If an author can’t be bothered to build a world that goes beyond throwing in some Lord-of-the-Rings-style magic into ‘The Princess Bride,’ then, I can’t be bothered with his or her book.

Science fiction that so blatantly ignores human nature is also lame to the point where it can undermine the believability of an entire premise. For example – and yes, this is going to be controversial, and don’t flame me if I got it wrong because this is based on a memory from years and years and years ago – when I was watching Star Trek: The Next Generation and Captain Picard said that we had evolved beyond the need for money, I laughed. And then, I got mad. Seriously??? I don’t care if it’s dollars or hotel points on Risa, you cannot convince me that given the nature of the personal and psychological problems the TNG cast dealt with demonstrated that humanity had evolved beyond our basic competitive biological nature. We would need some serious genetic rewiring in order to let go of our need to gather and accumulate resources. When I could forget that little issue, sure, the whole premise was great. When I couldn’t? It was like a bad itch with no ideological cortisone to hand.

The absence of technology does not mean a society has to be simplistic with two-dimensional characters like the mustache-twirling villain or the reluctant young hero with chronic self-esteem issues. Conversely, the presence of technology doesn’t automatically cancel out all of society’s more complex, sticky social issues.

Good world-building in these genres should be an uncomfortable process. It should poke and prod at the difficult questions we tend to avoid on an everyday basis. We know we are doing it right when we feel a kind of culture shock, just like when we wake up at 3:00 a.m. in a strange hotel room on the first night of a trip to a foreign country. Sure, it’s a bed and a room, but something about it just feels fundamentally different, no matter how much it is the same.

The More Things Change

When we are creating a future or fantasy world, we obviously have to cover all the bases of politics, religion, education, economics, industry, regionality, food, etc. It’s the kind of exercise in thinking, imagination, and logic that forces us to play every idea six moves out to see if it still works and what else it might effect. However, almost more important than the differences we create are the similarities that we keep.

Not everything needs to be changed and/or renamed. That’s not world-building. That’s complication, not complexity. It’s also the biggest and easiest trap for us to fall into.

A world that is over-complicated and needlessly different puts and¬†keeps distance between the story and the reader, and that’s not even dipping a scaly alien toe into the issues of character development.

So, how do we determine what needs to be changed? Some of it comes from the necessities of the plot, and some of if comes from the implications of physical realities of the setting itself (Dune is a great example of this). At the end of the day, though, we need to ask ourselves some basic questions every time we want to change something:

  • Is it relevant to shaping the character’s personality, motivations, and decisions?
  • Is it necessary to the plot on a macro or micro level as a source of conflict?
  • Can it be used as a stressor to up the tension or accelerate the pace?
The Sand Prince by Kim Alexander

One of the absolutely best examples of this that I have recently read is Kim Alexander’s The Sand Prince. It’s not just epic fantasy and an astoundingly exquisite example of world-building. It’s a riveting, meaningful story with characters I identify with and have come to care about deeply. If you read it (and you should), look at the way she uses food and colors to drive home desperation, hopelessness, anger, and stress. That’s just one small way she uses details to up the stakes for her characters and relentlessly drive the story toward its riveting climax.

And on the Seventh Day, Cait Taught a Class

If you’re feeling exhausted and perhaps even a little overwhelmed by this post, don’t worry. You’re not alone. Even God needed to rest on the seventh day, proving once again that world-building is hard.

However, even God had a system for creation, and I am teaching a tiny, pale version of that on Friday, July 28, 2017 from 7:00-9:00 p.m.

Class Title: Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction

Instructor: Cait Reynolds
Price: $35 USD Standard
Where: W.A.N.A. Digital Classroom
When: FRIDAY July 28th, 7:00 PM E.S.T. to 9:00 P.M. EST

Science Fiction and Epic Fantasy are the double agents of the literary world. They simultaneously provide exotic escapism while at the same time serving as a ruthless mirror of contemporary society.

Whether it’s magic or technology, these genres bend rules and toy with the impossible.

However, it is also perilously easy to fall into the trap of bending every rule to make it easy for yourself, your plot, and your characters. When the fantastic becomes too fantastical, your world begins to lose its magic, and readers begin to distance themselves from the emotional impact of the actual story.

This class will cover a wide range of topics, including:

– Etymology: If you are going to make up names for people, places, food, customs, magic/technology, etc., you need to understand the fundamental rules of creating language.

– What’s normal and carries over from our world/time and doesn’t need description vs what is different and should be described

– How much magic or science do you have to know in order to build your world effectively?

– How to keep it real: tips and tricks for keeping your characters relatable to readers, even if they have tentacles/magical powers/chip implants.

– Spotting tired tropes and DOING BETTER. Make your fiction unique. No retreads!¬†“Oh no, not another young, timid girl who becomes magical/laser-wielding social warrior!”

In a world of a gazillion forgettable fantasies and sci-fi stories, let Cait help you take your WORLD & STORY to a WHOLE NEW LEVEL. When world building is done right? Fans will be BEGGING to do fan fiction with the worlds you create.

World Building GOLD

You get the class (recording included in price) with Cait plus one hour of personalized one-on-one consulting regarding YOUR story. 

World Building PLATINUM

You get the class (recording included in price) with Cait plus two hours of personalized one-on-one consulting regarding YOUR story and bonus worksheets. These worksheets will efficiently guide you through in-depth world-building and research, providing you with consistency for your writing and an excellent reference/style sheet for your editor and proofreader.

Register Here!

***

For the month of JULY, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES WITH USA Today Best Selling Author CAIT REYNOLDS!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Blogging for Authors July 20th $50 ($150 for GOLD)

Branding for Authors  July 27th $35

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook July 22nd $40