New Fiction from Gail Gaymer Martin

MONTEREY MEMORIES - Three novels by Gail Gaymer Martin set in the beautiful Monterey area in the central coast of California. The Barbour anthology includes the novels And Baby Makes Five, Garlic and Roses and Butterfly Trees.

Book Description

Walk the streets and countryside of Monterey, California, with three couples who are surprised by love in the midst of their busy lives. Chad helps Felisa when she goes into labor in his lettuce field. Juli meets Alan while volunteering at a soup kitchen. Ross takes an overdue vacation at Alissa’s bed-and-breakfast. Can busy people slow down enough to realize the love God has brought into their lives?

Reviews from AMAZON

Monterey Memories, an anthology, is a must buy. I truly love this book. In each of the three novels, set in the central coast of California, Gail writes of God's love with such ease and weaves His love throughout each story.

We see how faith and growth in the Word affects every aspect of the characters lives. Everyday normal people with trials and decisions, which we too, can identify. From trust, or acceptance to forgiveness, each of the story's characters learn to lean on God through their faith.

I'm adding this book to my gift list for friends and family. Who wouldn't want to find this warm, engrossing book in their stocking at Christmas? Or simply a gift to share.
Reviewer: Carolyn J. Devaney

Gail's Bio:

Multi-award-winning novelist, Gail Gaymer Martin is the author of forty-three novels with three million books in print. Her novels have received seven national awards and was presented the Favorite Heartsong Presents Author Award for 2008. She writes for Steeple Hill, Barbour Publishing, and is the author of Writing the Christian Romance from Writers Digest. Gail is a co-founder of American Christian Fiction Writers and a popular keynote speaker and workshop presenter at conferences across the U.S. www.gailmartin. com.

Purchase the novel is bookstores everywhere or click this link to purchase on Amazon

http://www.amazon. com/gp/product/1602605823?ie=UTF8&tag=novgaigaymar- 20&linkCode=as2&camp=1789&creative=9325&creativeASIN=1602605823

ISBN-13: 978-1602605824

from Steeple Hill Love Inspired

A is for Angst

Where would a story be without some good, sink-your-teeth-into angst? Unpublished, that’s where it would be. It’s a rare tale indeed that makes it to bookstores without plenty of angst. Of course there are some literary and “slice-of-life” novels that qualify as exceptions, but for the sake of this discussion we’ll concentrate on some elements of successfully employed angst—i.e. conflict.

Conflict is of course most effective when seen through the eyes of characters we care about. That’s what makes it angst: if we didn’t care about the characters to begin with, whatever obstacles they’re facing, whatever dangers might be lurking, whatever enemies they must face would mean little or nothing.

So connecting your reader to your character is the first step in building angst that works. The trick is to make that connection in a way that introduces your plot quickly, because nowadays readers don’t have patience for a lot of background information. Aim to reveal the qualities of your character through action as it relates to your plot from page one.

The next thing to consider is making your angst not only believable, but sympathetic. If the biggest obstacle your character faces is not having enough cash at a tollbooth, patience will be out the window if your character crumbles and bursts into tears. It won’t even matter if you foreshadow the event by searching for change in pockets, ashtrays or purses while road signs repeatedly warn the character of an upcoming toll station. A meaningless obstacle and over-reaction won’t evoke sympathy from the tollbooth operator—or from your reader.

Also consider using more than one front through a “perfect storm” of angst. Doesn’t it seem like life can be this way sometimes? Who among us hasn’t had a few encounters with Murphy’s Law? (Anything that can go wrong will go wrong.) Well, in books it’s Murphy’s Law to the enth degree—because that’s what fiction is, bigger than life, with greater goals, greater obstacles, greater perseverance and greater accomplishment.

You can and probably should start out with smaller hurdles for your character to leap first. Although Indiana Jones started out with plenty of angst, even his story built to a greater climax. The natural progression of any story is to build one obstacle upon the next, adding greater need and greater risk, greater emotional entanglement, so when everything seems absolutely lost you’ll have your readers biting their fingernails. If you can take it even one step farther than that, kicking your characters when they’re already down, then writing instructors like Donald Maass will think that’s even better. Your reader just might cheer out loud when things come to a satisfying end after so black a moment.

And that’s what it’s all about—the emotional involvement of your reader. Creating a character to care about, one who’s going after a well-motivated goal with logical but seemingly insurmountable obstacles to overcome, battles both internal and external to fight, persevering to an emotionally satisfying end. With those elements in place, you’ll provide a story that’ll satisfy almost every die-hard reader (like me, and probably like you, too).

H is for Heroes

Without a doubt, the appeal of the hero is a key element in every romantic novel. I’ve attended a lot of critique groups over the years, and surprisingly enough it’s the hero most female writers get right. I think it’s because we spend more time daydreaming about them than we do our heroines, whose female point of view we take for granted. Or maybe the old adage about women being more complicated really is true. (Making the hero simpler? I’m sure there are some who would balk at such a statement, partly because it hints the genders are intrinsically different.)

In any case, the hero is one of the “big draws” for a largely female audience of readers. So how do we make him appealing, so appealing a reader won’t want to put your book down?

There are the basics, of course. He has to be larger than life; noble yet flawed. His flaws must be carefully chosen, of course, because there is a line between sympathetic flaws and unsympathetic ones. Wife beaters, child molesters, the lazy, miserly, or cruel male characters need not apply for the role of a romantic hero.

Some flaws, like dishonesty or disrespect, can be stretched so long as the motivations for their dishonesty and disrespect are clearly drawn and used for higher goals than selfishness. In other words, the flaws they have can be suspect, but if it’s a temporary flaw based on circumstances (say, taking on a false identity which would lead to all kinds of lies) or they disrespect a villainous character, those are acceptable motivations. But dishonesty or disrespect for selfish or manipulative reasons would be harder to pull off and still make them hero-worthy.

Heroes must be more believable than realistic—and by that I mean the reader might have to be willing to suspend disbelief in order to enjoy the character to the fullest. This is classic in good storytelling, so long as it’s done well. The motivation and the foreshadowing have to be in place to pull it off, but if we want to believe a coward can jump out of an airplane with an untried, early adaptation of a parachute to save the woman he loves, we will if we know he can’t accept her love unless he proves to himself he isn’t the coward he was at the outset of the story.

As far as physical attributes, the difference between heroes and heroines really takes off. This is true of real life, by the way. You might often see a really beautiful woman on the arm of an older, overweight, relatively unattractive man. But unless a man is a paid companion, you rarely see a young stud on the arm of an older, overweight, relatively unattractive woman. The reasons for this are way too complicated for a short blog post, but let’s assume for today that this is commonly true. I think it’s because woman can be attracted to power and authority, and have an easier time than men looking beyond physical attributes.

So, while most escapist readers want their heroines to be attractive, it’s not impossible to have a hero who is distinctive in his looks rather than drop-dead gorgeous. This is true in movies, too. Think of Harrison Ford. His face is attractive but not “beautiful” in the classic sense of the word. Tom Hanks is another example of an actor who can be a hero without classic good looks.

(Just for the sake of acknowledging a balance, there are actresses in this category, too, but they usually have something beautiful about them. Barbara Streisand isn’t what you’d call a classic beauty, either, but she does have beautiful eyes.)

So, to recap:

A hero’s flaws have to be realistic but understandable.

A hero has to be larger than life, so the reader’s experience is worth the time invested in discovering this character’s story.

He doesn’t have to be classically gorgeous, but he must have something distinctive about him that sets him apart and catches the eye of the heroine.

I’m sure there are more components to what makes a good hero and perhaps one day I’ll delve into this further, but this is just about all the words one blog post can handle. Think about it with your own writing, and see if you can add to some of the elements I've mentioned here.

T is for Talking

For the next few weeks, I’m going to talk a little about various aspects of writing, and how those pieces fit with writing in general and my upcoming book in particular. The letters will represent an acrostic in the end—which by the way has more to do with the season than the theme of writing!

So, stretching this a bit already, I’m using “t” for talking. If you’re writing a book, that means all the dialogue. (Admittedly s-t-r-e-t-c-h-i-n-g to fit the acrostic, I know!)

What a character says is one of the two best ways to reveal what kind of person you’re trying to portray. The other is through action, of course. This is a reflection of reality: what someone says and does represents who they are: their thoughts, they’re goals, dreams, loyalties, loves, etc.

For the heroine in my 2010 release, the dialogue was especially fun. Somewhere along the way of envisioning this lovely (but impetuous) character, Grace Kelly started emerging. I’m probably revealing either my age or penchant for old movies, but I’m pretty much convinced there was no one lovelier, classier, or more heroine-like than a young Grace Kelly. Evidently the Prince of Monaco agreed, who whisked her off to become Princess Grace. But that’s another story…

So here she was, “talking” in my head through the character I envisioned for my book, set in occupied Belgium during the First World War. If I lost the sound, all I had to do was pop in an old movie and there she was—or rather, there was her voice, which I wanted to hear in my head with the words and actions that would match my character.

It helped immensely not only to get the rhythm of my dialogue right, but to keep my character consistent. She isn’t haughty but could be perceived that way, especially by the hero who wants to perceive her that way. Can’t you just see Grace Kelly, protecting herself from insult by hiding behind a lifted chin, a gracefully raised arch in her brow, a confident voice when inside she might be hurting – or petrified?

My hero at first sees her only as a child, and even when he recognizes she’s all grown up, he refuses to cave in to his growing love for her. She might not depend on her beauty to get her way, especially with someone as purposely distant as this hero, but how can she separate herself from it? It's part of who she is, and her voice represents that beauty.

Every once in a while someone in a writer’s group or loop puts out a call for a “plain” heroine. An overweight one, a dowdy one. And while I sincerely believe most of us can relate to someone who isn’t beautiful (and some stories really work with less attractive characters) I think the majority of us use reading as an escape. And who wants to escape into a story with a character just like us? We want to relate to greater emotions, we want to experience life through their eyes, but most readers I’ve talked to want to escape into someone who’s a little bigger than life. More beautiful than they are; more glamorous; more intelligent. More…something.

Perhaps that’s why Grace Kelly came to mind. And her voice.

Rhythm is such a key element in on-the-page talking. If the rhythm is right, the reader glides right along, “hearing” it in her head. Whether the character is someone you know personally or an actor or actress, if you picture them saying the words you’re providing, it might help in getting that rhythm down.

The only danger in imagining a real-life person for their voice as your character is the possibility you might let them limit what you want to give them. This is probably a greater danger if you actually know the person who is inspiring your character. That’s where you have to let your imagination go wild, or at the very least keep your inspiration a secret so you won’t offend anyone if the character they're inspiring turns out to a.) be the villain or b.) do something they regret, even stupid (as characters often do!).

With an actor, your character is just another role for them and if you’ve seen them in any variety of roles, that shouldn’t be difficult. Grace Kelly had the same softly cultured voice in High Noon that she had in Dial M For Murder, and yet what each character said was very different.

So from now on, if you aren’t already, be an avid listener. Study those voices that are unique, memorable, especially rhythmic. And see if any of them might inspire the voice of one of your characters.

The Latest In Fiction

Here's the newest release from Robin Lee Hatcher - from my favorite time setting! If this one is as much fun as A Vote of Confidence, you're in for a treat.

FIT TO BE TIED

by Robin Lee Hatcher

Who says a woman can’t do a man’s job?

Cleo Arlington dresses like a cowboy, is fearless and fun-loving, and can ride, rope, and wrangle a horse as well as any man. In 1916, however, those talents aren’t what most young women aspire to. But Cleo isn’t most women. Twenty-nine years old and single, Cleo loves life on her father’s Idaho ranch. Still, she hopes someday to marry and have children.

Enter Sherwood Statham, an English aristocrat whose father has sentenced him to a year of work in America to “straighten him out.” Sherwood, who expected a desk job at a posh spa, isn’t happy to be stuck on an Idaho ranch. And he has no idea how to handle Cleo, who’s been challenged with transforming this uptight playboy into a down-home cowboy.

Just about everything either of them says or does leaves the other, well, fit to be tied. And though Cleo believes God’s plan for her includes a husband, it couldn’t possibly be Sherwood Statham. Could it?

BIO

Best-selling novelist Robin Lee Hatcher is known for her heartwarming and emotionally charged stories of faith, courage, and love. She makes her home in Idaho where she enjoys spending time with her family and her high-maintenance Papillon, Poppet.

About FIT TO BE TIED, the Library Journal said: "A master of lively historical romances, Hatcher demonstrates an expert ability to craft spunky, unlikely heroines who go against the tide of the times in which they live, making for fun, exciting stories. She also pays close attention to historical detail. This second series entry (after A Vote of Confidence) is highly recommended for readers of inspirational and historical romances and women's fiction."

A Note from Robin

The Sisters of Bethlehem Springs series sprang from the question: Who says a woman can't do a man's job? And I can't fully express just how much fun I've had looking for the answer through the eyes of my heroines in this series. Although I have no favorites among the novels I've written (each were special to me at the time I wrote them), I do have some favorite characters. Cleo Arlington is one of them. I love her for her strong faith, for her quirky turns of phrase, for her confidence with horses and her lack of confidence with men, even for her impatience with Sherwood, the English aristocrat that she's supposed to turn into a cowboy. I've been so delighted that readers have taken her into their hearts the way they have. I hope you'll feel the same way about her.

*****************************

Here is the link to see a book trailer:

http://www.youtube.com/watch?v=I1VLeF15hr4

And links to Amazon and Christianbook - shop online!:

http://is.gd/4P2qJ

http://is.gd/4P2pG

And finally, link to an excerpt of FIT TO BE TIED:

http://is.gd/4P46c

Enjoy!

Discouragement Blockers

Asking someone if they ever get discouraged is like asking if they get angry, happy, tired, excited, or any number of other emotions. Discouragement is just one of those things we all face at one time or another. I don’t know if those of us in the writer set have more opportunities for discouragement—or we just tend to be “feelers,” in tune to emotion so we can infuse those feelings into our characters.

So how do you deal with discouragement? I did a brief study on ways to fight discouragement, and I’ve listed below what I came up with. See if you agree with any, or if you can add any of your own.

*Identify the source. Why are you feeling discouraged right now? Sometimes understanding the source is enough to get back on the right track.

*Pray. Just tell God how you’re feeling. There are plenty of people in the Bible who faced discouragement. Think how Jesus Himself felt when those He came to save let Him die such a gruesome death. If you can’t put your feelings into words, pray from the Bible. Look through the Psalms and pray words from there.

*After you’ve identified the source of your discouragement, is there anything you can do about it? Being proactive in fighting discouragement is a huge step toward conquering this feeling. A feeling of helplessness might be part of the problem, but there are fewer instances than we think when we’re really helpless. Slow progress toward a solution is better than it might seem in the moment, but realizing progress is being made can help fight discouragement. Just don’t make any important decisions while overwhelmed with discouragement.

*Remember the song that Bing Crosby sang in the movie “White Christmas” – well, besides the title song? It was called “Count Your Blessings,” or something like that. The lyrics remind us at the end of the day to count our blessings instead of sheep. I think reminding ourselves of all the ways God has shown His love for us would go a long way in blocking discouragement.

*Talk to a friend, someone you trust to be wise . . . and discreet.

Do something you love:
*Watch a funny movie
*Read a good book
*Listen to uplifting music
*Hug your pet (unless it’s a fish)

*Take a walk. Better yet, listen to praise music while you walk, and pray the words of the songs. And if you pass any dogs on your walk, make their tail wag. Who doesn’t want to smile when a dog is wagging their tail at you? Or else make the owner smile, whichever comes more easily (probably the wagging tail). Sometimes when we make somebody else smile, it bounces back and a smile hits our own face, too.

*Eat right. I know, I know, everybody says when you eat chocolate it releases some kind of chemical in the brain allowing you to feel better, but that’s too fleeting. Eating food that makes us feel better for the long run is food that fuels our bodies in the best ways. Yep, that’s fruits, vegetables, not so much junk.

*And finally, some people say cleaning something makes them feel better: a bathroom, the kitchen, a closet, the basement . . . While I have yet to derive any particular pleasure from such things (although I must admit to enjoying the sense of accomplishment that comes after such activities) this sounds like it’s worth a shot.

I think even if we do one or two of the things on this list when we feel discouraged, we’re bound to feel at least a little better afterward. But if you can’t do any, just do one thing:

*Read the book of Philippians in the Bible. It’s a great source of encouragement!

So, until next time, I’ll be counting my blessings instead of sheep…

The Germ of an Idea

If you’re a writer, do you ever stop to identify the moment when you’re first touched by an idea for your next project? Is there one moment you can identify as being the "germ" that started your book, or has it been forgotten?

I vividly remember when I first had the idea for Whisper on the Wind (to release in 2010). I’ve mentioned before how this book seemed a gift. I started writing it after a long period of time away from writing, and when I sat down to the computer with the desire to write again, the whole story just seemed to flow. Sometimes when I look back on it, it seems as though God was at work on this book inside of me long before I was.

I was reading a non-fiction book about one of my favorite eras, the early decades of 1900’s. I recall one tiny little reference to a “valiant underground newspaper, La Libre Belgique.” Since I was reading about the First World War, I knew the paper must have been “underground” because of the circumstances of war. What made it valiant? How did it operate? What sort of thing did it publish?

At the time, I wasn’t actively writing. I recall thinking if I ever did return to the writing life, this might be worth checking into because I knew I’d find a story worth telling.

So I investigated a story idea even though I wasn’t planning to use it any time soon. This was a while ago (not sure I want to count the years, but surely more than ten!). The Internet wasn’t the extensive source of information that it is today, so I searched through the books on my shelf relating to that era. I checked Indexes to see if they included any references to this newspaper, and a few did. By following a trail of bibliographies and other sources referencing this newspaper, I eventually stumbled across a book that in essence told the complete story of how this paper worked. It was written by a man who interviewed the people directly involved.

I was hooked. Here was an entire storyline just waiting to be fleshed out with characters of my own. But because I wasn’t writing much at the time, I set my notes aside, making sure I had the titles of all the books I knew about referencing this subject. I made doubly sure to have the title, publisher and author’s name of the book that would be such a valuable resource if ever I chose to create a story around it.

Research is so much fun when it writes stories for us, and that’s eventually what happened with this book. By the time I sat down to write, I had so much detailed information, vital to telling this story, that it played a huge role in that book “writing itself.”

People decide to write a book for a variety of reasons, but one is when they come across something they find wildly exciting or interesting, and educate themselves about it. So much that they want to share it with others. What better way to do that than to frame it inside a story? It's one way to share part of ourselves, our interests, the worlds we like to live in inside our head.

I recall being told when I was young that I needed to have something to say if I wanted to write a book. When I first started writing I never thought I did have anything to say, at least not anything that would be very important. I just wanted to entertain myself and then, hopefully, others. And I think that's valid. It took me a while to let myself think that way, but I wholeheartedly believe it now. Leave the profundity to the literary writers; I choose to entertain.

But somehow messages DO get in there, whether we plan it or not. A body of work inevitably stands for something. I didn’t realize how strong the theme in Whisper on the Wind would turn out to be until well in the story. I started out wanting to tell everyone about the kind of people who were willing to risk their lives to make life more tolerable for themselves and others. But in so doing, writing this story taught me what a formidable force can be carried behind words. Propaganda is a war tool for a reason—because words have power. To inspire, to give hope, to manipulate both thoughts and behaviors.

It’s no less true today than it was one hundred years ago. Don't you think?