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Signs of Portents – Author Commentary Part 5

October 20, 2016 By Lou

I saved one of my favorite subjects from Signs of Portents for last. The villain of the story.

(Spoilers ahead.)

Villain Building.

Villain building is always a tough nut to crack. On some level there is a purity to just being evil. To being the killer. But there has to be a reason for it. Some layered discontent, some mental instability, something there to connect to the reader.

Villainous motivations.

Nathaniel Evans was a one note player in the drama. During the first draft he was the killer but there was nothing to his story other than the destruction of the city. As I went along, as pieces fell into place and the “signs” portion of the title made more sense to me on every level, I realized the why of it all.

Why Evans was the right choice for the villain in this novel. Why he was after what he was after. And even why each victim came into focus, giving me a little tease for what was coming in future books. (Did you wonder about that too? How a man dead for over one hundred years could stumble on the exact people he needed at the right time? Think about that.)

The tools at his disposal.

The question of the specific victims aside, their role in Evans rebuilding throughout the novel was something I went back and forth on. Did he take both of Decker’s hands or only one? What about Abigail Fortune’s eyes? Early drafts had it as both but as I went back and tweaked little details I realized how much more creepy the man could be with one mangled hand and one pristine.

The same was true for the eyes. Two crimson was on the nose. (Even my three year old daughter knows people with red eyes are evil. And if they have sharp teeth? Totally evil.) Having both eyes blue didn’t work either. Too mundane. But one of each?

villain building

The cover alone sold me on that idea.

Origin stories

The true history of Portents wasn’t fleshed out in the first draft and became confusing to the reader. It was a slow evolution through the editing process. But once it came it clicked into place nicely to help in my villain building. The William Rath story. The flashbacks to the Town Square. All of that came after the initial draft to help flesh out Evans. Each element was carefully placed. My fear for a long time was in over-complicating the plot. It is a fear I carry into every project because it takes away clarity and momentum in the climb to the climax.

And yes, the William Rath “story” wiping out the truth about Evans may have been a play on Jebediah Springfield from The Simpsons. It did occur to me when I went into revision mode. Who hasn’t been influenced by The Simpsons at this point?

Questions?

I think I’ve come to the end of my commentary on Signs of Portents. I love doing this kind of thing and can’t wait to share some of the craziness behind Tales from Portents in a few months. Until then, if you have any questions on Signs that I didn’t cover or that you were interested in learning more about feel free to contact me directly here. There is also the Facebook and Twitter pages that I stalk frequently as well. Goodreads also has a really cool Ask the Author feature that would be a great place to keep the conversation going.

Thanks for reading.

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Filed Under: Editing, Signs of Portents, Writing Tagged With: editing process, Signs of Portents, villain building

Signs of Portents – Author Commentary Part 4

October 17, 2016 By Lou

Not everything comes out on the page perfectly. Not the first time. Sometimes not even the second, third or fourth time you’ve gone through a manuscript. There is usually an element missing, something discovered later on in the process. A character moment to follow through the manuscript, a plot point you need to touch on so the turn makes sense three chapters later. Or it could be something simply like you forgot Loren was wearing a coat and put him in jean shorts and crocs.

Then there is Chapter 16 in Signs of Portents, which pretty much needed a complete and total rewrite during the editing process.

The original draft.

Scenes have some requirements to make them relevant to the narrative. They drive action. They build an image or relate theme. And they need to drive character’s forward through their arc in the novel. Chapter Sixteen opened with Loren outside the Central Precinct, fighting against the need to talk to Ruiz about the case, right before Soriya draws him back into it with the death of her bouncer friend, Urg.

That was my original outline. I failed to hit the first point home completely. Check it out.

Loren was sitting on a park bench across the street from the central precinct when the call came.  Her words were sparse, long pauses cutting through them that were not from reception issues, though Loren swore his phone knew when to crackle and fade with each and every call received.  Soriya was distant on the other line, her mind somewhere else as she spoke.

“The apartment.  Now.”

Loren was sitting on a park bench.

character momentUm, what? The great character moment for Loren in this chapter, the incredible image built in the reader’s mind, was Loren SITTING ON A BENCH. Top notch stuff, Lou.

That line made it through four drafts somehow before I realized the problem. A whole slew of problems actually. Why was he sitting on the park bench? Why was he not DOING anything? He would have been better off sleeping on the bench than sitting. At least that would have shown him unwilling to go home to his apartment. Still, not ideal.

Enter the new elements.

I knew adding the Ruiz element would at least clarify the why of Loren’s sitting on the bench outside. But this was a chance to push a character moment further, to layer in his arc about being torn between Portents and Chicago. His old life versus the new one he was hoping to build.

I also had a chance to slip in some details from the case, something Loren was fighting to keep in the background but couldn’t help considering even in his resistance.

Two new players came into the chapter that pulled it together:

  1. Loren’s sister, Meriwether. (His character moment.)
  2. The William Rath statue in front of the Central Precinct. (Advancing the plot.)

A much more fleshed out chapter was the result:

The William Rath Addition

Loren sat on a park bench across the street from the Central Precinct as the bell tower behind him chimed in a new early morning hour. From his position, the statue of William Rath stood before him. The building’s namesake towered over Loren, a fifteen-foot monument to the city’s founder though the contemplative detective believed the legend would be disappointed with the praise.

The statue was cracked and worn from age. There were a number of imperfections in the face and hands as if changed after the fact. The dedication plaque held the same issues with dates overwritten and marred, either by age or man Loren could not say for certain, but the date 1893 read false when compared to the rest of the writing that adorned the stone surface of the commemoration. It reminded him of the change on the date marking the warehouse where the body of Vladimir Luchik was found.

Focusing on the statue and the plaque was the fourth distraction Loren had created to keep from leaving the cold metal bars of the bench. Anything to keep him from heading into the stationhouse and the waiting Captain Ruiz. Ruiz wanted to go over the case, the same way they always had in the past. A pot of coffee split between them and a piece or three of kuchen from the captain’s wife, Michelle. Ruiz wanted everything to be the same, the way it had worked between them for so long. Loren wanted anything but that. Things had changed. Hadn’t they? Change was good. Change was needed. Change meant growth; it meant movement, be it forward or backward. It was movement and Loren needed to keep moving.

Loren’s sister enters the world.

It took three rings before Loren realized his phone was going off in the left-hand pocket of his leather coat. It took another two for him to work his hand around the thin device, scan the caller ID, and make the decision to accept the call. There were certain people who expected calls after midnight. Loren was not one of them. Family, however, trumped the late hour the same way it did almost everything else. At least, that was what Loren wanted to believe, holding the phone to his ear.

“Hello?” he said over the wind. He turned away from the night chill that crackled into the phone, letting it fall on his back instead.

“Greg?” the voice on the other end asked. A deep sigh of relief blew into the line. “Oh, thank God.”

“Meri?” Loren rechecked the caller ID. It was definitely his sister. “What time is it?”

Meriwether Atkins, formerly Meriwether Loren, guffawed into Loren’s ear loudly. Loren used to enjoy the sound of his sister’s laughter when they were kids but since she had started a family of her own, he realized that her laughter typically meant something else entirely different than joy.

“What time is it?” she repeated. “About three hours past your train’s arrival. You know, that train I stayed up to meet so I could drive your ass home?”

Dammit. He had meant to call. Meant to text. Something to let her know about Ruiz’s rescheduling but it slipped his mind as if Chicago and his life there no longer existed. There was only the mystery before him, just like it had always been. Just the way Ruiz wanted it.

“Oh.” It was all he could mutter against the wind. He never should have asked in the first place but their relationship had been so strained, even with his return to Chicago. Part of him wanted to connect, or at least make the attempt he had been putting off for the last three months.

“Yeah. Oh,” Meri replied. “Anytime you want to make with the explanations and the apologies, I’m all ears. And don’t for a second start chewing in my ear with whatever nonsense flavor you’re craving today.”

Loren looked to his left hand that had retrieved a pack of gum from his pocket. He quickly tucked it back inside. Sisters. When they know you, they know you.

“Ruiz called me in.” Loren looked to the Rath Building and the dim light from the second floor office of the waiting captain. He felt the eyes of the statue of William Rath burning into him as fiercely as Meri’s undoubtedly did from the other end of the call.

“Of course he did,” she muttered. There was no surprise in her tone but Loren heard the disappointment. “He knows that’s the last thing you need, right?”

“He does.”

“But there you are.” There were things older siblings should never teach younger ones, Loren realized, hearing the biting sarcasm that filtered through every word his sister spoke.

“Here I am.” He joined her tone.

“Stop it.”

“What now, Mer?”

“Stop pretending to listen with your repeating answers and actually listen.” She took a deep, audible breath. Loren waited patiently on the bench that overlooked the front of the stationhouse of the Central Precinct. He snapped open the package of gum, slipping a stick into his palm. He let it rest there rather than incur more wrath from the responsible Loren. He knew there was enough coming his way as it was.

“That place almost destroyed you. You know this. You chose to come home, so come home. It might not be what you were hoping for, and God knows we can be just as screwed up as anyone, but family is family, Greg.”

He heard her every word. He had said them to the cracked and weary face in the mirror more times than he cared to recall. There was a time when family was king of the hill and everything else in the world was sitting at the bottom of the pile of priorities. That was how the world was supposed to be. Beth became that family to him in Portents. When Chicago no longer felt like home, she took that place. Even in her absence, she held that place while he spent every waking moment looking for who or whatever took her from him. Meri was right—he had come home, and it wasn’t the way it was supposed to be. Family was family though, right?

“How is she?” he asked quietly, his eyes shifting up to the night sky.

“You should call her and ask her.”

“Meri…”

“She’s…she’s okay, Greg.” There was a sadness in her tone. “Tired from watching my kids all day but okay.”

“Good.”

“Greg. How are you?”

The question always surprised him. He didn’t have an answer. He never really knew how he was doing. Not really. Between being back in Portents with Ruiz and Soriya, and now with the case laid in his lap, there was too much to consider to answer the question neatly.

“Craving the stick of peach mango I unwrapped.”

A deep sigh was Meri’s reply. It was clear she knew the question would never be answered. “Go, Greg. Go to Ruiz and your work. I’ll be here to pick up the pieces.”

“I’m fine, Mer.”

“I know.”

She was already gone from the conversation. He pushed her away as easily as he had when he first left Chicago to make a fresh start. “I’m sorry about the train hiccup.”

“Took you long enough to get there.”

“I am an idiot sometimes.”

“Sometimes?”

“I’ll be home soon.” The words slipped out and he tried to retrieve them by clearing his throat loudly. “I’ll call. Tell Mom—”

“You tell her,” Meri replied quickly. The phone clicked and Loren was alone once more. He let the phone hang by his ear, wondering if he would ever again feel like he could be there for his family as much as Meri had been there for him when he really needed her. There was a divide separating them, one he had put into place long ago. It was more than his work, though, which was what drove him away in the first place. That, and what his father put them through over the years. Loren couldn’t stay in Chicago and watch his family crumble. At the time, he wasn’t strong enough to stop it, the abuse both verbal and physical. His strength came later, with Beth, but by then the split was complete. And remained complete, even after so much water under and over every bridge separating the Loren family.

He tucked the phone away. Dry, cracked fingers ran through his uncombed hair, massaging his scalp to wake him up. Loren had barely slipped the stick of gum between his lips when the phone lit up once more. He clicked the accept button, the first burst of peach mango hitting his tongue.

Her words were sparse, long pauses cutting through them that were not from reception issues, though Loren swore his phone knew when to crackle and fade with each and every call received. Soriya Greystone was distant on the other line, her mind somewhere else while she spoke.

“The apartment. Now.”

Thank you, self-editing.

A much more involved scene to add character moments and build up the mystery in the background led to a stronger addition to the novel. Though I do think Greg Loren Sits on a Bench will be a New York Times bestseller someday.

Thanks for reading.

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Filed Under: Editing, Signs of Portents, Writing Tagged With: author commentary, character moments, editing process, Signs of Portents

Signs of Portents – Author Commentary Part 3

October 6, 2016 By Lou

Last time I wrote about the addition of Captain Rufus Mathers as a foil to both Loren and Ruiz in their work at the Central Precinct. Ratcheting up tension in each chapter became a very specific goal when I was wrapping up my work on Signs of Portents. The Mathers character fit the mold perfectly for what I needed. He also gave me another element to add later in the novel. What is commonly known as the ticking clock factor.

What is the ticking clock factor?

ticking clock factorThe ticking clock factor is a plot driven deadline to push the action forward in the narrative. It is the timer on a bomb about to go off. It is the fifteen minute race through New York City traffic to answer a phone call to the tune of a madman’s game. (Yes, Die Hard With a Vengeance reference achieved! Just don’t force me to explain the water jug thing.) The ticking clock forces action. It forces movement.

“You have to be home for dinner at five o’clock.”

You better damn well be home for dinner before that clock hits five. Even if your pants are on fire and you have three miles to run with dogs chasing you. So what if your cell phone broke and your watch is chirping like crazy? Get home already!

The ticking clock adds a layer of tension into the background of the scene and pushes characters to act.

The Bookstore Scene

In Chapter 32 of Signs, Loren is working tirelessly to put together the pieces of the case. He’s exhausted and pushing himself way too hard. Ruiz’s doubts, first introduced in his solo chapter (with Mathers) come out here and he tries to pull the plug on Loren’s work.

In the initial draft and the first couple revisions, before Mathers came into the picture, the conversation moved pretty quickly to Nathaniel Evans and the true history of Portents. There was no tension between the two of them. No pressure to complete the job at any pace, other than the natural need to stop another murder (not insignificant, just not enough in my eyes).

It went like this:

“Something someone said and then what I found at Mentor’s…Eckhart’s.”  Loren was trying to piece it together as he spoke.  He knew leaving the raven out of the mix was the best option when it came to Ruiz, who already looked him over suspiciously.  The Captain walked around the table and pushed the chair back under the table.  He grabbed Loren’s coat and held it out for him, pointing for the door. 

“Food first.  Then murder and mayhem.”

 As Ruiz backed up for the door, Loren tossed him the book he found tucked under Mentor’s pillow.  Ruiz looked down to see the title, The True History of Portents in bold white letters on the cover.  There was a list of authors in small print.  A book that extensive needed many hands to put it together.  One of them he recognized immediately.  Of course he did, he thought as his eyes widened, since he had stood up at her wedding the last time she used the surname noted on the crinkled cover. 

 “Beth worked on this book.”  Ruiz stated plainly, staring at the name Beth Schmidt.

 “Looks like.”

 “Your wife worked on a lot of books.”

“But this is the one that matters to this case.”  Loren snatched the book from the questioning Captain and held it in front of them.  “Every book in this library mentions the founding of the city as being late 1800’s.  Every sign, every monument has different stonework, with a revised date to make the word of all of these books true.  But they’re wrong.”

 “How so?”

“This book talks about the first Portents.  The real Portents that is still here, buried in the rubble.  It goes from the founding in the 1870’s until the revised dates.  Maps, details, historical documents long thought lost.  All from the very beginning.”

“I’m not seeing the connection, Greg.”  Ruiz replied.  He held the door for Loren.  The detective gathered up his belongings on the table quickly, holding tight to the case files and the book as he spoke.  He moved for the door, giving a quick nod to Mason behind the front counter before exiting the main door to the street.  The mini-van was parked by the curb in front of the store.  Loren shot Ruiz a look, but the Captain ushered him on without a word.

            “I know.  I know.  It sounds crazy but when you’re dealing with people killing other people with their bare hands and old souls this is what it comes down to, you know?”

            “Old souls?”  Ruiz tried to ask, but Loren refused to slow down.

            “Anyway,” he continued, “The same name keeps popping up throughout the book and I’ve seen it in a half dozen places in the last three days around the city.  Tell me, Ruiz.  What do you know about a guy named Nathaniel Evans?”

Not quite there.

It was adequate. It pushed the plot forward to where it needed to go. But it wasn’t enough. Not to me. I wanted more and I had this Mathers guy in the background so why not use him? Why not push Loren to take a leap because he was being forced to instead of just throwing it out there?

Revision time.

“Something someone said and then what I found at Ment—Eckhart’s.” Loren was trying to piece it together. He knew leaving the raven out of the mix was the best option when it came to Ruiz, who already looked him over suspiciously. The captain walked around the table and pushed the chair back under. He grabbed Loren’s coat and held it out for him, pointing for the door.

“Greg.”

“Wait.” Loren looked back to the clock and then to his friend. “Shift doesn’t start for another four hours. How did you get the call about me?”

Ruiz checked the door to make sure Mason hadn’t let anyone else into the back room. “Called in for a meeting.”

“Dammit,” muttered Loren.

“Yeah.”

“Mathers?”

Ruiz nodded. “He’ll be taking point first thing tomorrow if we haven’t closed it.”

“He has no clue what the hell—”

“We know that, but who else does?”

“Please tell me that prick at least had the decency to pin it on my idiocy and not lay this at your doorstep?” Loren asked, concerned.

Ruiz’s face was shadowed from the overhead lights, his eyes dark. “He did,” he answered. “Doesn’t matter either way. I handed you the case so it falls on me. Don’t think for a second Mathers won’t use it against me first chance he gets.”

“He won’t, because he has no chance of solving it.”

“True.”

“I screwed it up for you.”

“Not your fault.”

“Dammit.” Loren ran his fingers against the scruff collecting on his chin. Of course he screwed it up for Ruiz. He should never have been on the case in the first place. He should have stayed in Chicago or brought all of his things months ago when he first moved. But now? After three days of running through the streets looking for an old soul, talking to ravens, and almost being trampled by a giant with a chicken wing fetish? He had the answers. The damn raven knew it and so did he, at least on some level, and to see it slipping away because of Mathers? “So we have a day.”

Everyone loves a deadline.

Like life, throwing a deadline at the characters can help kick their thoughts into overdrive. We move faster when we have to be somewhere at a certain time. (Mostly because we ALWAYS leave late.) Sometimes we move too quickly and we forget something. But other times having that pressure focuses us.

That was my goal with the ticking clock and Loren’s connection of Nathaniel Evans to the case.

It gave more insight into Mathers who gets to be a bigger part of the story going forward. More than anything, however, it put the pressure on Loren to solve the case. He was the only one able to do it. It was time to prove that. To Ruiz and especially to himself.

All thanks to adding the ticking clock factor to the mix.

Thanks for reading.

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Filed Under: Editing, Signs of Portents, Writing Tagged With: author commentary, editing process, Signs of Portents, ticking clock factor

Signs of Portents – Author Commentary Part 2

October 3, 2016 By Lou

Editing a novel is a tricky process. There’s the story you’ve come up with and put together over many months. And then there’s the story that needs to be told within that story. What sells the arc of a character? How do you drive it home for your reader? How does it impact future books in the series? All become very important questions over the course of the editing process.

To me, there was something missing in Signs of Portents for the longest time. A player that, while minor in the novel, would come to play a larger role in events as the series played out. In my mind, at least. Draft after draft went by until it finally dawned on me who I was missing in the work.

Rufus Mathers.

He shows up in a single chapter in the novel. (Chapter 23 for those playing at home.) Just one. But by including him as a physical presence in the book his impact is felt throughout the work.

editing processWhy Mathers?

I needed a foil. I needed a face to stand against Loren and the way things had been done in the past. Someone to hate Loren for the mistakes made during his previous stint at the Portents Police Department. Someone with authority and someone with power over how Loren and, by association, Soriya could operate in the city. The notion of Standish, the troubles in Loren’s past were seeded but there was no one actually willing to say these things out loud from any place of authority.

Mathers came into focus very late in the game to fill this role and in doing so also provided the perfect place to give Captain Ruiz more time on the page.

Counterpoint to Ruiz

I knew Ruiz needed more to play with during Signs of Portents. He’s the Walter Skinner of the cast (for all you X-Files fans out there) and there needed to be more room for him to strut his stuff. The inclusion of Mathers, and the sudden creation of the events in Chapter 23, the reader gets to see Ruiz take center stage.

We follow Ruiz while he defends Loren’s actions as well as his own for bringing him back into the fold. We learn the power struggle between the two men. One wanted the other’s job and one just wanted to do the job.

It also allowed me to show Ruiz’s doubts about Loren, his fears in putting it all on the line for the man barely surviving. His doubts become the readers and it becomes Loren’s job to put them at ease.

Ruiz down the line

By setting up the work dynamic with Mathers during the editing process I was able to open up some avenues down the line. The reader gets to learn more about Loren’s blow up with Robert Standish – someone you will be reading about quite a bit in the upcoming Tales from Portents collection – and added more drama to the situation. Having someone to pile on the protagonist always add more fuel to the fire of a plot. I knew Mathers would play the part well, while also keeping Ruiz in check.

More than anything, Ruiz needed to be seen and heard more in the novel. His role in the next full length novel is greatly expanded. Big stuff happens with him. Seeding his story here and watching it grow in Tales from Portents lets the reader see how important he truly is to the overall arc of the Greystone series.

Fingers crossed that it worked.

Thanks for reading.

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Filed Under: Editing, Greystone, Signs of Portents, Writing Tagged With: author commentary, editing process, Signs of Portents, Tales from Portents, writing

Signs of Portents – Author Commentary Part 1

September 26, 2016 By Lou

I love bonus materials. From director’s commentaries to deleted scenes to behind the scenes featurettes and gag reels, I find the process of creating a final product fascinating. From conception through drafting through the cutting and editing process. Every decision made, every step taken to get to the end point – a film, television season, comic book event, or even a book.

Something about the transparency of it all appeals to me. I know, I know. I’m sure there is more hidden than shown when cracking open the bonus materials on my favorite Blu-Ray. But even some insight into what went into putting together the story or the effects is better than nothing.

That is my hope here. I spend way too much time in a bubble, making choices – through quite a bit of debate with myself – and when I started this site I promised I would share the decision making process and some of what was left on the cutting room floor with all of my projects.

I will make every attempt to keep any spoilers to a minimum as we go along – though I’m sure you’ve already finished the book and left a glowing review for it anywhere and everywhere, right? 🙂

The Evolution of Signs of Portents

Signs of Portents went through many different forms and incarnations before reaching the shelves. It evolved from a four issue limited series built for comics to a full length novel to the first book in an expansive series of books. With each step choices were made, characters added and cut over time, arcs tweaked and mysteries developed to span multiple books.

Most of the book, surprisingly, survived the process and made it to the final product. There were some items, however, that needed adding and some that desperately needed cutting.

Loren’s Quirks

Greg Loren has quite a few problems in Signs of Portents. He’s obsessed with his wife’s death. He chews gum incessantly when he craves a smoke. It helps him to think but is also used to avoid deeper connections with those around him. He even has a problem with heights thanks to the way his wife passed.

That’s enough to make someone question his sanity, or at least recommend a shrink session twice a week.

The initial drafts of Signs of Portents included yet another quirk in Loren’s personality.

A fear of driving.

author commentaryThere is a scene in the parking garage of the Central Precinct where Loren and Soriya attempt to figure out what direction to head in their investigation. Soriya has the bright idea to head to the Courtyard and the two head over there. Simple. Concise.

Not so originally.

The original version had an exchange that NEVER worked for me and made me cringe every time I read through it. Soriya heads over to parking garage attendant and requisitions a vehicle using Loren’s signature which she’s mastered during their time together. She grabs some keys and tosses them to Loren who promptly tosses them back. The guard in the toll booth style box watches all this and accidentally falls out of his chair offering some comedic relief that was so far out of place it made the scene even worse. But why summarize when you can see the awfulness:

From the fifth draft in 2014:

“What’s the endgame once the pieces are back in place?” Loren asked as they continued for the bright light of the requisition desk by the main door of the parking garage leading to the first floor of the Rath Building.  Gomez, never one of the most ambitious officers in the building, operated the desk with his usual exuberance.  His feet were planted on the desk and leaned back with his hands anchored behind his head as a pillow. 

Soriya stopped before the desk, looking back at Loren.  “We can’t figure that out yet.  We need to know who he is first.”

Without warning, she reached into the small enclosure Gomez occupied and retrieved a set of keys from the wall.  As Gomez tried to stop her in a panic, his feet pushed off the desk where they had rested and his wide frame flew backwards in a loud crash.  With keys in hand, Soriya scrawled Loren’s name on the log.  The quiet detective watched in awe as she matched his signature perfectly, even adding in the small blob of ink that tended to collect at the end of his first name.  Finished, she tossed Loren the keys with a wide grin on her face.  He caught them then tossed them back.

“So we find Mentor, right?”  He asked, knowing the old man wanted in on the case.  His last request continued to echo in his thoughts.  Keep her safe.  The question, of course, made the joy fade from her face as thoughts of the two failures from the last two days played in Technicolor behind her eyelids. 

“No.”  She replied.  She let the answer hang between them for a long moment until Loren nodded, still refusing to take the car keys from Soriya.  Then she smiled wide, ever the child holding onto a secret she couldn’t wait to share.  “He has his methods.  I have mine.”

Loren then has to explain his feelings to the reader during their trek to the Courtyard instead of seeing the city as we go:

Loren knew it was coming, the scowl and the glares that came with it.  He didn’t care.  Throwing the keys to the requisitioned vehicle back on the peg to keep Gomez happy would have been enough incentive for Loren, but the added bonus of not being stuck behind the wheel of a walking death trap was obviously the true motive behind their choice of transportation. 

author commentaryLoren was a city boy, born and raised.  He walked his entire life in Chicago and though he carried a license, driving was never in his comfort zone.  The distractions of the every day driver brought shivers down his spine.  It also came with a side order of pure dread at the lack of control any one person had on the road as they drove.  Traffic was a ticking time bomb waiting to explode and take as many innocent motorists as possible.  Accidents were up 500% over the last decade alone in Portents, with the rise of Bluetooth devices and portable entertainment.  Anything to multi-task side by side with the local commuters. 

Putting his life in the hands of someone that received a paycheck from driving and the threat of an accident ending their career seemed more pragmatic, though if he thought too long about it the holes in his thesis widened greater than a slice of Swiss.

Neither section worked. Both added nothing to overall plot or the arc of Loren. His fear was yet another trait that needed constant monitoring and would never be believed in the modern day world, or tolerated by Ruiz or the police department. It strained plausibility and took the focus from their search for answers and the need to solve the case before them by turning it inward on Loren, something done for quite a few chapters before this exchange.

It needed to go.

Cut. It. Out.

Taking out the quirk and pairing down the scene refocused the characters on the task at hand. It also gave Loren the opportunity to see the city, something necessary to his overall arc for the novel.

“What’s the endgame once the pieces are back in place?” Loren asked.

“We can’t figure that out yet. We need to know who he is first.”

“So we find Mentor, right?” he asked, knowing the old man wanted in on the case. His last request continued to echo in his thoughts. Keep her safe. The question, of course, made the joy fade from her face, the two failures from the last two days playing in Technicolor behind her eyelids.

“No,” she replied. She let the answer hang between them for a long moment until Loren nodded. Then she smiled widely, ever the child holding onto a secret she couldn’t wait to share. “He has his methods. I have mine.”

Short and sweet. The focus on the two players. No movement. Nothing but the case before them.

Soriya’s city.

Since no explanation of Loren’s quirk was necessary it opened the door for a chance to show more of the city through Loren’s eyes and how the pair are so diametrically different in their approach to Portents.

Soriya’s methods were never straightforward. They were never a clear delineation to an end goal. They were, however, revealing. Revealing of the city in which Loren had spent the majority of a decade before deciding to leave for a new start. They were also revealing of his guide and her age. It had not been long since Soriya started her task as the Greystone, a task Loren remained skeptical about despite her obvious talent and enthusiasm for it. She was only twenty-two, barely starting her adult life, and together the two of them had faced monsters in the dark, both human and otherwise. It was not something he would wish on anyone.

It was during these jaunts through Portents that he forgot about all of it—the murder, the darkness of the city, the fear he felt creeping on the periphery. There was only the two of them racing through the night, searching for more than a simple answer. They were finding themselves as well.

He volunteered to drive. She laughed at the notion. It wasn’t her way.

It started with a cab ride to the east, ending at a tram station off Court. While they journeyed in the slow-moving evening tram, Soriya pointed out a street performer surrounded by the late night denizens of the area. He was a contortionist, bending and twisting his body in all manner of shapes for a crowd. Only the two of them caught sight of his blinking eyes. Horizontal instead of vertical. The thin tongue barely slipping out of his lips, forked and wiry like his body.

There was more. The city took on a strange dichotomy, blurring in the darkness between reality and fiction for the former detective. It disturbed him, made him nervous that at every turn there would be something else. Something unknown. Something dangerous. To Soriya, it was the opposite. Her smile grew with each step, with each discovery she was able to share.

This was her world. This was her city.

Advantage – Editing.

I did enjoy the no driving quirk. But it was wrong for the moment and wrong for the character. By focusing on the case in the first instance and the city in the second it strengthened the character arcs for the novel rather than distract with yet another instance of Loren’s wackiness.

In Author Commentary Part 2 – The Addition of Rufus Mathers and the Ticking Clock Factor.

Thanks for reading.

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Filed Under: Editing, Greystone, Signs of Portents Tagged With: author commentary, editing process, Greystone, Signs of Portents

Beta-Readers – A Critical Step in the Process

September 8, 2016 By Lou

There are many different paths to take when writing, many different ways to create, to build. Just as there are an infinite number of ways to publish your work – traditionally, independently, exclusively with one retailer, only digitally, etc. Certain parts of the process are critical no matter how you go about bringing your voice into the world. Instances that should not be skipped, including the use of beta readers.

What are beta readers?

Beta reader tests your manuscript (by reading it), and tells you about the ‘bugs’ so you can improve its readability, its usefulness and even its saleability. – Belinda Pollard

Sounds pretty important, right? It really is. For as much as you believe in your book, as much blood, sweat and probably more blood (damn paper cuts) has been poured into creating this fantastic manuscript you’re going to miss things. Hopefully, it won’t be major structural issues. (Wait, they start in Cincinnati on Monday at eight in the morning and end up in Los Angeles just six hours later? Someone didn’t do so well at word problems…) But if there are, it is better to catch them now before that first proof comes back or, God forbid, that first negative review on Amazon.

beta readers

Reaching out to Beta Readers

Where in the process does this fit? That is your choice. For me, I prefer to ask a small circle of readers before I send the manuscript to my editor. I prefer a fully polished book to come back from my editor, something that I can read over a few more times, make minor tweaks and then submit for publication.

The most efficient time for reader feedback is prior to editing so you can pivot and readjust where necessary to make the work stronger. It also helps so your editor isn’t looking at the manuscript in its rawest form. There have been other eyeballs on the piece to call you out on any areas you phoned in or didn’t quite nail.

When I reach out to beta readers I present the work as I would to an agent (albeit a little more casually). I introduce the product and am upfront about the timeline involved. If I only have a month for feedback and need to make a pass through the work at the end then I can only give three weeks to my readers. They need to know that right away. No surprises here. I also ask them to respond as to whether or not they have the time (or inclination) to read the book at this point. That gives me a clear headcount and I am completely aware of how many e-mails I should be receiving by the deadline given.

Ask questions.

During my initial approach with my small circle of readers I also prepare a list of questions. I typically put this together while self-editing the project. These start with all encompassing queries about the piece as a whole. Did Soriya’s arc work for you? Was there sufficient change from start to finish? Did it make sense?

Then it turns more specific. Was there enough tension in the conversation between Mentor and Soriya in chapter nine? Did I lose you at all in chapter seven when the villain turned out to be a fox? Does it make sense for Peter Parker to perform a dance number in the middle of Spider-Man 3? (The answer to that last one is NO. NEVER. Sam Raimi needed a few more beta readers…)

Asking questions lets your beta readers know there are specific areas you are concerned about. Maybe you don’t know everything there is to know about the bureaucracy of a police department so you ask your group (hopefully with someone knowledgeable in this area) to look over the scenes relating to this topic closely to point out any omissions or inaccuracies that are too glaring and pull a reader from the story. (What do you mean Loren can’t shoot another cop in the middle of the station and get away with it? Balls!)

The Best Beta Readers

The very best people to ask to read your painstakingly created masterpiece are those that can add something to the work. A close friend that loves science fiction might be more in tune with the tropes of the genre to let you know when something doesn’t work in your space opera. Another fan of thrillers might pick up on your killer by chapter four instead of when they stand revealed in chapter sixty-four. That might be a problem.

You want different voices. And you want voices that aren’t only there to give you encouragement, though some would be nice. Writing is a very lonely gig so some warm, cuddly love for your words is always appreciated but not at the expense of the final product.

Beta readers need to push the manuscript and the writer to be better.

Looking for a few good readers.

If you are interested in becoming a beta reader on my next project, feel free to shoot me an e-mail. I am always looking for feedback.

Where to find Beta Readers? – Check out Goodreads for their Beta Reader Group.

Thanks for reading.

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