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Thursday, June 30, 2011
Moving Along and Getting Back in Business
Wednesday, June 22, 2011
The Most DIfficult Deadline I've Ever Met
Father's Day, Sunday June 19, 2011 was the first day of the rest of my life without Dad.
He died two months and two days after entering hospice care, six years after his diagnosis of lymphoma. He never complained, and did so well through repeated rounds of chemotherapy it was easy to forget how sick he really was. We had him in our lives for six years longer than we expected, and he made the most of it: traveling, spending time with friends and his beloved grandchildren, including the celebration of his fiftieth wedding anniversary on a cruise with the entire clan.
Many happy moments, and many special memories, which is probably why it took so long for him to give up the fight: one very long month of urgent phone calls, late night jaunts on the Long Island Expressway, with the occasional reward of finding him lucid enough to tell me to turn off the Met game because "I didn't watch them when they were winning," to smack his lips as he gulped down a chocolate milk shake and ice cream cake for his 78th birthday, or to flicker his eyelids when he heard our voices--just to reassure us that he knew we were there.
My father died June 18 at 8:30 pm, with a nurse by his side. She assured me it was so quick, so peaceful, she had to check several times to be sure. We had left only a couple hours before and by the time I made the last drive in the dark of night to see him, Emelyn had made him comfortable and was waiting to greet and console us.
It took me three days to write this piece for the local newspaper. How could I possibly capture the nuances of his personality and distill all the moments, all the memories, into a few paragraphs? The same way we struggled to write the inscription for his headstone at Calverton National Cemetery, by focusing on the most important things in his life: his family, his work, his community.
Francis A. Moleti, a longtime Bronx resident and community leader, died on June 18, 2011 from complications of lymphoma. He was 78.
Frank’s proudest accomplishments included his 1952-56 tour of duty with the United States Navy, serving as a machinist on the Battleship New Jersey during the Korean War. After returning stateside, he joined the Sheet Metal Workers International Association and was a foreman for Brook Sheet Metal, which handled many major New York City construction projects including the building of the Twin Towers of the World Trade Center .
He grew up in Castle Hill, lived for a while in Parkchester, then moved to Throggs Neck. He served several terms as president of the Locust Point Civic Association until retiring to Southampton in 1995. An entire generation of local kids will remember Frank for his tireless efforts to bring PAL activities to Throggs Neck, as well as the weekend marathon of Labor Day events sponsored by the LPCA including the costume parade, foot and swimming races, as well as popular adult activities such as dancing under stars, the married vs. single men’s softball game, and the pie eating/throwing contest.
An avid fisherman and sailor, Frank worked tirelessly to improve the water quality of Long Island Sound, as well as the quality of life for Northeast Bronx residents, by serving on Community Planning Board #10 under then District Manager James Vacca. His efforts were instrumental in the closing and remediation of toxic waste leaching from the Pelham Bay Landfill as well as dealing with traffic congestion, noise, and environmental pollution near the Throggs Neck Bridge.
He is survived by his wife of 55 years, Carole, three daughters, Carole Ann, Christine and Allison, and seven grandchildren. Donations in his memory can be made to The Connecticut Fund for the Environment-Save the Sound Project.
Deadline met. Not that I had any choice.
Sunday, May 22, 2011
Demure and Dangerous: Writing Female Self-Defence Scenes with Rayne Hall
When Rayne asked to do another post about writing fight scenes, I jumped at the chance to hostess. And it couldn't have come at a better time since I'm at the point with Boulevard of Bad Spells and Broken Dreams where Kira needs to kick some ass--and she still has no idea how dangerous she can be. The villains are counting on her not realizing her potential, but things are about to change.
Rayne's last post on Writing Fight Scenes engendered lots of lively discussion, and I suspect this one will as well. For those of you who don't know, Rayne's classes (and I've taken many of them) on fight scenes, magic, and magical weapons are a must for any fantasy writer. Her bio and links to register for her upcoming class is at the end of the post.
Without further ado, I give you Rayne Hall who, if you haven't noticed the Queen's English, hails from England.
Today's readers expect the heroine to fight her own way out of trouble. Screaming, swooning, and waiting for the hero to come to the rescue is no longer enough.
If your heroine is trained in martial arts, she has a whole range of techniques at her disposal. Half a year of martial arts training can be sufficient for a spirited defence.
For inspiration, watch self-defence demonstrations on YouTube until you find a maneuvre you can adapt for your scene. Here are some links to get you started:
www.youtube.com/watch?v=DGW7eVzulg0
www.youtube.com/watch?v=QO2FEdtRi44&feature=related
www.youtube.com/watch?v=WzkhvydILYY&feature=related
www.youtube.com/watch?v=yH-vgvUEFbI
For further YouTube clips, use the keyword 'self-defence' (or 'self-defense').
But not every woman is a skilled martial artist, or trained to wield a weapon, or drilled in self-defence. A novice can't disable a thug with a roundhouse kick, and a Victorian damsel won't fell her attacker with an uppercut. Fear may lend strength and courage, but it doesn't grant implausible skills.
Here's the solution: the heroine performs a self-defence move which doesn't require prior training. Although it won't defeat the villain, it will buy her precious seconds during which she can escape from his clutches.
Choose one of these six techniques:
1. She uses her feet. Attackers expect their victims to defend themselves with their hands, so they hold the victim in a way which prevents her from moving her arms. However, your heroine is clever: she stomps her heel down on his foot. This works especially well if she's wearing high heels. The pain makes him relax his grip, though only for a moment, so she may follow this with #2.
2. She kicks him in the leg. This makes him stagger and loosen his grip for a moment. Depending on how he holds her, she can kick forwards, backwards or sidewards. She can kick his shin, his calf, his knee, his thigh, or his crotch, as long as she kicks hard. Her kick has more power if she first bends her leg and pulls her knee towards her torso and kicks from this position. (In martial arts lingo: she chambers her leg.) This allows her to kick stronger and higher, but it needs to be done quickly.
3. If she's shorter than her attacker, she sags against him as if in defeat, then suddenly straightens, ramming her head under his chin. This hurts her head, but it hurts his jaw a lot more. As he loosens his grip in pain and surprise, she breaks free.
4. If she has a hand free, she spreads the first and middle fingers and stabs them into his eyes. This blinds him temporarily, giving her time to escape. It doesn't work if he wears glasses. The violence of this method makes it unsuitable for gentle forms of fiction, and the heroine should use it only against a bad guy, not against an honourable enemy or innocent prison guard.
5. She can go for his balls. Every woman knows that a man's privates are vulnerable, and if she can punch or squeeze him there, he'll probably be out of action long enough for her to make her escape. However, men are aware of their vulnerability. Only a very stupid attacker would allow a female victim to grab his bits. Besides, this method is so over-used in fiction that it has become a predictable cliche. You could make it less predictable by letting the heroine use her elbow or her knee.
6. She can use a skill from a different context, for example, from her hobby or her job, and adapt it as a self-defence maneuvre. If her hobby is yoga, she can use her flexibility to slip out of her attacker's grasp. If she's a ballet dancer, she can fell him with a fouette. She can also use a tool of her trade as a weapon: the archaeologist may do something nifty with a trowel, the hair stylist with the curling iron, the gardener with the spade. In real life, these would probably not work - but they feel realistic, because the heroine's special skill has been established.
Since the aim of self-defense is to escape the danger, rather than to defeat an opponent, self-defence scenes tend to be very short. Often, they are just a paragraph within a larger scene.
Readers love self-defence scenes, especially if it's a woman defending herself against a man. You may want to insert a self-defence scene - or even a single self-defence paragraph - in your novel. Perhaps the heroine puts up a spirited fight before the kidnappers overpower her. Perhaps she has to fight the prison guard who tries to stop her escape. Maybe she wards off a lecher's forceful advances. In romance novels, the heroine may even fight off the hero - of course only at the beginning of the novel, before they've become allies. Near the end of the book, she's more likely to fight at the hero's side against the forces of evil.
If you have questions about writing fight scenes, feel free to ask. I'll be around for a week and will respond.
Rayne Hall writes dark fantasy and horror. She has published more than twenty books under different pen names in different genres, and her stories have earned Honorable Mentions in 'The Years' Best Fantasy and Horror'. She holds a college degree in publishing management and a masters degree in creative writing, and teaches online classes.
Even if you've never wielded a weapon, you can write an exciting fight scene. Rayne will show you how in her workshop on 'Writing Fight Scenes', which starts on 1 June 2011:
Rayne's last post on Writing Fight Scenes engendered lots of lively discussion, and I suspect this one will as well. For those of you who don't know, Rayne's classes (and I've taken many of them) on fight scenes, magic, and magical weapons are a must for any fantasy writer. Her bio and links to register for her upcoming class is at the end of the post.
Without further ado, I give you Rayne Hall who, if you haven't noticed the Queen's English, hails from England.
Today's readers expect the heroine to fight her own way out of trouble. Screaming, swooning, and waiting for the hero to come to the rescue is no longer enough.
If your heroine is trained in martial arts, she has a whole range of techniques at her disposal. Half a year of martial arts training can be sufficient for a spirited defence.
For inspiration, watch self-defence demonstrations on YouTube until you find a maneuvre you can adapt for your scene. Here are some links to get you started:
www.youtube.com/watch?v=DGW7eVzulg0
www.youtube.com/watch?v=QO2FEdtRi44&feature=related
www.youtube.com/watch?v=WzkhvydILYY&feature=related
www.youtube.com/watch?v=yH-vgvUEFbI
For further YouTube clips, use the keyword 'self-defence' (or 'self-defense').
But not every woman is a skilled martial artist, or trained to wield a weapon, or drilled in self-defence. A novice can't disable a thug with a roundhouse kick, and a Victorian damsel won't fell her attacker with an uppercut. Fear may lend strength and courage, but it doesn't grant implausible skills.
Here's the solution: the heroine performs a self-defence move which doesn't require prior training. Although it won't defeat the villain, it will buy her precious seconds during which she can escape from his clutches.
Choose one of these six techniques:
1. She uses her feet. Attackers expect their victims to defend themselves with their hands, so they hold the victim in a way which prevents her from moving her arms. However, your heroine is clever: she stomps her heel down on his foot. This works especially well if she's wearing high heels. The pain makes him relax his grip, though only for a moment, so she may follow this with #2.
2. She kicks him in the leg. This makes him stagger and loosen his grip for a moment. Depending on how he holds her, she can kick forwards, backwards or sidewards. She can kick his shin, his calf, his knee, his thigh, or his crotch, as long as she kicks hard. Her kick has more power if she first bends her leg and pulls her knee towards her torso and kicks from this position. (In martial arts lingo: she chambers her leg.) This allows her to kick stronger and higher, but it needs to be done quickly.
3. If she's shorter than her attacker, she sags against him as if in defeat, then suddenly straightens, ramming her head under his chin. This hurts her head, but it hurts his jaw a lot more. As he loosens his grip in pain and surprise, she breaks free.
4. If she has a hand free, she spreads the first and middle fingers and stabs them into his eyes. This blinds him temporarily, giving her time to escape. It doesn't work if he wears glasses. The violence of this method makes it unsuitable for gentle forms of fiction, and the heroine should use it only against a bad guy, not against an honourable enemy or innocent prison guard.
5. She can go for his balls. Every woman knows that a man's privates are vulnerable, and if she can punch or squeeze him there, he'll probably be out of action long enough for her to make her escape. However, men are aware of their vulnerability. Only a very stupid attacker would allow a female victim to grab his bits. Besides, this method is so over-used in fiction that it has become a predictable cliche. You could make it less predictable by letting the heroine use her elbow or her knee.
6. She can use a skill from a different context, for example, from her hobby or her job, and adapt it as a self-defence maneuvre. If her hobby is yoga, she can use her flexibility to slip out of her attacker's grasp. If she's a ballet dancer, she can fell him with a fouette. She can also use a tool of her trade as a weapon: the archaeologist may do something nifty with a trowel, the hair stylist with the curling iron, the gardener with the spade. In real life, these would probably not work - but they feel realistic, because the heroine's special skill has been established.
Since the aim of self-defense is to escape the danger, rather than to defeat an opponent, self-defence scenes tend to be very short. Often, they are just a paragraph within a larger scene.
Readers love self-defence scenes, especially if it's a woman defending herself against a man. You may want to insert a self-defence scene - or even a single self-defence paragraph - in your novel. Perhaps the heroine puts up a spirited fight before the kidnappers overpower her. Perhaps she has to fight the prison guard who tries to stop her escape. Maybe she wards off a lecher's forceful advances. In romance novels, the heroine may even fight off the hero - of course only at the beginning of the novel, before they've become allies. Near the end of the book, she's more likely to fight at the hero's side against the forces of evil.
If you have questions about writing fight scenes, feel free to ask. I'll be around for a week and will respond.
Rayne Hall writes dark fantasy and horror. She has published more than twenty books under different pen names in different genres, and her stories have earned Honorable Mentions in 'The Years' Best Fantasy and Horror'. She holds a college degree in publishing management and a masters degree in creative writing, and teaches online classes.
Even if you've never wielded a weapon, you can write an exciting fight scene. Rayne will show you how in her workshop on 'Writing Fight Scenes', which starts on 1 June 2011:
Monday, April 25, 2011
The Doe and The Dragon by Andrew Richardson
Andrew Richardson and I have been longstanding critique partners, which should be no surprise to those of you reading my blogs. Despite our very different styles, and what were initially very different genres, our authorial personalities seem to mesh, probably because we both are willing to do some heavy lifting with our writing muscles and try something different while the other serves as a spotter to be sure we don't drop a fifty pound barbell on our chest.
We don't love everything each other writes (his horror stories give me nightmares, and my childbirth scenes make him queasy and uneasy), but objectivity and tough love prevail. The Shoot has long been one of my favorite of his erotic shorts (see why here) and his upcoming release The Doe and The Dragon threatens to unseat it.
I've seen this novel from the first draft to the final one, and loved it. If, like me, you have always been intrigued by Arthurian legend and lore, there is no better place to begin—before it all began—with Andrew's rendition of how Uther Pendragon, the man who would father King Arthur, met his mate.
A shade less bloodcurdling than most of Andrew's supernatural horror novels Andraste’s Blade and The Wood, this more traditional fantasy has it all—sword and sorcery, witchcraft, prophecy, gallantry, vengeance, and epic battles all presented with as much historical accuracy as possible for a time, place, and people swathed in the cloak of mythology.
Andrew describes The Doe and The Dragon as a novel which “follows the north Welsh version of sixth century legends. These stories place national events in a local setting and so give a distinctive Welsh flavour. […] Other ‘non-Arthurian’ characters appearing only in the local legends and have been incorporated into this work. As with any story set in the ‘Arthurian’ period, no matter which sources are used as an inspiration, part of the writer’s job has been to uncover characters about whom little is known, and to flesh them out in the way that makes them real.”
The Doe and The Dragon will be published May 1 by Rogue Phoenix Press. Connect with Andrew on Facebook or on his blog
Conflict of Interest and Financial Disclaimers: I have received no compensation, monetary or otherwise, for this review. This review has not been submitted, nor will it be, to any established review organizations of which I am a staff member.
Tuesday, April 19, 2011
Sometimes There Are No Rainchecks
There are just some things you can't put off and death is one of them. No, not mine. My father, who has been very ill with lymphoma for six years, is now terminally ill. I am spending as much time as I can with him, given my full time job and family responsibilities, knowing each time might be the last.
It's a two hour round trip commute, and though I am used to being around and caring for dying patients, it takes on a whole different perspective when it's your own family member. Not to mention the emotional upheaval for my mother, my sisters, my kids, and my nieces and nephews.
Dad and I have always been very close and talked about these things a lot, so my time spent with him is quite peaceful. We go outside when he's able, but most of the time I just sit with him, help him to eat and drink, and do a lot of reading and thinking while he's asleep.
I am meeting hard deadlines, but doing very little else. If I owe you something, please be assured I am working on it when I can and will get it out as soon as possible.
Thanks for all the prayers, support and words of encouragement being sent my way. They mean a lot to me and my family.
It's a two hour round trip commute, and though I am used to being around and caring for dying patients, it takes on a whole different perspective when it's your own family member. Not to mention the emotional upheaval for my mother, my sisters, my kids, and my nieces and nephews.
Dad and I have always been very close and talked about these things a lot, so my time spent with him is quite peaceful. We go outside when he's able, but most of the time I just sit with him, help him to eat and drink, and do a lot of reading and thinking while he's asleep.
I am meeting hard deadlines, but doing very little else. If I owe you something, please be assured I am working on it when I can and will get it out as soon as possible.
Thanks for all the prayers, support and words of encouragement being sent my way. They mean a lot to me and my family.
Saturday, March 12, 2011
Luna Con and Taos Toolbox
I am alive. The submission deadline for the DelRay Contest is 3/18. I've been working nonstop on revisions of The Widow's Walk I'm now more than half way through final edits and formatting. Big kisses to all those who've critiqued any of my chapters on OWW, and to Brent and Andrew, my RFDR's on critters.org, who have read the whole thing in record time.
It will be done, so help me God. But I haven't been doing anything else, except recovering from some nasty virus which knocked me out a couple weeks ago, then made a back handed swipe this week. I'm still coughing.
For those who don't follow my Facebook or LiveJournal (please do), I've been accepted to Taos Toolbox this summer. Am I excited at a chance to work with Walter Jon Williams, Nancy Kress, and Jack Skillingshead? You bet? My project will be my new urban fantasy: Boulevard of Bad Spells and Broken Dreams. Stay tuned for chapters on OWW and critters, as soon as I get The Widow's Walk launched
Time to celebrate, and relax. I hope to see some of you next weekend at LunaCon. Please let me know if you're going so we can meet up. Am I missing something? I can't find a program anywhere. My emails to volunteer went unanswered, and the program committed has yet to respond. Makes it a little hard to plan. Not that I've had any time for that.
It will be done, so help me God. But I haven't been doing anything else, except recovering from some nasty virus which knocked me out a couple weeks ago, then made a back handed swipe this week. I'm still coughing.
For those who don't follow my Facebook or LiveJournal (please do), I've been accepted to Taos Toolbox this summer. Am I excited at a chance to work with Walter Jon Williams, Nancy Kress, and Jack Skillingshead? You bet? My project will be my new urban fantasy: Boulevard of Bad Spells and Broken Dreams. Stay tuned for chapters on OWW and critters, as soon as I get The Widow's Walk launched
Time to celebrate, and relax. I hope to see some of you next weekend at LunaCon. Please let me know if you're going so we can meet up. Am I missing something? I can't find a program anywhere. My emails to volunteer went unanswered, and the program committed has yet to respond. Makes it a little hard to plan. Not that I've had any time for that.
Saturday, February 12, 2011
Writing Fight Scenes with Rayne Hall: Kick Some Arse With Improvised Weapons
Rayne Hall writes dark fantasy and horror. She has published more than twenty books under different pen names in different genres, and her stories have earned Honorable Mentions in The Years' Best Fantasy and Horror. She holds a college degree in publishing management, a masters degree in creative writing, and teaches online classes on many writing topics.
I've had the pleasure of working with Rayne for many years on critters.org, Online Writer's Workshop, and on a much more personal level in the Professional Author's Group and the brand new Fantasy Fiction Forum where we review and discuss fantasy and dark fiction.
Her classes are well-researched, meticulously crafted, and her attention to students is impeccable. I have already put what what I've learned to use in my own stories.
Even if you've never wielded a weapon, you can write an exciting fight scene. Rayne will show you how, in her workshops on Writing Fight Scenes. Here's a sample, and I urge you take advantage of the generous offer to answer reader's questions.
Readers love heroines who are spunky and resourceful and who can kick male a***e (British spelling). You can combine all three in a creative fight scene in which your heroine defends herself with an improvised weapon.
This reflects psychological reality: When women feel threatened, they instinctively grab something to use as a weapon: a brick, milk bottle, toilet brush, flower pot, or frying pan. For the writer, this is a wondeful opportunity to create an unusual fight scene.
Improvised weapons can be highly effective. I've fought off one attacker with the oar from a rowing boat, and another with my garden spade. In both instances, I didn't need to do much fighting. The attackers were so surprised when their defenceless victim was suddenly armed, that they ran off. A friend's violent ex-husband repeatedly broke into her home, threatening her and the children. One day, she was cooking supper when he attacked her. She hit him on the head with the the cast iron frying pan: that was the last time he bothered her.
Admittedly, improvised weapons don't work as well against gun-armed thugs and professional assassins. However, your readers will be willing to suspend their disbelief as long as you create an illusion of reality.
The trick is to choose an object the heroine has used in other contexts. If the readers observe her ability wield the item skillfully in a non-combat situation, they will believe she can adapt this skill for self-defence.
What objects does your heroine handle in her everyday life? What are the tools of her trade, her professional instruments, her hobby equipment?
Here are some ideas to stimulate your imagination:
The passionate knitter stabs her attacker with her knitting needles. The amateur gardener trips her assailant with the hose pipe and hits him with the spade. The cook slams the cast iron frying pan on the attacker's head. The chambermaid fights back with the mop and the toilet brush. The archaeologist applies her sharp pointed trowel. The hair stylist uses the hairbrush, the scissors, the hairspray or the hot curling iron. The baker throws a handful of flour in his face to blind the thug for a moment, then whacks him with the rolling pin.
If she has martial arts training, she can supplement these actions with genuine punches, throws and kicks.
Readers will love your heroine for her spunk and her resourcefulness, and enjoy every moment of this original fight.
If you'd to discuss ideas for improvised weapons your heroine may use, or if you have questions about fight scene writing, leave a comment and I'll reply. I look forward to hearing from you.
Rayne's next workshops are being offered in March 2011 at: www.celtichearts.org/workshops.html and June 2011at http://www.blogger.com/goog_2090201035
I've had the pleasure of working with Rayne for many years on critters.org, Online Writer's Workshop, and on a much more personal level in the Professional Author's Group and the brand new Fantasy Fiction Forum where we review and discuss fantasy and dark fiction.
Her classes are well-researched, meticulously crafted, and her attention to students is impeccable. I have already put what what I've learned to use in my own stories.
Even if you've never wielded a weapon, you can write an exciting fight scene. Rayne will show you how, in her workshops on Writing Fight Scenes. Here's a sample, and I urge you take advantage of the generous offer to answer reader's questions.
Readers love heroines who are spunky and resourceful and who can kick male a***e (British spelling). You can combine all three in a creative fight scene in which your heroine defends herself with an improvised weapon.
This reflects psychological reality: When women feel threatened, they instinctively grab something to use as a weapon: a brick, milk bottle, toilet brush, flower pot, or frying pan. For the writer, this is a wondeful opportunity to create an unusual fight scene.
Improvised weapons can be highly effective. I've fought off one attacker with the oar from a rowing boat, and another with my garden spade. In both instances, I didn't need to do much fighting. The attackers were so surprised when their defenceless victim was suddenly armed, that they ran off. A friend's violent ex-husband repeatedly broke into her home, threatening her and the children. One day, she was cooking supper when he attacked her. She hit him on the head with the the cast iron frying pan: that was the last time he bothered her.
Admittedly, improvised weapons don't work as well against gun-armed thugs and professional assassins. However, your readers will be willing to suspend their disbelief as long as you create an illusion of reality.
The trick is to choose an object the heroine has used in other contexts. If the readers observe her ability wield the item skillfully in a non-combat situation, they will believe she can adapt this skill for self-defence.
What objects does your heroine handle in her everyday life? What are the tools of her trade, her professional instruments, her hobby equipment?
Here are some ideas to stimulate your imagination:
The passionate knitter stabs her attacker with her knitting needles. The amateur gardener trips her assailant with the hose pipe and hits him with the spade. The cook slams the cast iron frying pan on the attacker's head. The chambermaid fights back with the mop and the toilet brush. The archaeologist applies her sharp pointed trowel. The hair stylist uses the hairbrush, the scissors, the hairspray or the hot curling iron. The baker throws a handful of flour in his face to blind the thug for a moment, then whacks him with the rolling pin.
If she has martial arts training, she can supplement these actions with genuine punches, throws and kicks.
Readers will love your heroine for her spunk and her resourcefulness, and enjoy every moment of this original fight.
If you'd to discuss ideas for improvised weapons your heroine may use, or if you have questions about fight scene writing, leave a comment and I'll reply. I look forward to hearing from you.
Rayne's next workshops are being offered in March 2011 at: www.celtichearts.org/workshops.html and June 2011at http://www.blogger.com/goog_2090201035
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