Monday, November 11, 2013

RES IPSA LOQUITUR, OR DOES IT?


     My daughter graduated from the University of Missouri College of Veterinary Medicine on Friday, May 11th, 2012 (the 63rd such Commencement). Author James Rollins is also an alumnus, but I digress. The completion of her studies finally allowed her sufficient free time to read her father’s first novel, Earth Angel (which had been collecting magnetic particles on her electronic TBR shelf for over a year). When she finished, she asked me a question as to why Angel acquired control of the Veil, while prior entities who entered the Veil didn’t. Initially, I thought the answer was res ipsa loquitur (literally, “The thing speaks for itself”, a legal term used when the evidence presents a fairly certain conclusion as to liability, such as the negligence of the driver who rear ends a stopped vehicle). The living Angel entered the Veil inadvertently and became a part of it. Other entities entered the Veil through the cessation of their existences. However, since Rachael is a careful reader, but still questioned the matter, at some point I may want to go back in and clarify the issue.
     Dammit, Jim. I’m a pantser, not a plotter. The issue of how Angel acquires her powers is an example of a potential plotting pothole. As a pantser, I frequently have no idea what my characters are going to do until the Muse informs me that they actually are doing something. Accordingly, it is not uncommon for me to have to go back and lay a foundation for a character’s actions that would have been easier to insert the first time through a chapter if only the Muse had warned me the insertion would be needed later. Once the proper foundation is laid, then the reader is more likely to accept subsequent plot developments as res ipsa loquitur.
      The same foundational problems can arise with a character’s motivation. I edited a novel wherein the author spent the first chapter establishing a very strong, Type A personality, self-absorbed heroine. The heroine is at the pinnacle of her career, and is about to close a major deal. She enjoys the status and material benefits that her job affords her. Just before this major deal is to close, she gets word that her mother is dying. Several years earlier, the women had a falling out over the heroine’s job, and hadn’t spoken since. Her mother dies, but leaves a package in a safe deposit box with instructions that the heroine is supposed to deliver the package to an individual who lives in another state in a far removed rural location. The heroine drops everything to deliver the package. 
     When I questioned the author about why the heroine would drop everything to deliver the package, essentially her answer was res ipsa loquitur. She told me that it was the mother’s dying wish, and the heroine felt duty bound. Well, from a reader’s perspective, if heroine is so focused on her job and herself, and hasn’t even spoken to the mother in years, where did the sense of duty come from? I suggested that she needed to add in the heroine’s unresolved guilt over her last fight with her mother with whom she was very close when she was a child, to explain why the heroine didn’t just send the package off by an overnight delivery service. 
     While willing suspension of disbelief will allow the reader to bridge some plotting and logical chasms (particularly in the genres of fantasy and science fiction, e.g. accepting that super heroes can fly without any apparent means of propulsion), the fewer and narrower the obstacles, the more likely the reader will be satisfied with the end result. While a proposition may appear “obvious” to the author, the author needs to ensure that there is sufficient detail to allow the reader to come to the same foregone conclusions. 


CK Copyright 5/13/12; Moral rights to be identified as the author of the foregoing article asserted worldwide (including in Great Britain in accordance with Sections 77 and 78 of the Copyright, Designs and Patent Act of 1988)   

Sunday, November 3, 2013

SSB-- Excerpt from “There’s Something Naughty About Mary” by Ken Charles



Welcome Saturday Spankings Bloghoppers. Tonight’s selection is from The Naughty Ladies of Cotton Glen by Ken Charles, Chapter Four “There’s Something Naughty About Mary”. Enjoy!

~*~


Mary,‭ ‬trembling,‭ ‬watched in the mirror as Jeri raised her soft hand.‭ ‬Like a roller coaster car reaching the summit,‭ ‬Jeri’s hand completed its almost reticent retreat,‭ ‬then snapped forward with alacrity.‭ ‬Smack‭! “‬Ow‭!” ‬Mary realized that things reflected in the mirror are harder than they appear‭!‬

Jeri raised her hand again.‭ ‬Mary tensed.‭ ‬Jeri patiently waited until she relaxed,‭ ‬then gave her a second firm smack.‭ ‬Mary watched with growing anxiety as Jeri raised her hand again and again,‭ ‬only to bring it back in a blurring painful reunion with her blazing orbs.‭ ‬After several smacks,‭ ‬Mary’s eyes were full of tears,‭ ‬and she could no longer clearly follow the course of her chastisement.‭ ‬But the results were readily discernible nonetheless,‭ ‬and Mary cried openly in appreciation.

~*~


The Naughty Ladies Of Cotton Glen
By Ken Charles
http://www.amazon.com/dp/B0092Y0ELU
For our friends in Europe:
http://www.amazon.it/Naughty-Ladies-Cotton-Glen-ebook/dp/B0092Y0ELU


Eight Chapters comprised of interrelated, stand alone, short stories about the Naughty Ladies of Cotton Glen.

Thursday Afternoon Doubles

Terri, an aspiring actress with a temper, gets her career and life under control with a little help from her tennis partners: Laura, Jeri and Panda, served up in three hard sets of OTK in a locked locker room.

Lucia's Affair

When she’s not subbing into the Thursday Afternoon Doubles at the Cotton Glen Golf and Tennis Club, Lucia Morales makes time for an affair - with her husband. The affair is hot, but an unmade bed lights an extra fire.

Terri And The Producer

After her Thursday afternoon attitude adjustment, Terri promises to make amends with her producer. But sometimes, apologies take more than mere words.

There's Something Naughty About Mary

Jeri makes more than enough money to take care of her young submissive live-in lover, Mary. But to teach her some responsibility, Mary has to pay for some the bills, including part of the rent. Mary is delinquent, and Jeri grounds her while she goes off to make the deal of her career. The deal closes earlier than expected, and Jeri returns home to find Mary missing. Not only did Mary go out after being grounded, she also borrowed Jeri’s car and had an accident (while uninsured). A sound hairbrush spanking from Jeri, and a caning regimen, in lieu of payments for the damages to the other car, from its owner teach Mary valuable lessons.

Giving 110%

Laura’s younger sister, Sally, is madly in love with Perry. At the company’s annual party, after a couple of drinks too many, she makes a point of bragging to a stranger about him and how he always gives 110%, and complaining that the only thing holding him back is his stupid boss. Of course, the stranger is that boss.

When Perry does not respond to her repeated calls to apologize, Sally tries a different tack. She appears at Perry’s house and performs three skits: a naughty young lady gossips in town and earns a date with Daddy’s belt; a naughty school girl is caught by her favorite teacher making fun of the school principal; and a naughty young lady in a bright red dress shoots her mouth off a company party, and earns a session with her fully accessorized red hairbrush. Perry gets to choose one scenario, and play it out.

The Pediatrician And The Birth Of The Nereid

Lucia Morales’s pediatrician takes a well-deserved break in the Greek Isles. But some people just can’t keep work off of their minds.

Lucia's Presents

It’s only a couple of days until Lucia’s tenth anniversary, and she has no clue what to get her husband. She goes shopping with Laura at the mall, but nothing catches her eye. On the way home, however, they find a sex shop, Deus Sex Machinas - Sex Toys of the Gods. At first, Lucia is too embarrassed to even set foot in the store. But Laura drags her in anyway, and proceeds to embarrass her.

Several days later, Lucia buys her husband a collector’s print. When she goes to pick it up, it isn’t ready. So she goes for a cup of coffee, and finds herself back by the sex shop. Without Laura there to embarrass her, Lucia takes a second look in the shop. She ends up making a couple of purchases, including a leather paddle, a leather skirt and bra, and a crop. Her new toys keep her tenth anniversary night new and exciting.

Curtain Call

Everyone gets one last prance across the stage, or over the knee. Panda gets a speeding ticket. Laura needs stress relief. Mary fails to make calls for Sally’s engagement party.

***************************************************
Check out the Saturday Spankings Bloghop http://saturdayspankings.blogspot.com/

Friday, November 1, 2013

WRITING PET PEEVE #498--ANTHROPOMORPHISM AND ANTHROPOPATHY OF CAREER POLITICIANS

   We all do it. We do it from early childhood from the first moments after we acknowledge the world outside of ourselves. We anthropomorphize the world around us. We name our first stuffed animal, and endow the beloved stuffie with human characteristics that are commonly lacking in plain cloth, batting and plastic buttons. From books to movies and television programming, talking animals are a staple. The tendency to anthropomorphize is a lifelong attribute. There isn’t a writer alive who does not know, with unshakeable certainty, that the word processing system that just deleted the entire day’s work product and output just as you were about to hit “save”, did so intentionally and with malice aforethought. (Don’t even think about it, Machine.)


      “Anthropo- a learned borrowing from Greek meaning 'human’ used in the formation of compound words....” Webster’s Unabridged Encyclopedic Dictionary of the English Language, New Revised Edition (Portland House, 1996, p.63). “Anthropomorphize” or “anthropomorphise”-- “to ascribe human form or attributes to...” (ibid, p. 63).  "Anthropopathy" -- ascription of human passions or feelings to a being or beings not human (ibid p. 63).

     Anthropomorphism lies at the heart of fantasy and para-normal writing. If the creature doesn’t have certain undeniably human attributes, then why is the hero or heroine so hell bent on trying to bed it? Conversely, why is the creature so determined to bed the human? Accordingly, as a fantasy writer, I have been programmed since birth and by choice of avocation to accept the concept of anthropopathy.

     Many writers may suspect while growing up that one or more siblings or cousins may be changelings. In order to pacify Mom, the writer gives these creatures human attributes and treats them accordingly. At some point, the writer may acknowledge that the sibling or cousin is, in fact, human after all. Acknowledging that Mom was right may take a little longer. The point, however, is that anthropomorphizing things that look human is a common practice. Nonetheless, the anthropopathy of career politicians remains one of my writing pet peeves.

     What is a “career politician”? A career politician is a mindless golem manufactured to perpetuate and facilitate the decision making operations of government. Special interests provide the glue that holds the construct together. That such an entity should be entrusted with decision making responsibilities is either a cruel oxymoron, or the ultimate expression of heartless cynicism. The career politician is not a mere homunculus. It is a full sized, walking, talking breathing, human appearing construct.
(Getty Images) For example, would a real person say something like “Mike Lee, I am your father” on the floor of the US Senate?

     Typically, the anthropomorphized career politician receives the full “Oz” package. First, it possesses “human intelligence”. It is expected to be fully conversant on every subject and topic from bio-ethics to hydrofracking. It recites dialog from read-only memory. Yet the listeners are continually astounded, flummoxed and perturbed when the words directly contradict a prior pronouncement Second, it is dowered with a “heart”, the avatar and embodiment of human compassion (not the actual organ). Once again, the public is perplexed when it votes to displace hundreds of people from their homes to facilitate the development of a superfluous shopping center. Finally, it is loaded with “courage”. Still, people are amazed and bewildered when it refuses to take any actions contrary to the interests of its benefactors, despite overwhelming public support on an issue.  

     While problems with plot inconsistencies continually plague the anthropomorphized career politician, a far greater problem often lies with attempts at mimicking human speech. What kind of character would tell people desperate to find employment, “I like to fire people.”? What kind of character sits down at a small gathering to seek his hosts’ support, then insults the special treat that the hosts provided?  
(http://pearlsofprofundity.wordpress.com/2012/09/26/question-of-the-day-11/If a character claims to support women’s rights, then at least some of the character’s actions should be consistent with such support. Willing suspension of disbelief will only carry a character so far.

     Career politicians are sui generis, creatures of their own unique kind, and need to be recognized as such. Ascribing human characteristics to them only serves to confuse and frustrate the populace. So stop it! As every writer knows, a reader that is confused or frustrated isn’t going to finish reading the book. When writing about career politicians and their actions, remain objective.

CK Copyright 4/24/12, revised 11/1/13; no copyright or moral rights claimed or asserted to photographs or gifs; moral rights to be identified as the author of the foregoing article asserted worldwide (including in Great Britain in accordance with Sections 77 and 78 of the Copyright, Designs and Patent Act of 1988) (See prior blog on Moral Rights).    

Thursday, October 31, 2013

SSB - Excerpt from "The Mercies of Cinderella" by Ken Charles


Welcome Saturday Spanking Bloghoppers and all you ships at sea. Here is a selection from "The Mercies of Cinderella": 

Elder screamed. Step Mother raised the brush again, and brought it down with another resounding crack. Whack! Crack! Smack! Elder screamed again and again. The Black Justice Wood brush, which would give no pain where none was warranted, left another pulsating, rubescent weal with every smack. Crack!

“Aiiiieeeee!”

“How dare you lie about your sister? Have you no shame?”

Whack! Smack! Crack!

If Elder had earlier vowed to keep her modesty, as the fire in her nether cheeks rivaled and then surpassed the blaze that lit her visage, such vows were forsaken, as she kicked and squirmed so that everyone in the lower right gallery was treated to a fine view of all of her treasures. Crack! Crack! Crack! 

                                                  ~*~




Check out The Mercies of Cinderella by Ken Charles
This is no Disney princess!





Payback is a bitch, and so at times is Cinderella. Cinderella is about to marry Prince Charming. Her evil Step Mother and Stepsisters have been convicted of high treason for their conspiracy to prevent the Prince from finding his true love, and are awaiting sentencing. Before the Prince passes sentence, Cinderella asks to take them into her custody for a year to determine whether she may speak on their behalves. The Prince grants her request, and remands the Step relations to one year under the tender mercies of Cinderella.

During this year, while Cinderella basks in the boundless love of the Prince and the joy of her first pregnancy, she applies the hard lessons she learned growing up to her Stepsisters, expressing her concern for their moral edification and well being with various paddles, straps, and even the scopula of a giant trap-door spider. Step Mother, who taught her that nothing in life is free, has to pay for her keep with sexual favors for all who provide her with any goods or services.


Wednesday, October 23, 2013

INTERPRETING YOUR NEW PUBLISHING CONTRACT

     A publishing contract is like any other contract. It establishes a business relationship between the author and the publisher. It is not an admission to a private social club. Although an author may feel privileged and proud to have a work under contract, the purpose of the contract is to exploit and disseminate the author’s work, not to stroke the author’s or the publisher’s egos. 

I. “Shall” vs. “May”

     The publishing contract sets out the road map for the parties’ dealings, specifying what actions are required and so must be performed, and what actions are permitted and so are within the parties’ contemplation, but may or may not occur. Mandatory or required actions are frequently, though not exclusively, found in a clause containing the word “shall”.

Section 3--Within ten (10) days of the execution of this Agreement,  Author shall deliver three, right justified, printed copies of the Work on 17”x 23.529411” green paper to Publisher at Suite 123, Drilling Platform 138, North Sea.

Under this Section 3, the Author is required to deliver three copies of the work in a specific form, at a specific place, within a specified time period. Failure to perform any of these requirements constitutes a breach of the contract. Even though 20” x 20” paper has the same total surface area as 17” x 23.529411” paper, Author is required to use the latter paper.

     Permissive actions are frequently, though not exclusively, found in a clause containing the word “may”.

Section 4—Author may, in its sole discretion, substitute an electronic copy in PDF format for any written document or notice required or permitted to be sent under this Agreement. Any such substituted document or notice may be sent by facsimile transmission or e-mail in accordance with the contact provision of Section 3, 287 of this Agreement.

Under this Section 4, Author has the right, but not the obligation, to fax or email a document, rather than send a printed copy.

II. Basic Contract Construction

“You keep using that word. I do not think it means what you think it means.” Inigo Montoya in The Princess Bride (1987)

     The primary purpose of putting the parties’ agreement into writing is to make the parties’ rights and obligations clear. Unfortunately, sometimes the agreement isn’t as clear as the parties expected. Courts assume that everything in a contract was put there for a reason. Accordingly, wherever possible, a court will attempt to give meaning to every word in a contract. Therefore, just because the parties may disagree as to the meaning of a contract clause, it does not follow necessarily that the contract clause is ambiguous or unenforceable as written.

     Courts rely on a number of different kinds of rules for interpreting a contract. The most important rule, of course, is one that supports your position. That said, let’s take a look at a few of the more common rules.

     The first rule of contract construction is that there is no need to interpret a contract if the meaning is clear. Words are given their plain and ordinary meanings. If a simple reading will suffice, then a court will look no further.

Section Five—Author shall stand on the corner of Fifth Ave and Main Street in a chicken suit for one hour, commencing at 1:00 p.m. central standard time, on the third Tuesday in each calendar month containing the English letter “Y”.

This Section Five provides clear and unmistakeable direction. Author is required (“shall”) to stand in a specified place, at a specified time, for a specified duration, in a specified manner of dress. There is no question as to Author’s obligations under this clause. A court will not resort to any rules of interpretation beyond the plain and ordinary meaning of the words in the clause. (The wisdom of such a clause is not the court’s concern. The clause was important to the parties or it wouldn’t have been included in the contract.)

     If there is some question as to a party’s rights or obligations under a particular contract clause, the next step is for a court to look at the contract as a whole to determine the meaning of clause.

“The maxim noscitur a sociis, that a word is known by the company it keeps, while not an inescapable rule, is often wisely applied where a word is capable of many meanings in order to avoid the giving of unintended breadth…”  JARECKI v. G. D. SEARLE & CO., 367 U.S. 303 (1961)

     The meaning of general words that follow specific ones is limited by the meaning of the specific words.

"The rule of ejusdem generis, while firmly established, is only an instrumentality for ascertaining the correct meaning of words when there is uncertainty. Ordinarily, it limits general terms which follow specific ones to matters similar to those specified...” Gooch v. United States, 297 U. S. 124297 U. S. 128 (1936)

Similarly, contract clauses that are specific take precedence over general clauses (generalia specialibus non derogant rule). Although the Publisher may have the general right to control the cover design, if the Author has the right to review or reject a cover, that exception will take precedence.

     Another rule of construction worth noting is the rule that “the expression of one thing excludes other things” (expressio unius est exclusio alterius). Sometimes, what isn’t included in a contract is just as important as what is. When a contract clause expressly provides that the Publisher has the right to do “A”, “B” and “C”, then it does not have the right to do “D”. If the Publisher has the right to review and correct the text, that does not mean that it has the right to line edit and change those portions of the text that are not erroneous. The right to correct means that the Publisher can fix mistakes such as closing open quotations and replacing misspelled words with the proper spelling. It doesn’t mean it can change the Author’s word choices.



     Finally, while there are other rules of construction, one rule particularly needs mentioning. When all else fails, and a contract provision’s meaning is still unclear, then a court will construe a contract against the party that drafted the provision (contra preferentem rule). In most cases, the contract will be drafted by the publisher, and presented to the author on a “take or leave it” basis. In such a case, where any doubt remains as to the meaning of a clause, the court will construe the provision in question against the publisher.

III. The Zipper Clause

"Th-Th-Th-Th-Th-... That's all, folks." Porky Pig

     Somewhere near the end of the contract, there is probably a “zipper” clause. The zipper clause (also known as a “merger clause” or “integration clause”) states that the contract represents the entirety of the parties’ agreement. Any other writings or representations to the contrary are of no force or effect. What the court sees, is what it gets. A strong zipper clause can cause a court to ignore evidence about what was discussed in the formation of the contract (parol evidence).

     It is important before signing a contract with a zipper clause to make sure that the contract fairly and accurately reflects Author’s negotiations with Publisher. If the Publisher talked about sending Author to an all expenses paid writer’s retreat in Fiji, it better appear in the contract. If it doesn’t, Author will not be permitted to argue, “But they said they would. That’s why I signed the contract."



IV. Non-compliance – Cure – Termination of Agreement

“Once more unto the breach” Shakespeare

     A failure to follow the requirements of a contract is known as a “breach”. While every breach of a contract constitutes some kind of violation of a party’s rights or responsibilities, there is no hard and fast rule about the parties’ course of conduct following a breach. Some breaches can be fixed or “cured”. Other breaches cannot be fixed, and may lead to claims for damages and/or termination of the contract.

     How the parties respond to different breaches depends in part on their general course of dealings. If the parties have been dealing professionally and respectfully with each other, then it is more likely that minor breaches such as sending a document a day late where time is not of the essence will be ignored by the receiving party. However, where there is antipathy between the parties, even minor breaches may become major issues.

     Treating the other party professionally is more than a mere platitude or common sense. I recently had a problem with a publisher that had total control over the cover of one of my works. When I raised my concerns over the proposed cover with the publisher, instead of attempting to address those concerns, the publisher claimed its rights to control the cover under the contract. However, instead of stopping at an assertion of its rights, the publisher chose to add in gratuitous ad hominem attacks on me for having the audacity to question its judgment. When the publisher committed several breaches of the contract that were time sensitive and could not be fixed or cured prospectively (a bell once rung cannot be unrung), I exercised my right to terminate the agreement. Had the publisher addressed my concerns over the cover in a professional manner, even if I was unhappy with the final result, I might have been more forgiving of their subsequent breaches.

     Some contracts may include specific procedures for handling alleged breaches. For example, a clause may require the aggrieved party to notify the offending party of the nature of the breach, and give the offending party a certain amount of time to fix or cure the problem. However, if the breach is not cured in a timely manner, the offended party may be entitled to certain specified damages, or may even be entitled to terminate the contract. If there are specific procedures in the contract for raising the issue of a breach with the other party, then the complaining party may be required to follow those procedures before seeking relief in a court.

V. And in Conclusion…

     The best contract is one that the parties never need to consult. By maintaining a professional relationship, it may be possible to resolve many issues without ever resorting to the agreement. However, if it becomes necessary to review the contract, then be sure to read not only any provision in question, but also any other provisions that may help you understand it. Finally, when in doubt, don’t be afraid to consult with legal counsel.

CK 2/19/12

Sunday, October 13, 2013

CHALLENGING ONESELF AS A WRITER: KEEPING THE SEX SCENE REAL


As a fiction writer, my characters can do anything I want them to, any time, any place, any way. But as any Spiderman fan knows, “With great power comes great responsibility.”  It isn’t enough to place a sex scene in an unusual setting.  There is more to a sex scene than merely making the female and male parts fit together. The scene still has to be believable within the context of the work.

When it comes to writing a sex scene, I have a basic checklist:

A) Set up: is there enough background to support the scene?

Tom dropped the letters into the mailbox slot. He flipped the door several times to make sure that all of the letters fell into the box. Mary, a tall, buxom business woman waiting to deposit her letter tapped her foot impatiently. He turned to her, “Is there a problem?”  Their eyes met, the untamed fire in hers immediately lighting a fire in his groin. He ripped open her blouse as she unfastened his belt.

This scenario doesn’t seem likely even for a hand-held camera, 8mm black and white porno. There needs to be a believable build up, however unlikely the setting. Part, or even a substantial portion, of the build up can occur offstage in indirect action. But the buildup is still necessary. The more improbable the setting, the greater the need for a solid foundation for a sex scene. Even if the scene is just casual sex for the sake of having sex, the characters still need to connect in a believable manner. If the reader remains skeptical that the characters are about to have sex in the scene, then the scene will fail.

B) Foreplay: is there enough?

Bill hit “play”, and set the remote on the arm of the black, leather couch. He put his arm around Suzy, who snuggled closer. She turned her head, and opened her mouth for a kiss. His tongue met hers as he rucked up her skirt. He drove into her powerfully, as relentless as a force of nature.

This is a bit thin on details. The reader is probably going to need a bit more information on their feelings and reactions to tactile stimulation before reaching the “force of nature” bit.

C) Temporal consistency and mechanics: does the sex scene work from a technical point of view?

One problem that I’ve found in sex scenes that I’ve edited is that the mechanics of the scene are off. In one memorable scene, the couple is coupling fiercely. Two paragraphs later, she unzips his slacks and takes his cock out. Being old fashioned, I suggested that the paragraphs needed to be reversed. In another scene, the man held her breast in one hand and fingered her dripping pussy with the other. She moaned as he pulled her hair. My question as the editor was, pulled her hair with what? His teeth?

D) Originality: 1) what makes this scene different from the other sex scenes in the book?

Chapter Three: Mary slowly did a scissors split, impaling herself, as she slid down Tom’s long, thick rod until she was filled.

Chapter Seven: Suzy swung her legs out of the pike position, and flipped one leg over each of the parallel bars. She spread her legs until they were straight out at her sides in a perfect split. Bill reached around her and grabbed her breasts as he slid his long, hard shaft into her until she was filled.

Been there, done that. Yes, Mary was in the bedroom, and Suzy was in the gym. But the novelty of a woman doing the splits wore off after the first time. One of the splits has to go. If the reader really likes the splits scene, then s(he) can reread Chapter Three. Chapter Seven needs to give the reader something new.

2) Word choices?

How many times do the same words or variations on a root word repeat?  Using “throb”or “throbbed” in every sex scene will bore the reader at best, or at worst, produce a throbbing headache. Find some new adjectives. If in Chapter Three, Mary “slid” until “she was filled”, then in Chapter Seven, Tom’s actions need to be something other than “slid” until “she was filled”.  I would need to find a new verb for “slid”, and a new adjective for “filled”.

In Earth Angel, there was a brief stand alone sex scene that my editor wanted to cut because she didn’t think it added anything. I disagreed because I wanted to change the pace at that point, and work on character development rather than plot development. The scene stayed after we discussed its purpose. But to make sure the scene added something, I still had to make sure that it fit within the internal logic of the overall story, and didn’t merely rehash stock footage from a prior sex scene.  

CK Copyright 2012.  Moral rights to be identified as the author of the foregoing article asserted worldwide (including in Great Britain in accordance with Sections 77 and 78 of the Copyright, Designs and Patent Act of 1988).
****************************************************************************

EARTH ANGEL By CHARLIE KENMORE
Blurb: There are seven parallel worlds known as the Seven Realms which are separated by a Veil. Six are inhabited by all manner of entities, some natural, some not. That may not be the case for much longer. The first portion of the High Sidhe Prophecy of the Sevens has been fulfilled. The Anarch, who is one with the Veil, has escaped. If she chooses, she can part or drop the Veil or she can lift the Veil in its entirety. The Seven Realms will converge. The laws of physics and magic will collide head on. Unless she is stopped, there will be nothing left.

Queen Amura has called for an assembly of the signatories to the High Sidhe's Second Accords, a multi-realm peace treaty to consider how to deal with the threat of the Anarch. An Earthside TechnoWitch and other dark forces also are  seeking to control the Anarch. Prince Dzhok (Jack), High Sidhe Ambassador Salash (Jack's oldest friend and lover), and Valkyrie Brunhilde set out to find and befriend the Anarch before all is lost.

(you have to register-free)

Excerpt:


Jack took a moment, and then he saw the light. Unfortunately, it appeared to be attached to an oncoming train. Jack was no pacifist. Like Salash, he would kill to protect his children (and had). But as a pansexual high blood Prince of the Human Whisperers and Allied Kinds, "make love, not war" was not a mere platitude, but rather was the very core of his being. Jack knew that he would have little influence on the upcoming gathering in Paradox. This was not a symposium. It was a war council. The outcome was fairly certain. His Mother and her allies would seek to kill the Chosen. And they would fail miserably.

"We have to find her first."

"Exactly, Jack."

You've got mail.

Salash reached over and pulled the MAPP out of Jack's pocket. She rolled down her window, and with a flick of her wrist, sent it pin wheeling into a fresh steaming pile of bison dung. Salash paused and scanned the tree line. She was fairly certain at least one of the shadows had flinched. 

Friday, October 11, 2013