What Type of Violent Offender is Your Villain? - Guest blog

What Type of Violent Offender Is Your Villain?

By Guest Blogger Bonnie Randall on www.fiction-University.com  Feb. 26

Part of the How They Do It Series (Contributing Author)

Within my work with Violent Threat Risk Assessment, I share characteristics of the four most dominant violent offenders; what motivates them, what personality traits each has, their inherent goals, and how they are most likely to react if / when they are caught.

The four types of offenders are easily identifiable in fiction, film, and real life once you know what you are looking for. And, in turn, villains are much easier to create when you have the recipe of characteristics that create the perfect storm that forms The Violent Offender.

So, without further ado, let’s examine the four types of violent offenders, starting with:

1. The Traditional, Predominantly Cognitive Violent Individual

First and most important trait to note: this character is not emotional. A thinker, a plotter, and a schemer, this person will have excellent control over his feelings during a violent episode—there will be no squeamishness, and he will be highly unmoved by his victims cries for help. In fact, if there is any remorse to be felt, it will be only because he wished he would not have had to embark on the ‘extra’ work of hurting or killing someone to get what he wanted; he will know that business would have been much more expedient without the need to now dispose of this pesky dead body. But…what can one do? Sometimes a cumbersome crime scene to clean is the cost of doing business.

Make readers an offer they can't refuse.

The Predominantly Cognitive Offender does not necessarily enjoy violence, and violence in and of itself will not be their goal. Acquiring the sack of rubies will be the end game. Or the brick of cocaine. Perhaps the priceless painting. Violence for the sake of violence is actually a waste of their energy, and beneath their sophistication. Yet, if killing someone is the only way to get the real job done, then…whaddaya do?

The Predominantly Cognitive Offender is most definitely on the sociopathic spectrum; he is a cold fish with little ability and no desire to attach. He will not want to get caught, and in fact will be as slippery as minnows in your swimsuit when it comes to being nailed; unencumbered by any anxiety that might trip a normal person up, this offender will instead be able to lie smoothly, glibly, and there is a high chance he could even easily beat a polygraph. He can and will delay acts of violence if it means a greater likelihood of attaining what he wants and / or lowering the risk of getting caught. He has patience in spades and will execute his end-game expediently and emotionlessly.

(Here's more on developing villains)

Examples of this type of offender include Mario Puzo’s Godfather, and (at his most profound development) Breaking Bad’s Walter White. El Chapo is another stellar example of a Predominantly Cognitive Offender. For these types, it truly is…

All business, baby.

2. The Traditional, Predominantly Behavioral Type:

Create your dream bad guy.

Like the aforementioned Cognitive Offender, this type is also highly unemotional, and she too falls upon the sociopathic spectrum. The difference here is motive. Where our other offender uses violence as a means to an end, this offender gets off on the act of violence. Governed by appetites instead of emotion, and certainly highly sadistic, this psychopath is into the thrill of the kill. Think Voldemort employing the Cruciatus Curse while wearing a pleased smile. Or Freddy Krueger building his ‘special’ glove. Ted Bundy, too, was a Behavioral Type Offender; it was the sex/killing that got him off—in fact, he never stole a single valuable from any of his victims, despite being in some of their houses.

Like the first Type, these offenders too are difficult to catch because, while having no emotions of their own to muddy the water, they have become excellent at exuding the charm and glib charisma that often seduces other people into liking them (and believing their lies). These offenders are 100% morally bankrupt, and if they are ever caught, they will never admit their crimes—and will blame anyone and everything for “how they are”.

(Here's more on six steps to creating a great villain)

3. The Mixed Type Offender

Keep your villains from being dull boys.

If our first two types are always in their heads and never their hearts, then this type is the opposite. Mixed Types are HIGHLY emotional. Hotheads who are easily offended and have hair-trigger tempers, these guys are caught easily because they are so incredibly impulsive and wear their emotions (and motives) all over their face. The littlest things can and do set them off; Mixed Types are always at risk of losing their proverbial sh*t because they feel huge emotions about everything.

Simultaneously, they will feel highly justified when they lash out and hurt someone (as opposed to our first two types who, despite being sociopathic and psychopathic respectively, are fully aware, and even agree, that violence is wrong). A Mixed Type will be indignant and resentful if caught and punished—because from their warped point of view, they have been wronged…and so whoever they’ve hurt had it coming. Often odious or at the very least uncomfortable to be around, good examples of a Mixed Type can be found in many Stephen King novels, most notably Jack Torrance in The Shiningand Annie Wilkes in Misery.

(Here's more on 10 traits of a great antagonist)

4. The Non Traditional Type

Some "villains" we actually want to root for.

Out of all the violent offenders, the non-traditional type is by far the most tragic. For while attachment disorder and emotional neglect built our first two offenders, and Borderline Personality is likely at play in our Mixed Type, the Non-Traditional is not someone mentally unhinged or disordered. Instead, the Non-Trad is someone who has either been deeply wounded or horrifically abused…and has coped as best as he/she could until their coping ability ran dry. Now violence is their only option.

(Here's more on creating relatable antagonists)

Think Carl Lee who kills his daughter’s rapists in John Grisham’s A Time To Kill. Or Carrie White who burns the school down after her last humiliation at the prom in Carrie. These offenders are emotional like the Mixed Types, yet the difference is that while Mixeds are violent often, Non-Trads will usually only ever be violent once in their lifetime. A further distinction is this: A Mixed, if they do feel remorse after committing a crime, will say “I can’t believe I did that” while a Non-Trad will say “I can’t believe I did that to them.” See the shift in empathy? Subtle, but powerful.

Okay! There’s a quick snapshot of each offender. Questions? Comments? Fire away, and make your villains authentically villainy!

Bonnie Randall is a Canadian writer who lives between her two favorite places—the Jasper Rocky Mountains and the City of Champions: Edmonton, Alberta. A clinical counselor who scribbles fiction in notebooks whenever her day job allows, Bonnie is fascinated by the relationships people develop—or covet—with both the known and unknown, the romantic and the arcane.

Her novel Divinity & The Python, a paranormal romantic thriller, was inspired by a cold day in Edmonton when the exhaust rising in the downtown core appeared to be the buildings, releasing their souls.

Thanks for stopping by. I appreciated the great info in the above guest blog. It's a good keeper with all the extra links printed out for a great file on "Villains." Hope you liked it. Would love to hear your  "villain" comments.

Blessings,
Elva Martin

Elva Cobb Martin is vice-president of the South Carolina Chapter of American Christian Fiction Writers. She is a former school teacher and a graduate of Anderson University and Erskine College. She has two inspirational novels published with Lighthouse Publishers of the Carolinas. Summer of Deception, a contemporary romantic suspense, and an historical romance, In a Pirate’s Debt. Both have spent time on Amazon’s 100 Best Sellers List for Women’s Religious Fiction. She has indie published a Bible study on Amazon, Power Over Satan, on the  believer's authority in Christ. Decision, Charisma, and Home Life have carried Elva's articles. She and her husband Dwayne are semi-retired ministers. A mother and grandmother, Elva lives in South Carolina. Connect with her on her web site http://www.elvamartin.com,on Twitter www.twitter.com/ElvaCobbMartin; Facebook http://www.facebook.com/elvacobbmartin;  and Pinterest https://www.pinterest.com/elvacobbmartin    

 Link to her romance novels and non-fiction works on Amazon:http://amzn.to/2pOgVHI

Creating a Great Hero - Part 3 Horatio Hornblower

by Elva Martin

What makes a great hero? Click here if you missed
 Part 1 - Atticus Finch  http://bit.ly/2HFDkD3
 Part 2: Captain Blood  http://bit.ly/2KfpHc9

We've covered several characteristics of great fictional heroes and today we'll look at Horatio Hornblower, the wonderful British Royal Naval officer during the Napoleonic Wars era created by C.S. Forester. The eleven-volume Hornblower Saga follows an English seaman, Hornblower, as he rises from Midshipman to Admiral in England's Royal Navy. This historical series and hero has thrilled generations and become the subject of films,radio and television programs. I'm told even Winston Churchill read these novels on his way to Royal Navy meetings during WWII.



Two fave actors of mine who have played Hornblower are 
Ioan Gruffudd                                     and Gregory Peck.

So what has made Horatio Hornblower a great hero to so many?

Having read the books, listened to audio, and seen movies of several in this series, my first thought is that here is a man who possesses all the other qualities of heroes we've talked about but adds certain other interesting qualities.

1) He is man of the strongest principles, especially those relating to British Royal Navy Protocol

In the West Indies Admiral Hornblower is suspicious that the American ship Daring has been hired by Napoleonic former soldiers and supporters to rescue Bony from his St. Helena island prison. 

Sharpe, consul-general at New Orleans warns Hornblower,

"Daring's an American ship, my lord."

That was an important point, a very important point. Daring had an ostensibly legal errand, and she flew the Stars and Stripes. He (Hornblower) could think of no excuse for taking her into port for examination. His instructions had been very strict regarding the treatment of the American flag.

So the during the rest of the book Hornblower chases the Daring to stop her rescue of Napoleon, but he does not cross British protocol in doing so. This brings up the next unusual quality possessed by this hero.

2) He is possessed with amazing ingenuity and finesse to carry out his job as British Admiral of the West Indies

Hornblower has confirmed the French captain of the Daring is on a secret mission to rescue Napoleon from St. Helena Island but how can he stop him without firing on the American flag and causing an international incident? He comes up with the Big Lie (at least he thinks it is a lie). He apprehends the much larger ship, the Daring, and goes aboard. The French Captain, who is also a Count, has to allow him aboard and show him proper honor as he is the English Admiral of the West Indies. Here's the amazing dialog.

"Ah Count Cambronne," said Hornblower, (to the French captain) and then made himself speak French. "It is a pleasure to meet you again."

"And to what do I owe this pleasure, milord?" asked Cambronne. He was standing very stiff and straight, his cat's-whisker mustache bristling out on either side.

"I have come to bring you the very worst of news, I regret to say," said Hornblower. Through many sleepless nights he had rehearsed these speeches to himself. Now he was forcing himself to make them naturally. "And I have come also to do you a service, Count."

"What do you wish to say?"

"Bad news."

"Well?"

"It is with the deepest regret, Count that I have to inform you of the death of your Emperor."

"No!"

"The Emperor Napoleon died at St. Helena last month. I offer you my sympathy, Count."

Hornblower told the lie with every effort to appear like a man speaking truth. 

"I received the news two days back in Port of Spain," said Hornblower. "In consequence, I cancelled the arrangements I had made for the arrest of this ship."

Hornblower suffered mentally by telling this lie because the Count would not believe him until he gave his word of honor as a gentleman. But he did give it, believing it was for the peace of the world in peril from a renewal of the deadly war with France they had just won. And the Count believed him and called off his mission. In the next port, Hornblower learns the shocking news that Napoleon had, indeed, died on St. Helena three weeks earlier. He recouped the honor of his word.

3) Though a mighty warrior who will give the enemies of England no quarter, he is still a compassionate forever true lover of Lady Barbara and needs healing of jealousy of her first husband.

In the last volume of the Hornblower series, Admiral Hornblower in the West Indies, he has finally married Barbara when she became a widow after her arranged first marriage. Something she says to him, when death seems imminent for their whole ship during a hurricane, heals his old jealousy.

She not merely said that she loved him; she had said she had never loved anyone else. Hornblower, huddled on the deck of a waterlogged ship with a hurricane shrieking round him, was suddenly aware that an old hurt was healed, that he would never again feel that dull ache of jealousy of Barbara's first husband, never, as long as he lived.

4) He is a great leader of men who will follow him to prison and even to death. . .

In most of the Hornblower books the reader sees this heroic characteristic carried out in many situations.  

Don't miss the next part in this series as we hone in on "The Man of Steel and Velvet." --Heroes, who not only display most of the characteristics we covered so far, but who also have a life-changing, empowering, relationship with Jesus Christ.

Thanks for stopping by. Would love to read your comments, and please do share this blog by clicking on the small icons below.

Blessings and Happy Mother's Day coming,

Elva 

Elva Cobb Martin is vice-president of the South Carolina Chapter of American Christian Fiction Writers. She is a former school teacher and a graduate of Anderson University and Erskine College. She has two inspirational novels published with Lighthouse Publishers of the Carolinas. Summer of Deception, a contemporary romantic suspense, and an historical romance, In a Pirate’s Debt. Both have spent time on Amazon’s 100 Best Sellers List for Women’s Religious Fiction. Decision, Charisma, and Home Life have carried Elva's articles. Jim Hart of Hartline Literary represents her. She and her husband Dwayne are semi-retired ministers. A mother and grandmother, Elva lives in South Carolina. Connect with her on her web site http://www.elvamartin.com,on Twitter www.twitter.com/ElvaCobbMartin; Facebook http://www.facebook.com/elvacobbmartin;  and Pinterest https://www.pinterest.com/elvacobbmartin

 Link to her romance novels and non-fiction works on Amazon:http://amzn.to/2pOgVHI

Deep POV Wind Up - Part 4

by Guest blogger Fiction Editor Beth Hill, see full article on
 http://theeditorsblog.net/2011/11/16/deep-pov-whats-so-deep-about-it/   

If you missed Part 3 click here http://bit.ly/2tvvYMG

Inside Out vs. Outside In

Deep POV allows story and scenes to be experienced from the inside out rather than reported from the outside looking in.
For the most part, text is formatted the same in deep POV as in any other point of view.

Right. So what does that mean?

It means that your description and actions can be shared through the eyes and feelings and experiences—through the words—of your viewpoint character.

Instead of providing a description that comes across as cold or indifferent or distant, in the words of an uncaring or unknowledgeable narrator, use deep POV to proclaim a character’s relationship to setting or props or even other characters. Use it to reveal character personality and emotion.

Since deep POV keeps us inside a character, you’re free to use words that only this character would use in the circumstances you’ve dumped him into. Use emotion-inducing words, words that come from the character’s emotional state. Use words that arise from his background and his history.

Use words that the character knows will cause a reaction in others.

Don’t limit yourself to words and phrases an outsider would use to describe what he sees. Use words from the depths of your character. Let his frustrations fly with your word choices.

Deep POV is a great tool for stirring up conflict.

Third-person—

Leon’s dress shirt was buttoned to his throat, cutting off his air. The air that did manage to move through him was then squeezed to almost nothing by his tie—one regulation blue stripe, one burgundy.

He yanked off the tie, stuffed it in his pocket.

Penelope was watching and frowning. But he’d only agreed to wear the clothes. He hadn’t agreed to a time limit.

 Third-person deep POV—

Leon yanked at the vintage buttons of the vintage dress shirt that choked him, cutting off his air and making him lightheaded. Lightheaded and angry. The blasted tie—one regulation blue stripe, one burgundy—had to go. He yanked at it too, pulled it free and stuffed it into his pocket.

So what that Saint Penelope was watching. He’d agreed to wear what she’d picked out for him.

He hadn’t agreed on a time limit.

He grinned when he caught her frown. Fifteen minutes satisfied the requirement for him. And it ticked her off.

A win-win in his book.

Choose a variety of words—nouns, verbs, and adjectives—to reveal character emotion.

Remember, too, that once we’re in deep POV, there are some words a character wouldn’t use.

A character isn’t likely to refer to a sibling as his brother Richard or to a firm he works at as Collins, Hollingsworth, Timbrall, and Dean.

Use words and phrases the character would use. And relay necessary information—that Richard is a character’s brother and that the Collins he refers to is his law firm—through other means.

Tip: Think personal rather than impersonal. Use words meaningful to the character.

____________________________________

Format for Deep POV

Yet, where third-person subjective might use italics to show thoughts, deep POV allows the writer to get rid of the italics. And since the use of italics is one more way of calling attention to the form of the words on a page rather than the meaning of the words, getting rid of italics is another way to keep readers deep in the fictional world.

There is no need for italics in deep POV, not for simply reporting thoughts. However, if a character uses I or me in his thoughts, then use italics.  Without the italics, readers could be confused or wonder why the writer had switched from third person to first.

And if a reader’s wondering about the mechanics of the format, he’s not lost in the story.

Bopping down the stairs, Ike considered his choices. He’d either have to go to Vail with Mom or Barbados with Dad, no staying at home with Paul. He stopped at the bottom of the stairs to pluck his hat from the fat knob at the end of the railing.

At least I get a choice this Christmas.

He grabbed his board and slammed the door behind him.

And I choose to bag me some beach babes.

** In the original of this article, I had also said that you should use italics if you showed a character’s thoughts using verbs in the present tense when the rest of the narrative is past tense. However, you don’t necessarily have to use italics in that instance. In deep POV you can use present tense for the viewpoint character’s thoughts (with some cautions, of course). Look for an article on this topic soon.

You should know, however, that not all agents, publishers, and readers would agree with this choice. But you will find this method being used.

An example—

Bertie tracked his wife to the no-name motel and watched as first she entered and then that loser of a gigolo knocked with an unmanly grin on his face. One knock followed by three followed by a drum roll.

And she thinks she’s getting away with this crap? Please.

Of course, that last line could have just as easily have been—

And she thought she was getting away with that crap? Please.

____________________________________

If you’ve not yet worked deep POV into your stories, I encourage you to start. Today’s readers apparently like that close relationship with characters.

Practice writing deep POV. Get into your characters’ heads and hearts, into the rhythms of their thoughts and speech, and convey their emotions and true personalities through the words you give them to both say and think.

Remember too that you are not limited to deep POV, even if it is popular. Try it, use it when it works for your stories. But step back when it begins to smother. And try a more distant approach if that fits the style of story you wish to tell.

Don’t limit yourself. But don’t be limited by others and the practices of the day either.

Go to the deep places in your writing today. Challenge yourself. Challenge your characters.

Challenge your readers while entertaining them.

Get them talking about your stories.

Write about the deep places today. Write strong fiction.
                                       ******

THANKS FOR STOPPING BY! Have you learned some things about DPOV ?  Please do share on your social media if this series has been a help to you. Just click on the small icons below.
Blessings,
Elva

***

Elva Cobb Martin is vice-president of the South Carolina Chapter of American Christian Fiction Writers. She is a former school teacher and a graduate of Anderson University and Erskine College. She has two inspirational novels contracted with Lighthouse Publishers of the Carolinas. Summer of Deception, a contemporary romantic suspense, and an historical romance, In a Pirate’s Debt. Both have spent time on Amazon’s 100 Best Sellers List for Women’s Religious Fiction. Decision, Charisma, and Home Life have carried Elva's articles. Jim Hart of Hartline Literary represents her. She and her husband Dwayne are semi-retired ministers. A mother and grandmother, Elva lives in South Carolina. Connect with her on her web site http://www.elvamartin.com,on Twitter www.twitter.com/ElvaCobbMartin; Facebook http://www.facebook.com/elvacobbmartin;  and Pinterest https://www.pinterest.com/elvacobbmartin

        Link to her romance novels and non-fiction works on Amazon:http://amzn.to/2pOgVHI

      

Deep POV - Part 2

by Elva Cobb Martin

If you missed Part 1, get it here http://bit.ly/2EyAtdK.

Deep POV makes our writing vibrate with emotion--like this snapshot from Gone with the Wind. 

DPOV often eliminates most problems with show/don't tell and even italics.

 A short booklet that has been a great help to me in mastering DPOV is Rivet Your Readers with Deep Point of View by Jill Elizabeth Nelson. Find it on Amazon here: http://amzn.to/2EUr7Xv

Here are some quick pointers from Jill:

♦  Never say he/she thought, felt, knew, wondered, realized, decided. 

Simply write what it is.

    Wrong: He understood how much this would mean to her. He knew       she’d be worried.

    Right: This would mean a  lot to her. She would be worried.

♦  Don’t name the emotion, describe it instead. 

     

     Shallow: Jealousy flashed through me.

     Deep: Heat boiled my insides. If that wimp could win a trophy, where was mine?

(Check out The Emotion Thesaurus by Angela Ackerman for great help in describing emotions. http://amzn.to/2EUsRA1

♦  Describe physical effects on the body: 

         Anger: His hands formed into fists.

       Nervous: Sweat popped out on his palms. His throat closed.

♦  Ditch Prepositional telling phrases (of, with, in)

     

     Shallow: Desiree’s skin prickled with pleasant excitement.

      Deep: Shadows deepened. The place reeked of ancient secrets.   Desi's skin prickled.

♦  Don’t use he/she saw, tasted, smelled, heard. Simply state what he saw, tasted, smelled or heard.

     Shallow: He could see the tip of the dog’s nose peeking out of the                            closet.

     Deep: The tip of the dog’s nose peeked out of the closet.

     Shallow: He tasted bile. 

     Deep: Bile rose in his throat.

Do you have some tips to help master DPOV? Please leave a comment and share on your social media if this blog helped you.

Be blessed,
Elva

Elva Cobb Martin is vice-president of the South Carolina Chapter of American Christian Fiction Writers. She is a former school teacher and a graduate of Anderson University and Erskine College. She has two inspirational novels contracted with Lighthouse Publishers of the Carolinas. Summer of Deception, a contemporary romantic suspense, and an historical romance, In a Pirate’s Debt. Both have spent time on Amazon’s 100 Best Sellers List for Women’s Religious Fiction. Decision, Charisma, and Home Life have carried Elva's articles. Jim Hart of Hartline Literary represents her. She and her husband Dwayne are semi-retired ministers. A mother and grandmother, Elva lives in Anderson, South Carolina. Connect with her on her web site http://www.elvamartin.com,on Twitter www.twitter.com/ElvaCobbMartin; Facebook http://www.facebook.com/elvacobbmartin;  and Pinterest https://www.pinterest.com/elvacobbmartin

Link to her romance novels and non-fiction works on Amazon:

Six Things the ProWritingAid Editing Tool Taught Me That Might Help You

by Elva Cobb Martin

I finally bit the nail and bought an editing tool before sending out my latest novel proposal. I checked out several editing tools but ended up buying ProWritingAid for an annual fee of $40.

One of the best things about it is that I could buy the version that integrates with MSWord. ProWritingAid is now right up in my Word top menu bar that I can click on after I pull up any document I want to edit. I can click on "Full Edit" or any of 25 individual edits. You can check out the program and get a sample edit at ProWritingAid.com   And no, I am not receiving any kickbacks!  ( :

Frankly, it's like having a highly skilled editor looking over your shoulder.

Six Edits That Are Making My Manuscripts Shine:

1) Repeated Words  --it's amazing how often I repeated without realizing it.
2) Cliches and Redundancies- - we all have favorites that slip in
3) The Dialogue Tags check - use action beats instead

4) The Sensory Report - helps you write using all five senses
5) The Pacing Check - very good to know if this is going well
6) The Grammar Report - catches everything besides spelling--including two             periods or even an extra space between words that pop up in my writing.

One of the first things I was glad to find out was the Reading Level of my ms.

ProWritingAid does much more--The Writing Style Report (very comprehensive), Thesaurus Check, Diction Report, Vague and Abstract Words Check, the Plagiarism Report, Sentence Length, Transitions, Consistency, and Sticky Sentences full of glue words that can be rewritten for greater clarity.

Needless to say I am happy I now have this "editor over my shoulder" to help hone my writing.

Have you found a great editing tool? Would love to hear from you. And please do share this on your social media by clicking on the small icons below.

Blessings,
Elva Cobb Martin

Planning Your Novel - Part 8 Outlining

by Elva Cobb Martin

Some kind of outline helps keep me on target and is also a great help in writing up the summary or synopsis of a novel. It's kind of like having OnStar or a GPS when traveling.

I am sure there are many ways to outline a novel, but here is what I do.

1) Write the pitch and premise out first. These are the "skeleton's" on which I will plan my scenes and chapters.

2) I keep reminding myself that my outline is very fluid and can be adjusted easily as I write the first draft.

Note: I am saying "outline" but what I'm really doing is listing scenes for each chapter, not doing a formal outline.

As a reminder from my earlier blogs, here is my pitch and premise for Spanish Rose, my historical romance wip.

Premise: 

Love, forgiveness, and determination can overcome the most horrifying experiences and poor choices when God is invited into the equation.

 Draft of my pitch:

Marisol Valentin must flee the murder of a Spanish nobleman who molested her by sailing to the New World only to realize no one but God can turn good out of the evil when her exposed past threatens to destroy all her dreams.

Here is the first chapter "outline" which is really a list of actual scenes I now have in my first draft of Spanish Rose.

Chapter 1

1) Rape/murder scene at Cadiz, Spain, stud farm: Marisol Valentin kills                                nobleman Diego Vargas

2) Marisol’s bedchamber, preparing to flee with maid Carmelo

3) On the road/path fleeing to Cadiz Harbor

4) Kidnapped by King’s men (indentured servant kidnappers) for King’s West                      Indies colonies, put on ship

5) Six weeks aboard and Marisol is throwing up in the chamber pot each                              morning on the Magdalena. 

6) English pirates attack the ship. Marisol given sword to defend herself and the                               other women.  (ENDING HOOK)

             (Carmelo dies of fever on pirate ship but told later as brief back story.)

One thing I always plan is an Ending Hook to all my chapters that will hopefully motivate the reader to keep reading to see what happens next.

I actually wrote 3 different openings scenes for this novel and tried them out on my critique partners at our S.C. Chapter of American Christian Writers. Next time, I may share the first paragraph of each of the three openings and see which you like the most.

Thanks for stopping by. How do you plan your scenes and chapters? Please leave a comment and share on your social media.

Blessings,

Elva Cobb Martin