The Highest Bidder continuity covers – part 2

Reading: Skin Hunger by Kathleen Duey
Watching: Doctor Who series 5
Listening to: Heart of Stone by Cher

Finally I can show off the rest of these gorgeous covers!  For part 1 go here.

Paula Roe – A Precious Inheritance (October)

He won the auction…
Vanessa Partridge has a good reason for wanting the manuscript offered at auction – it is her twin babies’ legacy. But she doesn’t count on the winning bidder, financial guru Chase Harrington, showing up on her doorstep.
 
Now he wants the woman…
Chase has a new obsession – Vanessa. There’s more to the former-socialite-turned-working-single-mom than meets the eye… and he’s going to find it. He’s got secrets of his own – secrets threatened by the sexy Vanessa. More than anything, Chase wants to give in to their sizzling attraction… but can he afford to play with fire?

Cat Schield  – The Rogue’s Fortune (November)

Elizabeth Minerva tries to steer clear of legendary adventurer Roark Black and focus on her career and her attempts at motherhood. But the rakish treasure hunter can help her in her quest to be a single mom, if she’ll do him one tiny favor….

To save his beloved auction house and his own reputation from ruin, Roark needs to settle down fast—with a sensible woman. After a six-month “engagement,” he and Elizabeth can go their separate ways.

But Roark knows priceless objects, and Elizabeth is the real deal. Now he intends to keep her…by any means necessary!

read an excerpt  |  check out Cat’s website

Barbara Dunlop – A Golden Betrayal (December)

Nothing will stop him…
In his Arabian kingdom, Crown Prince Raif Khouri commands, and women do his will…but then he meets headstrong American Ann Richardson. To get back the priceless statue he’s convinced her minions stole, Raif kidnaps her!Held captive by the sexy prince and mired in scandal at her auction house, Ann has her hands full. How can she convince Raif she’s innocent…and convince her traitorous body to resist his sultry kisses?But after one night with the woman his duty will never let him have, it’s Raif who realizes the high price of ransom – his heart!

check out Barbara’s website

Mid-week Technique: shifting goals

Keep those awesome writing questions coming! Today’s query: “what to do when your character goals change mid-story?”

So, let’s talk about the two types of character goals: internal and external. The external is a tangible thing, a want that the character is pursuing at the start of the story. This can be a wife, money, status, boyfriend, a new job, an object, escape from a terrible relationship, etc. In my latest book, A Precious Inheritance, both my hero and heroine desperately want the unpublished manuscript of a deceased best selling author. In my first book, my hero needs answers to his past.

The internal goal is something deep inside that character – a need, a desire – that drives them to action. Your characters are more often than not, unaware of this internal goal – to them, it’s all about the external. Your hero is not going to stop and think “I need a wife to gain control of my father’s shares and in the process will fulfill a deep-seated need for love and loyalty I’ve been lacking.” 😀 The internal is an emotional, unseen, driving force that enhances and feeds into their external goal. For example, your heroine may want to buy a home because deep down, she craves that sense of security and belonging that were lacking when she was growing up. I made a comprehensive list of goals (or wants) ages ago, so here they are:

  • Freedom
  • Adventure
  • Unconditional Love
  • Honour
  • Acceptance
  • Money/wealth
  • Family
  • Status quo
  • Status
  • Respect
  • Revenge
  • Justice
  • Power
  • Security/home
  • Knowledge

I have more on my Write a Novel in 3 months articles here and here.

The internal goals do not shift. That is the whole point of your character’s journey, their driving force that gets them from Chapter 1 to The End. Their internal goal has been formed and shaped throughout their lives, driving their choices.

What can change is their external goal. For example, a girl desperately wants to seduce her hot neighbor, so gets her male best friend to give her seduction techniques. At some point in the story, her external goal (the hot neighbor) changes to the best friend. In one of my works-in-progress, my warrior hero’s external goal is to escape captivity to live a life in solitude. Of course, this goal changes after he meets the heroine and they have to battle together to overthrow the evil king. What doesn’t change is his internal goal, which is peace and acceptance.

The other thing to consider is WHY their external goal changes. Is it because your character’s beliefs have changed? Has something happened? Have they gotten new insight or new information into a previous situation or happening that prompts the change?

Changing your character’s external goal is not bad. It can enhance and enrich your story, provide plot twists and keep your reader hooked. But be aware of why it’s changing. As long as it is in keeping with your character’s core beliefs then go for it!

Mid-week Technique – Deep POV

So here’s a question from a writer: “should I put everything into deep point of view when the heroine is doing stuff or only when she is thinking. Where is it good to keep 3rd person?”

Okay, let me preface this by saying I sometimes have NO CLUE what I’m doing when it comes to technical, writerly stuff 😀  That said, I’ll attempt to answer this question by providing insight into the way I write.  It may work for you, it may not.

So, what is deep point of view?  Simply, it is where you are in one character’s head so deeply that you’re no longer the author telling the story, you are your character.  It also means the absence of tags e.g. she thought, he wondered.  It’s a technique that adds an extra layer of emotional depth and punch to your story.  For example:

BEFORE:
John looked at his father, angry roiling through him.

AFTER:
You bastard.  Anger roiled, thick and all-encompassing.  I hate you.  I’ve always hated you.

By removing ‘his’ and ‘him’ which can distance you, I’ve focused on internal dialogue and the physical/emotional impact of that anger.

DPOV is also about using signature actions/reactions unique to your character, and can include phrases, internal thoughts, particular movements or ticks.

Should you put everything into deep POV?  And where is it good to keep third person?  You’re not gonna like this answer but… it depends on the story.  Told you :smile:.  I like to use DPOV at highly emotional moments – love scenes, black moments, emotional revelations – to create greater impact for the reader.  I like the immediacy of DPOV and the fact that we’re in the character’s head, thinking and feeling their emotions.  Anything that is done well, and creates a better way to tell the story is all right by me!

For further reading, I’d recommend this most awesome article at the RT BookReviews site.

And finally – anyone care to share your before/afters?