Writing for Effect: A Dialogue with Mary L. Schmidt

Mary L. Schmidt writes under her given name and a pen name, S. Jackson with her freshman book a memoir, and she now has 30 books under her belt ranging from three memoirs to comic books, one recipe book, and a lot of children’s picture books. She chose to discuss three topic from three different books for this conversation.

Childhood cancer is scary, horrific, and all consuming.

After surviving the cruel rage of tyranny from her mother and ex-husband, Sarah Jackson traveled a new path, a journey of loss, heartbreak, and ultimately strength. How do we survive the unthinkable, our child suffering from a terminal illness? They say there is no greater loss than that of a child; I say losing a child is the king of loss. Sometimes the thing that helps us survive it, is knowing we are not alone. Bestselling author, Sarah Jackson, will take you on her journey of hope and strength as she provides an intimate raw look at her life.

“I want to go to Heaven, Mom.” as my son lay in his hospital bed in the presurgical area.
“We don’t always get what we want in life, so you might have to come back to me.” I replied as my heart was breaking.
When Angels Fly

One cannot stop an angel from flying and when a child of age five wants to go to heaven, ask your child why, and what he or she knows of heaven. Don’t fear your child’s death but ask them. They will tell you what they know or have seen. My little boy had already spoken with Jesus.

Marian:
In this excerpt, you speak to the role of faith – both a mother’s and a child’s belief – in surviving the unthinkable. No parent should outlive their child, it is often said. But not all parents nor children will have a belief in a divine being. One of your stated goals is for people going through this life-altering experience to know they are not alone. Does your book speak to those who do not believe in a divine being or an afterlife, and if so, can you explain how?

Mary:

Great question! I can answer this one as my ex-husband is a practicing atheist and for his actions. My arm was wrapped around my son the final moments of his life. My ex wanted medicine for when my son’s heart stopped but no compressions. I wanted nothing done. I knew where my little boy wanted to go, and I knew he was moments away from death as he was in transition. I had to beg my ex three times to let him go as his heart stopped for the third, and last time. He nodded his head yes. I rocked my dead son, after all tubes and such were removed. I talked to him in heaven. My ex simply watched. Then got up from the rocking chair and motioned for my ex to sit, after which I placed my son in his arms. He held him a few minutes then left the ICU. Essentially, as an atheist, my ex had to deal with his grief and such internally without help from the divine God. That led him to get drunk. But I turned to Jesus, and I was not alone.

2. A book on bullying evoking change in children.

In ‘The Big Cheese Festival’, we meet Stubby Mouse and his family and friends. We learn that Stubby Mouse has a secret, that he is being bullied by another mouse, simply because his tail is short. This story illustrates how everyone is different and unique, and it is a delightful read with adorable and eye-catching, cute illustrations for both children and adults. Take a stand against bullying today!

“See! I did it! I stood up for myself and Cutter Mouse can’t bully me anymore.” replied Stubby Mouse.
The Big Cheese Festival

Thus, Stubby Mouse’s self-esteem increased, and he no longer allowed himself to be bullied by others.

Marian:

I’m curious to know what it is Stubby did to stand up to Cutter! I like the choice of a simple thing like a short tail, because children can fixate on the smallest difference. How did you portray the bullying? Who helps Stubby stand up for himself?

Mary:

Stubby Mouse was happy and excited when he woke up on the morning of the Big Cheese Festival. All the mice in his neighborhood looked forward to this big event. There would be dancing and lots of cheese, and they would elect a King and Queen of the Festival. This was Stubby’s first Big Cheese Festival, but when Cutter Mouse came to pick up Stubby’s brother, Zippy, he made fun of Stubby’s short tail. Cutter laughed and said that no girls would want to dance with him. Zippy got angry with his friend for picking on his little brother, but the damage was done. After Zippy and Cutter left, Stubby began to cry. Cindy (a girl mouse) heard him crying inside the house, and she wanted to know what was wrong. She told Stubby that she liked him the way he was, and thought Cutter was an awful bully. They went to the festival together, and Cutter made fun of Stubby and knocked him down onto his short tail. Stubby informed Cutter that he would not be bullied anymore, and he pushed Cutter down on his normal size tail. This impressed all the mice attending as they loved Stubby and his bravery. Stubby became King of The Big Cheese Festival for his bravery.

3. A book regarding shyness in children as related by a turtle who was too shy to come out of his shell.

Tommy Turtle is a shy land turtle who likes to hide inside his shell. Tommy Turtle helps parents and teachers reinforce positive behaviors in an imaginative setting of a park and mud puddles as they learn about land turtles and shyness. Learning and sharing are essential for social development in all children.

“I’m scared to come out, I can’t splash the water puddles like the other turtles.” replied Tommy Turtle.

“I will be at your side, and you can jump when I jump. Okay?” said Jerry Turtle.

Tommy took a deep breath and poked his head out of his shell. He watched the other turtles playing, and finally decided to join in. Tommy made the biggest splash in the puddles, and learned that he could have fun, play, and be accepted by other turtles. Tommy also learned that he didn’t have to talk when he was a little more nervous. It was okay to watch, listen, and learn. It was okay to be shy at times. Tommy had the best afternoon, ever!
Tommy Turtle

Marian:

Is Jerry the same age as Tommy? Or is he an older mentor? Why does he take Tommy under his wing? As you indicate, these are important skills for children to learn, but it is something they can do on their own without adult modelling?

Mary:

Jerry and Tommy are nearly the same age. Tommy is new to the park this story is set in as some kids change schools, move around, and it’s natural to be shy. Tommy was shy and hid inside his shell because he didn’t know the other turtles. In Jerry’s case, he had been new to the same park the year before. Jerry befriended Tommy and drew him out of his shell. Tommy played and overcame his shyness. In the end, Tommy decided that he would help other new turtles when they arrived in the park, just like Jerry helped him. Children can read this book on their own and model their experiences to the experiences Tommy went through.

Find all books published as Sarah Jackson here and as Mary L. Schmidt here, or connect with Mary at her website www.whenangelsfly.net.

Would you like to be part of this series? Authors published or unpublished are welcome – leave a comment and I’ll get back to you.

Writing for Effect

A Dialogue with Eva Seyler

Eva Seyler is the author of four historical novels or novellas. Here, we discuss how she weaves emotion and reaction into her books, while maintaining a simple style.

Eva:

“Writing for effect”, in my books, is all about the characters.

Snogging

I’m notorious for writing gratuitous snogfests that (often) don’t make it into the finished projects (for example, there’s an extremely un-kid-friendly RageSex scene that did not make it into The Summer I Found Home because it’s designed to be appropriate for kids).

The scenes that do make the cut have to meet a few criteria: they need to signify something about the characters’ development, and they need to be focused on emotions rather than mere physicality. The goal is for what I don’t say, what is left to be read between the lines, to be as punchy as what I do say.

His voice caught as he wove his fingers into my hair and searched my eyes. “I am abominably drunk but I will show you things…”

He bent close, his mouth exploring my throat and shoulders and breasts. His restless, certain fingertips called forth blissful whimpers from deep within me. Clothing shed, skin on skin, fingers of one of his hands interlacing with mine while the other hand like a magician’s called forth sense and life I hadn’t known existed. His mouth on mine, tasting of brandy and cigarettes and heaven, layer upon layer of feeling, sinking—drowning, but never dying, curiously alive, singing strings within. He was intense and he was focused and he knew what he was doing.

Marian’s reaction:

My sense here is that the narrator is inexperienced, if not virginal: ‘sense and life I hadn’t known existed’. Perhaps she’s taking a risky step here? And that the man is experienced, and both cultured and perhaps a little disreputable: – ‘abominably drunk’ – not the language of an uneducated man; the brandy also suggests this. How far off am I?

Eva:

Right on every count. She’s been married before, but the husband was, shall we say, unimaginative at best—and it is a risk because this man is her best friend’s husband. (This snippet is from Ripples, the companion novella to The War in Our Hearts.)

Snappy dialogue

Louise and George’s banter in The Summer I Found Home and its sequels has segued into an experiment: trying a brand-new (for me) style of dialogue that is intended to evoke the frenetic energy of 1930s-40s screwball comedy. I’m trying to perfect this for a WIP that’s third down the release pipeline: basically, using as few dialogue tags as possible, but still making it clear who’s speaking.

Just one example of many from the WIP in question:

“I mean, friendship is wonderful. Everything is more fun with a friend. But imagine having, say, me for a friend, Miss Shipton.”

“I wasn’t aware we were friends. Anyway, I’m home now, you needn’t linger—”

“We could be. Friends, that is. Not home. We could be that too. I mean. Together.”

“Are you this eloquent and seductive with all your lady friends?”

“Oh no. Much more with them.”

“You flatter me.”

“You hoover all the panache right out of me.”

“How romantic.”

“As I said.”

“Will you stop leaning in that impertinent way?”

He was too close, his forehead nearly touching hers. “What kind of person do you want to marry, Miss Shipton?”

Marian’s reaction:

The short and sometimes interrupted sentences are very effective here, and it’s easy to follow who’s speaking by the inclusion of ‘Miss Shipton’ and/or ‘lady friends’. And then at the end the tone changes to more serious, simply by the dialogue becoming slower and a full sentence, and, the inclusion of an action tag prior to the dialogue. Was that your intent?

Eva:

I’m not sure I thought it out that thoroughly, but it’s true!

Simplicity

Another strong aspect of my style is staying sharply on point. I don’t write flowery descriptions of scenery or events. I’m not against such things, by any means—it’s just not something that comes naturally. This Great Wilderness, at over 90,000 words, is incredibly long for me. Usually my books (including my two earliest, experimental novels) run considerably shorter. The Summer I Found Home is only around 62,000 words.

I attribute this to focusing on character development and the specific events that drive that development.

As with my snogfests and sex scenes, setting descriptions must enhance character development. Here’s an example from This Great Wilderness that encapsulates the scenery in a few short paragraphs, and the description is directly related to the state of Leni’s mind.

The scenery is stark and incredible. There is the brown, desert-like landscape going one direction, like what the American West always looked like in the cowboy pictures we sometimes sneaked out to see when I was little.

But face the other direction, and it is saw-toothed mountains, and snow, and ice, and vast lake.

Two worlds. The desert is my life with Mauritz. The mountains are my life now. Both of them are terrifying to me, and the solitude is immense.

Marian’s reaction:

I’m sure this has a formal definition in writing (it’s not quite pathetic fallacy), but I couldn’t find one – the landscape reflecting the emotions of the narrator. It’s one I use a lot myself. I particularly like the starkness and simplicity of the contrast here between the desert and the mountains, and the threatening aspect of the mountains: ‘saw-toothed’ and cold. But the lake – water is usually a symbol of life and renewal – modifies that. Was that your intent, to suggest to the reader that there is hope for Leni In this new environment?

Eva:

I had not thought of the water aspect! At least not consciously, but that’s an absolutely legit interpretation, and it’s true that the wilderness does bring her back to life.

Eva’s contact information is at https://linktr.ee/theevaseyler Find out more about her and her books at https://www.evaseyler.com/

Writing for Effect: A Dialogue with Jamie Tremain

Jamie Tremain: aka **Liz Lindsay and Pam Blance**

Currently, Jamie Tremain has two series. The Dorothy Dennehy Mystery series is in the mystery/crime genre revolving around a female private investigator, Dorothy Dennehy. The story is set in Portland, Oregon. Her office is aboard a houseboat, ‘The Private, Aye?’, moored in the Willamette River. She has a solid circle of family and friends who assist in her cases. By the time we’d written the second book, we realized what we seemed to enjoy from writing this series, and Grant’s Crossing, is the building of character dynamics and relationships with one another.

Grant’s Crossing is our second series and is a mystery/amateur sleuth series. It might have cozy ‘overtones’ but doesn’t classify as a cozy.

It’s set in rural Ontario. We have two main characters, Alysha – owner of the home, and Dianne – a resident, and the story is told from each of their POV in first person. The setting is an old farmhouse converted to house 8 retired seniors in a guest-home type environment.

As mentioned above, we feel our strength, and passion, in these stories has evolved to focus on character relationships, to show what life can do to all of us and how we cope or carry on. We’ve been successful based on comments and feedback received from readers.

Emotion of Characters, Witty Dialogue, and Diversity are the three topics we’ve chosen. They dovetail into each other as we build stories that portray life experiences on different levels a reader can relate to, while still providing a crime or mystery to solve.

Emotions of Characters – The Goal to build relationships built on human experiences common to readers.

These are two scenes from Lightning Strike, the second book in our Dorothy Dennehy Mystery series. Our protagonist, P.I. Dorothy Dennehy has learned her fiancé, Paul, has been murdered. The first scene is her father, Max, trying to comfort her, and the second scene is Dorothy waking up from a dream the day of Paul’s funeral.

“Why did you change your clothes? she asked, wondering why his casual jeans and sneakers had disappeared. Now he wore his best corporate attire. Perfect tie and polished shoes.

“I had to change, Dee. You know what today is. Have to look my best.”

She awoke with a cry on her lips and a breaking heart. As the dream’s images fluttered away, she sighed. “You always looked your best, my love. I miss you so much and today will be the hardest day I’ve lived through.”

Marian’s thoughts:

Dreaming of lost loved ones is a common human experience. Dreams, too, often have hidden meanings. If I read into the scene that Paul’s message to Dee is that she must put on her ‘best’ today: best clothes, best front, best control – to change her real feelings to get her through this hardest day – would I be reading something into it you didn’t mean?

Jamie Tremain:

We think you’ve reacted as we intended. And without “knowing” our character Dorothy, this is even more true because she is a strong and independent woman, but the death of Paul has knocked her off her feet, and in addition to his funeral she knows that she, as a private investigator, is going to do her best to solve his murder. So, control of her emotions is paramount to her staying level-headed. Her grief will be put on hold. And Paul would have known that, as well.

Dialogue – The Goal to bring humour at times, but to always show that our characters are “human”, subject, for example, to petty backbiting, or one-upping.

We have fun with some characters’ dialogue scenes. This is from Resort to Murder, the second book in our Grant’s Crossing series. Our characters, most retired, live together in a small retirement “guest” home – Leven Lodge. Mealtimes can be lively due to their various personalities.

Rose changed the subject. “Anyway, I hope the investigation wraps up soon so the spa can reopen. I’m anxious to try out some of the services they offer.”

“Maybe they can do something about those wrinkles,” sniped Minnie.

“At least I know what a spa is for,” retorted Rose.

I settled back to watch the show, but Nina broke things up. “Now ladies. Let’s not bicker. Life’s too short. I’d hoped to make use of the spa while I’m here as well, but if it doesn’t work out, c’est la vie. That’s French you know.” The barb hit its mark with Minnie.

“Well kiss my derriere. That’s French too.” Minnie smirked. Then she exited the room. I noticed Lily’s small grin as she watched our wicked witch’s departure.

I had a feeling breakfast congeniality was done.

Marian’s response:

Writing ‘gurus’ often say that no dialogue tags other than ‘said’ and ‘asked’ should be used. (Not that I agree with it!) Here you’ve used a variety of other tags and descriptors. Can you expand on why you chose them?

Jamie Tremain:

When we were traditionally published with our first 2 books, we had an amazing editor. Her opinion favoured avoiding the overuse of ‘said’ and it stuck with us. Not that there is anything wrong with ‘said’, but I (Liz) recently read a book, where about ten consecutive pieces of dialogue were tagged with ‘said’, and I found it boring, as if the writer couldn’t find something more descriptive to use. Balance is key, because to overuse any tag runs the risk of reader turn-off.

The narrator and Lily both seem a little detached from the bickering. You convey this both through the use of ‘watch’ and the fact that neither speaks. Were those conscious choices?

Jamie Tremain:

Definitely on Lily’s part, yes. She is an introvert, overshadowed by her extroverted twin sister. As for the narrator, yes as well. She enjoys being a bystander during these exchanges, although she has been known to stir the pot when it suits her.

Diversity – The Goal to have diversity in various forms, woven into a story so that it’s done in a way to make it seem natural and not because we have to tick boxes.

Without really intending to, we find our Grant’s Crossing series has touched on several areas of diversity, most done in subtle ways, to hopefully show diversity is taken for granted, and not a big deal to be fussed about. We’ve touched on Aboriginal issues, mental health, have had a gay character, and, aging is a general theme throughout. We, as writers, hope it’s a reflection of ourselves, that diversity is, and should be, a natural part of life’s fabric.

The example concerns a new couple, Sasitha and Bachan Patel, who have taken up residence in Leven Lodge – from the third book in the series, Acting Off-Script. It’s a small town in rural Ontario, with little familiarity of East Indian customs.

I decided to ask about a question I had. “I noticed you’ve placed some beautiful small candles in the front room. Are they for a special occasion?”

Sasitha beamed. “Oh yes, my friend. These are for celebrating Diwali. So important for us.”

“Festival of Lights,” interjected Bashan. “Lighting these candles, for us, means we are getting rid of the darkness. The darkness can be meaning bad vices, such as greed.”

From what I knew of the Patels, greed was a foreign concept to this generous and kind-hearted couple.

Marian’s thoughts:

You have subtly captured the rhythmic speech patterns of West Asian immigrants speaking English. Did you worry about being accused of stereotyping in the name of diversity?

Jamie Tremain:

The Patels are my (Liz) characters and have been modelled after a former co-worker, whom I am very fond of. The speech patterns were part of everyday work life. Honestly, if a reader feels this is stereotyping, then, with respect, that would be an inaccurate assumption. Earlier in the book, the Patels give an account of how they came from India, lived in Scarborough, and ended up in Grant’s Crossing. We thought having a retired married couple, who happened to be East Indian, would be an interesting dynamic to add to the mix of characters living at Leven Lodge.

Was the use of ‘foreign’ in the last line purposeful? To me it creates an effective dissonance between the idea of ‘foreigner’ and how we all share universal human attributes and concepts.

Jamie Tremain:

That’s an interesting observation, Marian. It wasn’t intentional, but we agree with your assessment of its use.

One final question from Marian:

You strive to show character relationships, ‘to show what life can do to all of us and how we cope or carry on’. Author intent and reader interpretation can be very close, or it can be very far apart. Art is a tension between the creator(s) and the ‘consumer’, the person experiencing it. Have you had feedback from people whose interpretation was far from what you intended? If so, how did you handle it? (And if not, how would you handle it?)

Jamie Tremain:

We’ve been told our character relationships are a focal point of both series, and so we now make a conscious effort to create life situations for our characters that most people could relate to at various times in their lives – aside from finding murdered bodies, of course!

The most feedback we received was when we “killed” Paul in the second book of our Dorothy Dennehy Mystery series. Readers who had enjoyed the first book were dismayed, and even a little angry, that we’d dispatched him. We didn’t expect the level of disappointment but were gratified in a way because it showed readers connected with the character. And it made us realize that a mystery is not just about the crime to be solved, but it’s about the characters. So having the strong feedback about killing Paul was valuable.

Every reader has their own viewpoint and interpretation on what they read. We’ll continue to create scenarios we hope are relatable and always welcome feedback, be it positive or not, on how we’ve tried to portray relationship dynamics. We may be the author, but we can always learn from our readers, as well.

Links:

Web: http://www.jamietremain.ca/

Blog : https://jamietremain.blogspot.com/

Amazon Author Page: https://www.amazon.ca/Jamie-Tremain/e/B06X1FFCCF/ref=dp_byline_cont_pop_ebooks_1

Books2Read : https://books2read.com/ap/nObabJ/Jamie-Tremain

Facebook: https://www.facebook.com/jamietremainwrites

Email: jamietremainjt@yahoo.com

Would you like to be part of this series? Authors published or unpublished are welcome – leave a comment and I’ll get back to you.