My Kinda Hero: A Purrfect Romance Week

I have always loved curling up on the couch with a good book. But I'll admit, curling up on the couch with my DVD collection and choosing an oldie-but-goodie love story is a purrfect pastime too.
For Hero week on The Writer's Alley, let's chat about the men in my DVD collection! In the comments, would love for you to share yours...and any CBA/Clean read heroes you can think of that might fall under each of the following categories:

(And don't forget to check out the info below for a fun opportunity to celebrate Heroes later this week and an ADDITIONAL giveaway to the Purrfect Romance Alleycat bundle)!

BOY NEXT DOOR TURNED MAN: They are the guys who’ve always been there. They see their heroine through awkward stages, not-so-great stages, and the woman they’ve become. These men have grown up, just like their heroine, but their soft side for the heroine offers hope in all she’s lost and has come home to find again. From my collection:

• Matty from Thirteen going on Thirty 
• Jake from Sweet Home Alabama
• Justin from Hope Floats 

ENEMIES...OR NOT: It’s always fun to see the trope of a hate-love relationship where the love wins in the end. Whether there is a secret being covered up, or a conflict of interest, the hero finds redemption when his vulnerable side comes out—his family life woos the heroine—or the heroine brings out his own soft side beyond their conflict. It’s always fun to see how the writers will bank on the moments that crack the tough exterior. From my collection:

•  Andrew from The Proposal 
•  Ben from How To Lose A Guy in Ten Days 
•  Joe from You’ve Got Mail 

SECOND CHANCE AT LOVE: They’ve loved before. And they aren’t quite sure they can love again. As an audience member, it’s easy to fall in love with a hero who gave his heart away only to return with a wound. We want to help them in their pain, we want to drag them along and stand them right in front of the heroine and say, "hey, look at him"! These heroes have backstories wrapped up in a different woman, but all they’ve gone through brings them to a new heroine and the love story of a lifetime. From my collection:

• Bob from Return To Me 
• Sam from Sleepless In Seattle
• Graham and Miles from The Holiday

MORE HERO TALK! You can nominate your favorite heroes in CBA or Clean Reads by checking out the pinned post at the Heroes on The Red Carpet Event . Be sure to join in the fun on Thursday night! 

YOUR TURN: Comment for a chance to win the Purrfect Romance giveaway. Any good romantic heroes to add to the list? How about your favorite in CBA or clean reads? 

*****************

Angie Dicken credits her love of story to reading British literature during life as a military kid in England. Now living in the U.S. heartland, she's a member of ACFW, sharing about author life with her fellow Alley Cats on The Writer's Alley blog and Facebook page. Besides writing, she is a busy mom of four and works in Adult Ministry. Angie writes historical romance and historical fiction. She enjoys eclectic new restaurants, authentic conversation with friends, and date nights with her Texas Aggie husband. 



Find her on:

Website: angiedicken.com

Facebook: Facebook.com/dicken.angie
Instagram: instagram.com/angiedicken/

Twitter: twitter.com/angiedicken
Goodreads: goodreads.com/angiedicken
BookBub: bookbub.com/angiedicken
Amazon: amazon.com/angiedicken

The Care and Nurturing of a Hopeless Romantic with Special Guest Laurie Tomlinson

entertainment.ca.msn.com

There are two types of romance fans in this world: the realists and the hopeless romantics.
I’ll give you one guess which category I fall under. (Though I’ve always preferred the term hopeful romantic.)

Okay. If we’re being real, my adolescence can best be described as “boy-crazy” :) But as I look back on my earliest movie star crushes, lovingly nurtured by the very woman I inherited the gene from, maybe this silliness wasn’t so pointless after all.

Whether you’re a reader, writer, or movie aficionado, have you ever thought about what influences your affinity for a hero? I asked myself that very question, and suddenly my world came full circle. Maybe I was just refining my tastes to pick an amazing husband. To help me write a variety of multilayered heroes.

So here's why young Laurie’s favorite heroes were swoonworthy and how they groomed me to write romance:

Tony Micelli / Who’s the Boss

A good hero isn’t afraid to stand up to the heroine when she’s about to make a bad decision or being otherwise unreasonable. Hey, it can happen! Tony and Angela had an unconventional relationship in Who’s the Boss since Angela was technically his employer. But when it came down to it, he wasn’t afraid to give her tough love when she needed it the most. Along the same vein, their chemistry was built on the banter between them. An unusual relationship dynamic can lend itself to some great dialogue. So in my book (pun totally intended), a hero ultimately needs to be

 

able to give it right back to the heroine.

Prince Philip / Sleeping Beauty

www.fanpop.com

Ohhhh, Prince Philip. Where do I even begin? Let’s see. He basically falls in love with Aurora the first moment he sees her, even though he believes she’s a peasant girl. Then he bravely conquers the most heinous villain ever written + all the tricks up her sleeve to get his girl back. While a good rescue scene does me in every. single. time, I don’t discriminate. Sometimes a hero can save his heroine in more figurative ways. Even if he’s saving her from herself!

Sully / Dr. Quinn, Medicine Woman

www.uptv.com

Other than the whole strong-and-silent thing Sully had going on for him, he was incredibly supportive of Dr. Mike. Okay, so it was also a plus that he had mad survival skills and could build a house out of pretty much nothing, but he was there for her when she needed him, when she faced naysayers, and when she needed to know she could accomplish her dreams. Sully taught me heroes should be partners along the heroine's journey, helping her achieve her goals. And most importantly, he should also encourage her when she is clinging to the last thread of belief in herself.

Han Solo / Star Wars trilogy

One of my favorite hero tropes is the hero who is ruined by the heroine. In a good way, of course. Perhaps he's wounded and swore off women forever. Maybe, like Han Solo, he is engaged

www.stanford.edu

in roguish ways. Whatever the case, when the hero meets the heroine, it's all over. And she inspires him to be a better man. I mean, look what Han Solo turned into when he met Princess Leia. From regular scoundrel to integral role in saving an entire galaxy. If that doesn't entice a reader to root for a couple, nothing will. And that reader possibly doesn't have a soul.

Thomas Magnum / Magnum P.I.

the80sman.com

In his day, Tom Selleck was "King of the Babes," in my mother’s words :) Though this is just a piece of the puzzle, it’s important for heroes to be easy on the eyes, written in such a way that makes the attraction between the hero and the heroine believable. Disclaimer: I'm all for a hero whose humor, bravery, or other internal characterizations lend to a heroine's attraction to him. But, just saying, a pair of smoldering eyes helps -- Tom Selleck mustache optional :)

Thanks to my AlleyCat favs for inviting me to post! This has truly been a writing bucket list moment! Now I want to know:

Romance fans, who were the heroes that started it all for you? What is your number one condition that makes a hero swoonworthy?**************************************************************************

Laurie Tomlinson is a wife and mom who writes stories of grace in the beautiful mess. Her first book won the 2013 ACFW Genesis Award (Contemporary), and her second is a current semifinalist in the 2014 Genesis Contest (Romance). She is represented by Rachel Kent of Books & Such Literary. 

You can connect with her at www.laurietomlinson.com or www.facebook.com/AuthorLaurieTomlinson. 

LET IT GO--- FROZEN writing tips

I've now seen the movie Frozen about 1,243,438 times.

Okay, maybe not that many.

But it's close. Much too close.

I've even seen it once in French, because my eldest daughter is facinated with the language and has vowed to learn how to sing ALL the songs in French.

I can't tell you how much that excites me. (Insert sarcasm here)

For some reason, this movie has taken hold of the hearts of children and adults alike. While there is such a thing as too much of a good thing, what is it about the movie that has made store shelves empty of the DVD?

And what can we learn from that for our writing?

Well, the first thing we can't replicate. Frozen has some amazing songs that caused even some super fun weatherman to mimic.

But catchy music aside.... there were several WINNERS about Frozen that helped make it the HIT that it was.

1.) Comedy. While most Disney "princess" movies have a few slices of funny in them, Frozen had more than most. It was FILLED with them, even though the movie itself wasn't a comedy at all. Some of our families favorites:

Olaf. Need I say more?
Ana walking like a penguin in her frozen dress.
The talking Sven.
The adorable trolls trying to matchmake:-)
"What if you hate the way he picks his nose.... and eats it?" "EWwww" "All men do it."

Those are just a few:-)

Regardless of your genre (except maybe thriller...), putting a couple natural giggle moments is a fantastic way to retain your readers attention. Giggle moments stay in our head almost as much if not more than deep emotional moments.

2.)  GREAT dialogue. I don't think there was one moment in the movie where the dialogue seemed unnatural. There were some GREAT lines in there...

"Just roll with it..." (Kristoff talking after the rocks rolled in and turned to trolls)
"If only there were someone out there who loved you..." (The turning point where we find out that the prince is not so prince-like afterall)
"Someone has to tell him..." (Kristoff talking to himself after Olaf's Summer song)

And probably my favorite... "Some people are worth melting for."

There were so many great lines in the movie, I couldn't possibly list them all.

Great lines are memorable. And we want memorable lines of dialogue in our books too!


3.) Romance. I've said this for years and I still remain true to this point. Romance makes every story just a little bit better. Obviously I write romance, so my books are going to have this as a central theme, with other things such as suspense and drama playing an important secondary roll. But even if you aren't writing romance, adding a sprinkle of romance to your novel can serve to be a wee bit of zing that helps your book be memorable.

4.) A takeaway. Spiritual theme. Frozen's theme was that an act of true love is more than true loves kiss. It is sacrifice. Risking ones self for the sake of another. That true love can thaw even the most frozen of hearts. While romance is a lot about love... love isn't all about romance. It's one of the things I loved about the movie, the hero's love didn't save the day (although he absolutely helped) but Ana's love for her sister is what saved the day.

5.) Speaking of heroes.... Kristoff was pretty cool. A GREAT example of an imperfect hero that you grow to love. He's an orphan and super rough around the edges. He begrudgingly helps Ana instead of being the over the top prince who dashes off to save her. (In fact, THAT guy ends up being a total dweeb.) He's real and has real issues... and loves his sled just a wee bit too much... but his redeeming qualities totally make up for it.

6.) A REAL heroine. She wasn't perfect. She's flightly and impatient and a bit cocky at times. But she's also fun and energetic and has charisma. And in the end, she lays down her life for her sister.

7.) A loveable villain. Elsa. A villain of sorts... but we love her. We don't want her to get hurt, but we want her to fix her mistake. She has a reason she is how she is, it's not really her fault, but then again, it is. If she'd just told Ana... then her sister would have understood and not provoked her, right?

8.) Suspense. Just like Romance, a little suspence, even if not the main thread, makes every story a little better. How were they going to stop winter? We thought we might know.. until we realized who the TRUE villain was.

9.) Body Movements. This is one of the things I noticed in Frozen that I don't remember in a lot of other animated movies. One moment in particular, when Elsa had just built her castle of ice, she was walking out to the balcony and her hips sashayed as she sang. That little movement told me more about what she was thinking than even the song itself. She was owning her power, her womanhood. It was her moment of throwing off everything she'd been taught and deciding she was her own woman.

That is something we can definitely do in our writing, and I confess. I forget about it myself. The importance of a flick of a wrist, a hand on a hip, a chest puffed up, shoulders sagging, or even a simple clenched fist. These all can SHOW our characters feelings without having to tell them. 

10.) And yeah. Great songs. I think maybe I need to make my song-writing hubby write me a song for a book trailer or something. It probably won't be Frozen quality... but hey, never hurts to try, eh?

Let it go... Let it go......

Sorry.

Discussion: Did you catch the Frozen craze? What are some of your favorite dialogue or comedy moments? Any story-writing lessens you learned?

Meet Me at the Movies: Plotting with Indiana Jones

Welcome to the Movies!!!!

Put on your brown Fedora, pick up your whip, don your best sarcasm, and watch out for snakes, because we’re going to look at Plotting Tips from Indiana Jones.

Not your typical movie for plot points, but I like being unique - and I'm a big Indie-fan. I particularly want to focus on movies 1 and 3 (the other two weren’t all that great IMO) – but Indie’s premiere movie and especially The Last Crusade have some great plotpoints to teach.

So why do we like Indiana Jones? (besides the obvious ;-) or at least, why do we find Indiana memorable?

I think there are lots of reasons: Indy is a strong character. He has a sense of humor, is confident, an expert in something, and he’s quick to risk himself to save others – he’s also vulnerable and flawed. Which make this ‘larger than life’ character more believable. But another reason why I LOVE the Indiana Jones movies is because of the plot - (the action, adventure, suspense, and world travel ;-)

Let's start from the beginning - How do we meet him? In the opening scenes of Raiders of the Lost Ark, our whip wielding hero is walking through a jungle in search of a cave with a golden idol, a historical artifact. There is a feeling of danger. Uncertainty. Forboding.

 Within the first 10 minutes of the movie, Indy is nearly shot with a pistol, jabbed with a poisonous dart, dropped into a deep cavern, flattened by a rock wall, and squashed by a giant boulder. He’s had to use his expertise in archeology to get through booby traps, save treacherous guide’s life twice, outwit his nemesis, while sporting his sense of humor. Whew...what a beginning!

Most stories don’t start off with this much action – except maybe Mary Connealy, Brandilyn Collins or Steven James’ stories. Many novels begin with proposing a sense of uncertainty to the reader - whether it is by peril, attraction, or change.

But action alone doesn’t make a great story. Or perhaps I should rephrase this statement-
meaningful action makes a great story (and action can take both external and internal forms)

Most people will say that fabulous characters drive a plot line. Yes – that’s true. Fabulous characters are the heartbeat to a good story, but plot is the pathways by which the characters give life to the story.

In fact, I like to refer to plot as the character of the story.

Is your plot an aggressive character? Furious? Serious? Funny? Suspenseful?

Does it grow and expand like any good character should?

So how do we string meaningful action together to make a lingering plot?

1.       Begin with a BANG. HOOK the reader.

Indie movies have no trouble offering a beginning ‘hook’. All stories need to be 'caught' by the story from the very beginning. Sherrinda had a great post on this recently that you can read here. I also wrote one a while back that you can read here.

2.       Don’t just keep the reader on his/her toes, but give the characters a purpose that drives the story.

A plot is usually built around a bigger story. In Indiana Jones, the overarching problem is that Adolph Hitler wants to rule the world and one of the ways in which he’s seeking world domination is through the collection of religious artifacts. His hunt is the catalyst that initiates Raiders of the Lost Ark.

It's true for most stories. There is an overarching event driving the plotline.
In Ruth Logan Herne's newest novel, Small Town Hearts, the overarching external goal was establish a candy store - but this goal drove the plotline throughout the story.

The reason I like Indiana Jones and The Last Crusade more than any other Indie movie is because (along with the hooks, cliffhangers, plot turns and such) there is a deeper character development. A deeper story of healing between Indie and his father, as well as a deeper growth inside Indiana. It's almost like a discovery of what true 'worth' really is.

3.       Enhance your characters through a perfectly placed plot

Plots usually bring out a characters past wounds for them to battle or reconcile. For Indie, it’s either his past with Marion or his hurt with his father.

Plots initially ask questions that we answer throughout the story. First questions: Who is this guy?

 What’s he doing? Why is he doing it?

Then the questions become more complex – how will he solve this external goal? The internal one?

A good plot keeps the viewer/reader constantly asking new questions.

How will he get out of this? Will Marion and Indie survive, let alone be together? How will he save his father’s life? Who is the traitor? What will Indy choose, the grail or his life?

As long as the questions keep popping in the reader/viewer’s brain – they’ll stay engaged in the story.

Plots stretch our characters into someone new and better.

Good plots put your characters in places that challenge who they are, what they believe, and maybe even their physical stamina. There are lots of life-threatening situations that take place in Indiana Jones movies such as gunfights, fistfights, boat fights, car fights, burning Scottish castles…you know, the regular stuff ;-) But even if you don’t use such action-packed situations in your novel, you can still place your characters in plot situations that stretch them.

When our characters are challenged, we watch them grow.

Plotpoints to remember:

1.       Frame your scenes (or chapters) with hooks. Catch your reader with a hook at the beginning and then leave them wanting more at the end. (I love trying to do this for EVERY chapter. So much fun)

2.       Shove your characters out of their nice, predictable lives into a new adventure, discovery, opportunity, or trial. (in the Last Crusade it’s when Indie finds out his father has ‘disappeared’ and he’s forced to make a decision to rescue him)

3.       Build the conflict as the story grows. The best stories have both internal and external conflict building at the same time and meet at the climax of the novel. In the Last Crusade, it’s when Indy’s father is shot and Indie must test himself and his faith to save him.

4.       Embrace the unexpected – unexpected turns in the story increase interest and tension. Most authors will tell you to send your characters in places they would never choose to go – or to make choices they would never make on their own.

5.      Character is built through trial - Your plotline has to place your characters in situations where their personalities go deeper than the superficial. Remember, most times we’re only shooting for a happy ENDING – the rest of the story needs to stretch those characters to their limits and beyond. The most memorable characters were forced into change and self-reflection due to circumstances.

And for fun - I found a great blog post called The Indiana Jones Guild to Achieving Your Goals.

And you can purchase your very own Indiana Jones hat at www.shoebuy.com or

Share a part of your plots in your WIP to let us know how you’re doing one of the above things in your story

I just finished reading Mary Connealy’s newest book, Out of Control, and it sets the stage for some wild action (both internally and externally). What is one of your favorite page turners?

Popcorn, a soda of your choice, plus a fruit salad are out. Enjoy the show! J

pictures courtesy of http://movie-wallpapers.org

Character Sketches with Eccentricity

Today, I want to talk to you about ECCENTRICITY!! One of my favorite words, and one of the things that makes for memorable characters. So….sit back and get ready for a LOOONGER post than usual, but hopefully a fun one :-)


Modern day television shows have quite a few examples. Shows such as The Mentalist, Monk, Big Bang Theory, all play with eccentricity of characters. It adds humor and interest to who those characters are. They 'stand out' in the crowd.

As far as classics go, Dickens wrote all sorts of important eccentric characters.

So what does ‘eccentricity’ mean when referring to character development?

Extremes. Out of the ordinary. Fierce passions. Unusual mannerisms. Odd humor. Larger than Life.

In a word: Different.

Very few people point out the individuals who blend into the general masses. It’s the ones who don’t fit in that stand out in a crowd.

Scarlet O’Hara wasn’t like the other ladies – she had a fierce passion about her land…and herself. She had an eccentric drive to marry Ashley Wilkes. Why? I’m still trying to figure that one out, but her passion gave her a uniqueness.


Elizabeth Bennett stood out from her sisters because of her wit, intellect, and independence. She may not have appeared as ‘eccentric’ as someone like Edward Rochester from Jane Eyre, but the reader is drawn to her vibrant personality. It was ‘different’ from those around her.

So, the main point of writing eccentricity, is to make your character 'stand out' in some way or other. Different than the rest of the people on the page.
Well, my writing can’t compare to the classics, but I want to introduce you to some of my eccentric characters.

Here’s the paragraph synopsis of my novel Here To Stay.

Eisley Barrett is a single-mom of three, who has no intention of putting herself in jeopardy of heartbreak again. When her husband traded her in for a younger version, she determined to steer clear of romance unless it was safely tucked between the pages of a book. But when a gift from her parents sends her to England to research her ancestry, she runs face to face into a wounded heart’s worst nightmare, costume-drama actor Christopher Wesley Harrison. Will she be able to solve the 400 year old mystery of her ancestor without losing her heart in the process? And if romance is in the air, can it survive a culture clash, a devious ex-girlfriend, and an Appalachian family with loads of humorous plans of their own?

When Eisely started forming in my imagination, I went in search of a picture of her. The closest I could get was Amy Adams, and Amy's personality suits my Eisley character too, so I got a two-for-one special :-).

Now…my hero was A LOT easier. Already had him in mind before the story began. British heartthrob Richard Armitage.

‘Seeing’ the characters helps me when I write – but having a visual is not a necessary tool. If you pay attention to some of the classics, detailed physical descriptions are hardly given.

In more contemporary novels, Mary Connealy doesn’t do a lot of physical character descriptions, but still her characters are gripping – because she spends her time on what counts most. A character’s CHARACTER :-)

So – to get on with it…

Eisley is a hyperfriendly personality, who has a tendency to say whatever is on her mind. That can get her into trouble, but it can also be endearing. Her father is a lot worse. Larger than life. I LOOOOVE writing him.

Let me give you a few excerpts so you can see what I mean by adding eccentricity in small doses. This first scene is where Wes and Eisley are investigating a 16th century tower in search of clues to Eisley's ancestor.

Dust swirled into the gray-gold rays of morning light filtering in through the vine-draped windows. Three windows rounded this room, allowing more visibility, but there really wasn’t much more to see. A few sconces lined the walls, a cross shaped one and then two oval ones, but other than that…nothing, not even another doorway.


“It doesn’t seem right, does it?” Wes walked to one of the windows and peered out. “The tower appears taller than this, but there are no stairs.” He glanced up at the ceiling. “No attic door or ladder.”


Eisley searched again, crossing the room to stare out another window and then back at the near-vacant room. She fought the urge to stomp her foot like a four-year old. Disappointment was never welcome. “Do you think there’s a secret door or something?”


Wes shrugged. “Where would it be? The only thing in this room is a bookshelf, a fireplace, and a bed?”


Eisley studied the sconces and finally touched the cross-shaped one, the metal cool under her fingertips. “Well, sometimes if you turn a lever, it will open a secret door.”


“Did you get that idea from Indiana Jones?”


She grinned at Wes' crooked smile. “Actually I was thinking more along the lines of Scooby Doo, but Indiana Jones works too.”


"Sorry, I don’t have the magic of animation at my fingertips today. Do you think your ancestors from the 16th century knew those rules when building the tower?”


Eisley ignored the challenge in his lifted brow and tugged at the sconce. “You’re hilarious. Sure you’re ancestors weren’t from the jester line?” The sconce didn’t budge, so she tried to twist it. It loosened under her grip, inflaming her determination. She grabbed with both hands and POP. The sconce shot through the air an inch from Wes’ head, and imbedded itself in the wall beside the bookshelf.


Wes ducked just in time, his eyes wide.


“Oh goodness, Wes.” Eisley covered her mouth with her hand and ran to him. She could see the headlines now, 'Actor Christopher Wesley Harrison found dead in a 16th century tower. Clumsy American held responsible'.“I’m so sorry. I almost decapitated you.”


He threw up his hands in surrender. “I know that was the habit of the 16th century, but let’s not regress, shall we? I surrender. No more sarcasm.”


Eisley rolled her eyes and walked passed him, lightly punching him on the arm. Maybe she could be just friends with this guy. Maybe all this attraction would just disappear if she ignored it long enough. “Don’t loose your head, cutie, I wasn’t aimin’ for you.” \

The sconce stuck out from the wall? Eisley leaned closer. Or the bookshelf? How did it get stuck in a rock wall? She fisted it and tried to wiggle it free, but it was wedged. 

 “Eisley, do you feel that?” Wes was beside of her, his voice by her ear. Close.


“What?”


He took her hand and placed it just above the spotwhere the sconce disappeared between the bookshelf and the wall. Frigid air cooled her palm. Wes’ gaze locked with hers.

“The air…it’s coming from somewhere.”


“Exactly.” His face was inches from hers, lips tilted even closer. Her eyes flickered down to them and back up. Heat crept into her face and her breath must have gotten caught in her throat somewhere, because it wasn't making it into her lungs. Friends? Maybe not.


Wes wedged his fingers behind the bookshelf and pushed, then pulled. After the third attempt, the click of a latch released and a crunching noise followed by another loud click. The shelf creaked forward to reveal another set of stairs.

A subtle way Eisley is eccentric is her wide-eyed wonder. The fact that she’d think ‘Scooby Doo’ instead of ‘Agatha Christie’ is a bit of characterization through eccentricity. Plus, her internal dialogue brings out her innocence and struggle.

Okay – here’s one of my favorite characters. Eisley’s dad – a mountain man who is determined to protect his daughter’s heart from another jerk…so Wes gets put to the Daddy-test :-)


Here is Wes and Nate’s first meeting and then another small excerpt to give you a little of Eisley’s mom’s personality too :-) Btw, I see Nate as an older Jon Hamm and her mom, Kay, as Michelle Pfieffer. It helps with description, plus when you see the characters acting, it gives great ideas for describing their movements.


He stood about an inch above Wes, his hair a medium brown, and his body boasted hard labor from one massive shoulder to the other. A tennis ball sized lump gathered in Wes’ throat, but he squared his own shoulders and offered his most charming smile. Or at least he hoped it was charming. It felt a bit stiff at the moment.


“Nate Jenkins.” The man extended his hand and gripped Wes’ in an iron hold. “I gotta bone to pick with you, boy.”


Wes stuttered. “Pardon me?”


“How dare you bring some Ford pickup truck up my driveway? Don’t you know that’s almost criminal? We’re Chevy people ‘round here.”


Wes hoped for comprehension, but Ford and Chevy strung between the word driveway left him at a loss, and the half-furious look on Nate Jenkins’ face didn’t help.


“Don’t’ mind him, Wes. He’s just territorial.” A petite woman, light hair curled up in a bun and pale blue eyes glowing, stepped forward and took his hand, her smile as welcoming as Nate Jenkins’ frown was discomforting. “We’re real pleased to have you here. I’m Kay Jenkins.”


“It’s a pleasure, and thank you for allowing me to stay with you.”


Nate’s grin lifted, viciously. “Best way to keep your eyes on your enemy, ya know.”


Wes met the challenge, their gazes locked for a few seconds. “Well, I don’t suppose you have any enemies within close proximity at present, Mr. Jenkins.” Wes felt his smile tilt and the corner of Nate’s moustache twitched.


“Mr. Jenkins? Oh naw, you can’t go ‘round callin’ me that. Only my wife can call me Mr. Jenkins.”


Kay rolled her eyes and produced an apologetic grin.


“Hey, daddy, did you see how the dogs took to him.” Emma knelt down and ran her fingers through the retriever’s golden fur, her smile still in place. “You always say dogs know a good person when they see one.”


Nate jolted Wes entire body with a firm pat to his shoulder. “Even dog’s can have an off day, huh Wes?” Nate shook from laughter and pointed to the three younger men scattered nearby. “We was just fixin’ to start up a game of football, now that everyone’s here ‘cept Eisley. We didn’t tell her to come ‘til 12:30 to make sure you’d get here first, so you got…hmm…’bout an hour.” Nate’s expression turned lethal. “Lots can happen in an hour, can’t it, boy?”


Wes hoped Nate didn’t notice the tension in his smile. He’d never appreciated his acting lessons so much.


“Don’t you worry, Wes.” Kay patted his arm and whispered. “He’s not as mean as he looks.”

*** (here is a quick discussion about football later in the scene)***

“It seems in soccer one mostly uses ones…feet, thus the reason why the British refer to it as football. From my limited experience, in American football one tends to use one’s hands for the most part.”


“Naw, naw.” Nate shook his head and steadied his hand on Wes’ shoulder. “Football’s all about strategy.” He pointed to his forehead and then chopped the air with his hand. “You use your brain to really get the job done right.”


“And a few three hundred pound linebackers help too.” Greg started off at a run to catch the football from Brice.


“Similar to rugby, but I notice you throw the ball forward, not back? In rugby, a forward throw is illegal.”


“Boy, this ain’t rugby…this is football.” Nate spoke with the conviction of a preacher.


“Be nice, Daddy.” Emma called from the veranda with Kay sitting beside her on the steps. “He’s not used to your way of playing.”


Nate’s head jerked up and he patted his chest. “Nice? I’m always nice.” He looked at Wes. “You just ask my little wifey over there. I gotta heart of gold, right honey?”


Kay looked up. “Did you say as hard as gold?”


“Humpf!”

YOUR TURN – how are your characters eccentric? Maybe everyone else in your novel is eccentric except your hero or heroine (which would make them the ‘different’ one). Got any examples? Quirks are good too. Eisley talks with her hands when she’s nervous – to the point of knocking stuff over.