Showing posts with label romantic suspense. Show all posts
Showing posts with label romantic suspense. Show all posts

Monday, August 25, 2014

RELEASE DAY: Lee Ann Sontheimer Murphy "Gray's Good Samaritan"


Blurb:

On an ordinary Saturday morning, Robin Cavanaugh’s life takes a wild turn.  A wounded man leaps into her car at a traffic light.  He refuses to go to the hospital and after he reveals his real name, she realizes she knows him from church.  When he swears he’s one of the good guys, Robin abandons common sense to help him.  As his condition worsens, she soon learns he’s not really Spike Mc Gee, a criminal but an undercover agent whose life is in danger.  His brother, Jack, a doctor, pulls Gray through and soon, Robin is part of the action too.  Their love grows under the unlikely conditions and when Gray heads home to visit his mother, Robin comes too.  While there, Gray proposes and she accepts but a family tragedy brings them back to Tulsa.  Everything hangs in the balance as Gray goes undercover as Spike on last time…if he survives, they can find their happily ever after.

 

Author:

Lee Ann Sontheimer Murphy is a native of historic St. Joseph, Missouri and now makes her home in the beautiful Ozark Mountains.  As a wife and mother to three children, she spends her days penning her stories, substitute teaching, gardening, cooking, and all the other daily duties.  She has a BA degree in English and History from Missouri Southern State University and an AA degree from Crowder College.  She has worked in broadcasting, education, and retail. Lee Ann is a member of Romance Writers of America, Missouri Writers Guild, and the Ozark Writers League.  Her multiple works include full length nov-els, novellas, and short stories.  Lee Ann has also contributed to more than two dozen an-thologies including the popular Chicken Soup For The Soul series.  She writes a weekly col-umn for the local newspaper and writes several romance genres and subgenres.

 

 

Now available on
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Excerpt:

Chapter One
On a morning as ordinary as faded blue jeans, no different from dozens of other Saturdays, everything changed. As she slowed for a traffic signal behind a long string of vehicles, Robin spotted the man. Whoever he was, he ran at furious speed, racing across the open spaces between the electric substations as if his life might be in peril. Robin couldn’t imagine anything else powerful enough to inspire anyone to run so fast, so hard. Curious, she kept an eye on him to see where he went as she came to a stop at the highway interchange. Already ten minutes late for her hair appointment, midway through her weekly errands, she craned her head backward and over the dirty laundry stacked in the back seat. Just as the light went green, the runner changed course. His diagonal path would take him in front of her car so she hesitated, a car length behind the other vehicles, afraid she might hit him. At the last moment, he veered, switched course, and snatched open the passenger door. He climbed inside before she could scream or protest and spat out two words: “Hit it!”

Robin froze, uncertain what to do until the truck behind her blared its horn. After a brief hesitation, she drove forward, heart beating with a rock-and-roll rhythm. Every bone in her law-abiding body screamed to stop. Her passenger’s face shimmered with perspiration and his eyes glittered with pain. Although he had been running hard, he gasped for breath as if he had been hurt. When she sneaked a closer glance, she noticed blood dripping in staccato rhythm from beneath his leather jacket. “Hey, you’re hurt,” she said, shocked. In her comfortable world, people didn’t run or bleed from anything but a minor mishap. “What happened?”

“I got shot,” he said. Each word required a harsh-drawn breath. “Just drive, okay?”

“Shot?” she echoed. Maybe she had heard him wrong. “You were shot?”

He shot her a look from half-closed eyes and she noticed how pale he had become. “Yeah.”

Robin clamped her fingers tighter around the steering wheel as she stiffened. Whatever trouble he’d found, it wasn’t hers but she couldn’t abandon him on the side of the road either. She made a sudden, swift decision.

“I can take you to the hospital,” she said. “I’m sorry, but that’s it. Just hang on and we’ll get there as soon as I figure out if we’re closer to Hillcrest, OSU, or St. Francis.”

He’d closed his eyes, shuttered tight against the pain, but at her suggestion, he opened them and glared at her. “No hospital,” he choked. “Can’t. They report gunshot wounds.”

Disbelief cut through her anxiety so that she spoke without thinking. “Are you telling me you don’t want me to take you to the hospital?” He needed immediate medical attention. Those drops of blood she had noticed had become a stream flowing down the seat and puddling onto the floorboard. “You need to get help — you’re bleeding all over the place.”

His eyes narrowed as he glared at her. “I know, but I can’t go to the hospital. The law requires them to report any gunshot wounds. If they do, I’m a dead man. Can you drive any faster? I don’t think they saw what car I got into but they might have. If so, we’re both in trouble.”

He appeared about to collapse but he’d managed to speak up. And what he said scared her. “Who might’ve seen you?” Robin asked, afraid to hear the answer. The way he had been running, she figured it must have been the police, drug dealers, a gang, or maybe organized crime.

Her passenger slumped down in the seat. “I think maybe the cops did.”

Robin almost slammed on the brakes and her attention strayed from the road. She faced him and got a good look for the first time. He wore black leather pants, a leather jacket, and a black T-shirt. On his hands, he wore leather half-gloves and studded bracelets encircled both wrists. Although his hair was close-cropped in front, he had let it grow out in back. After his crazy run, his hair had wilted but she would bet he had had it spiked with gel before. Robin couldn’t determine if his style screamed biker, punk, Goth, or gang, but whatever his fashion statement might be, it stretched far outside her comfort zone. He had to be a criminal and she struggled to stay calm. Who knew what he might do if she provoked him?

Tuesday, July 15, 2014

RELEASE DAY: Kimberley Troutte "God Whisperer"


 

Blurb:

A frightened mother on the run…

LONNIE HOGAN has lived and breathed fear for the eight years that she and her son have been on the run. She cut ties with the past and is hiding out in a small offbeat Danish community in California. Will the killers find them? She’s ready to run again, or fight for her son’s precious life, but she won’t let anyone take David.

A desperate man searching for his family…

Few people on St. John, Virgin Islands, know that their favorite doctor, MARK NORTON, is a desperate man searching for the life that was stolen from him. After hours, he surfs the internet for leads and retraces paths gone stone-cold to find his missing family. He’ll do anything to find them and get his son back.

Will sacrifice everything to protect the boy who hears God…

DAVID HOGAN is a regular kid, if you don’t count the one-ear thing. He didn’t mind being deaf in one ear, but it hurts his mom, way down deep, as if she caused it. Why won’t she see that bad things can happen for good reasons? Like the surgery that allows him to hear God. Talking to God is one of the greatest things that’s ever happened to him, even if Mom doesn’t believe it. But the killers could find them now. Can one little kid save them all?

 
 

Author:

Kimberley Troutte has been an accountant, substitute teacher, caterer, financial analyst for a major defense contractor, aerobics instructor, real-estate broker, freelance writer, homework corrector and caregiver to all the creatures the kids/hubby/dog drag in. She lives with her husband, two sons, one dog, a wild cat and four snakes in Southern California.

She goes for long walks, is learning how to breathe in yoga, and gets her heart pumping in spin classes. You might see her editing her books on the elliptical machine at the gym. She writes books to her heart's content, usually about love, because honestly what is more important than love? She adores interacting with readers.
 
Please visit her at www.kimberleytroutte.com to sign-up for the newsletter.

 
Now available on
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Excerpt:

Chapter One

Eight-year-old David Hogan was being sucked into a scary hole—not black, as he’d imagined from those medical shows, but fuzzy and gray like the thick fog that oozed over the mountains back home. Except he wasn’t home in Solberg. He was lying on a hard table in Westwood Hospital, L.A., about to have his skull drilled open and his ear ripped off.

As cool as it sounded to his friends, David was scared. No, scratch that, he was beyond scared. If there was a word for terrified-times-a-million, that’s where he’d be right now.

“Is he ready?” Dr. Mason asked the nurse behind him. David hoped she’d say, “No, and he never will be. Let’s all go home and forget this operation stuff.” But instead, she answered, “Yes. Vitals stable.” He couldn’t tell for sure, but the wrinkles around her eyes made it seem like she was smiling at him under her light-green mask.

The guy who’d introduced himself earlier by some long word—any-these-o-logist?—leaned over the table and blocked the light shining in David’s eyes. “Okay, kiddo, here we go. Start counting, just like we talked about, backwards from one hundred.” He placed a mask over David’s face and in his good ear said, “And relax. We’ve got this.”

Relax? David could hear his heart beating on the monitor behind them. It sounded like a ticking bomb.

He did what he was told and started counting. “Ninety-nine, ninety-eight…” Maybe if he made it to zero, they’d stop this whole thing. He wanted to go home now.

When the smiley nurse rubbed his arm, he wished it was his mother instead. If Mom held his hand and said everything was going to be okay, his stomach would quit flopping. He might even feel as brave as the day he lied about wanting the operation. He didn’t want it, not really, but Mom did. Even though she never said so in words, her sad eyes told him how much she wished she had a normal kid. Not a deformed freak-boy.

“Ninety-seven…” His voice croaked like a sick frog’s inside the oxygen mask.

It was hard to breathe. His chest felt funny, tight, as if an alien was going to bust out as it did in that scary movie he wasn’t supposed to watch.

“Ninety…” He struggled to suck in another breath. “Ninety-sssixx…”

The heart-machine beeped like a crazy alarm going off. He couldn’t count anymore.

****

Lonnie Hogan glanced around a room designed to be calming. It came complete with pale-blue walls, plush couches, and plastic bouquets decorating each endtable. Lonnie was miles from calm. Her nerve endings were on fire.

She didn’t want to think about what was happening to her baby behind those double-doors, but her mind swirled with endless horrors. What if something went wrong in the operating room? Guilt and terror were a toxic mix.

She jumped up from the couch and paced. Ten steps to pick up a magazine she couldn’t concentrate on. Fifteen steps to the back window with the view of the boulevard. How she envied those people going to work out there. It was a normal day for mommies with safe, healthy kids. Her heart squeezed. Ten long strides to the other side of the room where she smacked the rolled up magazine against the wall, over and over.

A hand grabbed the back of her shoulder and Lonnie’s worst fears caught up with her.

He found us.

Eight years of running and he’d caught her today with David in surgery? Gripping the magazine as a weapon, she spun around, ready to fight for her life. To fight for David.

A little cry escaped her lips. She wasn’t eye-to-eye with the man who tried to kill her, but the startled face of her only friend, Carrie Beth.

“Whoa, hold on there, Slugger. The magazine’s dead, but go on, give it one more whack for good measure. It’ll make you feel better.” Carrie Beth chuckled.

Lonnie let out a deep breath. “You came all this way.”

“What kind of friend would let you go through this alone?” Carrie Beth’s hair was orange with silver spikes that morning. When she tipped her head, her bangs moved as one hair-sprayed wave. “How long has he been in there?”

“An hour? Three years? I didn’t think it would be so hard.” Lonnie swallowed the sob that stuck in her throat. If she started crying, she might never stop.

Carrie Beth patted her arm. “I know, hon. When your baby suffers, you suffer more. It’s one of those unwritten laws of motherhood. This is exactly why I never had kids. I wouldn’t survive it. But you will. You’re the strongest person I know.”

As a single mother raising a boy like David, she had to be tough. But today she had no strength left. “I’ve waited so long for this surgery. But now…oh, C. B., I’m scared.” She sank into the couch. “Have I made a terrible mistake?”

“You’re nervous, that’s all. It’ll work out for the best, you’ll see.”

Lonnie’s face heated up with resentment. Nothing in her life had worked out for the best. “David’s my world.”

“Yes, he is. But don’t forget I’m here too. You and David are the only family I’ve got who are not livin’ and dyin’ in Alabama.”

That touched Lonnie. No one had been there for her in a long time. The coil around her heart eased a little. “Thank you.”

“Besides, David’s doctor knows what he’s doin’. Look at his awards.” Carrie Beth stood up and read one of the plaques touting the Westwood Hospital’s excellence in head and neck surgeries. “Dr. Mason is a rock star.”

Friday, October 18, 2013

New Releases: 'Beautiful', 'Set up', 'Past', Ties', 'Blackmailed'

This week, we have FIVE new releases: a fantasy, contemporary romance, romantic suspense, historical romance, and regency. Something for everyone!! Be sure to check them out and leave in the comments which one you got :)

~Kelly

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FANTASY
$2.99
 
Warrior Beautiful by Wendy Knight
Working with the ex you secretly love to save the souls of the innocent is almost as bad as working with a mighty battle unicorn who would be thrilled to watch you plummet to your death.

Scout is used to pain. Her body has been broken, her heart has been broken, and the only thing keeping her together is her relationship with her younger sister. Lil Bit be-lieves in unicorns and terrifying monsters she calls soul stealers. But unicorns and monsters aren’t real…are they?

When Lil Bit falls prey to the mysterious disease sweeping the country, Scout has two options – believe the doctors who say it’s a pandemic or believe Lil Bit, who says it’s the soul stealers. She chooses her sister and goes looking for the unicorns who are supposed to save them. What she finds aren’t the cute pastel mythical creatures she expects. Battle unicorns are big and tough and full of attitude. Who knew?

Unicorns are real and so are the monsters. Soul stealers are reaping the souls of the innocent, and the unicorns are fighting to stop them. But to save the world, they need the help of humans – the enemy they’re dying to protect. And first to sign up for the fight is the ex-boyfriend Scout’s heart won’t stop loving, no matter how determined she is to hate him.

BUY LINKS
 
 
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Contemporary Romance
 
$2.99
 
Blue Ridge Set Up by Kimberly Rae
 
Not him. Anybody but him.

When Kayla’s great-aunt Lavender, an eccentric romance novelist, invites Kayla to come live with her in the Blue Ridge Mountains for the summer, Kayla accepts. No one will know her there. No one will be disappointed in her failure.

A failure she had kept a secret until Ryan Cummings destroyed her dreams.

What Kayla does not know is that her aunt attends Ryan Cumming’s church and has decided Ryan and Kayla would make wonderful characters for her latest novel. Aunt Lavender hires Ryan to build additions to her property, making sure he will be around as long as Kayla is.

Neither Kayla nor Ryan have any desire to be set up. However, as Kayla battles feelings of worthlessness—started when health problems got her sent home from the mission field—a friendship grows and blossoms, one that may become a reflection of the perfect love, the love that casts out fear, that Kayla has always longed to know.
 
BUY LINKS
 
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Romantic Suspense
$2.99
 
Past to Die For by Alysia S. Knight
 
Jana Hamilton starts running for her life the moment she sees her boss murdered and doesn’t stop even after she’s supposed to be safe in the hands of the U.S. Marshals.  When one marshal is killed and another wounded, she’s running again.  She ends up in a small Wyoming town with an honorable sheriff who wants her out of his house.  His nine-year-old son draws her in, while his Aunt plays matchmaker.  Life would be a lot easier if she could remember things like her name and past, especially with a killer closing in. 
 
BUY LINKSAmazon
 
 
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Historical Romance
 
$2.99
 
Breaking Ties by Jo Gafford
 
One hundred and fifteen colonists disappeared from Roanoke Island in 1587. No bodies. No graves. No trail led to their whereabouts. Until now.

On September 3, 2012 British Museum experts announced the discovery a previously unknown fort. Using laser technology to raise a patch on an original Lost Colony map, they pinpointed its location in modern day Bertie County, North Carolina. Only fifty miles inland from where the colonists were last seen, this clue offers the first conclusive proof of survivors.

Experts are now asking why this map – an Elizabethan treasure according to the writings of roy-alty and investors alike – turned up patched like a second-rate document. By whom? And what were they so desperate to hide?

The truth?

Buried beneath layers of intrigue for centuries, a chilling conspiracy has surfaced – one involving murder, blood money, and a betrayal of the fledging English colony so terrifying it can only be revealed in Breaking Ties.

BUY LINKS
 
 
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Regency
$2.99
 
The Blackmailed Beauty by Ilene Withers
 

 





Claire Stuart is looking forward to her first season in London when she slips next door to the churchyard to spend a few quiet moments alone. There, an unwanted encounter with the local viscount turns into an assault. Claire fights back and escapes with her virtue intact only to be blackmailed by his sister, Lady Regina, who witnessed the attack. Claire now faces ruin if she does not meet the terms of the blackmail – convince the Earl of Roydon to marry her, even though a long-standing arrangement has matched him with Lady Regina.

Noel Mallory, the Duke of Lamborton, meets Claire and is immediately enamored by her. He be-comes frustrated, however, when she alternately seems to welcome his attentions and spurn them. Worse, she seems to be seeking the attentions of his best friend, the Earl of Roydon. Noel sets out to win Claire’s love and discover the reason behind her confusing behavior.

BUY LINKS

Wednesday, November 2, 2011

Mystery genres: part two


Mystery genres: part two
By:Gunnar

In addition to mysteries, there are several other genres considered part of the crime fiction stable, each with its own format and reader expectations.

Thrillers are page-turners. If the classic mystery can be summed up as a whodunit, then thrillers are will-they-get-away-with-it stories. Usually the reader knows who committed the crime, as well as how and why; the thrill involves pitting the good guys against the criminals in a race against the clock, with a prize at the chase’s end. The prize can vary and possibilities include money, state secrets, military hardware, gold bullion, priceless artwork, and a person’s life or freedom. The broad category of thrillers is divided by subject matter and focus: medical (Robin Cook’s Coma), legal (just about anything by John Grisham), psychological (Alfred Hitchcock’s Psycho), political (David Baldacci’s Absolute Power), espionage (“Bond. James Bond.”) and war and the military (Alistair MacLean’s Where Eagles Dare).

Techno-thrillers, a relatively new addition to crime fiction, were invented by Tom Clancy with his ground-breaking novel The Hunt for Red October. Here the focus is equally divided between the Soviet sailors’ attempt to defect, and the technical features of the new submarine they’re taking with them. This split focus, with its analysis of a technology’s inner workings, separates techno-thrillers from more traditional war and military thrillers, which may use the same technology but refrain from discussing it. A related and often overlapping genre, near-future speculative thrillers, creates the technology and projects it a few years or decades ahead, with the writer exploring how his creation can change the world. Note that, while Clancy created the technology of the Soviet submarine, he placed his story in the near past rather than the future. Also note that the “crime” in these categories of crime fiction are generally between political entities rather than individuals.

Suspense or adventure novels focus on what happens next, as the characters attempt to survive some disruption in their previously smooth and orderly world. These novels stretch the definition of “crime” yet again — a popular category, survival after an airline crash in the wilderness, may be caused by clearly criminal elements such as terrorism or hijacking, or by pilot error or a careless mechanic neglecting to fasten down a cargo container. No matter the cause, though, the characters must cope with the disaster that follows. War, espionage, and the military are common features in these novels (Alistair MacLean’s The Guns of Navarone and Patrick O’Brian’s Aubrey-Maturin novels of the Royal Navy), as well as natural disasters (crimes by nature), such as Sebastian Junger’s The Perfect Storm.

Caper stories tell the tale of a crime, from planning through execution and the subsequent aftermath, most commonly from the perspective of the perpetrators. The true caper involves a high-stakes game, with a superbly valuable prize protected by supposedly impenetrable security, and a team of experts determined to take it down. Common but not universal features include a charismatic team leader who organizes the heist, in-depth planning and practice sessions that are often organized by numbers or rhymes, and something going horribly or comically wrong at the penultimate moment. Capers can be funny (Donald E. Westlake’s Dortmunder series) or serious (Ocean’s Eleven, Kelly’s Heroes), featuring professional criminals (John Godey’s The Taking of Pelham One Two Three) or private citizens with a grudge against a corporation or political entity (Edward Abbey’s The Monkey Wrench Gang). They require great imagination and involve a tremendous amount of work, including in-depth plotting, from the author, but are among the most popular of all crime fiction genres.

Romantic suspense adds a kiss and some personal chemistry to the crime fiction blend. Any category of crime fiction — mystery, espionage, thriller, war, caper, even techno-thriller — can be turned into romantic suspense if the hero and heroine are making eyes at each other. They may team up to more efficiently fight criminals, the political process run amok, a corporation or organization, to survive a war or natural disaster, or to steal a priceless Rembrandt. Less commonly, they may be on opposite sides of the fence, with one a criminal and the other a detective, and one of them must change sides in the name of love. Because this is a split genre, the two plotlines, the romance and the crime fiction, must roughly balance each other in intensity and quantity. If the suspense plotline carries more weight, the ending can be questionable, but if the romance plotline is more important, then happily-ever-after must prevail.

Finally, crossovers spread the elements of crime fiction into other genres, most recently including science fiction, fantasy, urban fantasy, and horror. A police procedural may be set in an urban world of angels, a team of vampires may plot a caper to rob a blood bank, a time-traveling amateur detective may find herself up against a werewolf Jack the Ripper. In crossovers, anything and everything can happen, but the crime still must be solved.

While some mystery writers deplore these obviously speculative concoctions, others remember that in the 1920s, the ultra-realistic police procedural originated as a backlash against the unrealistic cozy. It’s possible these spec fic crossovers are another example of new genres breaking free, giving rise to new story opportunities for writers — and lots of new fun for readers.

Tuesday, June 28, 2011

The Town Made the Characters


The Town Made the Characters
By Kay Springsteen

When I began Lifeline Echoes, I decided on the premise of the story first – a trapped individual and someone who had been his voice lifeline, keeping him hanging on. I knew the story would begin in one location and end in a completely different place. Once I settled on Los Angeles as the starting point, I went in search of the opposite end of the spectrum, Small Town, Anywhere, U.S.A. I could have chosen the Midwest, since I grew up in Michigan, but something screamed Cowboy to me, so I invented a small town at the foot of the Rocky Mountains in Wyoming. That’s how Orson’s Folly was born. But a small town needs people or it’s just a ghost town.

The stories that take place in Orson’s Folly (so far, Lifeline Echoes and Elusive Echoes), take the whole town to tell. While the primary focus in both stories is on the hero and heroine, like most people, they aren’t living in a bubble. They have interactions and these interactions push the story along. Main characters need to be made real. You may start with an idea, cut it into a paper doll, dress it, add layers until you have a plastic cutout, and then finally add the polish that makes the character alive. But it’s not enough to make real-life main characters. You have to make your secondary characters just as alive and just as believable—just as loveable and just as unlikeable.

So, I populated Orson’s Folly with some typical small town folks. But just putting these folks in place was the same thing as putting cardboard cutouts in Yankee Stadium instead of hiring extras for a baseball movie. They’re present but they do little to move the story along. Add a few “real” people into that crowd of cardboard and a soundtrack of stadium noise, and you get some motion in the stands to disguise the cutouts. Add a section of people seen in close-up talking, eating hotdogs, cheering when the hero hits a home run, and interacting with the hero in the form of perhaps getting an autograph, and you have a realistic backdrop to a scene that advances the story.

When Ryan returned to Orson’s Folly after being gone for over a decade and a half, the sheriff told him half the people thought he’d leave again and 49% were afraid he wouldn’t—and the sheriff was the 1% who would wait and see what happened. Bingo. My town’s residents now had relationships to my hero. Some liked him, some didn’t. Some figured he’d bail again, some hoped he would. From then on, every interaction shown between Ryan and the town “extras,” showed which side the extra was on, and gave an idea of Ryan’s place in the town. He may have returned, but he’d have to earn his standing again.

The key to building the layers of all the characters is to consider their relationships to one another. Parent/child, romantic interest, siblings, best friends before or now, competing athletes, casual acquaintances, former lovers, aggressor/victim, rivals, boss/employee, customer/clerk, caregiver/care receiver, law enforcement/criminal – these just to name the tip of the iceberg. Once I decided on the specific scenes my story was going to show, I populated the scenes with characters. For instance, when my heroine stopped for gas, I built layers on the cardboard cutouts of gas station attendant and other customers and had my heroine run into two gossiping townsfolk who stopped talking when she rounded a corner to find them there, giving the heroine a sort of edgy feeling and the knowledge that something was going on but it wasn’t for her ears., emphasizing that she was still an outsider in the town.

In Elusive Echoes, many of the same characters from the first story returned, and some got ramped up roles. The trick in this case was to build on any characterization already laid out in such a way that it didn’t contradict what had already been developed. There is a bit of leeway with secondary characters because they don’t have as many layers added into them as the well-fleshed out primary characters.

In Orson’s Folly, however, I have managed to build a system of several tiers of characters: the main characters, the supporting cast, and townspeople who are shown in various levels of interaction throughout both stories. The primary characters (Ryan and Sandy in Lifeline Echoes, and Sean and Mel in Elusive Echoes) are the main secondary characters in each other’s novels. All of these characters had to stay true to form while at the same time taking a backseat when not in their own story. But the secondary character of Justin McGee (Ryan and Sean’s father) is more like a secondary and a half character – not quite primary but definitely above secondary. Thus, it was a bit easier to keep him in his place as the glue of the McGee family through both stories. His relationship with his sons as well as with people in the town never changed.

The key to holding the characterizations true was to examine their relationships to each other and use these relationships as a sort of keystone. Ryan was the big brother who left and returned years later as the Prodigal Son. Sean was the kid who’d been left behind, who had moved into taking on the responsibility for running the ranch when their father had to step back some. He had a hard tome relinquishing the role of responsibility when his brother returned, and they were still doing a push-pull a year and a half later when the story became Sean’s to tell.

But I think sibling or parent/child relationships are fairly easy as long as you know the family history. How can other secondary relationships be utilized to move a story? The power of a decades’ old grudge can create hatred that festers and malevolence can grow to such a degree that family feuds are born. Or take the triangle. These are often seen in romance, but what if the writer takes a triangle and twists it so that it’s not a romantic triangle but a triangle between the love of the heroine’s life and someone to whom she gave life? Different kinds of love but equal in intensity – and then she must choose between the two.

In order to add the final layer to a character, the one that makes the character stand up and say “notice me, I’m real,” the writer must take into account the character’s relationships with others. Thus, the town of Orson’s Folly, or rather relationships with its inhabitants, is what put the polish on the characters that started out as cardboard cutout ideas.

To find out more about twisted triangles of love . . . I invite you to pick up a copy of Elusive Echoes