Passion is Her Middle Name

I’m pleased to host Emma Calin on my blog today. One of my favourite authors, Emma writes intriguing police novels laced with so much passion that you won’t be able to put the book down.

Today, Emma Calin announces the release of the third novel in her ‘Passion Patrol’ series: ‘LOVE BLEEDS BLUE’.

Firmly in the ‘suspense romance’ genre,  this story features another sassy female hero-cop who is as passionate about her job as she is about the love in her life. Each Passion Patrol novel can be read as a stand-alone story; characters from previous stories make cameo appearances across the series.

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LOVE BLEEDS BLUE  by Emma Calin, is a stand-alone fast-moving action adventure with a love story at its core. The third novel in the Passion Patrol Series, featuring hot cops, hot crime and hot romance.

Emma

 

When single mother Sergeant Sophia Castellana stumbles into a terrorist shooting, things are not as they seem. Global forces beyond her grasp sweep her up into an audacious scheme to re-unite a world in chaos. The love of a far younger man, the infatuation of a charismatic woman leader seduce her into a blur of inappropriate love and infinite danger. Power and celebrity beckon, betrayal and violence threaten every move as events unfold in the city of Paris. Her brute courage and loving woman’s heart confront ruthless enemies who offer no second chances. She knows the streets, she knows her power as a lover. Can she, dare she, seize the prizes before her? Will the world offer her the choice?

Love Bleeds Blue, another stand-alone novel in the #1 Kindle Bestseller, Passion Patrol suspense romance series . Steamy Emma Calin holds nothing back to bring you her juicy mix of cops crime and passion.

REVIEWS FOR LOVE BLEEDS BLUE:

“Politics – Philosophy – Terrorism – Romance – Coup D’ Etats –  Assassinations – World Reordering – Steamy Hot Sex! An intriguing love story.” Charles Smith, USA.

“Between the criminal plots, assassination attempts, and cases of almost innocent subterfuge, Ms. Calin weaves in passionate sex scenes that threaten to set the pages on fire.” Anneli Purchase, Canada.

Staggering!! Wonderfully descriptive coupled with an outstanding story line makes this book a must read! The underlying satire provides some essential humor through out the book.” Evonne Hutton, South Africa.

*****

LOVE BLEEDS BLUE is out, worldwide, on Amazon for Kindle and digital e-readers, on the 3rd April 2017.  The print edition will be available by May 2017.

 

Universal Book Sales Link on Amazon:  http://www.smarturl.it/AmazonLBB

 

FREE BOOK FROM THE PASSION PATROL SERIES: Try one of the Passion Patrol novels for free  https://www.instafreebie.com/free/1LZ7p

Don’t miss out on this great novel. You’ll love it!

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Don’t Get Too Possessive!

When should you use an apostrophe?

More people overuse apostrophes than underuse them.

Often, I see apostrophes in words that are meant to be plural, but not possessive.

e.g. The photo’s look great.

It should say: The photos look great.

Sometimes  people use apostrophes with pronouns.

e.g.  her’s, it’s, our’s, their’s, who’s, your’s — these are all WRONG if you’re trying to show ownership. They should be written: hers, its, ours, theirs, whose, yours.

Be aware that apostrophes have two separate uses. One is for showing ownership, as in the cat’s whiskers. The other is to show that one or more letters have been taken out (contractions).

Some of the words can be confusing.

e.g. Let’s means let us, but if you meant to say that someone allows you do do something, it should be, “She lets me go to the movies.”  

Who’s means who is, but if you meant to ask who owns something, you would say, “Whose dog it that?”

And the most troublesome of all … it’s or its.

It’s means it is, but if you are attaching ownership, you would say, “The dog should pay attention to its master.”

There was a time when the general rule was to use apostrophes to show possession for people and animals (the dog’s fur, the lady’s hat), but to use “of” for inanimate things (the hood of the jacket, the eye of the needle), but this is now being disregarded in many cases. It seems to me that it’s perfectly acceptable to refer to “the car’s windshield” or “book’s cover.”

One of the most common errors I see is the use of an apostrophe  with decades.

e.g. The  Beetles were popular in the 1960s. There should be NO apostrophe.

But if you shorten the decades to refer to the ’60s. This apostrophe is correct because it shows that something has been left out — in this case,  the 19. Be sure that the apostrophe is turned to face the same direction as a comma (not as at the beginning of a quotation).

Placement: The apostrophe comes after the word that has the ownership. If it is a singular noun, then you would put the apostrophe after that noun. If it is a plural noun, then put the apostrophe after the end of that word.

e.g. This is the dog’s collar.

These are the dogs’ collars.

The use of apostrophes is more complex than one page  can do justice to, but consider this a beginner’s list of basic helpful hints.

The Three Dashes

Like the Three Bears, the Three Dashes have a Papa Dash, Mama Dash, and a Baby Dash.

The Papa Dash is the biggest, or let’s say the longest dash. It’s called an emdash.

The Mama Dash is the medium-sized one and is called an endash.

The Baby Dash is the shortest and the one we are most familiar with, the hyphen.

I’d like to begin with the Mama Dash, the endash, because it’s easily dealt with. It’s mainly used to separate numbers like dates, or if you want to say an amount such as from 3 to 7. The endash replaces the word “to.”

e.g. 1970 – 1980 or about 5 – 10

In Word, I made the endash by typing the number, a space, two dashes, a space, the other number, and a space.

The Baby Dash, hyphen, is used for joining some words that would otherwise be compound words. I trust my dictionary to tell me which words are compound words, such as “newspaper” and “desktop,” and which are hyphenated words such as “long-term.” This hyphen, though small, can be very important. Consider the compound word “housekeeper” and the hyphenated word, “house-keeper.” The housekeeper would be a person who does a lot of work to keep the house tidy, while the house-keeper could refer to someone like Zsa-Zsa Gabor, who called herself the best house-keeper ever. She was married several times and when her marriages ended she usually kept the house.

The hyphen is also used to connect words that describe a noun.

Here are some examples:

Most are hyphenated before, but not after a noun.

(adjective and noun) He had a high-maintenance girlfriend.

But his girlfriend was high maintenance.

(adjective and participle) We drove on a snow-covered highway.

But the highway was snow covered.

Other uses for the hyphen are for numbers and fractions.

e.g. two-thirds, twenty-seven

And now for the Papa Dash, the emdash. This one is easily overused.

The emdash is the long dash that is most often used for interruptions. There should be no space before or after it, and it is made (in Word) by typing the word, two dashes, the next word and then a space. The emdash will automatically form when you hit that last space.

Uses of emdashes are mainly for interruptions, as in dialogue, or as an emphatic aside. Here are examples of each:

“But I want—”

“I don’t care what you want.”

When I got home he had the house cleaned—he’s such a sweetheart—and even had supper ready.

Don’t be tempted to use the emdash for hesitation or pauses, and be stingy with its use. Too many emdashes on a page can make the text look chopped up. You don’t want to interrupt the flow of your writing unnecessarily. If you use it sparingly, it will be that much more effective when you do use it.

Thanks for reading, and now, excuse me please, but I must dash.

To find out more about Anneli Purchase, follow these links:

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Watch for this one

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Filtering is a habit we probably all had to shake at one time or another.

Some expressions have a diluting effect. If you are “filtering” words through the character’s senses—smell, touch, taste, hearing, or sight, you are most likely guilty of “telling” the reader what is happening. There is no need to filter the experiences through the character’s eyes, ears, or other sensory receptors.

Filtered: She saw the car go by. (The action passes through her eyes first.)

Unfiltered: The car whizzed by.

 

Filtered: She felt upset.(The action passes through her emotions.)

Unfiltered: She sobbed.

 

Filtered: She heard the sound of a train. (The action passes through her ears.)

Unfiltered: A train whistle broke the silence.

***

I’m sure you get the idea. Some of the following key words may help us to watch for filtering.

This is only a partial list of filter words. There are many, many more.

  • saw
  • heard
  • felt
  • remembered
  • tasted
  • recalled
  • looked
  • smelled

If you see one of these words in your writing, take a second look and decide whether you are filtering the action through one of the senses. If you are, you could probably get rid of the filter and rewrite the sentence in a stronger, more direct way.

 

To find out more about Anneli Purchase, follow these links:

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Lose the Weak Writing

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Weak Expressions

Weak expressions such as “seemed to,” “started to,” and “began to” can slow down your writing  and make it lose its punch. These unnecessary words become filler that dilutes your writing and diminishes its effectiveness.

e.g. Jane seemed to be sad/angry/depressed/worried.

This sentence is also an example of another mistake many authors make. For whatever reason, the writer has drawn a conclusion about the character’s feelings and is “telling” the reader, rather than “showing” how the character feels.

Why not “show” Jane’s anger instead of telling about it? You could say, “Jane clenched her teeth,” or “She balled her hands into fists.” The reader now has an image in his mind and can draw his own conclusions, something that pulls him into the story and brings him more satisfaction than being told would do.

e.g. Tom appeared to be enjoying his meal.

Or: Tom smacked his lips and cleaned the last bit of gravy from the bowl with his fingers.

“Seemed,” “appeared,” “started to,” and “began to” are ineffective expressions that tell the reader nothing. Avoid these and similar expressions.

 Using vague or summarizing expressions:

Vague:

Alice started to clean the kitchen.

Stronger, with more detail:

Alice picked up the dirty dishes and took them to the sink.

Vague:

Sandra began to make a fire.

Stronger:

Sandra chopped kindling, crumpled yesterday’s newspaper, and lit the fire.

*****

Check the writing you did today. Did you find any weak, telling, or summarizing expressions?

The bottom line for today:

Lose the vagueness, add the punch, and provide an image for the reader to build on.

*****

To find out more about Anneli Purchase, follow these links:

Anneli’s Website

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Repetition, Repetition!

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Copy-editing involves much more than finding errors in punctuation, spelling, and grammar. Working with authors on their manuscripts, I recognize errors similar to those I made in my early writing.

One of the more common bad writing habits I’ve noticed in my editing jobs is the overuse of words and phrases.

Repetition

We all have pet phrases that we tend to overuse. Watch for repeated words. If possible, avoid using the same word twice in one sentence and check for repetition within a paragraph. Often they are words we overuse even in our speech—some of mine were “maybe,” “just,” and “so”—but more than being annoying to the reader, what starts out to be only a bad habit can damage your writing in more serious ways.

If you know what your pet repeated words are you could use Find in your Word program and it will take you to each instance of the repeated word, giving you the option of changing it to something more interesting. I would wager that you’ll be shocked at the repetitions you’ll find when you look for some of your pet expressions. For example, have you noticed how many times I’ve used the word “pet” in this post? I rest my case.

Another method that is surprisingly simple but works very well is to read your work out loud. You’ll be amazed at what you find. You’ll make corrections automatically because what you wrote doesn’t “sound right” when read aloud.

Why not give it a try and read a page of your writing out loud?

To find out more about Anneli Purchase, follow these links:

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Sentences Without Torture

Have you ever tried to read a book that had long sentences throughout? I say “tried” because it takes effort. By the time we get to the end of the sentence, we may be struggling to remember the beginning. To me, a sentence like that is punishment. But authors should not be condemning readers to this kind of sentence.

I opened “Moby Dick” by Herman Melville and chose a page at random. The first sentence on that page had 88 words. As I scanned the pages I saw many more extremely long sentences. “Moby Dick” did not become a classic without merit, but in today’s fast-moving world, do we really want to work that hard to enjoy a novel? I used Melville’s novel only because it was handy. Many authors of his period wrote in that style.

Nowadays, through technology, we are bombarded by huge amounts of information passed on in short flashes—TV ads, newsbytes, texting, twitter. In this environment, how can writers find a middle ground, conveying our thoughts effectively as we hold the reader’s interest?

They say “Variety is the spice of life.” It is also the spice needed for good writing.

First, get rid of the extremely long sentences. Usually, those with 15 to 25 words are considered to be long. Once in a while, we may need more words, but be careful. Do you ramble on as you write? Try rewriting extra-long sentences to be more concise. Do you repeat yourself? Go back and axe unneeded words.

For example, the first sentence is wordy, while the second conveys the same information in fewer words.

  1. “I would like to know if your book will be written as a non-fiction version of the events, or will it be fictionalized?”
  2. “Will your book relate the events as non-fiction or fiction?”

Beware of the opposite problem, though. While too many long sentences make for tedious reading, too many short ones can give your work a choppy feeling. Remember to vary the length.

Vary the rhythm of the sentence structure as well. Throw in a question if appropriate. Why not? It may catch the reader’s attention and keep him interested.

If you want a sentence to stand out from the rest, you can set it off as a short paragraph by itself.

Another possibility is to use it to begin or end a paragraph. A general rule of thumb is to begin with your second-most-important sentence. Place the relevant explanation in the middle and save the best one for last.

Now that we have a good mix of sentences, what about the impact of the words in them? Most sentences have one keyword that is the most important component of the thought. We want to emphasize that word to give our writing the punch it needs. For the most part, readers remember the first and the last words best, but especially the last.

Consider these examples:

“Fifteen top music stars played in a concert at the new theater.” The new theater is what stands out most.

“The concert in the new theater hosted fifteen top music stars.” The fifteen top music stars are emphasized more. Choose your emphasis, depending on the idea you are trying to convey.

In a simplified formula, here are some basic guidelines for writing a good paragraph:

  • vary your sentence length and structure,
  • place your sentences in strategic positions in your paragraph (beginning, middle, or end), and
  • arrange the phrasing to place keywords near the end of your sentence.

New and improved paragraphs will be the result, if you follow some of these guidelines.

Or, changing the emphasis, “If you follow some of these guidelines, you will have new and improved paragraphs.”

To find out more about Anneli Purchase, follow these links:

Anneli’s Website

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