Oooooo.....this is one to read with all the lights on and doors locked.
The Revenant
by Elise Abram
Synopsis:
Raised from the dead as a revenant more than a hundred years ago, Zulu possesses superior stealth, superhuman speed, and a keen intellect. His only companion is Morgan the Seer, an old man cursed with longevity and the ability to see the future in his dreams. Zulu has spent the last century working with Morgan in order to save the people in his nightmares from horrible fates. Branded a vigilante by the media, Zulu must live his life in the shadows, traveling by night or in the city's underground unless his quest demands otherwise.
Morgan also has enemies. His twin brother Malchus, a powerful necromancer, is raising an army of undead minions to hunt Morgan down. Will they be able to stop Morgan from raising his army? How will they kill someone as powerful as Malchus? Is there more at stake than just their own lives?
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Guest Post
Author Elise talks about The Importance of Dialogue
"Conversation #1" by Angus Cameron
https://www.flickr.com/photos/73716058@N04/9291813137
Reading should be an
immersive activity in which you experience everything the point of view (POV)
character experiences. A good narrative should give the reader a
fly-on-the-wall-with-extra-sensory-perception feeling in which everything the
POV character sees, hears, feels, and occasionally tastes and smells is
related. The ESP comes when we hear the POV character's thoughts. This helps to
establish pathos, a sense of empathy, compassion and the ability to put myself
into the protagonist's shoes.
Every seasoned writer has
heard the old adage "Show, don't tell". It's the first thing I teach
my Writer's Craft students, repeating it as a mantra to them throughout the
semester. Dialogue is the best way to show your audience what motivates your
main character.
To demonstrate, consider
this:
John said he was mad.
Here the narrator tells
the reader what John has said, that John is mad. We know nothing about John's
thoughts, or his level of agitation. Rather than tell us what John's said, let
your characters speak for themselves.
"I'm mad," John said.
Though this time John is
allowed to speak for himself, this excerpt gives the reader nothing more than
the first example of telling.
John felt the blood rise in his temples. "I'm so
angry I could spit," he said.
Here the author tells us
what John's feeling in the moments before he speaks. Something's happened that
has clearly agitated him. He's not just mad, he's angry, really angry.
Dialogue doesn't just show detail, it helps advance
plot ("Don't follow me," he told her and he climbed into his pick-up,
that old Dodge beater he'd bought on Craig's List for a song.), and character
("I hate it when she does that.") to show the characters' thoughts
and feelings in a way being told these things (He told her not to follow him
and he got into his truck and drove away.) by a disembodied narrator can't.
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