Diane Dean-Epps | What If?

"My newest book, KILL-TV, is one of my "what if," stream-of-consciousness moments parlayed into a plot. As a mere lass in my twenties I spent several years working in the radio and television industry where lessons abounded daily, minute-by-minute deadlines were de rigueur, and my video-to-script writing cost me all use and feeling in my verbs.

Back in the day," when I discovered the magic wrought by shoulder pads and their seemingly mysterious ability to make my waist appear smaller than it actually was, I came up with another mysterious point to ponder: What if I wrote a comical and suspenseful story that was based upon a combination of irritating characters I’d worked with in broadcasting and, lest there be any residual hostility on my part necessitating expensive counseling, I just plain killed ‘em off?” You know…cheap therapy. This began my year-long journey into the development of my most ambitious novel to date, KILL-TV, just by virtue of continuity, scene changes, and plotting gyrations.

While some kind folks, to whom I am not related, have commented that I am mildly amusing, humor does tend to always find its way into anything I write. Having said that, maintaining a humorous tone, snappy dialogue, and a fast pace can be a daunting task, but it lent itself well to the setting of the broadcast journalism world, a world that looks pretty danged different from the inside out. I’m often asked why I left the “glamorous” world of broadcasting for my full-time gig as a teacher of Generation Y-ME?! to which I reply cleverly, "Because." Truth be told, as I neared thirty, I was subjected to the tandem aural experience of hearing my biological and sociological clocks ticking; I wanted to contribute to society and use what little experience I had gained to serve people other than myself. Go figure how that kind of thinking can be achieved and channeled through a girl who refused to shop anywhere, but at a store rhyming with, "Lacy’s," until she was…well…thirty.

It may be said that humor is in the mind of the humorist – okay, you got me – I said it and I’m not so sure it makes sense, but just keep in mind, this is my wrap-up and I’m trying to sound all smart, profound, and what-not. With a book that is touted as "humorous," the trickiest part is creating a connection with the reader by accessing the commonality of the absurd and the things that make us all laugh. Being funny is extremely subjective and when I’m fortunate enough to be in front of someone, whether I’m doing stand-up, or just performing one of my "bits" gratis, I at least have the dual advantages of vocal and facial inflection. Writing does not offer this and no amount of exclamation points, italicized words, or clever dialogue can make someone laugh if the tone hasn’t been set first.

In writing, one way I establish tone is to rely upon situations that have happened, but then exaggerate the heck out of them. This is how I created the scene between Leslie and the recently deceased, Lincoln, where she gets her cute little knit top stuck on his tie clasp. As she attempts to set herself free by rocking back and forth in his lap, she creates the illusion that she is in an unseemly coupling with the boss, and this is in full view of anyone walking by in the outer hallway area, which is just on the other side of the control room glass partition. Combining the horror that a character would feel over discovering her dead boss with a slapstick type of physical interaction that is misinterpreted by a key character is no mean feat, but I hope I’ve succeeded. It is my fervent hope, desire, and wish that I have created a tale in KILL-TV that amuses the masses who will graciously welcome these characters into their lives, even briefly, and perhaps beyond if the alliterative protagonist, Leslie Lloyd, agrees to a future foray into my next book.

Diane Dean-Epps
www.dianedeanepps.com/

Rhonda Pollero | Finnley is soooo not me!

I’ve heard that a lot since the debut of my of the Finley Anderson Tanner series. I can’t attest to how much she and I are alike. Yes, Finley and I share the same sense of humor and I suppose her moral code mirrors my own. That’s pretty much where the similarities end. Well, excluding the fact that she’s blonde and short. That’s a function of practicality. Being blonde and short myself, I know how to dress Finley (fairly high heels are important) and the physicality of the character’s actions reflect the fact that unless she started dating Michael J. Fox, she’d never know what it felt like to dance with her head resting on a guy’s shoulder.

In all other aspects, Finley and I couldn’t be less alike.

She’s a shopper, something I personally loathe. I’d rather remove a kidney than go to a mall. The whole idea of window-shopping makes me want to stick pencils in my eyes. Finley’s also heavily in debt, another personal taboo of mine. But the biggest difference is that she’s an underachiever by choice. I’m so much of an overachiever that I probably could benefit from lengthy therapy.

Crafting a character is never easy – nor should it be – and there will always be a sprinkling of the author’s personality and/or personal experiences in his or her characters. Figuring out where to draw the line can be tough, especially when doing an on-going series.

Knowing Finley needed room to grow, so I gave her some hefty flaws. In KNOCK OFF (available in paperback now), she takes her first foray into the realm of solving a crime. She isn’t all that adept in the beginning, but by the end of the book, she’s learned a few things, although she’s a long way from attaining the moniker of amateur sleuth. At best, she’s an accidental sleuth.

In the second book, KNOCK ‘EM DEAD (on shelves February 27th), she builds on what she learned in the first book, though she’s still a long way from a crime-solving whiz.

Finley marked a detour in my career. After writing more than 25 romantic suspense novels under my pseudonym Kelsey Roberts, I wondered how books penned by Rhonda Pollero would be received. Different name, and different flavor. Was there enough mystery to satisfy mystery fans? Was the sizzle between Finley and Liam enough of a subplot to draw fans of my romantic suspense? I honestly didn’t have a clue and after a lot of angst filled soul-searching, I decided I had to put those concerns on the back burner and just tell the story.

I’m glad I took the chance. People seem to love Finley as much as I do.

And that’s the bottom line, isn’t it? A writer is a storyteller; everything else is just window dressing.

Happy Writing . . . Rhonda

www.rhondapollero.com/ www.kelseyroberts.net/