I definitely prefer shorter posts. It makes it much easier to review parts in one sitting, which is why my current WIP splits each scene out as a TNBW chapter, same as what you did for Maiden. Rather than split the short story Into multiple short stories, I suggest publishing it as a book on this site.

I just finished writing the part for the medical examiner. There are seven references to her, but she's in a room where meeting participants did a round of introductions. I didn't actually write any introductions (too boring); I just said they happened. I think that means she needs a name like everyone else. The director general's there too.

My current WIP is set in Rome, and most of the characters are Italian. My major characters have both first and last names (e.g., Gregorio Romano). Since many Italian names are rather complex for English speakers, I'm trying to limit the total number of foreign names. As a result, I'm wondering what to do about secondary characters. Should I give them names, or try to refer to them by just their role or title (e.g., medical examiner, director general)? For example, the medical examiner will give a verbal briefing of an autopsy, then disappear for at least several chapters, if not permanently. I had a senior constable in one scene whom I referred to solely as senior constable. However, I also had a nameless chief inspector but was eventually convinced by a reviewer to give him at least a last name. Referring to him as chief inspector over and over became too much.

Thoughts?
Dirk

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(3 replies, posted in TheNextBigWriter Premium)

Beginner's luck is right, JP. I only remembered the above four elements to the story, yet got a hit.

Rachel, as I mentioned in my review, I had a great deal of difficulty understanding your prologue. I may just be dense, but I couldn't figure out what was going on, who the players were, etc. It wasn't until I got to chapter one that things smoothed out nicely into a regular story.. If you're going to keep the prologue, it needs more detail about who's who, how they got there, why they're foes, etc.

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I recently remembered a book about the Revolutionary War that I had read about forty years ago. I wanted to reread it, but didn't remember the title or author. I plugged in a few keywords: older brother dies, stolen cow, father killed, etc. Up it popped on my first try. Only $3 on Kindle.

Wow!
Dirk

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Thanks, Will. You're right r.e. respect from Catholics is, for the most part, the same as from most people, although the hard-core Catholics in the forum I frequent would definitely steer clear of them.

Close. It's Antonio, formerly Davide. I didn't like the latter. I would leave out actual mental dialogue, but I think haunting Romano with whispers and ghostly appearances of Antonio would be good.

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(52 replies, posted in Fantasy/Magic & Sci-Fi)

I'm rereading Wuthering Heights. Lots of expressiveness to the eyes, including this latest: eyes full of black fire. As Temple once noted, it's not the eyes, but the muscles and folds around the eyes that give them expression.

Given how Romano's former lover dies (Romano's fault, the lover refuses last rights, he's going to hell) and the devastating impact it has on Romano, I'm debating whether Romano should start hearing the dead man's voice. I could do it as ghostly whispers that pass him quickly at every turn and send chills down his spine. Additionally, he could think he keeps seeing his lover in crowds. Basically he's haunted or suffering from mental illness. It would allow me to keep this particular subplot going throughout the book.

Thoughts?

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(8 replies, posted in TheNextBigWriter Premium)

Given how Romano's former lover dies (Romano's fault, the lover refuses last rights, he's going to hell) and the devastating impact it has on Romano, I'm debating whether Romano should start hearing the dead man's voice. I could do it as ghostly whispers that pass him quickly at every turn and send chills down his spine. Additionally, he could think he keeps seeing his lover in crowds. Basically he's haunted or suffering from mental illness. It would allow me to keep this particular subplot going throughout the book.

Thoughts?

I count myself among those who never understood Shakespeare without the Cliff Notes. I'm currently rereading Wuthering Heights, and I'm frequently forced to slow down to be sure I read it correctly. The hardest part is trying to understand the Bible-thumping servant, Joseph, whose speech is rendered in a thick dialect. Emily Bronte died from consumption (TB) at age thirty, only a year after writing the novel. Most of the Bronte siblings died young.

Gacela, you can print out all regular reviews by going to the chapter view of the chapter in question. They're all collected at the bottom. Use your browser's print capability. As for inlines, I usually open each inline review, print it, mark it as applied, then go to the next one. I'm afraid that's fastest way to do it. I suggest using your browser's print capability for inlines too, because the site's print function doesn't include the closing comments and reply.

Thanks, Alan.

I'm wondering what people do when it comes to writing numbers in a story? I typically spell out numbers <= 100, but also write numbers like one thousand as words rather than 1,000. I eventually settled on a rule that if I could write it out in three words or less, then I would do so. As a result, numbers like 500, 10,000, 1,000,000, etc. all get written out. I tend to include 'and' when writing numbers, so 350 would be three hundred and fifty, which is four words, so I wouldn't write it out. One of my reviewers recommended I write 350 as three hundred-fifty in a line of dialogue, hence this post.

Thanks
Dirk

If you use the Print feature of your browser, it should have an option to print to pdf. I use Chrome. Not sure about the others.

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The scene is up. Talk about damaging one of your main characters. The other, Inspector Campagna, is already a mess because her baby boy was kidnapped many years ago from the hospital where she gave birth. I can't wait to introduce her to Connor, who looks surprisingly like she envisioned her son would. However, Connor's parents were killed in a car accident when Connor was seven, so it couldn't be him, right?

Alan, my best wishes for your wife's full and speedy recovery. Please keep us up to date.

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Thanks, njc. I realized today that it doesn't have to be a suicide. The distraught former lover could simply run out of the orphanage and into the street without thinking, where he is hit by a bus. And to really mess with Romano's head, the dying man could refuse to receive the last rites, pretty much guaranteeing, from Romano's perspective, that he died in a state of mortal sin.

My current WIP is a supernatural thriller that revolves around the Catholic Church, and I'm writing it as a Catholic-friendly story. They are my primary target audience. I include some necessary violence (it's about the Apocalypse), very little cursing, and no sex to get the widest possible Catholic audience. A reasonable minimum age for reading this story is probably about fourteen, the same age as the central character.

All that being said, I do include a struggling gay priest, Father Romano, who's trying to live by the rules. For those not aware of it, Catholicism considers homosexual acts to be mortal sins that can lead to hell. Their view is that gays and lesbians are to be treated with the same respect due anyone else, provided they refrain from homosexual acts and relationships. In other words, hate the sin, love the sinner. Based on the Catholic forum I follow, I suspect many Catholics aren't even aware of that the Church draws a distinction.

I have an important scene between Romano and his former lover of ten years. The Church became aware of his relationship and he was forced to choose either the Church or the relationship. He ultimately chose the Church for a number of reasons, including for the sake of his own soul. Book one actually opens with a prayer by Romano asking God to strengthen his resolve, although I don't reveal until later what he was actually praying about.

Eventually, the distraught former lover shows up and tries to convince Romano to resume their relationship. The conversation goes badly and Romano tells him to leave and never come back. The lover then commits suicide, and Romano blames himself. He'll confess all this to a fellow priest and they'll discuss the impact that the suicide will have on the lover's family.

I'm concerned about the impact this scene could have on young closeted homosexuals. Even non-Catholics struggle with this when coming of age. I can only imagine how much harder it is for Catholic teenagers. Along comes my book and tells them that, as Catholics, they have to live a lonely existence (gay men aren't even allowed in seminary schools anymore due to the abuse scandals), and, if they can't handle that existence, one option is suicide.

Aside from discussing the impact of the suicide on the family, is there anything more that I can add that addresses this topic realistically (unfortunately, the suicides do happen) without leading anyone to think that suicide is a reasonable option?

Regrettably, in an unrelated but important scene, a Satanic being reminds a cardinal that the Church teaches that committing suicide out of fear of unbearable suffering does not preclude the victim from heaven.

Thoughts?

Thanks
Dirk

Looks good. Thanks.

I have a question about how to write the usually involuntary reactions that POV characters have when surprised by something. It includes things like eyes going wide, eyebrows shooting up, eyes popping open, etc. Some writers have told me to write them like so: he widened his eyes, he raised his eyebrows, he opened his eyes. Others, though, recommend: his eyes went wide, his eyebrows shot up, his eyes popped open, etc. I tend to lean toward the latter approach since they are essentially involuntary reactions.

Thoughts?

Thanks.
Dirk

Thanks. Your trick of having the suspect hiding something else is a classic on Law & Order. I have multiple murders to solve in the book, so I'm sure I'll use that trick somewhere. In the case of Coppola, it's the shoes that will be his undoing. I think I'll have him locked up while the second murder is committed to throw off suspicion. Of course, if he's really the killer, then he can turn into fog and leave at will, then return after the murder.

I'm going to throw a chief inspector into the mix to give Campagna someone to make a detailed report to. The chief inspector was already involved indirectly to approve Campagna's manpower request to search a huge cemetery for additional victims beyond the first two. That should solve the problem.

Rachel, thanks for your suggestions.

Dirk

I've actually already shown how the crime happened. Scene 1.2 was dedicated to the actual killing (the dead cardinal was buried alive under the direction of a demonic being). The stuff that Inspector Campagna has to think about are all the mundane steps that go with investigating a murder. All the interviews, identifying possible suspects, applying for warrants to monitor phone calls and bank transactions, collecting the security footage from the neighborhood, notifying Interpol, etc. I primarily need to inform the reader that it's been done. Normally you would brief a supervisor of this stuff, allowing the writer to turn it all into dialogue, but the detectives don't report to their supervisors until scene 2.4. It's a highly sensitive investigation, so the detectives report directly to the head of the Italian police and the Vatican secretary of state. They won't report all of these mundane details, just the really important stuff.