I played the newest Nancy Drew game! Today I review it for you, without spoilers.
Courtesy of progameguides.com
Overall, it was much better than the last game they put out. It was beautiful, well thought out, had optional mini games, had the choice of classic and modern movement, and was a puzzle game (not just a living novel). Because I played this in almost one go, I suggest you pace yourself. Hubby and I fried our brains puzzle-wise. We stopped at the near end game and finished it later because we'd played it all day. Take your time. The puzzles are not as easy when you fry yourself, or easy at all. We cheated through some of it. I intend to play it slowly on my own to test whether the puzzles themselves or I was the problem in some cases. It is a lot of puzzles and talking to suspects. Don't forget to call people in this game.
I loved all the call-backs to the old games. They have pictures from old games in the cafe. They talk about her old cases. They even include puzzles and reuse music from past games, remixed. I loved hearing the familiar music and seeing reminders of previous games. Her Interactive obviously listened to us when many said they wanted the older game style. I liked the choice of classic or modern mode. The familiar images and puzzles made me like the game more. They fed our nostalgia.
The Game Aspects
Characters are beautiful. They also move like real humans. They all match the dialogue in real time. I had no lag on my laptop. The phone characters are amazing, too. We get helpful Ned back - hooray! Nancy actually talks to him differently, assuring him he's just as helpful as the Hardy Boys. Ned also admits they really do have resources he doesn't (Zane, for instance). I like this healthy exchange of dialogue. I don't really play these for character drama, so I loved to see the relationship growing for the better. It's like old times again - when Ned was almost always helpful and loving. Voice acting was on point for all the characters, who felt like real people when you spoke to them. Let's get a round of applause for the talent behind this game, every last one of them (from programmer to voice actor).
Courtesy of adventuregamers.com
The puzzles themselves were of a higher challenge level, like Silent Spy. You actually need a walkthrough on your first playthrough. Like Scarlet Hand and Midnight In Salem, you have the issue of not knowing what to do at moments. Or one task is not expressly stated on your task list. The hint system is great for this and is built into the game. I love that you can use a hint system again. You'll need it - especially if you do what my husband and I did (attempt to finish it in one day). This game is great, but some puzzles are less intuitive and we wish Nancy would have said more out loud to help the player at specific moments. Again, please note that we may have fried our puzzle brains and we could have been the problem. Still, when we came back to it, it was still hard. You'll need help at times.
I played classic mode. We figured out way late (at end game) that we could hold the right mouse button and look around. I think they could have said that in the beginning. Keep this in mind when choosing the mode at the beginning. Also, we didn't catch the entire room in some places because of this mode and our lack of knowledge on right-clicking. I love that they included classic mode, mostly because it feels like the old games.
The storyline is amazing. I'd suggest going into it blind. It is a fun, not overly out there, story with fun characters to interact with. The story had thought behind it. You can tell it wasn't a last-minute script. It all comes together at the end. If you do something specific you'll find an extra scene, too. I didn't, but I know that because of an award you can get. I called Ned at the end of the case and got an award.
Holy Mini Games Batman!
Mini games are usually quite fun, but what I discovered about making latte art is this; it was so much like Shadow At Water's Edge name painting I did not like it. The rest of the coffee making? Fine, but I'd rather skip the latte art. Also, the book had you going all over it to complete the coffees. In my personal notes I intend to simplify the whole book into what buttons to hit and how many times.
Mini game two is the puppetry. Radek's notes are truly an awful mess. I understand that's the puzzle aspect of it, but we need a bit more notes to get it right without ten tries. If Radek expects an assistant to understand "she....." without reading his mind he should do it all himself or have a permanent assistant to help him. With that said, many had issues with this. We looked on the forums to find that forum had been flooded with this puzzle to the point of a warning to "not write duplicate questions". We were not fried at this point, either, so keep that in mind.
Concluding Thoughts
Courtesy of adventuregamers.com
I put this game up with Silent Spy, where I also have to cheat to finish the game. It isn't easy. Coming back to it proved to me that you should pace yourself, and that you'll still get frustrated. The puzzle level is high. It has a lot of hard puzzles you can figure out, but some that aren't overly intuitive. Any alchemy is not intuitive. Blackmoor (another Nancy Drew game with alchemy) was better at clarifying instructions if I'm honest.
All that being said, I loved it. I just suggest you keep a walkthrough up and ready on your first go around. I write cheat sheets down and will do my own personal one on my second go around, where I won't fry myself and kill my brainwaves. The story is amazing. Don't ruin the ending for yourself. I'll let you all go in blind like I did. I give it a 7 out of 10.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
We've all heard the phrase "dress modestly", especially in a church context. The issue we face is how. People have different definitions of "modesty", including some that voice their complaints to total strangers. This goes over like an atom bomb. Society has shoved us between the "be sexy" and "be modest" standards. Let's talk about what modesty really is.
1925 public indecency - with bathing suits Courtesy of Pinterest
Today we're looking at this issue from a Christian standpoint. You'll see scripture references and get the perspective of me, a Christian. If you don't agree with my perspective we can agree to disagree. Now that we're all on the same page, let's move on.
Modesty is referenced in the bible often, but we don't always look at the overall context. It's easy to cherry-pick verses to support your views. That's not what you are supposed to do. Any scripture listed in this blog has had the context taken into account. I have looked up commentaries and studied the scriptures myself before I put it in. Feel free to study what I have studied and dive deeper.
We're also talking about how society is no help at all. From victim-blaming to fashion standards constantly changing, we are in a world that makes modesty almost impossible. Stores stock the fashion standard of the time, making shopping for modest clothing kind of awful. What's even worse? Everyone has a different standard for modesty based on culture and family. Oof. Let's dive in.
Society Issues
First, we look at the elephant in the room. Victim blaming is prevalent in our society. Women who are sexually assaulted can get comments like "they asked for it by wearing skimpy clothing" when they come out and talk about it. I don't believe you asked for rape by wearing any type of clothing. Anyone who comments this or says this to a rape victim should grow some empathy and learn to keep their mouth shut. Your clothing is never an excuse for rape. The rapist should have had self-control; they are the ones at fault and should be charged in court. The crime of rape itself is mostly about power, not about sexual need. Nuns have been raped. Think about that for a minute.
Courtesy of Preen.ph
Next, we talk about changing fashions. Every generation has a different standard for what is appropriate. If we went back to the 1800s or 1900s, all of us would be gawked at like we were nude. Why? Pants on women. It was shocking then to wear pants and be female. Now it isn't shocking to see mid-drift tops, but if you stepped into 1950 you'd be in real trouble. I think you see my point. The older generation's definition of modesty is constantly behind the current fashion, making it hard to be modernly modest and please both parents and grandparents. You can't. It's an impossible standard.
We also have society setting standards for us. Even if you think you don't hold to that standard you've been influenced by it. We're all influenced by everything we see, especially what we repeatedly see. We're told, as the Barbie movie points out, we should be sexy but not too sexy. We can't do any of it right because we offend someone no matter what we do. Whether we offend our elders, the fashion critics, or our peers is the choice we're faced with. Society is broken. Face the truth. We'll offend someone at some point in time by the way we're dressed.
Cultural differences are another part of this puzzle. Remember that half-time show where Shakira belly danced? I liked it, but many parents were shocked by her outfit. While I do think J-Lo (Jennifer Lopez) was vastly out of line to pole dance, Shakira was already known for her belly dancing. It wasn't that big of a deal to me. Her outfit was literally what her character wore in Zootopia (if you care to compare). Belly dancing is an example of a cultural difference. Many women worldwide belly dance and wear outfits like hers with added embellishments and longer skirts. Many people who had never been exposed to that kind of culture were offended. Different cultures have different standards, even when you look at different countries. What people wear publicly in Italy is not the same as what you can wear at a Christian college (as my one friend found out). This makes everything more difficult for women everywhere.
What the bible says
We're going to start with 1st Timothy, which has a context many don't actually know. The city of Ephesus was the home of a goddess named Artemus, who allegedly helped women in childbirth by killing them quickly or saving their lives. She also, allegedly, was all about celibacy. (No, she wasn't into lesbianism, just to clear the air.) Many don't even take this context into account when they look at the controversial passage about Paul talking to women. The women were being sold sham information and believing it, converting their husbands to serving Artemus and selling it door to door to other women. Paul is not saying women can't be leaders or have to be silent; he is trying to fix an individual problem in Ephesus. In 1st Tim. 2:9 we get the verse on modesty. What we also know about the city is that wealthy women like to show off their wealth. The first point on modesty doesn't even connect to showing off body parts; it instead addresses women walking the streets in their most expensive attire to flaunt their wealth. If I had to say a moral of the story, it's that we shouldn't be showing off and rubbing wealth in people's faces.
Courtesy of Quotesbae.com
1st Peter 3:3-5 is another one that isn't talking about the body. 1st Peter itself is a letter about how to live as pilgrims in a difficult, broken world. It's shockingly relevant. Chapter 3 is telling women who have unbelieving husbands to submit to them to lead them to Christ. The overall point is this; that the woman's godly character would show the men they married the light of Christ. Submit, in this case, should be connected to mutual submission of a marriage relationship (basically, love and respect each other). Submit doesn't have to be a bad word. Modesty here means that you have beauty from the inside out and you are not just a pretty face. Inner beauty from following Christ should shine out of you and be a beacon to others. Moral of the story, follow Christ and be a beacon to others with inner beauty.
1 Corinthians 6:19-20 is the last one I'm putting in. Again, we are not so concerned with body parts showing as we are with actions. 1st Corinthians 6 has to do with lawsuits between believers (basically, how we're being watched and it looks bad) and sexual immorality. The modesty part of this puzzle is that when we sin sexually we sin against our own bodies, which (assuming we've been saved) are God's and not ours. The context here has a lot to do with prostitution and how people thought being saved was being given a license to sin (because you are forgiven of sins). You may have the right to do something, but it may not be beneficial. Being saved isn't a license to sin. In this context, you've given yourself to living for God's will when you are saved, so what you do with your body is part of living for Christ. We are to honor God with our bodily choices.
Conclusions
If you thought the bible was going to say "cover thy boob-crack" and "skirts should be knee length" you were wrong. It's about actions, inner beauty, and not shoving wealth in people's faces. Live for God as a Christian and you are acting modestly. Really, at the end of it all, what you do with your life should matter more than your clothing. That doesn't mean you go nude or break the public indecency laws, but it does mean you act and dress responsibly.
Society is broken. We know this to be true. While society has many clothing standards, they shift with time and many standards come back around later. My advice is to live for Christ and be a beacon of inner beauty. Let that guide how you live and honor God by your choices. Oh, and maybe don't flaunt wealth. Because we all hate that. I feel like that last one is common sense. Society has no idea what it wants. Honor God by making choices based on what He guides you to do. God doesn't change His mind every decade like society does.
Below is an absolutely horrible, but so sadly relevant meme. I found it and thought it was relevant enough to be here.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
Unsettling characters make your audience think and get a little scared. Let's look at how to write those characters.
Tom Riddle - Courtesy of Pinterest
Examples of unsettling characters are some Bond villains, Federov from the book Argylle, and Tom Riddle from Harry Potter. If your skin crawls a bit when they enter the room or scene you've got an unsettling character. How do you write that well? That's today's topic.
Be aware that the ending of Where The Crawdads Sing is spoiled in the the section "unreliable narrator". You've been warned.
General Creep Factor
You need to make your reader squirm. A character needs to set off alarm bells for your protagonist. First, we need to know what creep factor is. Simply put, creepy means a threat is perceived. They come in all shapes and sizes, from trying to cop a feel during a conversation to a smile that never reaches their eyes. But not all creep behavior can be helped because maybe they just look unsettling and are fine. You can come across as creepy and not have sinister intentions.
You know what's unsettling? Unpredictability. If I can't predict you it sets off warning bells in my head, especially if you have a dark vibe. If your audience can't predict them it is a great way to start. As long as you don't fall into the pothole of making them predictably unpredictable you're doing great. Even better if societal norms are thrown to the wayside.
Themarysue.com - Alastor from Hazbin Hotel
Show them they are creepy rather than telling them. Have someone step farther from the creepy character in the scene. Have people avoid them. Let the natural alarm bells ring. Make them wonder what they are really up to, like Alastor in Hazbin Hotel and Bill Cypher in Gravity Falls.
Some creepy features do, in fact, reflect mental illness. Please know this when you write the character. If you don't want to reflect a disorder, you need to make sure you aren't imitating one in your character traits. Be aware of what disorders are out there, such as depression, anxiety, autism, OCD, BPD, etc...
Standing too close and not respecting boundaries makes people vastly uncomfortable. You might also add weird expressions and fidgeting. Obsession makes people squirm, too.
Now, avoiding eye contact can mean many things but it does make people squirm. This is highly situational. Be careful with this one. I don't make good eye contact and introverts everywhere have issues with this. It's actually the opposite that makes me squirm - which would be too much eye contact or unwanted eye contact. I suggest having someone make too much eye contact, rather than not enough.
Emotion is a big thing. Having someone void of emotion, showing too much emotion, or expressing the wrong emotions in the current situation (for example, laughing at the body at a funeral or smiling too much at a funeral) is a major creep factor. When emotion doesn't reach their eyes it is unnerving.
Most of us who are perceptive have a thing, where we play dumb to knowing more about someone than they think we know. When someone knows more about you than you told them it comes across wrong, thus it is on this list. It is creepy if someone knows a lot about you or only knows about your interests. This is a major reason many perceptive people play dumb when they logically deduce things about you in passing.
Another thing writers do is observe people. Hobbies like people-watching and bird-watching hit the creep list because being watched is not something many people like. I don't think birds care, but some of the population of humans definitely do. It's another reason to do the above as a writer - play dumb. However, when your character doesn't it will up that creep factor.
Courtesy of Collider - From the TV series You
I need to say this to clear the air. People watching and stalking are not the same. Sitting on a park bench enjoying the city vibes while thinking is not following someone home or obsessing over them. Many of us sit in coffee shops enjoying the conversation and taking notes on what would make a neat character description. We are not, under any circumstances, following the patrons out to their cars and tailing them home. If you do that you are stalking. Stalking is one great way to make a character creepy. Another twist is if you note all their interests and obsess on those. The You series is a great example.
If a perception of reality doesn't match reality, but the character doesn't care or insists it does you've got a good creep factor going. The scariness of the twisted perception depends on the situation, world, worldbuilding, and generally the character's interests. The sky is the limit with this one. The people with twisted views and perceptions of reality make everyone back up a few steps.
Subtle Creep Factor
Need subtlety? No problem. Here are a few traits that might help you create a more under-the-radar creep. It might be more realistic to life.
Are they simply too calm under pressure? Yeah, that's weird. Or they snap and go back to calm. I knew someone who did that. It was kind of scary.
Inappropriate smiling is another one. Did someone smile at a phrase that they shouldn't have? Take note. This, with added traits, can be unnerving. For example, if someone seems to know more than they say and they smile when someone says a particular phrase you upped the creep factor. Again, the trait of knowing too much about something is going to help here. Especially if they shouldn't know what they know.
Courtesy of Crime Wire - H. H. Holmes
Being too friendly is something you'll want to add if you have an H. H. Holmes character around. The real H. H. Holmes was too friendly with women particularly. He's an excellent, real-life example of someone who is too friendly. Those that turn the charm to 12 out of 10 are usually just appearing friendly; your character can have this trait and be a serial killer like H. H. Holmes.
Unnatural phrasing is a weird one, but many of us notice this when it happens. The character has to be a natural speaker of their language for this to work. The basic idea is that they don't talk like everyone else, but instead phrase things oddly.
Lack of sympathy or empathy is a major red flag, as well as nonchalance toward death and suffering. That can create a scary character by itself. Insisting on getting what they want on top of this is going to create a villain faster than ever.
Either taking everything too seriously or not taking anyone seriously is also a great way to add some creepiness. Peculiar hobbies, attitude, and attire also add to it. Maybe they also have some event or trauma in their past that created their odd outlook on life.
Having one trait that is off-putting and a few that at least appear normal will hide this character if you need to hide them until their time. Suspense and mystery novelists should take note of this method.
More Than Traits
Your character traits are not the only creep factor here. You can literally use their descriptions to create the atmosphere. For example, I can say "Valentino leered at Angel and forced him against the wall" instead of "Valentino shoved Angel against the wall". Both are the same event, except one paints Valentino in a darker light. The vague description doesn't paint Valentino as a creep. Valentino is an excellent example of an unsettling character.
Words like "coerce" instead of "compel" are good for painting the character as a creep. Use words that make your audience uncomfortable. This is when you can make your readers squirm at mere descriptions of actions. Be creative.
What the unsettling character knows is just as effective as everything else. If they know too much about our protagonist you get the feeling they stalked them. When they appear matters, too, because only appearing when our protagonist is alone or vulnerable creates atmosphere.
Consider limiting what we know of this character. Alastor, for example, has an ulterior motive and we don't know who is forcing him to help the hotel. We have limited knowledge of his backstory at best, so it creates questions. People get uncomfortable with what they don't fully understand.
Courtesy of kenhdaotao.edu.vn
Hidden personas help with this. Maybe someone has an outward appearance but is just acting. If they drop their mask a few times in front of a select few you add to the mystery. It might be worth having someone be a really good actor in public and making them drop that persona when off guard later, only to pick it up immediately again when someone gets a bit creeped out.
Look at real life. Look at real serial killers, real stalkers, real criminals who did horrific things and why. Preferably, I'd do this mid-day with a palate cleanser afterward, like a comedy. It depends on whether this stuff falls out of your head or sticks like super glue. Serial killers and homicides are no joke.
A Word of Warning
I'm repeating it again, just so you don't make the mistake of demonizing the mentally ill. Don't paint the mentally ill in a negative light because they have some features perceived as creepy. Different isn't always a bad thing.
Many people who make less eye contact, watch birds, enjoy observing people, and own reptiles are not bad people, but these are all traits that have "creepy" connotations. Lots of individuals in the world do not perceive social cues as well as the average population, so maybe standing too close is not something they understand. Autism makes it hard to make eye contact, for example. Awkward people who don't necessarily know how to socialize or have social anxiety aren't magically going to understand the art of conversation.
Don't demonize the neurodivergent on accident. Your story could reach millions. You never know.
When Your Protagonist is Unsettled
The emotion is key. We need to know your protagonist is uncomfortable around this person and senses a threat, whether it is or isn't a threat. Play with this if you want. Maybe someone isn't a threat and their "safe" person is the real threat.
Your internal dialogue when you sense a threat is not always rational. You just want to get back to safety. You only want to get away from this person and are hyper-aware of the threat. Have your internal character dialogue play off of that. Have them think of strategies to get away. Make it clear your protagonist is scared of someone.
Unreliable Narrators
This is a clear scenario where your narrator is the unsettled protagonist. This is when your main character's story can be skewed in one direction or the other. They can outright lie. You can lie to your audience and plant the truth along the way, where you can find it when you look for the real evidence.
Unsettled protagonists who don't know what is real or fake anymore are unstable. In some stories, you can blur the lines between reality and fantasy to heighten suspense and fear. What your narrator sees is not necessarily what everyone else sees and hears.
We are already biased when we tell our stories, but this type of narrator is a bit more intense than that. Do we even know who they are? That's the real question. You can establish they are liars. And maybe, like Atomic Blonde, you wink at the audience with the last phrase of the movie "I'm glad I was convincing" (looking the audience in the eye). Establish that they sometimes embellish the truth, or there are things they can't say.
Omitting information is lying by omission, but it works here. Maybe you don't have it all. Perhaps, parts of the story don't add up based on what you have. The reader will pick up on all that. You may even have our narrator sidestep questions about themselves. What you don't say speaks volumes, too.
Motivations being clear as mud make readers unsettled. In this case, your narrator can be clear as mud when written right. The reader wants to understand them, so they read on and continue trying to make sense of the motives. Eventually, they might come to the conclusion their narrator lied to their face.
Is your narrator playing dumb? It's possible. Make them smarter than they seem. Reveal this intelligence slowly. Where The Crawdads Sing does this by making our character seem innocent when she isn't. The evidence is all there, but you are not looking for it because she's playing dumb.
Courtesy of frontrowcentre.com
Secondary characters can catch your narrator in their lies. If the secondary character mentions that our narrator did something way back when and the narrator tries to brush them off it sends a message. You can see this in Atomic Blonde with David Percival.
Add some unpredictable actions into the mix. Put the character of our narrator in question. Make readers question why someone would do something after saying what they have and doing what they have. Make the reader think.
Narrators don't all have to be evil. Maybe they have memory gaps, can't tell fantasy from reality, are going senile, going insane, traumatized, struggling, trying not to spill family dirt, or justifying their perspective in an event. They are telling what they perceive as the truth. This means not all unreliable narrators are villains.
Lastly, make it believable and not too far out in left field. Based on the sanity level of the character, what are they likely to do when they act out? What do their struggles compel them to do? Keep it credible. An unhinged character will go farther than a straight-laced high schooler.
The Uncanny In Writing
Uncanny things are familiar, but off somehow. It's wrong and you might not be able to put your finger on why. You can use this to create an unsettling atmosphere.
Deja Vu is a repeated event. Take that and change the repeated event endings up. If the reader asks "did I see this before?" you succeeded.
Liminal spaces are transitional spaces. Think in between places emotionally and physically. When trapped here it feels wrong because you need to move on. Put fewer people where there should be more people or the reverse to make something feel off. You can also make a place a simulation.
Dopplegangers, exact doubles of other people, can create uncanny very easily. Simulacrum look or behave like an image. an example of this is in Dr. Who, where store dummies move. Put this in and you'll scare someone.
Direct communication can be uncanny. Who knew? Have a character speak their mind with dark thoughts. It can create atmosphere.
These are all techniques that don't always stray in the horror direction. Try it sometime.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
I'll give you a hint; it never happened on a bridge. Let's talk about the woman who murdered her husband over a bad game of bridge, and if there was more to it than a slap in the face in the middle of a bridge game.
Courtesy of sonofabandit.net
We're in 1929. A woman and her husband are playing bridge with another couple. The woman makes a bad call and the husband slaps her across the face, despite an audience. The game ends. The other couple goes home. The woman shoots the husband and gets off with self-defense after a trial of national popularity (1931). She lives on into to the 90s and the whole event fades into obscurity. Bridge Table Murder? What's that?
Today we're talking about it, not only because I need to know headline events from the 1930s for my time travel research, but also because I'm fascinated. Shout out to Jim, my coworker, for putting this on my radar. Thanks, Jim!
Some Background
September 29 in 1929 John and Myrtle Bennett played rubber bridge in Kansas City. They played with their neighbors, Charles and Myrna Hoffman. John Bennett was in the habit of slapping his wife in moments of frustration. When they started losing the game a bad bid was made, causing John to do just that after an argument broke out between John and Myrtle. The neighbors promptly left. It got to the point that John said he was spending the night in a hotel and leaving.
Pendergastkc.org
Myrtle got the colt .32 from her mother's room after all this. John went to have a word with her to find her armed. He ran into the bathroom and bolted the door. She shot through it twice, missing both times. He took the second exit into the hallway, getting to the front door only to get shot twice - and she didn't miss this time. This is the Bennett Bridge Murder.
The Trial Itself
This was a case where the woman got off for the murder. She even gave statements that didn't match previous statements. "Tomorrow I'm leaving town" was spun as "I'm leaving forever". Her story? That her husband had told her to get his pistol for his suitcase, only she stumbled into a chair and wounded her husband. He grabbed her arm to regain balance and it mortally wounded him. She also claimed he was emotionally abusive and cheated on her. One of those I believe, yet somehow, I don't think this was an accident.
Despite two bullet holes in a bathroom door and a body by the front door without a suitcase, she was acquitted. Despite four shots, two direct hits, it was deemed an accident. She got 30,000 dollars in life insurance on her husband.
At the time bridge was a big deal. What the hand actually was is debated because the cards went flying, but my sources did have what it might have been. If you care about that you can go through my sources for it. The newspapers then certainly cared more about it, to the point that some thought his poor play was justifiable for homicide. The point is that John did not play as well as he could have, though that shouldn't lead to two bullet holes.
Courtesy of pendergastkc.org
Conclusions
I don't think a simple game of bridge was the reason for this murder. Emotional and physical abuse was probably the more likely reason. Everyone has a breaking point and hers must have been that night. Some abuse victims do kill their abusers. The most horrible Agatha Christie deaths, not to mention the cruelest, were victims killing their abusers. Even in fiction the fact that an abuser can be murdered by a victim is present.
That doesn't make a murder right, but I do think some of her story added up - just not the story about the accidental shooting. This was no accident. She'd had enough. A smart woman got away with murder to ensure she'd never be abused again.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
I'm sure you've done it. Have you considered reading a series like Star Wars or Star Trek only to not know what book is even first? Here's the post you need to see. We'll dive into Star Wars, Star Trek, Dune, The Wheel of Time, and Ender's Game series to determine what order to read them in.
Courtesy of Abe Books
To restate what series we are tackling, we have Star Wars, Star Trek, Dune, The Wheel of Time, and Ender's Game. Two of these I wanted to read, but didn't know the order of. Finding the books isn't a problem, yet I'm afraid I'll pick up a book and be terribly confused because I picked up book five before I picked up book one. I'll go into each series individually, starting with a basic plot overview and ending with a concrete list, or link to a concrete list, of books in the right order.
Star Wars
We know the basic plot of the movies, yet here I am saying there is even more to explore. The main storyline is about Luke Skywalker and Jedi forces defeating the empire. The expanded world, and I do mean extensively expanded, creates many other storylines from before and after Luke Skywalker. I don't think a short paragraph would be helpful for mapping that, so I'm not going to try it.
The sheer amount of books is overwhelming. Someone before me took this topic and made a good article about it, thus you can click here for an ultimate guide. What I found was not a simple list of books one through whatever number. Instead, we have eras and a distinction between legend Canon and a newer timeline (2014 and onward). This is horribly confusing for me. I would like to have a list of what order and just roll with that. The closest I could find was this page, which has a list arranged by eras. Good luck, young padawan.
Courtesy of Giphy
Star Trek
In this series, many space explorers go where no one has gone before to both create diplomacy and fail at it (where the phasers come in real handy). It's set in the future with many alien races communicating openly with everyone else. Leaders such as Captain Kirk and Captain Picard made this series famous. I'm not even naming every leader at this point. The plot does not change with a new leader.
The movies are a big hit right now. I have no doubt that you'll find the books out there in library displays and bookstores everywhere. The series follows Paul Atreides while he travels the desert planet Arrakis for valuable spices that control the empire. It gets more interesting from there. It's an older story than you think. There is an older movie, too.
The series has more than one author. Frank Herbert has books, as well as Brian Herbert and Kevin J. Anderson. The link I found gives you Frank's books and then the other two authors. The list is included in this link. It isn't nearly as complicated to find the order of this series.
Courtesy of scriptshadow.net
The Wheel of Time
The plot is a complicated mix of time and powers. I'm not sure this book is something to be summed up in one sentence. I'm not worrying about it. You can google the basic plot and get a bit more information. I'm here to give you the order to read the books in. Maybe it is better, in this case, to just jump in and see if you like it.
You have fifteen books in the entire series. It isn't nearly as expansive as Star Trek or Star Wars. It had to be continued after the author died. Fortunately, the notes left behind clarified for the next author Brandon Sanderson. Below I have the titles listed. My source for this list is here.
1. The Eye of the World
2. The Great Hunt
3. The Dragon Reborn
4. The Shadow Rising
5. The Fires of Heaven
6. Lord of Chaos
7. A Crown of Swords
8. The Path of Daggers
9. Winter's Heart
10. Crossroads of Twilight
11. New Spring (prequel)
12. Knife of Dreams
13. The Gathering Storm
14. Towers of Midnight
15. A Memory of Light
Courtesy of insidehook.com
Ender's Game
This book follows Ender Wiggin, a gifted boy recruited into a military school to create leaders who can save them from aliens (Formics). This is a highly praised book in Goodreads ratings. I thought I'd have a concrete list when it pulled up a list right away. It also pulled up an article with three ways to read it.
After inspecting the article I've decided to give you the article link. To sum up what you'll find, you can read it in publication order, series order, or chronological order. All have a list below the categories. You have a choice.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
Today you'll see some of my 1920's research. Partly because I need content and partly because I need to watch more of these movies for speech patterns and reference. I'm hitting two birds with one stone, in other words. Sit back and enjoy my review of the silent film The Gold Rush starring Charlie Chaplin, released in 1925.
Courtesy of Letterboxd
The Gold Rush is a silent film, starring Charlie Chaplin, about the Great Gold Rush of Alaska. Below is my review of it, mostly because I need to watch it for research and partly because I want to watch it and need an excuse. The movie begins with a card talking about the gold rush. It is mostly visual comedy, cards with words, and piano music. You can't watch it with your ears while working. Visuals are the film. You miss everything by not looking up at the screen. Keep this in mind with all silent films.
Storytelling
As usual, they use music, cards with text, and silent acting to get all of it across. It proves you don't necessarily need words to get meaning to your audience. I honestly think we need to come back to this and revisit the talent of silent actors.
It tells the clear story of a hard winter for three prospectors out in the wilderness, then a return to get the gold. It has action and comedy. Oh, and a cute dog. It's mostly antics. The antics were mostly physical. The acting clearly tells the story.
Courtesy of IMDB.com
Later on, we see a woman come into play named Georgia, who lives in the town. Chaplin's character comes into the dance hall to see her. She has an unwanted admirer who gets really aggressive. She has no interest. She uses Chaplin to get away from the unwanted admirer. This is where the comedy gets a bit more ramped up, as his pants nearly fall down while they dance. A dog gets attached to him by a leash, then chases a kitten. The charming awkward protagonist gets the girl over the aggressive man at the end, when he is now wealthy.
Never once was I confused. Never did I question what was going on. I knew what happened purely on visuals. The comedy gags were all good.
Quality
Here we have the quality of the acting and the music. I'll also speak to the overall quality of the film and if I enjoyed it. The short answer is yes, I enjoyed myself. There was no moment that the acting wasn't on point. It was on point at every moment of the film. The action sequences were fantastic and the music always matched.
I need to take a moment and praise the action sequences. The fight scenes were excellent in the cabin. I loved those. They kept it interesting. It held my attention fully.
The music matched every single scene. It was impressive. Given this was often live music in theatres I'd like to see this live and not from a YouTube upload. I'd pay money to watch it.
I never got tired of the movie, not once. I was all in. Chaplin was so adorably sweet. His comedic antics hit the bullseye every time. I'd watch another any day of the week. It's the cutest thing I've ever seen.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
I'm writing a time travel draft. Because of this, I'll be buried in research for a while (and I love it). Also because of this, today's blog is all about writing time travel. Let's get into the time machine, shall we?
Courtesy of Daily Express
With a new genre for me to write comes new rules. Time travel is not to be written by the seat of your pants. You have to do the leg work for your setting, with some suspension of disbelief because time travel (as far as we know) doesn't exist. It is highly suggested you dive into the research further than you think you need to. Why? Because historians may pick apart your storyline. With alternate futures you have more liberties to take. It depends what you do and how you write the time travel methods.
Considerations and What to remember
You can let the story take you different places if you want (you just have to do work on the backend of it to fix other issues). Or you can outline it. It is up to you. It may work better to do some of both with a vague outline or two and a bit of wiggle room. At least make a timeline of what you intend to happen before you let the story take you somewhere.
You have the advantage of a modern take on historical times - because your protagonist is from the present (if they are, of course). A contemporary lense can be given to an older time through your protagonist. You have some liberties you can take here. Your main guy/gal is not from 1920 and won't think like they do. That, however, doesn't apply to the people he befriends in the setting. They grew up in 1920.
Find appropriate sources for your historical recreation of whatever time you write. Even if you twisted the time period because someone stepped on a butterfly, you could still use the research. Maybe the advertisements and magazines of the time, or even the movies, gave you more information than the news articles. Or maybe you needed to find the headlines to get the full picture. Either way, find what works.
Stargatetothecosmos.org
Set up the character before the time travel happens. We need to care what Joe Schmoe is all about and who he is before he jumps into 1893 to visit the world's fair. Don't skip setting up the conflict. Tell us what the conflict is before we step into the time machine or tap the pocket watch. Then we can enjoy the story without the time travel taking over our main character. We need characters to drive the plot, not the historical events or the time travel.
Similar to the above concept, keep the character arc front and center. This isn't a fully historical novel. Maybe we don't need to know what brand the whiskey is, or what every pedestrian is wearing. As you edit keep an eye out for what isn't a necessary detail. We care about the character most, not the time period. Besides, you probably didn't get it completely right; historians make mistakes. We don't have all the information on every time period. We are missing history in the timeline because it is buried under years of soil and we never lived it. You can take creative wiggle room.
Show don't tell. This is a given in any book ever written. Show something in action. Your audience will understand more than you think. If you have to tell a bit that's okay, but don't just explain in words and never show your audience a demonstration.
A ticking clock creates tension when you need it. My character is on the run, which is tense enough, but a time limit will be a great addition to your plot if you need more tension. Still not enough? Make them unable to use the device or portal. Setbacks in general are good for the conflict.
Major things to figure out first
What are the rules of your time travel? Start here before you write any scenes. You make the rules. You can create the device or machine to take you back or forward in time. What most people fall into includes the following: traveling backward, traveling forward, the gift of foresight, and time loops.
Time loops develop a character through repeated history in a continuous loop. Foresight and traveling forward tend toward morality issues. Whatever you want to do. Stick to the rules you create. It prevents plot holes and you don't necessarily have to explain it to your audience in exhaustive detail. See this link here to get some more stereotypes to start with.
What does your character know about the above rules? My character, for instance, won't understand that warning his friend of bad poisonous liquor won't halt his early death. Your death day is your death day in my storyline. It won't change anything to warn one of their demise date. The grave will remain the same. If someone knows a rule have them be consistent. If someone doesn't know a rule, same thing. Decide what they don't and do understand. Make sure what they understand is plausible.
Courtesy of Daily Express
Where are you going to drop your character and how many time periods? Who is he befriending? What is the timeline of the people around him/her? Keep track of who dies and lives at different years. Take into context what happens around that time in every era. Do the research.
Choose your device, whether it be a pocket watch, a car, or a telephone booth. How do we travel to 1925 or 1893? You have to create the device, create the rules, and be consistent. Portals are another way to travel that might work for your story, which can appear in anything from a suitcase to a doorframe. Catalysts are a way your character can get to different times, whether they have control of their destination or they simply wake up in 1924 after a night out in 2023. A disorder that flings you through time (The Time Traveler's Wife) is one such catalyst.
As long as you explain something right (even if you show something a character doesn't understand) anything goes. Show us how it happened. If we know the rules we can understand it. Yes, leave some information out as you need to, but don't leave your audience so lost they stop reading.
I wrote a book! I am delighted to say that I have 5 five-star reviews up on Amazon now, which is amazing. I hope you like it, too. If you're interested in buying a paperback, hardcover, or ebook version go to my website link in this blog or click here to go straight to my Amazon page.
Jack Thomas is running from a past case. He's hiding in Wrenville. Is his past case catching up with him?
Find out in my first book, Wrenville, a stand-alone suspense novel.
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