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1. Margie Lawson Extravaganza (Part 2!)

When I found out the awesome and talented Melinda Collins was headed off to Colorado to attend  Margie Lawson's Immersion Master Class, I absolutely had to convince her to swing by and tell us about the experience afterward. Of course, Writing Superhero Jami Gold had the same idea, so rather than stage an EPIC, lightning-sword-and-killer-unicorn BATTLE TO THE DEATH as to who got Melinda, we decided to share her. Isn't that nice? *beams*

As someone who purchased a Margie Lawson Lesson Packet on Body Language (thanks for the heads up, Stina Lindenblatt!) in the past, I can only imagine the value of a ML Intensive. So please, read on dear Musers. It's a long-ish post, but oh-so-worth it. AND, the talented Margie Lawson is going to award a lucky commenter with a FREE Lecture Packet! Trust me, YOU WANT THIS.


Immersion Master Class with Margie Lawson: The Experience, The Takeaways, The Lessons – Part Two


Thank you, Angela, for inviting me over today to talk about my recent experience in Colorado with the wonderful, talented, writerly genius, Margie Lawson, and her Immersion Master Class!
Because I have so much to share, this is actually a two-part blog post. Which means I’m also over at Jami Gold’s blog today as well with part one! *grin* And, as an added bonus, Margie Lawson will be over at my blog today, Muse, Rant, Rave, sharing even more writing technique goodies! *booty dance* Okay, enough dancin’ and let’s get to learnin’, shall we?

The Experience

Over on Jami’s blog I talked about the kinship and sisterhood that developed in our group. Here I’d like to share with you two additional elements of the class that made this a one-of-a-kind experience.
The first would be location, location, location! We were about two miles above sea level, and being that high meant cell service was practically nonexistent, which in turn meant we got to enjoy the peace and quiet tranquility of the Rocky Mountains. What more inspiration do you need if you look outside the window, or go on a short hike and see this?

The view from our 1st hiking trip

Pretty unreal, right? But this is exactly what every day was like for us. It wasn’t all work and no play. In fact, we went hiking twice during our time on the mountain. The first short hike gave us the beautiful view in the picture above, and the second, longer hike, gave us this gorgeous view:

The view from our 2nd hiking trip

So the experience was deeper than just learning more about yourself and your writing craft. It was about taking the time to enjoy your surroundings and find inspiration in nature.

The view from Margie's writing loft

The second element I wanted to share about the experience is the one on one time each of us got to spend with Margie. Every day, with pages in hand, we walked into a quiet, cozy room and worked one on one with Margie – an experience that will stay with me forever. By sitting down with her, one on one, you gain a certain understanding and perspective of your writing. You learn how to channel the genius editing that is her mind, and you see your writing in a whole new light. Every sentence, every word is purposefully chosen to pack a maximum punch for your reader, and during your one on one time, you learn more about how you choose those words and how you organize your sentences.
I can’t begin to imagine how I was editing before this class because now I feel as though I’m walking away with a particular sense of how to attack edits, how to look for the minor nuances, how to portray action scenes in a new and exciting way for the reader, and how to make my prose sing a beautifully cadenced tune.


The Takeaways

In part one I talk about what I learned about my style and where I want to be a year from now. Here I’d like to talk about group settings: why it’s important to work within a group where each person has the same purpose in their writing, and why it’s important to encourage and help other writers make their writing the best it can possibly be.

It's always important to take a break when editing to hike! ;)

When you’re in a group setting and everyone has the same purpose of making their MS NYT Bestselling-worthy, you’re sitting in a gold mine. This is why it’s so incredibly important to join a writing group where everyone is dedicated and everyone pushes you to strive, work, and think harder. Sure, writing’s a singular experience (unless you’re co-writing), but without that group of writers who share your struggles, your doubts, and your triumphs, you may not get too far. This particular experience brought that fact home for me. When I struggled in making a phrase powerful and pitch-perfect, there were four other writers there tossing ideas back and forth until we got it. I’m sure without them there I might’ve gotten 85% of what I wanted in the phrase, but that’s not enough. I want 100%. I want it to pack a punch. And I want the help of other writers who fill in the gaps of my weaknesses.

This is another reason why it’s important to not only be in a group setting with a common purpose, but also to encourage other writers and their craft. We thrive on the encouragement and the kudos we get from others like us. We hear of another writer who’s just finaled


Individually, we are one drop. Together, we are an ocean.  -- Ryunosuke Satoro

I got the honor of silly-stringing Amanda! Sooo much fun!!! :)

Quick note: While we were there, one of our Immersion Sisters, Amanda, actually did find out that she finaled in a writing contest with three scores of 99 out of 100!!!!! WOO HOO! How AWESOME is that?!? So what did we do to celebrate when we found out? We silly-stringed her of course!!!


The Lessons

Without giving away too much, here’s the back half of the top ten lessons I learned while in Colorado (as I said in the first post, there are many, many, many more):
1. Description: Description shouldn’t be on the page simply just to be there. Description should be on the page as it affects the character. When you’re writing description, think of how it affects your character in terms of their attitude and thoughts. If you had a character pull up to their childhood home, don’t just describe it as having paint-chipped shutters and a bright red door. Attach that description to your character. What does she remember about those shutters and that red door? Does she recall the many summers she spent helping her mother repaint the shutters? Does she recall being caught kissing a boy in front of the bright red door? If so, then why don’t you attach that description to those memories and make it a stronger, more powerful read?


Example from my MS:

I took a breath and walked out to the edge of the street. This house would represent the beginning of the rest of my life. I hadn’t seen the midnight blue, oceanfront home in so long, and it was now my home.

Because a home is a sense of trust, safety and love for my MC, I attached those feelings to the description of a place that is now her home. There’s more description of the house that follows this, but this is the one place where I purposefully showed how arriving to this setting affected my character.

2. Breaking Tension: Margie has an EDITS system that uses different colored highlighters to track story elements. One is tension. When you’re tracking tension and you notice a small – or big – area where you’ve broken the tension, you’d better go back to check the following:

     a. Check to ensure you intended to break the tension.
     b. Check to ensure the break in tension is not only needed, but that it works
     c. Check to ensure it doesn’t entice the reader to skim

I’m willing to bet there may be several areas where you didn’t intend to break the tension, you didn’t intend to invite the reader to skim, you didn’t intend to put a humor hit in the middle of a serious scene that shouldn’t be broken.

So if you break tension, make sure it’s intentional, it works, it flows, and it doesn’t bore the reader in skipping ahead to where the tension picks back up.

3. NO ‘ITs’ or ‘THATs’: I now have yet another new item to add to my editing toolbox/checklist: NO ‘ITs’ or ‘THATs’!! Okay, so obviously I don’t mean you can’t have ‘it’ or ‘that’ in your MS as at all. But what I do mean is don’t end a sentence with ‘it’ or ‘that.’


Example: 

Oh yeah, I’d considered that.

See what I mean? When I take this sentence out of context, you have absolutely no clue what the character meant by ‘that.’


Example without ‘that’:

Oh yeah, I’d considered Nick to be nothing more than an ant.

A-ha! So when I removed ‘that,’ I made the sentence stronger and more powerful! So the lesson here is: do a find for ‘IT’ and ‘THAT’ and restructure/reword each sentence/phrase that just so happens to end with one of those UNLESS having one of those two words 100%, unequivocally works!




4. Throw-Away Words (Tightening): Another important item to add to your editing checklist: throw-away words. This goes beyond the usual crutch words such as saw, felt, was, etc. Once of the techniques Margie teaches is taking a printed copy of your MS and reading through, line by line, and checking each line off to ensure it has a strong cadence. This ensures you don’t have any words in there that might trip the reader or the flow of the passage. As we all know, there are many other types of throw-away words that can tongue-tie the reader – which is another reason why it’s incredibly important that we get used to the sound of our voice, read everything aloud, and tighten, tighten, tighten.


Examples with Throw-Away Words:

After all, it wasn’t my fault their stories weren’t being told anymore.
I looked back at where he stood and touched my cheek.

Did I really need all those words? Nope.


Examples without Throw-Away Words:

It wasn’t my fault their stories weren’t being told anymore.
I touched my cheek.

See? I didn’t need after all and looked. Those were just two sentences! And between the two, I cut a total of nine words! By reading through my MS, line by line by line, and checking each one off once I’ve determined it’s a TEN, I will have a MS that’s tight, tight, tight! *booty dance*

5. Backloading: Ah… this is a fun one! But because there’s so much I could say about it and so little space in today’s post, I’m going to make it short and sweet. Backloading is where you take the most powerful word in a sentence, and you rework the phrase to pack that power at the end of the sentence so it resonates with the reader.


Example before Backloading:

And when we did see him, we never took a moment for granted, but that was before he abandoned us.

The most powerful word in this particular phrase is abandoned. When you hear it, you instantly feel for the character because you may know what it’s like to feel abandoned. So why not make it the last word the reader processes before they move to the next paragraph?


Example after Backloading:

And when we did see him, we never took a moment for granted. But that was before we were abandoned.

Not only did I ensure my power word was there to backload the phrase, I also split that large phrase into one semi-big sentence then followed it up with a shorter, powerful sentence.

Backloading forces you to look at the structure of your sentences and paragraph breaks. By examining each sentence with a finely-tuned, analytical eye, you’ll not only catch the instances where backloading will pack a punch, but you’ll also catch the areas where one larger sentence can be broken into two, shorter, more powerful sentences. Ha! I got two lessons into one on that one! *giggle*

Once again, I really, really, really want to encourage everyone to visit Margie’s site, purchase and read and absorb the lecture packets and/or enroll in an online course. After you’ve done that, I really recommend attending an Immersion Master Class yourself to fully learn not only these techniques/lessons, but waaaaay more! In all her courses, you’ll learn ways to add psychological power to your writing and how to write a page-turner that will keep your readers up until their spouse finally says, “Pleeeease come to bed!”  *giggle*

Before I go, I just want to say thank you again to Angela for having me over today and allowing me to share a small percentage of what I learned!

If this was your first stop, then before you pop over to either Jami’s site for more on the experience, the takeaways and the lessons, or stop by my blog for a quick lesson from Margie, think about the following: Do you have a place you can get away to? One that’s quiet, calm and inspiring? What about a writing group – do you have a group of writers that you can learn from, give kudos to, and share your triumphs with? Do you have areas in your MS that could benefit from tying description to emotion? Or what about areas where you’ve broken the tension unintentionally? Do you run through each of your lines and ensure they work 100% before moving onto the next?

Wow! Thank you Melinda for being so generous and sharing your amazing experience with Margie! I am a life-long learner, and I absolutely love to absorb as much as I can about the writing craft. Margie's lecture packets are packed with great information and I am thrilled to be able to give one away. So, if you would like to win, just comment below and leave some contact information. THEN, visit Jami for another chance to win a lecture packet and Melinda's for a crack at an online course with Margie! This is the BERMUDA TRIANGLE OF WIN, people!

Good luck & happy writing!

66 Comments on Margie Lawson Extravaganza (Part 2!), last added: 9/20/2012
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2. To Plot or Not to Plot?



Today, we're happy to welcome Melissa Donovan as a guest writer. Melissa is a website designer and copywriter. She is also the founder and editor of Writing Forward, a blog packed with creative writing tips and ideas.



To plot or not to plot—that is the question. 
Except it’s not a question at all. A novel, by definition, has a plot. The question is how to plot. 
Should you throw a few characters into an interesting setting and hope for the best, relying on your own creativity and intuition to make a story manifest? Or should you start by writing a detailed outline in which you summarize every scene in advance? 
Both techniques have been proven to work. Some novelists swear by outlining; they need to know where they’re going or their stories don’t go anywhere. On the other hand, discovery writers say that it’s no fun to write a story if they already know how it ends.
24 Comments on To Plot or Not to Plot?, last added: 8/17/2011
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3. Setting Thesaurus Entry: GLOBAL WARMING (Futuristic)

This post has been generously written by PJ Hoover, author (and Texas Sweetheart!) of the YA Dystopian, Solstice. PJ is also the author of the popular Forgotten Worlds Trilogy, a mythology adventure for middle graders. Here's a bit about her newest book, rated in the TOP 20 for Children's Love and Romance on Amazon:

Piper’s world is dying. Global warming kills every living thing on Earth, and each day brings hotter temperatures and heat bubbles which threaten to destroy humanity. Amid this Global Heating Crisis, Piper lives with her mother who suffocates her more than the chaotic climate. When her mother is called away to meet the father Piper has been running from her entire life, Piper seizes an opportunity for freedom.

But when Piper discovers a world of mythology she never knew existed, she realizes her world is not the only one in crisis. While Gods battle for control of the Underworld, Piper's life spirals into turmoil, and she struggles to find answers to secrets kept from her since birth. And though she’s drawn to her classmate Shayne, he may be more than he claims. Piper has to choose whom she can trust and how she can save the people she loves even if it means the end of everything she’s ever known.


Setting Notes from PJ: Living in Austin, TX which is notorious for extreme heat and very dry weather, I have a good sense for what defines hot. But global warming is not just about the heat. It’s about all types of environmental changes. And it’s about what would result in society if the weather got so stifling hot, sweat dripped from us within seconds of being outside. The temptation to make everyone live indoors is definitely present, but for SOLSTICE, I stuck with the firm belief that, even in brutal temperatures, people will want to spend time out under the sun.

Sight

Brightness of the ever-present sun, solar panels, thermometers, dead vegetation near the ground, tall trees reaching up toward the sun, dirt, cacti, rocks, dry creek beds, cockroaches (always), dome structure extending over city for use in extremities, public transportation instead of cars, greenhouses, misters, heat waves rippling over anything paved, shade structures, dead sea life, receding ocean levels, skimpy clothes, dizzying effect from dehydration

Sound

Sounds of electrical braking mechanisms on public shuttles, branches snapping as they fall from trees, kids/teens hanging around outside, weather reports on the news channels, sirens when heat reaches extremes, fans blowing air, eco-friendly A/C running and turning on/off

Smell

Asphalt from streets, scent of cooling gel, smell of sweat and body odor, eco-friendly A/C odor, humidity in the air, dirt, decay

Taste

Taste of misting gel, processed food as everything becomes in shortage (including fruits and vegetables, animals), fresh fruit grown in greenhouses, water (rationed)

Touch

Misting gel sprayed to cool masses, heat in air, heat soaking into skin, sticky sweat, air blown from fans or A/C units, gritty dirt, chemicals (as in for hand cleaning) as water is in shortage, shortness of breath from heat

Helpful Hints:

22 Comments on Setting Thesaurus Entry: GLOBAL WARMING (Futuristic), last added: 7/1/2011
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4. Author Janet Gurtler on VOICE + GIVEAWAY

I'm thrilled to have good friend and YA Author Janet Gurtler here today. Janet's newest book, I'M NOT HER is a compelling story of sisters. A terrible cancer diagnosis forces Tess to reevaluate her complex feelings for her perfect sister as she's pushed into Kristina's popularity spotlight both at school and at home. Forced to carry an unfair burden of responsibility as her family's strength crumbles, Tess must fight to remain herself and let her own light shine.

Voice is a huge component of I'M NOT HER, allowing Tess to stand out amid such devastating circumstances, and so Janet is here to share thoughts on this critical, yet complex, element of fiction.

JANET: One thing I heard a lot in the beginning phases of my writing journey (and still hear now) was how important voice was to selling a novel. How imperative nailing voice is to writing a good story. Editors and agents often speak about how they’re looking for a strong voice. Well, I thought back then, I can easily do that. Right?

Of course, first I needed to figure out exactly what this elusive voice thing was. And soon I discovered nailing voice often requires extensive research and always requires careful thought about who your characters are. And how you write best.

VOICE. 

It’s the way a story is told, a distinct style of writing. Maybe you use short choppy sentences and lots of sentence fragments (Hello, Me!) or perhaps your voice sings with long lush prose. The voice creates a tone and the author conveys their own voice in the manner they write in. Clear as my son’s fishbowl that he hasn’t changed the water in for three weeks?

Voice also helps elicit emotion from the reader and sets the mood. It’s not so much what you say, but HOW you say it. There are intelligent humorous voices in Young Adult fiction, like John Green. There are lush literary voices like Malinda Lo. Discovering who you are as a writer and being true to that is part of finding your own voice.

Voice pulls readers into a story by making a story real, no matter what the story is about. Real applies to paranormal and dystopian fiction as well as contemporary. Voice makes characters leap off pages and come alive in a reader’s mind. Voice conjures up vivid, visual settings and invites readers along for the ride. How do you show that to your reader?

Take a moment to listen to the voice in the opening of Libba Bray’s book, GOING BOVINE:

“The best day of my life happened when I was five and almost died at Disney World. I’m sixteen now, so you can imagine that’s left me with quite a few days of major suckage. Like Career Day? Really? Do we need to devote an entire six hours out of the high school year to having “life  counselors” tell you all the jobs you could potentially blow at?”

That small passage is ripe with voice, both Libba’s voice and the voice of her narrator, a sixteen year old boy named Cameron. Right away we kind of get a sense of who Cameron is because of what he tells us and the way he tells us.

Voice embodies the way a character speaks. What they say as well as how they say it. So voice is partly how a character sees his world. A fifteen year old boy does not have the same reacti

20 Comments on Author Janet Gurtler on VOICE + GIVEAWAY, last added: 5/15/2011
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5. Setting Thesaurus Entry: MINDSCAPE

This post has been generously written by Marian Perera, author of Before the Storm, Book 1 in the fascinating Eden Trilogy. A compelling blend of romance, high fantasy and intrigue, Before the Storm is a thrill ride that also provides a unique setting experience for readers. Click HERE to read the first chapter (and do check out Marian's blog--it's one of the best out there for Fantasy writing technique!)

BEFORE THE STORM: In Dagran society Alex is a "mare", a woman used by the nobility, until her owner gifts her to his greatest enemy, Robert Demeresna. Robert wins her trust, but this mare is a Trojan horse, her owner's weapon in the battle to come. A battle fought with steam engines on the fields of Dagre, and psychic magic in the arena of her mind.

Setting notes from Marian: What is a MINDSCAPE?

Just as a landscape is physical, a mindscape is mental. It’s virtual reality in a fantasy setting. Since it is formed from thought or imagination or psychic magic, a mindscape has few boundaries other than its essential unreality, but that doesn’t make it safe. Just as characters can lose their way in the physical world, they can lose their sanity in this one.

Depending on the story, a mindscape could exist entirely within one person’s mind, or it could be a shared place that anyone can enter (though not necessarily leave). It can be a location characters visit involuntarily in their dreams and nightmares, or it can be a manifestation of magic used to give people an interesting setting in which to meet or battle with each other mentally, like the holodeck in Star Trek.

A mindscape would be shaped by the imagination of whoever uses or controls it, and would reflect their emotions, personality or needs. Personal symbolism is a good way to show this. If the protagonist routinely steps into an imaginary banquet-hall where tables creak beneath full platters, he’ll probably be quite different from someone who prefers a calm, empty seashore.

As a result, a mindscape can be very individual, not to mention designed for the time period and technological level of almost any type of speculative fiction. My novel takes place in a medieval world, but the mindscape can be adapted for a steampunk or futuristic setting as well (where it might feature Rube Goldberg devices, searchlights, computer screens, metallic mouths spitting out ticker-tape, small spheres rolling across floors to eat any debris, etc).

A mindscape can be bizarre and twisted, but it should be fascinating as well, to entice people to enter it in the first place and to stay longer, perhaps their whole lives long. It will be a mindfield – vivid, unique, and confined only by the writer’s creativity.

Sight (outdoors)

A maze
A well (possibly a wishing well)
Mirages and other optical illusions
Mosaics that may or may not form an image
Fountains with too-realistic statues of animals, water pouring from their open mouths
Trees – some dry and twisted, some heavy with fruit
Crows perched on blank signposts
A moon or moons of a different color or shape
Clouds or mists that drift slowly along the ground
Strangely shaped footprints or paw prints on the ground<

14 Comments on Setting Thesaurus Entry: MINDSCAPE, last added: 2/22/2011
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6. Setting Thesaurus Entry: Trailer



This post has been generously written by Linda Clare, author of the The Fence My Father Built.

Linda grew up in Arizona, where trailers are about as plentiful as cactus. As such, we're proud to host her as the resident expert.





Sights:
Outside
Homemade wooden steps leading up to the door; sleek silver tube on wheels (Airstream); concrete block holding up the trailer hitch; corrugated aluminum skirting, concrete blocks where the wheels used to be; trailer hitch; clubhouse with laundry room and a pool;  screen doors; senior citizens wearing visors, walking little dogs; white siding with avocado green trim, rust stains from rain streaking the trailer’s siding, postage stamp-sized yards with lined with crushed red lava rocks or white quartz; a sea of trailers dotting sand dunes; Added-on porches with fiberglass roofs, carpeted with green Astroturf, festooned with wind chimes and whirl-i-gigs; “overcab” camper on blocks in neighbor’s backyard; luxury fifth wheel with pull-out porch and satellite antenna; KOA campground with concrete pads and electrical outlets; trailer parks with double and triple-wides that don’t look like trailers; muddy paths between trailers; aluminum awnings over the windows; tiny “tear drop” trailers that fold into tent trailers that sleep six; hibachi sitting outside the door.

Inside:
Low popcorn ceilings; walls of thin grooved dark wood paneling, table that folds against the wall, hallways so narrow you have to turn sideways to pass each other; bed that takes up the entire room; extra bunk over the living room sofa; tiny bathroom, toilet that doesn’t really flush; bathtub so small you’d have to sit with your knees bent; propane stove with two burners and no oven; half a refrigerator; rubber bands on the paper towel roll; floor moves if you jump up and down; green shag carpeting from the 1970s; breakfast nook with cracking vinyl seats that convert to a bed; built-in compartments for food, clothing and linens; built-in TV sets, lamps and other electronics; matching designer furniture of better quality than found in many regular homes; shaking walls when the washer spins, steam billowing from the dryer vent.

Sounds
Creaking of the floor when you walk; hearing the neighbors whether you want to or not; Pomeranians, Chihuahuas, Yorkies and other small dogs barking incessantly; country-western radio stations; trucks grinding into gear; laughter of old men from the pool

18 Comments on Setting Thesaurus Entry: Trailer, last added: 1/28/2011
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7. Setting Thesaurus Entry: Tropical Island City

This post has been generously written by Janice Hardy, author of the Middle Grade Novel, Blue Fire, book two in the Healing Wars Trilogy. To see her excellent method of using setting to enhance conflict, I highly recommend checking out Blue Fire.

Wanted for a crime she didn’t mean to commit, Nya risks capture to protect every Taker she can find, determined to prevent the Duke of Baseer from using them in his fiendish experiments. Nya soon realizes the only way to protect any of them is to flee their home city of Geveg. She finds herself trapped in the last place she ever wanted to be, forced to trust the last people she ever thought she could. To save Geveg, she just might have to save Baseer—if she doesn’t destroy it first.

Janice's Entry Notes on Setting:

As a fantasy writer, setting is a critical part of the story. In The Healing Wars trilogy, it also plays an important role because my protagonist’s city of Geveg is being occupied by the forces of their enemy, Baseer, and that occupation colors how my protagonist feels about things. Point of view is a great way to use setting details in that not only tells a reader what things look like, but how the protagonist sees them. Setting can help flesh out your characters as well as your world.

For this exercise, I’ve pulled details from the city of Geveg as well as the city of Baseer. Geveg is an island city with canals (very Venice-inspired), but set in a tropical climate. It’s a made up in a fantasy world, but hopefully the flavor of the city and its people comes through form the words I chose to illustrate it. The occupied nature should also be apparent. Baseer is a very different city. Much larger, crowded, bright and cheerful, even though my protagonist doesn’t see it as cheerful. To her, it’s the enemy’s domain, and her fear influences what she sees. The things she notices are things that she doesn’t see much (if at all) in Geveg, so they stand out to her. The military nature of Baseer should show in those details.

Sight

Geveg: Canals, water hyacinth, isles, palm trees, graceful stone bridges, wide streets, hibiscus, crocodiles, chickens, broken chicken coops, shimmering lake, water, reed sap, lak eweed, market crates, marsh farms, Healers’ League, spires, domes, arches, apprentices, Elders, wards, pain merchants, enchanters, Takers, Healers in green uniforms, dock, harbor, ferry, skiffs, fishing boats, ropes, nets, traps, lake gulls, mangoes, bananas, fishcakes, sandals, Sanctuary, copper gates, wrought iron fences, river rock walls, townhouses, villas, boardinghouses, weeds, refugees, night guards, soldiers, silver and blue uniforms, rapier, swords, knives, pynvium weapons, orphans.

Baseer: Gold stone walls, guard towers, military fort, ditches, barracks, soldiers, blue and silver uniforms, trackers, Undying, Takers, wide iron gates with guards, reward posters, narrow streets, vendor carts, too-bright tiles, colored window sills, colored fake shutters, tattoos, snakes, monkeys, cats, street pack, braids, beaded vests, garish patterns, boots, rugs, fountains, lizards, guinea fowl, marsh ducks, pears, aqueducts, plaza, foundry, palace, villas, aristocrat estates, jails, gallows, cheese-stuffed pastries.


Sounds

16 Comments on Setting Thesaurus Entry: Tropical Island City, last added: 10/12/2010
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8. Setting Thesarus Entry: Egyptian Pyramids

This post has been generously written by Leslie Carmichael, author of the Middle Grade novel, The Amulet of Amon-Ra. Jennifer's fascination with Egyptian culture becomes more real than she can imagine when the gift of a scarab amulet sends her travelling back to Ancient Egypt. Trapped inside the body of a girl named Dje-Nefer, Jennifer must immerse herself in this mysterious new environment,

8 Comments on Setting Thesarus Entry: Egyptian Pyramids, last added: 6/1/2010
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