Excerpt: The Stressed-Out Girl’s Handbook

Just to offer up proof to my poor readers that I have actually gotten some writing done lately, here’s the first chapter of the third book in The Handbook Series, The Stressed-Out Girl’s Handbook.


My head fell into my hands after I ended the call, thinking for the dozenth time that day that I simply couldn’t add one single more thing to my plate without my head exploding.

The resident-side door opened to the office and Sara walked in. A visit from my favorite resident and friend usually put me in a better mood. The guilty expression on her face said this would be a rare exception.

“Hey, Aspen. I need a small favor,” she began, “if you can squeeze it in tomorrow. I know you’re getting ready for classes to start Monday, and I wouldn’t ask if I had any way of getting there myself.”

I cringed internally, but Sara was the only reason I’d passed calculus last semester and I knew I would do whatever she needed of me. “Of course. What is it?”
“Monroe and I are booked all afternoon tomorrow checking out reception venues,” she began.

Frowning, I couldn’t help interrupting. “I thought you picked a place months ago.”
Sara sighed. “We did. And then a pipe burst and it flooded. The damage was pretty bad and they said there’s a chance repairs won’t be done in time, so we’re scrambling to find a new place.”

The more Sara got into planning her and Monroe’s wedding, the more I wanted to stay far away from marriage for the foreseeable future. “I’m sorry, Sara. That really sucks.”
She shrugged and shook her head. “Something was bound to go wrong. At least we still have a few months before the invitations have to go out.”

For a moment, she seemed lost in her thoughts, probably mentally running through the checklist she reviewed constantly to make sure she wasn’t overlooking something.

“So, what did you need me to do?”

Startled out of her thoughts, she chuckled. “Sorry, yeah. The photographer we booked wants to take a look at the church we’re holding the ceremony in to take some pictures and plan everything out. The only day the caretaker is available while the photographer is in town is tomorrow afternoon, of course. He won’t let the photographer wander around unescorted, and he’s too busy to do it himself.”

“What time?” I asked, trying to keep the wariness from my voice.

“Two,” Sara said in a tone that was hopeful the time wouldn’t be a major inconvenience.

I held back a sigh. “That’s totally fine.”

It wasn’t, but I would figure out how to make it work.

Sara leaned over the dividing wall and hugged me. “You’re a lifesaver!”

“No problem,” I said.

Sara didn’t catch the drop in my tone. After hurriedly giving me the address and contact info for the photographer, she rushed off to meet Monroe for some other wedding planning task. As soon as she disappeared form view, I sank into my chair.
My last weekend before the fall semester started was supposed to be relaxing. I’d even turned down invites from friends and classmates to go out and let loose a little before having to bury myself in lectures and assignments again. Ten minutes after I’d so no to a weekend of drinking and dancing, the calls, favors, and unexpected tasks had begun pouring in. I wasn’t even sure where I was supposed have time to eat at this point.

Plopping my chin onto my hand, I stared at the clock. Half and hour to go until the end of my shift. At least I would have the rest of the afternoon to catch up on cleaning and grocery shopping. I hated starting a new semester already feeling like I was behind. Sadie would be gone all weekend, thankfully. As a roommate, she wasn’t the worst, but she was far from the best either. If I didn’t get the apartment settled this weekend, it would be Christmas break before I had time to de-Sadie the place. Tidiness was not her best attribute. Neither was being quiet while endlessly playing video games.

The office phone rang and I snatched it up. The well-practiced, polite and cheerful greeting I’d perfected over the last year, spilled out of my mouth.

“Aspen,” my boss Archie said, “Cameron called in sick. I need you to stay until six.”
I balked, an absolutely not parked on my lips. I’d already covered for him twice over the past two weeks, and I had no doubt his illness was called going out to party with his friends.

“Is that a problem?” Archie prodded.

“No,” I said, deflated. “I’ll stay.”

“Great. Thanks.”

He ended the call too quickly to hear my sigh. Cameron had worked here two years longer than I had, and despite his spotty track record of showing up on weekends, holidays, or nights when he’d rather be doing something else, Archie never made a big deal about his absences. Part of that was because I had never failed to cover one of Cameron’s missed shifts, but I suspected it was also because he reminded Archie of his grandson.

The fact that I was stuck here for another five hours meant I had plenty of time to make the call knew I would need to make after Sara’s request. I stared at my phone. Texting would be easier, but pointless. She’d never see it. Even if by some miracle she did see a text from me, replying was out of the question, so I would never know whether or not it had been received.

Phone call it was.

I unlocked my phone and immediately felt like it was mocking me. My call history was still up, the number I needed to call at the top of the list, as well as the next in line, and the next, and the next. She wasn’t going to be happy. I’d already agreed to help Sara, though, and that was more time sensitive. Not that she would see it that way when I told her I would be delayed.

The number stared back at me for several more minutes as I choose my words. By the time I finally made the call, I had rehearsed both side of the upcoming conversation and dreaded it even more.

She picked up on the third ring.

“Aspen, is everything all right? You’re still coming, aren’t you?”

Weariness spread through me at her panicked tone. “I’m still coming, but I’ll be a little later than expected.”

“How late? I need you here.”

She didn’t. Not really.

“Half an hour, maybe an hour,” I said. “I’ll be there, though. I promise.”

“But…”

“You’ll be fine.”

“You don’t know that,” she argued.

I did, but saying so wouldn’t make this conversation end any quicker.

“It will be fine.”

She gulped in a worried breath. “I’d really rather you came at noon.”

“I can’t. I don’t even get off work until one. I already told you that.”

Her fear and frustration were almost audible. “I don’t like changes. You know that.”

Boy did I ever.

“I’ll be there as soon as I’m done to check in on you, okay?”

Several seconds passed in silence. “Are you sure you can’t come earlier?”

“I’m sure.”

She sighed so long and deeply that I couldn’t resist rolling my eyes. “I’ll see you tomorrow, okay?”

“Okay.” Her voice was morose, her single-word response stretched out.

I offered a quick goodbye and ended the call.

Tossing the phone down did little to ease the mounting stress. It was settling behind my eyes, promising a headache that would linger. I was tempted to lay my head down on the desk, nap and hide from any additional problems.

The office phone rang. I groaned out loud and glare at it before snatching it up.

“Manager’s office. How can I help you?”

“Um…there’s water pouring out from beneath the kitchen sink.”

Creating consistent and engaging tension that will keep the reader’s attention

Tension is key to keeping the reader interested!

Tension is what keeps a reader interested in the progression of the story. If the reader doesn’t feel any concern about how the story will end, they will lose interest. Below are some tactics for creating tension.

Character-related tension: When developing characters, there must be points of tension built into their character arc. This often includes goals they will struggle to reach, important consequences or stumbling blocks they will face, personality traits that lead to choices that hurt themselves or others, or backstories that create barriers to success.

In my Destroyer Series, Libby Sparks knows her inquest will reveal secrets she been trying to keep hidden her entire life. In the chapter leading up to inquest, her thoughts are consumed with what will happen once she’d revealed, and whether she’ll survive the night.

Opposing goals that create tension: A single character may have opposing goals (high profile career and stable family life), or multiple characters may have opposing goals that interfere with the other person’s goals (both want the same partner or job). This doesn’t have to be just in the form of the protagonist/antagonist. Characters involved may go back and forth between the two roles.

Sanford and Dahlia have opposing goals in the opening of Life & Being. Sanford is determined to reconnect with Dahlia and warn her of increased police activity on campus after witnessing a suspicious exchange between and another student. All Dahlia wants is to be left alone with her secrets until she can escape her father and his ever-tightening control. Their goals start to align once they both start to realize nothing either of them believed is actually true, but their early opposition creates a great deal of tension between them on all levels.

Raise the stakes: As soon as a character reaches a milestone, present a new complication to reaching the next one. There should, of course, be lulls between points of tension to give the reader a break, but the overall tension should continue to rise as the story progresses toward the climax. When outlining, be sure to pair every step toward development with a stumbling block.

Eliza Carlisle can’t get a break from the stakes being raised in any the mysteries she’s involved with. After spending five years in hiding, she comes to New York to attend culinary school (a major milestone for her!) only to realize she’s moved into the most bizarre building in the city. Just as she makes peace with the fact that she can’t afford anything else, a neighbor turns up dead.

Question-related tension: Never make the path to success or the HEA so obvious that the reader never questions it. Problems and complications should push the reader to ask how the character will resolve or overcome a challenge. A unique story arc should always have the reader questioning how the characters will reach the end, even if they “know” it will end happily.

Everything Kate says or does creates questions for Sam in Torino Dreams. Her past is a mystery, as are her sudden disappearances. Even when she finally begins to open up to Sam, more questions arise about how she can possibly survive what’s coming after her and her adopted son.

Tension though internal/external conflict: Most stories need a balance of internal and external conflict. As a character overcomes an internal conflict (establishing self-confidence), present an external one (a parent is diagnosed with an illness). Allow flaws and weaknesses to complicate the character’s path of development by letting them make bad or hurtful choices. This forces them to reevaluate themselves and their goals or priorities. External conflict takes the story out of the character’s hands, briefly, and puts the focus back on the story arc.

In The Crazy Girl’s Handbook, Greenly faces both types of conflict in order to keep the tension (and laughs) going. Argeeing to babysit her nephews puts her face-to-face with blind date she bailed on, thanks to her sister’s games. She not only has to battle her own self-perceptions and fears about relationships, the universe seems out to get her with one mishap after another, including Roman’s angry ex-wife.

Remove filler to improve tension: Evaluate scenes for their relevance and importance. Lulls in tension are important, because they give the reader time to process and think about the characters and story between points of tension, but if a scene is merely filler and accomplishes neither tension nor contemplation, it will only slow the tension to the point that readers might lose interest.

Withholding information to create tension: Only give the reader as much information as they need in a scene to understand it. Hold back enough to urge them to keep reading and get to the next scene. This is especially important with revealing backstory or mystery/suspense elements.

Uriah and Claire spend almost the entire Twin Souls series dealing with withheld information. Their tribe’s myths and legends are a part of their heritage, but they discover step-by-step that most of what they grew up believing are either lies or have been twisted to mislead. The reader leans bits and pieces along with them, unraveling the mystery of Claire and Uriah’s bond one page at a time.

Time-related tension: Putting a deadline on a goal creates an overarching tension. Don’t just set a deadline and forget about it, though. Find ways to remind the reader of the deadline AND what’s at risk if the deadline isn’t met.

Date Shark Eli Walsh is put on a deadline when his friend Ana discovers he’s falling for the woman she asked him to help by acting as her dating coach. If he doesn’t fulfill his promise to Ana, she’ll end her friendship with him and make sure Leila cuts him off as well.

Wicked Hunger, book 1 of Someone Wicked Series

Use pacing to improve tension: Be aware of pacing when considering tension. A scene only needs to last as long as it takes to relay information and provide character/story development. Start and end with action in each scene and skip the day-to-day elements that don’t add anything. Also, match the scene length to the type of tension. High tension scenes tend to be shorter and more explosive, while scenes that reveal something slowly are usually longer and build progressively.

The Someone Wicked This Way Comes Series is filled with tense battles and moments of contemplation while Zander and Vanessa Roth struggle to control their frightening powers and learn the truth of where they came from. Where the battles are intense and concise, the moments where they’re investigating or exploring their love interests give the reader time to take in the information more slowly.

Off to enjoy the holidays!

warm-and-cozy-1975215_1280

I hope everyone is enjoying the holiday season and getting a little time off to spend with friends and family! I’m off most of the week to spend time with my hubby and kids, so no other blogs this week, but thank you to all my readers for your support!

If reading is in your holiday plans, I have a gift for all my readers! Grab a FREE copy of one of the books below on Smashwords using the promo code paired with each one.

What Had to be Done: ZN49G

WHTBD front

The Oblivious Girl’s Handbook: BX93D

Oblivious Girls Handbook

Life & Being: NA84Z

Life and Being