Tag Archive | c desert rose

New Release: Concordant Vibrancy 4 Inferno

Greetings, one and all!

If you’ve been following along this past week and a half you probably already know that this is the day that everything has been leading to.

During day one we introduced you to the ingredient of Purpose. Adonis Mann brought up, “Express-Oh”.

Day two we took a look at Commitment via Carol Cassada’s contribution, “Not Always Like This”.

On day three it was all about Consequences; we delved deep into this ingredient via Harmony Kent’s story, “The Fireman”.

Day four examined Love with Beem Weeks’ tale, “The Complications of Fire”.

Day five was overtaken by the ingredient of Reinvention as told by C. Desert Rose’s story, “Calliope’s Inferno”.

Day six told us that Tenacity was an important ingredient no matter what the circumstance through Y. Correa’s, “Moxy”.

Day seven touched on how the ingredient of Risk can be as scolding as any through Synful Desire’s, “Antipode”.

Day eight cleverly showed how Conviction was as good ingredient as any to keep the fire roaring. Da’Kharta Rising showed us how in “The Chronicles of Aidan”.

And last but never-ever least, Queen of Spades indubitably demonstrated how Empathy is the most powerful of ingredients when maintaining our soul’s fire burning in, “The Calefaction of Insight”.

Now that the picture has become clear and Inferno’s stew is bubbling, come serve yourself us a bowl. Come get your copy of, “Concordant Vibrancy 4: Inferno”.




C. Desert Rose: Reinvention

Hello Everyone!

Welcome to Day 5 of the Concordant Vibrancy 4 blog tour. Today’s guest is C. Desert Rose, who stopped by to discuss the theme of reinvention in her story.


The Wagon Wheel Watusi …? But, WHY?

Let me ask …
Can we really dance to the beat of a new tune and in so doing find a new way of life?
What brings out the best in people if not the ability to overcome adversity and in the process discover the things that we had inside us all along?
Inner strength, I believe, comes from the opportunity to find that which is hidden inside and bring it to the surface for all to see. But I think I am getting ahead of myself.


First let me introduce you to Calliope.
Calliope is the everyday girl that we all know. The fun, funny, awkward, kind but not stupid girl next door. She is confident in somethings and a hot mess when it comes to other things. She is quirky, aloof, but loves who she loves. Calliope is you and me.
More than that, Calliope has a unique way of looking at the world. She sees it through the lens of Dante, the famous poet who wrote “Dante’s Inferno”. This is how Calliope assimilates the world, how she processes things, events, and more than anything, the people she loves. Her eternal besties.
After breaking up with her long-time boyfriend Calliope finds herself in that mental limbo that we all know very well. That place of, “What the hell am I going to do with myself now?”
Throwing caution to the wind in a moment of asinine misadventures—or so she believes—Calliope joins a dance class. This is something she regrets deeply after the fact but now it’s too late and, well … c’est la vie.
What Calliope doesn’t expect is the outcome of such a rash decision to be exactly what she needed all along.
“Calliope’s Inferno” brings you a fun cast of characters, an upbeat and down to earth story, and something that we can all relate to.
If the theme question is “What are the ingredients to a sustainable blaze?” I believe that Calliope answers that question in the form of a relatable and idiosyncratic tale that’ll keep you hooked.
Now, without wanting to ruin the story for you, I’ll leave you with a tidbit of an excerpt for your enjoyment.


It had been approximately six months since I’d broken up with Thomas Mason. Thomas and I had been together for three years. Those were the best and the worst three years of my life. Our union was the existential “vicious cycle”. We fought, we made up, we had makeup sex and we did it all over again the next day for three whole years.
Finally, I had enough.
I haven’t the faintest clue what our last fight was about but not even the makeup sex helped anymore. I felt empty. Like, I had nothing left to give. And so, deciding that throwing in the towel was more of a life saving factor then continuing to brawl, I said “enough”. I packed Thomas’ things, put them on the curb, changed the locks and left him in Fate’s deserving hands.
There was, however, a downfall to not having a poisonous relationship to occupy your time.
I was bored.
With nothing to do other than work and talking to the girls I opted to join dancing class. The dance of choice? The Wagon Wheel Watusi.
PS: Thank you, “Burlesque”. Oh, dear God.
The facepalm that inevitably followed was out of my control.
Dante, for the love of God, please help me out of this one.
Why that particular class appealed to me, I could not say. I think it was the combination of the image of Christina Aguilera at her finest along with the sound of the catchy name, if for no other reason.
Low and behold, I was caught off guard with a surprise that almost made me want to drop the class altogether. A couple of my classmates were none other than the Ricci twins. Stefania had regrown her luscious locks by now and Stefano had grown into a muscle-bound meathead.
“Oh my God, Cal! Look at you all grown up!” Stefania said as she swept her hair from her shoulders. The fake smile did little to divert my attention from her toned body and long legs. It only reminded me of how much I hated her.


Para-Con with Rose & Carol Part 3


Hello everyone and welcome to Part 3 of Para-Con with Rose & Carol. Today our focus will be dialogue and backstory.

Two every basic elements, yet you would be surprised to know that it isn’t something some writers even think about. Yet, it plays an enormous role in the world of proper storytelling.

Without the correct dialogue and backstory a story can easily fall through the crack.

Before I keep going, I’ll allow my buddy Carol Cassada to say hello.

Hello everyone.

I hope you’ve enjoyed Para-Con with Rose & Carol.

We’ve touched on a lot of stuff, everything from heroes to heroines to settings. Now, we’re delving into the nitty gritty of the story.

We’ve got a lot to discuss, so Rose I’m ready whenever you are.



Once, not too long ago—about a year or so—I picked up a book that claimed to be historical, yet in the dialogue and backstory one wouldn’t have realized. Had it not been for the blurb, I wouldn’t have automatically understood that this story was supposed to have been based on WWI.

When I started reading the story I was expecting the characters to speak with the term and slang that they would’ve back in that time. Something like, “My chum and I went to see that blighty down the street, ‘cause he was knockin’ around my other buddy. We wiped the floor with him like a strip of bumf paper for my bum.”

Translated into modern verbiage this would mean, “My friend and I gave this foreigner near by a visit because he beat up a friend of ours. We pummeled him to the ground, wiping the floor with him as if he were a strip of toilet paper on our butts.”

SIDE NOTE: I apologize in advance for the violence of the above, but it was the best example I could give.

Back to what I was saying … so instead of the characters in the story speaking more like the former, they actually spoke more like the latter. It just didn’t seem realistic to me. I’m a firm believer that a story MUST have all of the elements that signify the time that they are representing. Most of this happens in the dialogue.

A great example of this is my Fate’s Endeavor Collection.

I use angels and demons as the primary element in the collection. It is a common belief that these deities are as old as time itself. If that’s the case, then they WOULDN’T sound anything like you and I.

Some time ago a fellow author did a character interview on Gabriel, the villain of If Death Should Love Me. That character interview was the perfect means of demonstrating how both dialogue and backstory work together. You can see it here:

If angels and demons are as old as time itself, wouldn’t they speak in a very cryptic way. Also, I would assume that they would be blatantly honest, as they have nothing to lose otherwise. They’d be powerful, even in their speech pattern and tones. They’d be majestic, showing that through their words. They would be transcendent and it would be their language.

So, implementing these key elements in the way the characters communicate is imperative to making the story realistic.

How about for you, Carol?

Rose, I’m laughing so hard at your toilet paper example.


But I agree with you about how the dialogue should reflect the time and characters of the story.

With my stories, everything takes place in the present. So it’s important the dialogue reflect the time.

For instance, I like to spruce it up having characters mention current trends or use slang terms such as chillax and yolo.

While these words are a good representation of the time, you’ve got to be careful with which character uses them. Younger characters like Westmore’s Alicia and Scott can get by with using this language. Yet, you wouldn’t find a rich snob like Andrew Braxton using these slang terms.


A powerful character is nothing, if he/she does not have a believable backstory. Backstory can be told in many ways; through flashbacks, through narrative, through character conversations. Just about anything in a book can establish a good backstory. The most important thing an author can use to give the character viability and substance is to give him/her a probably backstory.

What is backstory?




noun: backstory; plural noun: backstories; noun: back-story; plural noun: back-stories

  1. a history or background created for a fictional character in a motion picture or television program.
  2. similar background information about a real person or thing that promotes fuller understanding of it.

When creating a viable backstory to a paranormal character it is important to consider some things.

  • WHAT TYPE of mythical character are you writing about?
  • How old is the character?
  • What does history dictate about the time/age in which this character was ‘born’. Using the word born loosely, of course.
  • How can true past events be applied to this character’s history to make his/her life more plausible?
  • What is the most practical way of narrating his/her history in the story?

Once you’ve figured all of these things out then you have the right tools to put together a believable paranormal backstory.

Trust me when I tell you that backstory is one of THE, IF NOT THE, most important elements in executing a good and credible fictional story.

A great example is the history of Zita and Roman from Demoness Enchanted. You see, they are both still very young, but it was their parents who gave Zita and Roman the necessary substance and backstory that they needed in order to reach their prime potential and make the story more profound. Everyone knows that family drama is the best method of establishing a feasible means of current conflict. It was through Zita and Roman’s parents the their current hardships were founded.

Backstory at its best. 😀 LOL

Carol, how about for you?

Rose, you hit the nail on the head about the backstory being an important element.


The backstory not only gives you a glimpse into the character, but it also sets the stage for the story.

With the Westmore series, it was hard because I had twenty characters to write backstories for.

Even though I had my work cut out for me with the Westmore characters, it was also fun to write. I have a variety of characters, everyone from the CEO to the rockstar to the bar owner. Each character in the series has their own individual storyline, so it was great creating their backstory to explain how they reached this point in their lives.

A good example is Andrew Braxton, who’s sort of the villain of Westmore. He’s a very domineering businessman, who resorts to devious tactics to get what he wants. Through Andrew’s backstory, you learn about his childhood and how it shaped him into the man that he is. What he went through in the past plays a huge role in the drama with own children, which is one of the main focal points of the series.

Well, I’ve said everything that I needed to say on this. Carol, would you like to sign us off?

Rose, it’s been a pleasure working with you. I hope we get the chance to do it again.

Everyone, thank you for tuning into Para-Con with Rose and Carol. We hope you’ve enjoyed reading the articles as much fun as we had writing them.

Until next time, this is Carol and Rose signing off.


~Rosie & Carol

Para-Con with Rose and Carol Part 2

rose-90821_960_720Welcome Readers! Today we began part 2 of Para-Con with Rose & Carol.

Carol Cassada, here and I don’t know about you, but I’m excited.


Hey there, Rose here! Super-uber (No, not like the cab.) excited too! Yay!

For those of you just tuning in, Para-Con is a series where Rose and I discuss the differences between contemporary and paranormal romance.

Last time, we discussed writing heroes and villains. This week’s topic is creating heroines and settings. We’ve got a lot to discuss, so let’s get started.

Rose, are you ready to begin?

You know it! Like a boss!

abossFemale Lead vs Damsel in Distress

No hero is complete without his lady love.

The yin to his yang.

Any romance author will tell you the hero and heroine are important parts of the story. In the previous post, I discussed how I preferred heroes with a combination of strength and sensitivity. Those are the same qualities I love to have in my heroines.

A recent trend you see in contemporary romance novels is the heroine having an independent side. She has her own life, speaks her mind, and doesn’t let anyone control her.

With the heroine’s soft side, you have to delve deep inside her personality. For me, I like to show why she’s hesitant to take a chance on love.

A perfect example of this type of heroine is Alicia Green in Westmore. On the outside, Alicia’s a tough rocker chick complete with tattoos. Yet, inside she’s a sensitive soul. Throughout the book, it’s revealed Alicia’s exes cheated on her. Because of their infidelities, Alicia’s lost trust in men. In fact, at one point she swears off of them. Yet, as the series progresses, she meets her hero and begins to rethink her stance on love.

Much like heroes, you’ve got to have the reader relate to the heroine. These are two characters that you’ll want to cheer on, and have them live happily ever after.
Rose, tell us what it’s like creating your heroines.

I do agree that it is important for the audience to relate and connect to the heroine. Personally, I like to create the awkward or misfit heroine. Much like myself, if I were to be completely honest.

For example, Sophia, from “If Death Should Love Me” is strong, yes, but she is the blundering self-sufficient sort. That is to say, while she is strong like most independent women of our time, she is also eccentric, widely misunderstood and never quite fit in.

I often feel like this type of heroine is more relateable than the “I have everything under control” type. Because when the heroine has a clumsy side, it’s easier to see her as human. Hence, the reader being able to connect with her more rapidly and profoundly.

Also, the fact that she never quite fit in is like a nod and whisper in the direction of paranormal. It speaks to the genre, if you will.

Real World vs Supernatural World

One essential part of a book is the setting.

When choosing a setting, you’ve got to have a place that fits with the story.

With contemporary romances, the setting is in the present time. The places chosen for the location are usually a real city. In Going Home Again, I used New York and Norfolk, VA as the two cities. When describing the cities, I use attractions to grab the reader’s attention. As they’re reading the book, I want them to visualize that they’re going to a Broadway show or dining at a fine restaurant. If it’s a place readers have never been, I want them get a sense of what the city’s like.

Another option authors have is creating our own fictional towns.

That’s what I did with Westmore. I created a setting in a small, New England town. I found it fun making up my own setting for Westmore. I can get as creative as I wanted with the scenery and the names of the local businesses. For instance, in Westmore the characters can be found shopping at the Charie boutique or enjoying dinner at Jack’s Bar.

With the setting, it’s important to create a place where readers can escape to. When they’re reading the story, they need to envision themselves there with the characters.

Rose, what’s it like creating a supernatural world?

That’s a great question, Carol.

Dear reader, if you missed me, I’m C. Desert Rose.


Now, to answer your question.
Creating a world for a paranormal romance requires the ability to marry the real world with a fictional one. I find that the best way to do this is to use a real location for the real world, so that your fictional location seems more probable. For example, in the Fate’s Endeavor series I’ve created an entire “universe“.
The ability to conjoin these two elements flawlessly requires a lot of skill. Because the last thing you want is for the reader to question their validity.
Another facet that is important to look at is the setting of the story background.
Personally, I incorporate a lot of history when it comes to my characters lives. When doing that I have to consider things like “what they are, who they are, how they live, how they used to live, what their part in the story is.” When all of these things have been figured out, then I can come up with a viable past world that can effectively tell the characters story from a place of both logic and necessity.
Let’s take Zita from “Demoness Enchanted”, for example. Zita was born and raised in a secluded section of the Amazon Rainforest, hidden from everyone and everything. In setting up her history effectively, I had to consider what this place might look like, be like, sound like and how it played into the overall role of who Zita is.
I believe quite a bit in the fact that our surroundings play about 50% of the role in our lives that make up who we are. THAT is why the setting is SO important. Because if I am not authentic in the portrayal of the character as per the influences of the setting, then people WHO ARE from there WILL be able to tell the difference.
And, like you said, the funnest part it to take those who have never been there to that place to enjoy the sites and sounds of it.

Creating characters and settings can be hard at times. But once the creativity sets in, it’s fun to write.

You’re right, Carol. It IS hard, but that’s just half the fun!

Rose, as always it was a pleasure talking with you. 😀

The pleasure is mine, amiga. 😀