Love Changes In Many Ways

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Second chances are possible but only if the lies and compromises are gone.

Martin had lost his first wife and daughter in a horrible car accident and it took him years to fight the sadness he woke up with every day. When he met Elaine everything changed. He married her and their new life made Martin forget all the pain. Once again life was good.

After feeling such happiness the second time around Martin never expected tragedy to once again be knocking at his door, but it had. If Martin had known the truth about Elaine's past he would have been able to help her but her fear of the truth became her reality and the fact that they loved each other didn't seem to be enough. Elaine came up with a solution she thought would be for the best. Martin went along with her plan but it put him in a compromised position and very unhappy, but he loved his wife so much he agreed to live her lie.

The stakes were very high but Martin thought in time he could change her mind but as the years passed the only thing that changed was Elaine. She became withdrawn and uneasy and finally when things got out of hand and Martin couldn't control anything that happened it was a downward spiral and everything they had worked to achieve began to crumble.

Could Martin save his wife from herself? Would Elaine let that happen?

For love, Martin would do anything and Elaine loved him for that, but would that be enough?

©2014 Marsha Casper Cook (P)2017 Marsha Casper Cook

WOI - Special - A Brothers Badge - Host - Marsha Casper Cook

LINK TO THE LIVE SHOW AND DEMAND SHOW

Detective Michael Glade, with the San Antonio police department, has wandered onto the dark side and has run afoul of the Mexican Mafia. He battles his family and feelings while riding his collision course to its ultimate outcome.

WOI - Special - A Brothers Badge - Host - Marsha Casper Cook

LINK TO THE LIVE SHOW AND DEMAND SHOW

Detective Michael Glade, with the San Antonio police department, has wandered onto the dark side and has run afoul of the Mexican Mafia. He battles his family and feelings while riding his collision course to its ultimate outcome.

Bob and Jack's Writing Blog

Dramaticus Moebius

Drama.

• We built this website because we want to take the writer into the heart of drama.

Drama is writing about struggle.

• Two characters who both want the same thing will fight to get or to keep it.
• Three characters struggling over an object will develop allegiances, partnerships, even coalitions.

Drama is writing about place.

• When two characters occupy a place, and a third character intrudes into that place, you have drama because the rules of conflict tell us that something has to explode. The intruder must be repelled, expelled, assimilated or he takes over the place, owns the other characters. He is a monster.

Drama is writing built on Action.

• Without action, there is no drama. Without conflict there is no drama. Drama at its most basic deals with conflict and resolution. Action is the work of character to achieve what she wants. Action in drama always stems from desire. She wants, but he says she can’t have, she, therefore, acts to get what she wants.
• Want. Need. Can’t have. Action at the heart of drama.

Structure: Writing– the Moebius strip.

• We built the website to open writers up to the power of the Moebius strip.

Structure: Story structure, scene sequence, close structure, invisible structure.

• Story, story structure, scene sequence, scene structure, language structure, syntax, plot tracks, object links—all a continuum called writing, but the writer has to find a way to order the scenes in the story to get the best story.
• Story structure is the way the writer lays out the storyline from beginning to end. This step might be a conceptual step, a chronological step, a plotting.
• Scene sequence: the sequential structure is how the writer lays one scene next to another scene. Scene A precedes Scene B but the two scenes might not be connected by inner devices (plot tracks on object, characters, action) but the writer finds that the story is served best when they are laid out next to one another. This is, at its core, a filmic technique called the jump cut. A leap from scene to scene without obvious connection.

Let’s look at this: In a story there are six scenes.

• Scene 1 and Scene 6 are related through an object link.
• Scene 2 and Scene 4 are related through a different object link.
• Scene 3 and Scene 5 are connected through an action link.

This the writer knows, but he lays out the story like this:

• Sc1 Sc2 Sc3 Sc4 Sc5 Sc6

As the reader reads, she finds the links. She connects 1 to 6, 2 to 4, 3 to 5. This is structure out of time, out of sequence. She connects the plot tracks to make story. The reader becomes an active participant in the story when she puts the parts together that the writer has torn apart. But this we know: the writer, in her Big Structure, knows that the parts are connected and that is the only way she can string them apart, tear them asunder—Writer as God, creating a universe of disconnected elements all of which combine to make something greater than any one part.