The Xs of Fiction - Guest Editor Beth Hill

We’re getting close to the end of our A-Z Challenge! Unless we want to discuss xylophones or x-rays or x-rated books, we needed to cheat a bit on the letter and make an eXception. Our guest today is one of our blog favorites, editor eXtraordinaire, Beth Hill, to talk about the “Xs” of writing fiction. ~Kat

Fiction writers face many rules, some detailing what to do, others detailing prohibitions, maybe even exclusions.

Some rules come from the wider world of writing, proven rules that make all communication easier. Some rules come specifically from the world of fiction. And many rules come from the experience gained by the long chain of writers who wrote before us, shared so we can call on the know-how of those who’ve already made the mistakes and learned how to correct them.

I don’t want to lay out rigid rules today, certainly not all the do’s and don’ts of fiction. Let’s instead look at options to strengthen both story and story-writing skills. Consider these the Xs of fiction.

Gain experience

Write often. Write more than you’ve written in the past. Read in the genre you want to write. Read in genres you have no familiarity with. Study successful fiction.

Become an expert

Master an area or a topic that you like and then master an area or topic that gives you fits. And then master a topic you know nothing about. These areas can be writing related—dialogue, pacing, subtext—or simply topics that appeal—landscaping, the Boer Wars, space travel. Expand your knowledge.

Explore
Follow links from one topic you study to the next. Don’t always be content with surface knowledge, though that may be all you need for a writing project. Give yourself the opportunity to delve deep into topics and follow even the most tenuous of links between topics.

Don’t explain

When you write, don’t insist that characters explain why they do a particular action. Simply show them in action and allow the reader to draw her own conclusions. Keep readers actively involved by giving them just enough so they don’t get lost and enough that they’re tempted to figure out what’s going on before revelations are uncovered.

Go easy on the expletives

No, not the cussing kind, the grammatical kind. There or it followed by forms of the verb to be can leach power from a sentence, especially when used again and again or to open new scenes or chapters. They can also add unnecessary words. Example: There was a boy racing down the lane vs. A boy raced down the lane.

Expose character weaknesses

Show characters’ limitations in action. Make fictional people real by giving them weaknesses that work for the story, that add to the story.

Express emotion

Show characters as emotional people touched by what happens around them. Show that actions have impact, that they change characters. Show that actions and the words of others touch characters’ hearts and drive them to respond and maybe even retaliate.

Extend invitations to the reader

Hook the reader on page one, giving her a reason to read the opening pages, and then keep her hooked. Make your story opening an invitation to your fictional world. Entice and intrigue.

Create extraordinary characters

Make your main characters memorable. They don’t have to be a Superman, but they should have quirks or behaviors or emotions or desires that make them stand out from every other fictional character.

Write extraordinarily well

Learn the basics, learn more than the basics, and don’t be satisfied with being mediocre at any of the writing elements. Expand your skills.

Take some scenes to the extreme

Push events, reactions, and emotions. Surprise characters as well as readers. Be bold and not timid.

Exaggerate

Exaggerate character problems and solutions, but without falling into obvious caricature.

Exceptions

Keep in mind that there are always exceptions to every rule. Figure out how and when to break rules in ways that create memorable fiction.

 

Beth Hill is a freelance fiction editor who loves the creative power of words. You can find her online at A Novel Edit and read other writing and editing tips at The Editor’s Blog.

 

Kat's "X" Book List

 

 

 

Strapless by Deborah Davis: Biography. The story behind the famous Madame X painting by John Singer Sargent, a tale of art and celebrity, obsession and betrayal.

Three Weeks with Lady X: Eloisa James. A duke, a lady, a romance

 

Author X: The Inner Secret. Click the "author X" link to learn more about the mystery of who this author was.

 

 

Cartoon Pencil With Cross Mark Image courtesy of chanpipat / FreeDigitalPhotos.net
Abstract Colour Pencil Image courtesy of tigger11th / FreeDigitalPhotos.net
Man Writing With His Pencil Image courtesy of Boians Cho Joo Young / FreeDigitalPhotos.net

BUILDING ANTICIPATION IN YOUR STORY

A story is more than a series of events tied together or slapping a pat ending on the work and calling it a book. There has to be continuity and a reason for events and the reader has to be with you and with your characters to be satisfied. We have to prime and keep them involved enough to continue turning those pages. 

Professional editor, Beth Hill, talks about the importance of building anticipation in our readers so they want to know what happens next. 

Beth's blog, The Editor's blog, is listed as one of the 50 best blogs by and for editors (by Online Universities.com).  

When readers anticipate that something is going to happen to characters they've  come to know, come to like and maybe admire—whether or not they know for sure what that something is—those readers get involved and stay involved in a story. So anticipation is an emotion you want to induce in the reader.

As a writer, you have to be the one to fold in that sense of anticipation.

So how do you set up anticipation for the ending? You build it into every chapter and scene.

Ways To Build Anticipation

~  Set a clock ticking or a calendar’s pages turning—indicate a time or occasion by which the main character must succeed at his tasks in order to save whatever needs saving . . . the world or his child or his marriage. Periodically remind readers of the clicking clock and/or keep the calendar pages turning visibly—keep readers aware of the passage of time. 

~  Hint at possible outcomes and indicate what could happen if certain acts are not completed. 

~  Show negative outcomes for small infractions of the rules (stated or implied) so that character and readers anticipate even worse outcomes for large infractions. 

~  Connect events so that one leads inexorably to the next. Show those connections. Have readers anticipate even more connections because they've seen how events are linked, how events lead to particular outcomes. 

~  Set into motion a chain of events that cannot be stopped or slowed. 

~  Introduce inevitability—one circumstance, if it comes to pass, will inevitably produce the next. 

~  Show characters fighting with everything they have to stop or derail the inevitable. Show the cost characters pay for fighting against a certain happening or event. Show the toll it takes. Make the anticipated outcome have an effect on the story’s current events even as they unfold. 

~  Give characters new resolve as the story marches on—give characters reasons to keep going. Give characters new tools to use in the fight. Show a character’s inner strength coming out as the story heads toward the end. 

~  Don’t let characters go too long without thinking or talking about a future they are trying to head off or the one they are trying to create. Show characters planning for a future after the anticipated big moment. Show them planning celebrations of success as well as future battle campaigns in case they fail. Keep characters aware of the future—through dialogue or actions or thoughts—so that readers are also aware and anticipating. 

~  Show a character’s emotions when his actions bring the unwanted showdown closer. Conversely, show a character’s relief when he does something to delay the feared ending. Keep characters emotionally involved in anticipated outcomes so that readers will likewise be emotionally invested. 

~  Introduce surprises, both positive and negative, to keep characters off balance, to make them have to recalculate possible end scenarios and re-evaluate their commitment. This will keep readers aware of the end the characters anticipate. 

The point is to set up anticipation and maybe even dread in both characters and readers. Keep them pushing toward or pulling away from those outcomes. Make possible consequences drive action and response.

You can always change either the climax or the story events so that the two truly match—you can’t produce a climax or ending that you didn't build toward. Sure, you can tack on the ending that you want, but if you didn't create anticipation for that ending, the reader won’t believe in your story’s conclusion; you've got to have a setup that matches the end.

But endings should come naturally out of the elements that you mixed into the story.

Include anticipation in your writing so that readers have reasons to stay involved and turning pages.

                                                                                                                    

I love the written word, the ability we have to create worlds and emotions with well-chosen phrases. It’s my intention to share tips and insights and encouragement with writers at all levels, to help you craft stories that will entertain and satisfy your readers. That will help satisfy you as writer as well.

I am both writer and editor. My editing focus is on long fiction, primarily novels. I also mentor beginning writers.

Beth has many articles on writing craft on her website A Novel Edit, and she covers craft and other subjects on her blog, The Editor's Blog.

BITCHES AND BASTARDS—CREATING CHARACTERS THAT ARE BOLDLY IMPERFECT

Jade Lee was scheduled for today but unfortunately was unable to visit. We'll catch up with her later.

My guest, is fiction editor, Beth Hill. Her topic is on creating characters the touch readers. If you get the chance, do stop by Beth's Blog and check out her archives. She has some fabulous articles on craft and they are a great resource for writers.

I was recently talking with a frustrated writer, frustrated because beta readers were finding fault with her lead characters.

Some readers didn't like her male lead; others had trouble with the female. They said the characters were unsympathetic, unkind, or just not nice.

No, her leads aren't rotten; they aren't the bitch and bastard referred to in this article’s title. They are simply characters with character.

And isn't that what we want for our stories, characters who stand out, who grab our attention? Don’t we want characters who make us notice them? Characters with character, characters we’ll remember for their bold actions, characters who stir our emotions? Don’t we want stories peopled with characters who aren't safe and who don’t blend in?

RUSSELL CASSE--INDEPENDENCE DAY

The characters we most enjoy have some growing to do. They aren't necessarily nice. They certainly aren't insipid.

They don’t always do the right thing, say the right words, and have the correct motivations. They aren't always politically correct and they may hurt others, both willingly and unknowingly. They may never apologize. They may make excuses. They may lie or cheat or steal. Characters who are bold, who aren't always nice or polite or solicitous, are the characters readers will remember.

So why all the fuss from beta readers?

My guess is that the readers don’t want the writer to submit something they think won’t be popular with either agents or editors.

Yet characters that stand out, who are outrageous or who stumble or who push the readers’ buttons, are exactly the kinds of characters agents and acquiring editors are looking for.

Who wants to read about nice characters, characters who don’t ruffle feathers or who don’t get into trouble or who always say the right thing?

Don’t we want bold characters who are different from us, who speak their minds—even when fearful of consequences—who press ahead despite fear and anxiety and feelings of worthlessness?

Nice characters don’t create tension—they’d work to diffuse it. Nice characters mean bland scenes and ho-hum motivations. Nice characters mean not-so-nice stories.

And lest anyone take offense, I’m not talking about doing away with characters who are good, who stand on the side of justice or integrity or decency. Good characters can be strong and bold and powerful. But nice characters, characters who don’t take a stand and who have no outstanding quirks and who don’t rock the boat are not strong enough to be the leads in a novel.

Characters without flaw are flat and the stories told about them can’t draw the readers’ interest the same way stories about imperfect characters can. What surprise is there when a perfect character defeats his enemy? Doesn't he always defeat his enemy? Was there any doubt that he’d win again?

HANS SOLO--STAR WARS

But what about the imperfect character who’s admitted to cheating to get ahead—can he win the biggest challenge in his life without resorting to cheating again? Will those around him let him forget what he’s done before and pull for him or will they always stand against him, no matter how honest he now is? Can a rude or belligerent character change enough to get other characters on his side when it counts?

If your lead character is perfect, how will he grow? If he’s perfect, how will his next victory be any different for him than his last? If he’s perfect, how will the reader relate?

The writer I was speaking with said the characters didn't resonate with the beta readers. Yet after hearing some of the comments her readers had made, I told her the characters certainly did resonate. They had those readers upset. The characters had succeeded in touching the readers.

And that’s exactly what you want your characters to do.

Consider Rhett and Scarlett, whose movie was on TV just in time to bring them to mind for this article. Neither Rhett nor Scarlett are perfect, but they are good characters. Great characters. They give us reasons to both loathe them and root for them. They are bold, brash, audacious, and larger than life. They pull us into their lives not by their goodness, but by their manner. Their personalities. Their daring and confidence. Who would work his way through Margaret Mitchell’s tome without the reward of Scarlett’s nerve and Rhett’s disregard for propriety?

So, be bold in ruffling feathers of both other characters and your readers and don’t be afraid of writing characters who stir the puddin’. Certainly don’t shy away from giving characters unlikable qualities. Give them those negative qualities and make us like them anyway. Or make us root for them, even if they have flaws.

No, characters don’t have to be bastards or bitches or cruel or crazy or repulsive. But they could be. And if you write them well, readers will enjoy reading them. 

Don’t play it safe with your characters. Create characters that are boldly imperfect. Write strong fiction by creating characters that are far from bland and nice. Your readers will thank you.


                                                                                                                                                                                                                                     

I love the written word, the ability we have to create worlds and emotions with well-chosen phrases. It’s my intention to share tips and insights and encouragement with writers at all levels, to help you craft stories that will entertain and satisfy your readers. That will help satisfy you as writer as well. I am both writer and editor. My editing focus is on long fiction, primarily novels. I also mentor beginning writers.

A Novel Edit

The Editor's Blog

                                                                                                                                                                                                                                                 

WRITERS—TURN WEAKNESSES INTO STRENGTHS

Today, I'm featuring some words of wisdom from a friend of mine, Beth Hill. You've read other contributions from Beth both on craft and some of her short stories. 

Beth is a fiction editor and an excellent story content editor. I've benefited from her knowledge and I've always appreciated her easy to understand advice. In today's topic she reminds us of the importance of not only identifying one's weaknesses, as a writer, our strengths. Be sure to check out other timely articles on craft at The Editor's Blog  

Writers have personal strengths and weaknesses. What one writer nails every time, another might struggle with again and again.

Writers have two options for producing better works based on their knowledge of strengths and weaknesses. They can either play to their strengths, featuring the skills they do well as they craft entertaining stories. Or they can turn their weaknesses to strengths by working on those weaknesses, whittling away at them until each time they write, they nail that issue that used to give them fits.

Perfecting a skill may take a while. It may take a long while. And it may not be fun, that repetition and practice and boring effort. But the focus on eliminating a weakness and making it not only a neutral element—something that won’t work against the writer—but a strength—something that actually works for the writer—will serve those writers for years. Why limit yourself to a few skills you’re comfortable with and know you manipulate well when you can also learn new skills and better position yourself to meet new writing challenges?

Identifying your weaknesses

Don’t know your weaknesses? Pay attention to critiques, especially when several readers comment on the same element.

If your dialogue doesn't work, you’ll hear about it if you’re letting others read your work.

If failure to plot tightly is your weakness, spend time learning how to plot.

Learn more than the basics. Stretch yourself.

Learn the importance of character arcs. Learn how to weed out clichés. Learn how to make use of setting, how it affects characters and tone and pacing. Face up to your limitations rather than hiding them.

Learn and practice and overcome your personal weaknesses one by one.

Any combination of writer strengths and weaknesses can be worked and finessed to produce an entertaining book, but weaknesses can overburden a story. And they can tax a writer so much that he doesn't develop a story the way he should. Most of us don’t want to spend time on difficult tasks that promise little pleasure or minimal reward for the effort.

A writer doesn't start out as an expert in every skill.

A partial list of elements a writer can be weak in or excel at—

plotting
characterization
chapter-ending hooks
dialogue
description
conflict
word choices
pacing
sentence construction
resolution
foreshadowing

Can you say that you’re an expert at each? What about the skills I didn't mention? Are you as equally skilled at every task required for writers to produce entertaining and engaging stories?

If not, why not work on one of your weaknesses, actually follow a plan to improve your writing? Why not become skilled at just one writing element that gives you fits? (And after that, take on a second element that needs work. But I don’t want to overwhelm you. One skill at a time works just fine.)

Books and the Internet and writing groups are wonderful resources. Tap into them. Make use of available tools to perfect your skills. Turn weaknesses to strengths.

Don’t settle for being a writer; strive to be a better writer. Better than you were last year. Better than you imagined being. Better than just good enough.

                                                                                                                                               

Freelance fiction editor Beth Hill.

I love the written word, the ability we have to create worlds and emotions with well-chosen phrases. It’s my intention to share tips and insights and encouragement with writers at all levels, to help you craft stories that will entertain and satisfy your readers. That will help satisfy you as writer as well.

I am both writer and editor. My editing focus is on long fiction, primarily novels. I also mentor beginning writers. My editing service is A Novel Edit.

. 

BITCHES AND BASTARDS, Maybe. But No Perfect Characters Wanted

My guest, is fiction editor, Beth Hill. Her topic is on creating characters the touch readers. If you get the chance, do stop by Beth's Blog and check out her archives. She has some fabulous articles on craft and they are a great resource for writers.

I was recently  talking to a frustrated writer, frustrated because beta readers were finding fault with her lead characters.

Some readers didn’t like her male lead; others had trouble with the female. They said the characters were unsympathetic, unkind, or just not nice.

No, her leads aren’t rotten; they aren’t the bitch and bastard referred to in this article’s title. They are simply characters with character.

And isn’t that what we want for our stories, characters who stand out, who grab our attention? Don’t we want characters who make us notice them? Characters with character, characters we’ll remember for their bold actions, characters who stir our emotions? Don’t we want stories peopled with characters who aren’t safe and who don’t blend in?

The characters we most enjoy have some growing to do. They aren’t necessarily nice. They certainly aren’t insipid.

They don’t always do the right thing, say the right words, and have the correct motivations. They aren’t always politically correct and they may hurt others, both willingly and unknowingly.

They may never apologize. They may make excuses. They may lie or cheat or steal.

Characters who are bold, who aren’t always nice or polite or solicitous, are the characters readers will remember.

So why all the fuss from beta readers?

My guess is that the readers don’t want the writer to submit something they think won’t be popular with either agents or editors. Yet characters that stand out, who are outrageous or who stumble or who push the readers’ buttons, are exactly the kinds of characters agents and acquiring editors are looking for.

Who wants to read about nice characters, characters who don’t ruffle feathers or who don’t get into trouble or who always say the right thing?

Wouldn’t we rather read about flawed humans, people who make mistakes but who still manage to redeem themselves or a portion of their lives? Don’t we want bold characters who are different from us, who speak their minds—even when fearful of consequences—who press ahead despite fear and anxiety and feelings of worthlessness?

I know I’m seldom looking for nice characters. Nice characters don’t create tension—they’d work to diffuse it. Nice characters mean bland scenes and ho-hum motivations. Nice characters mean not-so-nice stories.

And lest anyone take offense, I’m not talking about doing away with characters who are good, who stand on the side of justice or integrity or decency. Good characters can be strong and bold and powerful. But nice characters, characters who don’t take stands and who have no outstanding quirks and who don’t rock the boat are not strong enough to be the leads in a novel.

Characters without flaw are flat and the stories told about them can’t draw the readers’ interest the same way stories about imperfect characters can. What surprise is there when a perfect character defeats his enemy? Doesn’t he always defeat his enemy? Was there any doubt that he’d win again?

But what about the imperfect character who’s admitted to cheating to get ahead—can he win the biggest challenge in his life without resorting to cheating again? Will those around him let him forget what he’s done before and pull for him or will they always stand against him, no matter how honest he now is? Can a rude or belligerent character change enough to get other characters on his side when it counts?

If your lead character is perfect, how will he grow? If he’s perfect, how will his next victory be any different for him than his last? If he’s perfect, how will the reader relate?

Perfect characters are fit for cartoons. It’s the flawed ones who make for fascinating fiction.

The writer I was speaking with said the characters didn’t resonate with the beta readers. Yet after hearing some of the comments her readers had made, I told her the characters certainly did resonate. They had those readers upset. The characters had succeeded in touching the readers.

And that’s exactly what you want your characters to do.

——————————-

Exceptions

~  There is a difference between characters your readers refuse to follow through a story and characters who are flawed or who have problems or who irritate the snot out of the reader.

Flawed and irritating characters belong in fiction. But characters who are poorly written or who are repulsive to most readers deserve to be shunned. Yet, keep in mind that some characters, no matter how abhorrent, can make compelling stories.

~  Genre is an important consideration for character personality. In romance, readers are going to want to like your hero and heroine, even through their flaws. Be aware of what the genre allows. Be willing to push expectations, of course. But realize that you might not change those expectations with a single book, a single severely flawed character.

But don’t necessarily bow to what the beta readers say they want. They definitely don’t want perfection in their leads. They don’t want the beautiful and perfect and flawless. They may want redeemable; they don’t want main characters who don’t ruffle feathers.

Courtesy of Free Extras

Consider Rhett and Scarlett, whose movie was on TV just in time to bring them to mind for this article. Neither Rhett nor Scarlett are perfect, but they are good characters. Great characters. They give us reasons to both loathe them and root for them. They are bold, brash, audacious, and larger than life. They pull us into their lives not by their goodness, but by their manner. Their personalities. Their daring and confidence. Who would work his way through Margaret Mitchell’s tome without the reward of Scarlett’s nerve and Rhett’s disregard for propriety?

So, be bold in ruffling feathers of both other characters and your readers and don’t be afraid of writing characters who stir the puddin’. Certainly don’t shy away from giving characters unlikable qualities. Give them those negative qualities and make us like them anyway. Or make us root for them, even if they have flaws.

Don’t play it safe with your characters.

Don’t make readers wish they had picked up a more engrossing book rather than yours.

Do remember character traits and behaviors can have a range of intensities. That is, not all characters have to operate at the peak of their traits at all times. Adapt character behavior to the story you want to create, to the needs of the scene. Use lively characters to establish tone and to make other characters nervous. Use the behavior and thoughts and words of characters to make readers uncomfortable. They’ll thank you for it. And they’ll come back for more.

*******

No, characters don’t have to be bastards or bitches or cruel or crazy or repulsive. But they could be. And if you write them well, readers will enjoy reading them.

Take your beta readers’ comments under consideration? Absolutely. But don’t allow them to strip the emotion and verve from your stories and characters. Write bold characters with quirks and faults and flaws. And remember that you don’t have to redeem them or heal all their frailties by the end of your book. You could. But if the ending, if the story, is more powerful with a still flawed protagonist limping home with the prize, then keep him flawed.

Create characters that are boldly imperfect.

And allow yourself to be bold as you envision imperfect characters to live in your story worlds.

Write strong fiction by creating characters who are far from bland and nice.

I love the written word, the ability we have to create worlds and emotions with well-chosen phrases. It’s my intention to share tips and insights and encouragement with writers at all levels, to help you craft stories that will entertain and satisfy your readers. That will help satisfy you as writer as well. I am both writer and editor. My editing focus is on long fiction, primarily novels. I also mentor beginning writers.

A Novel Edit

The Editor's Blog

CHRISTMAS JOY

As you know, I usually share holiday stories this time of the year by talented writers who've given them to me to use. What makes them interesting, at least to me, is they're written in various genres by men and women. I'll be running more next week in between guests. 


I have two stories I tend to use every year. They're favorites of mine. One is called Christmas Joy, by Beth Hill, and the other is The Gift, by Rand Phares. Why are they favorites? Both highlight faith and hope and they touch the heart. 


So today, I'm sharing one of my favorites with you by the talented Beth Hill. I love her writing. For those of you who don't know Beth, she is a fiction editor and you can find her at A Novel Edit or The Editor's Blog (she has an article up on her blog on weeding out author intrusion). 


Enjoy!

Sarah inhaled the fragrances of cinnamon and sugar and the chocolate chips melting into gooey deliciousness in the oven. Homey smells. Christmas smells.

She wanted to sit, relax, to inhale more than smells. She wanted the peace of the season to wash over her, still her racing mind and ease her fractured soul. But if she stopped moving, sorrow would overwhelm. She knew it. Had given in last Christmas. And again on his birthday. She’d been unable to resist the lure of peace on those two days.

But peace had eluded her. And instead grief had stolen into her home, into her mind and heart. And she’d cried out her anger and sorrow and loss, collapsing on her kitchen floor in a tangle of oven mitts and tears and memories.  And standing again, facing life again, had been nearly impossible.

She reached for the oven door just before the timer buzzed, and pulled out the tray of perfect cookies. His favorite. She baked them every year. He couldn’t get enough. And she’d watch as he devoured one after another, following every third bite or so with a gulp of cold milk. And he’d grin, crumbs clinging to his lips, knowing she got a kick out of his passion for home-baked cookies made just for him.

She scoured the kitchen; focusing on making perfect and whole those things she had control over. And pushed far from her mind the events she couldn’t influence or change. But she left the cookies mounded on wax paper since Mac liked them that way. Liked reaching across the counter and plucking one or two or five whenever he wanted them.

The reflection from the tree beckoned her to the living room and the large glass windows that framed it. She’d stop for only a moment, her heart promised her head. Just a brief passage of time to watch the snowfall, to admire the twinkling lights as they pushed against the darkness both inside and out. Just a moment . . .

When the clocked chimed nine, Sarah jumped. Then smiled. Silly to feel guilty over losing herself in memories of her husband. She wouldn’t break down this Christmas. She’d learned that lesson. Plus, the news had been better this year. The better news being they’d actually heard news. The first reliable report since her captain had gone missing sixteen months earlier.

Chaplain Anderson had called in October. One of the Resolute Seven—prisoners held for over four months in a no-name cave in Afghanistan—had mentioned Mac—someone who sounded like Mac, please God—in his briefing. So this year she’d added hope to her arsenal of determination and faith and prayers. This year she wouldn’t give in to despair.

She pressed her fingers against the cold glass. Closed her eyes and lowered her head.

“Keep him warm tonight. Please. Hold him in Your arms since he doesn’t have mine. Fill his heart with Your love, with my devotion. And give Him your peace.”

Sarah leaned against her hand and stared into the night. So quiet. So pure.

So lonely.

“And please hold me. Because I’m afraid I can’t hold on any longer.”

She returned to the kitchen. In the near dark she pulled milk from the fridge and poured a tall glass. She piled cookies on a plate and arranged plate and milk on the reindeer placemat at the head of the table. She fussed with a linen napkin, flattening it again and again until she realized what she was doing and yanked her hands away.  Enough of that. She still had presents to wrap, gifts for her brother’s family. She turned. And blinked.

The front door was opening, three men stepping through.

Chaplain Anderson, removing his hat. Colonel Ryan, Mac’s CO, holding the arm of another man. That other man dangling a key from his fingers.

The third man lifted his head at her gasp. Then grinned. And then he was rushing to her and squeezing her and kissing her face.

“Sarah. My God, Sarah.”

And then Sarah was on her knees, holding Mac, holding a dream, and kissing him back. Touching him everywhere. Crying and laughing and shaking so much she thought she’d finally snapped and lost her mind.

But when Mac pulled back and grasped her face between his hands, when she could see his eyes and into his soul, she knew he was not imagined but real and in their home.

In her arms.

She stared in wonder for a timeless instant, then sobs burst from her chest and she burrowed into Mac, clutching him, trying to breathe, trying to think. Trying not to feel because the emotions were stretching her beyond her limits and shattering her mind.

“I smell cookies.” That was the colonel.

Mac laughed. He laughed. Sarah gripped him even tighter.

“Sir, those are my cookies. All mine. I’ve been dreaming of them for days. And I’m sorry to say, you won’t get a single taste.”

Sarah wiped her face against Mac’s coat. Trust her man to get to the heart of any matter.

“Sarah? You ready to stand now? I wanna get this coat off and hold you properly.”

“Major, I believe this is where Chaplain Anderson and I bid you goodnight. And Merry Christmas.”

Sarah scrambled to her feet, pulling at Mac, searching his face. Thin. Lined. Hers. “How? When?” She squeezed her eyes shut and drew in an uneven breath. He was still there when she opened her eyes. “Major?” She twisted to look at Colonel Ryan, but turned immediately back to Mac. “I was just asking God to hold you, since I couldn’t. And now you’re here. You’re here.”

Mac saluted the other men as they eased out the door, but didn’t turn from Sarah. “He held me, baby. Every day I felt His protection and your love entwined, binding me in strength and hope.” He stepped close to her and again wrapped her face in his palms. His hands were shaking. “Tonight we hold each other.”

She lifted her hands to his where they framed her cheeks. His gaze was locked on her face. “Why didn’t you call? Have you seen a doctor? What happened? Mac . . . What happened?”

He leaned his forehead against hers, still unwilling to relax his hold. “I needed to be with you before the news broke, baby. I need you at my side to get through the rest of this. To he—” His voice broke and he hauled her against his chest.

“I’m here always. Forever.”
“I know,” he whispered against her neck. “And that’s what saw me through.” His entire body shook, vibrating against hers. “I didn’t break, Sarah. Not once. Not until a couple of Special Forces guys hauled me out. And then I cried like a baby.”

“Mac . . . ”

“My Sarah.” His lips feathered over hers. “Merry Christmas, wife.”

She slid her arms inside his coat and dug her fingers into his back. “Merry Christmas, major. I love you.” She closed her eyes.  Thank You. For holding him. For bringing him home. For returning my heart.

My pleasure, Sarah. My very great pleasure.  Merry Christmas to you and peace to this home.