I was going to title this “What Makes a Hero?” which is a lot punchier, but since “Hero” implies male and not necessarily a romantic figure we’re going with “love interest.”
At base, a love interest is somebody the protagonist falls in love with, so that’s where we’re starting. The next question, the interesting one, is “Why this person?” Granted this is going to depend on the protagonist (and the writer), but there must be some criteria across the board. It’s when I try to pin it down, that things get slippery. Continue reading
For those of you wondering what a smirk looks like . . .
For once, something Google can’t answer.
What is the nickname “Dillie” short for?
Yes, I know I named her that, but it was a long time ago. The only thing that comes to mind is Tom Bombadil and just no on that. Dylan is a possibility, but that would make her Dylie, wouldn’t it?
This is going to drive me nuts.
I’ve been thinking about sex in romance novels lately. (This is going to ramble some. My Deep Thoughts often ramble.)
I used to get reviews that said my romances were pretty hot. I reread a couple of those books recently and compared with what’s out now, they’re barely lukewarm. That’s fine with me, but I’m wondering now what the blurring of the lines between romance and erotica means to the genre. That is, how is it redefining romance? I have no problems with erotica, but it doesn’t have the same aims as romance, any more than women’s fiction is romance-centered. I’m not even sure chick lit is romance, but then I’ve never really been sure what chick lit is. The point is, romance is the only genre that’s romance centered, so what happens to romance within the genre is important.
And I think sex is mugging it. Continue reading
And we’re back with more answers to questions you asked earlier in the week. There’ll be more on Monday. Today, it’s all about character.
How do you prevent your characters or plot from always being the same thing while on the surface level they aren’t? There are a few authors I’ve read where it’s always the same story in the end – dif plot, but it just feels the same. Continue reading
I started reading Sarina Bowman’s The Year We Fell Down, about a college freshman with a spinal cord injury , and when this first-person narrator meets her roommate for the first time, she says . . .
“. . . a little specter of hope had alighted on my shoulder. And this feathered, winged thing had been buzzing around for weeks, whispering encouragements in my ear. . . . Now, facing [my roommate] in the flesh for the first time, my little hope fairy did a cartwheel on my shoulder.”
She has a little Hope Fairy. I rolled my eyes. (Yes, I am a bitch.)
But as the story progressed, the Hope Fairy became less twee, showing up nineteen times in the course of the book to help the narrator undercut the anguish of her situation, and I started to pay attention to what Bowen was doing with her. Continue reading
I’ve been reading a lot of New Adult romances lately, female protagonists 18 to 29. The genre has a really different feel, but it’s interesting. I can definitely recommend Sarina Bowen’s The Year We Fell Down (see other post from today for more on that).
What are you recommending this week?
The old writers’ dilemma of ‘show’ vs. ‘tell’. All the writing teachers and textbooks instruct us: “show, not tell,” but many successful writers use ‘tell’ a lot. Georgette Heyer is one of them. There is a lot of ‘tell’ in her novels. I’m not even talking about Jane Austen and other old-timers.
Did this demand of ‘show not tell’ change with time. What was allowed 50 years ago isn’t recommended today? Or are there some universal guidelines? How do we know when ‘tell’ is okay? And how much of it?
First, you can do anything you want. It’s your book. Seriously, if it feels right to tell, tell. Continue reading
The thing about writing love stories when you’re a naturally cynical person with disastrous relationships in her past is that achieving the willing suspension of disbelief necessary to convince the reader that they all lived happily ever after is really difficult. I have found, in trying to do this, that the most useful thing to remember is that we’re writing to promise mature love. Immature love/infatuation is easy to write, but everybody knows that doesn’t last. Mature love, the connection beyond conditions, is hard to write, but if we can get that promise on the page, it’s what powers the romance.
So when I turned back to Nita and thought, Okay, it’s a romance, but they’re only going to know each other five days, how the hell am I going to foreshadow mature love in that time?” And then I was reading the Gil Cunningham mysteries which made me think of Renaissance poetry (those mysteries are pre-Renn, but still, ye olde times), and I remembered my favorite love poem of all time, John Donne’s “A Valediction Forbidding Mourning.”
This book is going to be the death of me.
Okay, that’s probably just me whining. But it’s making me think about story in different ways than I have before and making me second guess myself. I think that’s good, but it’s disconcerting.
So this weekend I did something very Bob-like: I set up a table for the major action events, divided by acts, and then analyzed all of them for character arcs and relationship arcs. The tables looked like this: