In her post last Saturday, Michaeline talked about subplots and secondary characters. We chatted in the comments about the movie version of William Goldman’s The Princess Bride, and Michaeline said she wished the whole story could have been about the master swordsman sidekick, Inigo Montoya.
Which got me wondering: which secondary character(s) would you like to see in a starring role?
In this era of series, especially in romance, many (most?) significant secondary characters are written and signaled as sequel bait. Usually I’m excited about that. I love the promise of more stories in a world I’m enjoying, and if I’m already invested in the characters, there’s a delicious frisson of anticipation whenever they do something that could come back to bite them later.
Sometimes the author dangles the treat but keeps the reader waiting through multiple books. Maybe even through an entire series, like Julie Anne Long’s Pennyroyal Green books, where it was always clear that the resolution of Lyon and Olivia’s romance arc would wrap up the series. That’s OK. I’m comfortable with deferred gratification. I know the story will come, eventually. If I care enough, all I have to do is stick with the author and series until it arrives.
Here, I’m thinking more about the cast of supporting players who people a fictional world but who are not set up to step into the limelight in due course. Take Christopher and Barabas, two characters from Ilona Andrews’ Kate Daniels urban fantasy series. Ilona put up a blog post a few days ago in response to a reader’s question about whether she would ever write their romance. Click here to read the post in full. In short, Ilona said the decision would not be a question of popularity, but one of inspiration.
If I had my way, I’d beg the story gods to Continue reading
How likeable do you like your main characters? Will you take strong, interesting and flawed, especially if they grow and change during the story, or do you prefer them sympathetic from the start?
And do you think readers set the bar higher for heroines than heroes?
In the recent Duke University romance forum, Ilona Andrews said that in her experience, romance readers are more forgiving of male characters than female ones. A male character can do appalling things but with the careful application of a little tragic backstory, he can still become a hero. A heroine, not so much.
That set me to wondering about one of my favorite contemporary characters, a super-rich bitch called Sasha Montgomery. She’s on ice for now, but not forgotten. She’s not a nice woman, but I love her a lot and I’d always planned to turn her into a heroine one day. Now I’m not so sure that’s a good idea.
Below is a snippet from the life of Unredeemed Sasha. She definitely has a challenging backstory. I’d be very curious to know whether you think she could be turned around.
Spring has sprung, judging for the Golden Heart is completed, and it’s time to pick up the pen (or keyboard) and start writing. I have a couple of contemporary stories in progress at the moment (short attention span), but have decided to dust off the story I started with at McDaniel instead. It’s the first story I ever completed and I have some ideas about how to make it better so that, just maybe, it won’t have to spend the rest of its days tucked away in the desk drawer gathering dust.
It’s been a while since I’ve looked at the story, so I need to do a little pre-work to get reacquainted, especially with the characters. After all, I can hardly hope to make them come alive on the page if I can’t make them come alive in my own mind. I could just look through all of my notes, but I’d like to get a fresh perspective and (hopefully) pick up some new ideas.
Writing exercises to the rescue! Continue reading
Dear M: I’m an up-and-coming illustrator with my choice of three eligible young men, but the older gentlemen of my design firm are queering my pitch. Love or money? (Image via Wikimedia Commons)
I adore advice columns, and have done so since I was a kid. Advice columns! Little mini-dramas that are so important to the POV character that she or he actually takes time from his or her real life to write to a third party, hoping for some pearls of wisdom.
I found a new column this week – apparently, it’s been around for decades, but thanks to the magic of the Google search, I found it this week. Elle’s Dear E. Jean. It’s full of fabulousness, as one might expect from a fashion magazine. Instead of the downhome rustics of Ann and Abby, we get women who are models, electrical engineers, designers who rose from homeless childhoods . . . it’s just a fascinating cross-section of womanhood, with a few men asking for advice as well.
I like the advice, which seems to always boil down to: be your most fabulous self, and choose the kind of partner that fabulous self needs. Trust in the universe to provide what you need, as long as you put in the effort.
Some of these columns are begging to be expanded into romance stories; others provide Continue reading
In the song I Want Your Sex, GM sings: “Sex is natural, sex is good. Not everybody does it, but everybody should.” What do your characters think about that suggestion?
Followers of the blog know we started the discussion of sex – specifically, writing sex scenes – last week, when Kay talked about her difficulty writing the next (and more meaningful) sex scene between the h/h in her WIP. On Saturday, Michaeline followed up with some observations about different kinds of sex scenes and some words encouraging writers to practice writing them. Today, as someone who has written many sex scenes over the years, had them critiqued by other writers, and even survived having both my mother and mother-in-law read a book with some really hot stuff happening, I thought I’d add my two cents, or in this case, five points to ponder, about writing sex into a romance story.
1. A scene is a scene is a scene. When is a scene in your story not a scene? Never! So, it stands to reason that a sex scene will, in many ways, be like the other scenes in your book. As Kay and Michaeline both pointed out in their posts, scenes exist in a story for one reason – to move the story forward. That’s why the best scenes tend to have conflict, beats, escalation, and a turning point.
Conflict in a sex scene? Continue reading
Cupid and Psyche (1817), by Jacques-Louis David (1748–1825)
I’ve been chugging along on my WIP for a very long time. For a while, Life intervened. But even after I got Life wrassled to the ground and stomped on, that WIP just didn’t cooperate. No matter how I tried to gas it up and drive it someplace, it went nowhere. And as I don’t have to tell most of you, nothing is more depressing than writing 500 new words and deleting 600 old ones every day. A person starts to wonder if she’ll end up with an empty tank and no place to go.
But over the last few months, things have turned around. The book’s going okay. It isn’t there yet, but these days I’m writing 500 words and deleting 50. That’s what I call progress.
Until yesterday. Yesterday I looked at my blank page with fear and loathing. I’ve come to that spot in the book where my characters need to have sex.
I hate writing sex scenes. I know they’re supposed to be like any other scene, where things happen and characters grow or change, or the plot moves (or maybe that’s the earth) and so on. Continue reading
If you’ve been paying attention to American politics recently, you’ll have noticed that there are a lot of people taking a hard look at what they stand for, what they believe in, and what they are willing to do in support of those beliefs.
People who have never participated in a march have marched. People who have never called their elected representatives have made calls. People who may have thought of politics as something that just sort of happens have started to realize that it’s a participatory process.
All good things.
Deciding what you stand for has its challenges, especially if what you stand for is in opposition to what someone else believes. Even if you believe the same thing as someone else, you may have different or possibly conflicting ideas about how those beliefs should be addressed.
So what does all this have to do with writing? Continue reading