Where do you stand on public marriage proposals?
I’m a sports fan, and I had the England v India cricket match playing in the background as I sat down to write today’s post. Normally I find cricket commentary provides the perfect background for writing, but today there was a break in the action, the cameras focused on a tense-looking young man in the crowd, and the TV presenter said “That’ll be Martin*. He’s here today with Suzanne*, and I believe he has something to say to her…” Martin went down on one knee and fished out a ring box. The giant TV screens said DECISION PENDING. Suzanne cried and kissed him. The screens switched to SHE SAID YES! The crowd went bonkers.
The whole episode made me cringe so much I turned the coverage off. Then I started wondering if I’m a grouchy curmudgeon who’s incapable of appreciating a heartfelt romantic gesture.
What do you think?
I’m not talking about a spontaneous proposal that occurs in front of other people because Circumstances. I love those, in life and literature. My problem is with a carefully orchestrated piece of showmanship set up with the intent to share a serious, potentially life-changing decision with as many strangers as possible, without the decision-maker’s knowledge or consent.
Why might you do that? The best answers I could come up with were:
- The young man, his beloved, or both, are narcissistic exhibitionists;
- The young man sees the public proposal as a grand gesture, a demonstration of the strength of his love;
- The young man is afraid the object of his affections might refuse him, and he is relying on public pressure to tip the scales in his favour;
- The young man is so thrilled and giddy at the prospect of marrying his beloved that he wants to share the moment with the whole world.
Which brings me to my next question. Generalizing here, but do you think a public proposal of marriage is something the twenty-first century bride dreams of? Continue reading
Recently here at Eight Ladies Writing, we talked about our cold start processes–how each of the Ladies gets herself going again on an existing project when she hasn’t written in a while. Michaeline wrote about what I’d call a “fresh start” process–how she gets started on a new project.
In mid-February I started work on the third book in my Touched by a Demon trilogy, The Demon Wore Stilettos. I’ve been looking forward to this one, because the she-demon Lilith, who has been a minor character in the previous two books, finally gets to take center stage.
I’ve had this book in the back of my mind for a while, so I knew the general premise: Megan Kincaid, a recent MFA graduate, sells her soul to Satan in exchange for making the New York Times bestseller list. Continue reading
#MeToo is an awesome thing, the zeitgeist of our times. It’s put everyone on notice: the old ways/jokes/behaviors/assumptions are over! Including how you approach fiction, especially (maybe) romantic comedy, which is more or less what I usually write.
Two days ago the Washington Post published an article that revisited some old rom-coms, analyzing how male rom-com behaviors that 10 or 20 years ago seemed cute and fun now look stalker-ish in light of #MeToo. And yesterday Jenny Crusie wrote a blog about that article and how her books appear in the glare of 20/20 #MeToo hindsight. (Spoiler alert: She thinks mostly her books hold up okay, in part because her heroes aren’t alpha males out to conquer. There’s a lot more to the discussion, so check it out.) Continue reading
I’d been progressing well on the WIP, galloping along at what for me is top speed, until this week, when I hit a wall. I’d written through my first act and was heading into the second, otherwise known as the Middle. And in my case, although barely begun, the Sagging Middle.
I queried my critique partners, who are only too familiar with the problems of Phoebe and her errant friends and fiancé. What to do? I asked. Within minutes, I got a reply.
What’s your story question? Patricia asked.
Ah, yes. What was my story question?
It’s not good if you don’t know your story question. A person can go down a lot of rabbit holes if she doesn’t know what she wants to say. Continue reading
I am reading Mary Balogh’s Silent Melody in which the heroine is a deaf-mute (that’s how she is characterized in the story). It’s fascinating to read the way Balogh describes how Emily views/lives in her silent world, how she communicates with others, and how they communicate with her. And how sensitively/insensitively the other characters treat her. Some of the language used in reference to the character makes me uncomfortable because part of my day job is public school system special education administration. I keep telling myself that it’s like reading a romance novel from 1972 – yes the rape scene is understandable given the genre and societal norms at the time, just as in 1780, there was no such thing as political correctness when referring to someone with a disability. Continue reading
With Harvey mostly a memory leaving a staggeringly colossal disaster area behind it and Irma targeting Florida and another potentially colossal disaster for the U.S., I looked at disasters in romance novels. I read one recently that was set in a flood (freebie from RWA Nationals in a previous year), but I got really annoyed with the author because the hero and heroine kept standing around in floodwater while the rain was pounding down, discussing their history, wondering where his brother was and if her sister stayed at work, sharing scorching kisses and wishing for a bed. I’m not thinking that the folks going through Harvey were standing waist deep in floodwater reminiscing about a high school football game that took place 10 years ago. The memory of that book and the coverage of Harvey led my brain down the path of how an author could set a romance in a natural disaster and do justice to mother nature, the devastation and tragedy, and the romance without minimizing or horrorizing (is that a word?) the tragedy or the reader. As in, people are dying and these two idiots just want to do the horizontal tango. Continue reading
I made it to my mostly annual homage to RWA for a hefty shot of fiction-writing craft. I, however, made it late as my flight was delayed for three hours. (Note to self – come a day early next year.) I missed the session I really wanted to hit today (Writing Emotion: Opening a Vein with Virginia Kantra) which was a double whammy because it isn’t a recorded session. But my first and only session for today was worth the price of admission. Michael Hauge’s Seducing Your Readers in Chapter 1 was exactly what I needed in the here and now for two reasons. The big reason is that I’m rewriting my first manuscript, which sucks because I wrote it before I had taken any craft classes. The bones are good, but it needs work and I’ve been working on the opening with some success. Today’s session gave me fabulous ideas and motivation and confirmation that I’m on the right track. Woot! The second smaller reason is that I’m reading an old Christina Dodd, and when I came back to the room tonight for some much needed down time (this conference is extremely intense), I picked it up and found a passage that is a good example of one of the things Hauge talked about. Continue reading