It has been an interesting week. First off, I'm going to be a panelist for "Life, the Universe, and Everything", a science fiction/fantasy writing convention in Utah. It's kind of a big deal, and I'm thrilled. I'm on a panel about why The Hunger Games is so popular. You might see a posting on this subject, after the convention. I'm hoping people come to the panel.
The sneak peek of my novel is still up at TM Publishing's website, though under Past Issues now. Here's a quick link to it, because I like you and because I want people to read my story. In the foreword of the magazine, my editor described my novel as displaying "a stunning, magical America you might wish you could live in." That makes me feel really good. More, perhaps, than I should.
But I might need all the good feelings I can get in the next few days. I'm coming up on some workshops in my poetry and creative nonfiction classes, and am getting frustrated that neither has the same rigidity of fiction. I miss the simplicity of plot lines, character development, and clear prose. Never thought you'd hear that said, huh? If you think analyzing poetry can be tricky, try critiquing it. If you think it's hard to critique it, try writing it, anticipating the critiques of people who know how to write poetry. Nonfiction is easier for me, since it's a work of prose and not poetry, but since one essay is perfectly structured and another is a perfect mess, organizationally, and both are genius works I have no idea what I'm doing.
That's the motto of this semester: I have no idea what I'm doing.
But I don't think it's entirely my fault. I had a class where we talked about avant-garde and postmodern poetry. Basically, if it looks nothing like poetry and makes you sweat to read it, it's considered "inspired" and "brilliant." If it's accessible and pleasing, it's mediocre and outdated. Granted, this is a caricature of current ideas, but I couldn't make it if there was no truth in what I see. I could make a poem out of a string of memes and it would fit right into avant-garde poetry. I'm getting a little sick of shooting in the dark when trying to write good poetry, since I refuse to abide by the rules of what I dislike.
We'll see how I feel about this after my workshop. But this is a problem I ran into when I applied to grad school, and then in most classes I take while I'm here. I think a valid artistic code of conduct is: "I do what I want." However, I keep finding antipathy toward my YA science fiction and fantasy. Apparently it's not artistic enough, it's selling out, and if there's even a chance of my work becoming popular it must mean I'm trying hard enough.
I heard a YA writer speak who also teaches on the university level, and he gets comments from the other professors about how "popular" he is. He said it wasn't a compliment. There is this idea that anything that is well-liked and accessible isn't pushing the limits and thus isn't real art. I struggle with this on both sides; I definitely love a good story where my brain gets a work-out, to the point of condemning other works. On the other hand, I don't write literary fiction, at least, not in the typical way. I think my fantasy can be just as literary as realistic fiction. In any case, it's what I love to do.
If I enjoy my writing, it's not good enough. If I am bored and pained by what I write, it's exactly what postmodernism demands of me. Life's not fair and then you die. Or, in my case, you work hard, receive little validation for your work, and then you graduate.
I believe unfairness is treated in the next life, and I guess this applies to the grad school analogy. After I graduate, I will write what I want. I can write my teenage epic hero tales without penance. I can block out sword fights and hike and go on adventures and call it valid research (the best part of writing!). I was talking to another YA writer, and we decided that it doesn't matter if we get sniffed at for our writing. We can live happily with the knowledge that our books will actually get read and enjoyed by many people.
Take that, postmodernism!
Monday, February 4, 2013
Monday, January 28, 2013
Story Satire #2: Teen Paranormal Romance
Hello, all! The time has come again for another brave foray into the world of writing. As you can see, today I have another Story Satire for you. Today, I will teach you how to make a name for yourself in one of the most lucrative genres of the 21st century: teen paranormal romance, not to be confused with teen dystopic romance (that's a post for another day, if the world doesn't end first).
So, here we go:
1. The heroine must be between 15 and 17 years old. Any younger, and it will be too creepy when she falls for an immortal being. Any older, and she would be too wise and guarded to allow herself into this kind of relationship. The love interest, as stated, should be immortal. He should also be conflicted about living forever. If he is not immortal, he must be older.
2. The heroine must have the following characteristics: physical weakness and lack of coordination or dexterity (it will make the love interest's physical prowess seem more extreme and manly); a sheltered existence (small town, overbearing parents, etc.); an interest in something eclectic like classic literature, indie music, art...anything that indicates depth of character without making you write a deep character, and stubbornness. She must be ridiculously stubborn to the point of stupidity. This will make your readers see her as a strong character. Also, when describing her appearance, compare her to a bird or a doll. Make her fragile and tiny. Again, this will make the love interest look stronger by comparison. She must be able to charm all carriers of the Y chromosome, but be shocked and amazed when she does. Don't waste time fleshing out her character; the flatter she is, the better the reader can put herself in the heroine's place. This leads to reader involvement, which is highly important in selling books.
3. The love interest must, as said before, be immortal/older. He must be conflicted about this. In fact, the more things you can have him conflicted about, the better. One thing he should DEFINITELY be conflicted about is his relationship with the heroine. You see, he must endanger her. Either he is a being that is inherently dangerous (vampire works well, but you can also try werewolf, faerie, alien, fallen angel, cyborg, or whatever else may be able to kill a doll-like human with one fierce hug), or he is surrounded by danger. Maybe he is human, but under a curse or bound to hunt the things that go bump in the night. But he loves the heroine, and as much as he tries to leave her, he can't.
4. The heroine will not leave the love interest for any reason, including near-death experiences. When asked to stay away, she must either retort with a sassy remark or stammer out a romantic phrase like, "But I love you. You're perfect."
5. This love is TRUE love. The heroine has not realized what she has been living for until she has met the love interest. Dialogue must show the depth of their passion, and thus must not be tailored to individual characters and situations. Everyone knows what lines cause the most swooning, so add as many of those as you can, like variations of "I can't live without you", "There's only you. There's always only been you", and "Spend eternity with me."
6. Add lots of physical contact. Remember, this shows, better than anything, how deep the love is. This is a teen romance, so don't go all the way. But go pretty far before the love interest breaks away because he's conflicted. Have your heroine yearn for the love interest physically. Have her think about his perfect face and body all the time. Never discuss which of his personality traits she likes, and NEVER EVER mention ones that detract from his perfection. If you must complicate his character, have the heroine say he is "frustrating."
7. As a plot point, the heroine must be in danger and need to be protected. This could be because of the love interest's ardor for her or something else, like an ancient curse or family feud, a physical trait, or even her amazing ability to make men fall over themselves for her. This is very important: she is not able to protect herself. She must rely on the love interest, who is conflicted about his ability to protect her.
8. Love triangle. Every good teen paranormal romance has one. The Other Man, opposite the love interest, must be the love interest's polar opposite. Do not try to flesh out an individual character; it will take too long. Just mirror-and-flip the love interest. Thus, the Other Man is not conflicted about anything. He can offer the heroine a normal life, away from the world of the paranormal. She may find herself wanting this, but in the end she scorns it and him for the dangerous love interest.
9. The climax must be a decision. Build up to a huge battle between the love interest and the antagonist (you don't need an antagonist for this to work; you could have him fight the Other Man or try to leave forever), as this will keep the readers hooked, but bait-and-switch with the heroine making some grand epic choice that until this point seemed like a non-issue. This will make the heroine seem in charge of her fate and therefore a strong character without rounding out her personality in a way the bump the reader out of that space.
10. Deviate only slightly from these points. You may be tempted to develop character first and writing second, but that is a waste of time. Save that energy for the pages and pages of florid poetry describing the paranormals and the deep love this 16-year-old feels for one of them. So-called "good" writers would say that any genre can be rendered new and exciting by a fresh take on characters and plot, but you're not looking for fresh. You want something that you know works. Why risk an experiment when the formula is right here?
I'm looking forward to seeing your black-rose beautiful stories on the shelves before Valentine's Day. If you liked this and have a genre you'd like me to satire, put it in a comment. Expect some more of these, nonetheless. I have some good ideas, leaving romances behind. Every genre has its stereotypes that give the good eggs a bad name.
Also, expect further news about my novel. The sneak peek is still up, and I've gotten a lot of positive responses about it. The most common being, "What happens next?" Read it and tell your friends, and stay tuned for the release.
So, here we go:
1. The heroine must be between 15 and 17 years old. Any younger, and it will be too creepy when she falls for an immortal being. Any older, and she would be too wise and guarded to allow herself into this kind of relationship. The love interest, as stated, should be immortal. He should also be conflicted about living forever. If he is not immortal, he must be older.
2. The heroine must have the following characteristics: physical weakness and lack of coordination or dexterity (it will make the love interest's physical prowess seem more extreme and manly); a sheltered existence (small town, overbearing parents, etc.); an interest in something eclectic like classic literature, indie music, art...anything that indicates depth of character without making you write a deep character, and stubbornness. She must be ridiculously stubborn to the point of stupidity. This will make your readers see her as a strong character. Also, when describing her appearance, compare her to a bird or a doll. Make her fragile and tiny. Again, this will make the love interest look stronger by comparison. She must be able to charm all carriers of the Y chromosome, but be shocked and amazed when she does. Don't waste time fleshing out her character; the flatter she is, the better the reader can put herself in the heroine's place. This leads to reader involvement, which is highly important in selling books.
3. The love interest must, as said before, be immortal/older. He must be conflicted about this. In fact, the more things you can have him conflicted about, the better. One thing he should DEFINITELY be conflicted about is his relationship with the heroine. You see, he must endanger her. Either he is a being that is inherently dangerous (vampire works well, but you can also try werewolf, faerie, alien, fallen angel, cyborg, or whatever else may be able to kill a doll-like human with one fierce hug), or he is surrounded by danger. Maybe he is human, but under a curse or bound to hunt the things that go bump in the night. But he loves the heroine, and as much as he tries to leave her, he can't.
4. The heroine will not leave the love interest for any reason, including near-death experiences. When asked to stay away, she must either retort with a sassy remark or stammer out a romantic phrase like, "But I love you. You're perfect."
5. This love is TRUE love. The heroine has not realized what she has been living for until she has met the love interest. Dialogue must show the depth of their passion, and thus must not be tailored to individual characters and situations. Everyone knows what lines cause the most swooning, so add as many of those as you can, like variations of "I can't live without you", "There's only you. There's always only been you", and "Spend eternity with me."
6. Add lots of physical contact. Remember, this shows, better than anything, how deep the love is. This is a teen romance, so don't go all the way. But go pretty far before the love interest breaks away because he's conflicted. Have your heroine yearn for the love interest physically. Have her think about his perfect face and body all the time. Never discuss which of his personality traits she likes, and NEVER EVER mention ones that detract from his perfection. If you must complicate his character, have the heroine say he is "frustrating."
7. As a plot point, the heroine must be in danger and need to be protected. This could be because of the love interest's ardor for her or something else, like an ancient curse or family feud, a physical trait, or even her amazing ability to make men fall over themselves for her. This is very important: she is not able to protect herself. She must rely on the love interest, who is conflicted about his ability to protect her.
8. Love triangle. Every good teen paranormal romance has one. The Other Man, opposite the love interest, must be the love interest's polar opposite. Do not try to flesh out an individual character; it will take too long. Just mirror-and-flip the love interest. Thus, the Other Man is not conflicted about anything. He can offer the heroine a normal life, away from the world of the paranormal. She may find herself wanting this, but in the end she scorns it and him for the dangerous love interest.
9. The climax must be a decision. Build up to a huge battle between the love interest and the antagonist (you don't need an antagonist for this to work; you could have him fight the Other Man or try to leave forever), as this will keep the readers hooked, but bait-and-switch with the heroine making some grand epic choice that until this point seemed like a non-issue. This will make the heroine seem in charge of her fate and therefore a strong character without rounding out her personality in a way the bump the reader out of that space.
10. Deviate only slightly from these points. You may be tempted to develop character first and writing second, but that is a waste of time. Save that energy for the pages and pages of florid poetry describing the paranormals and the deep love this 16-year-old feels for one of them. So-called "good" writers would say that any genre can be rendered new and exciting by a fresh take on characters and plot, but you're not looking for fresh. You want something that you know works. Why risk an experiment when the formula is right here?
I'm looking forward to seeing your black-rose beautiful stories on the shelves before Valentine's Day. If you liked this and have a genre you'd like me to satire, put it in a comment. Expect some more of these, nonetheless. I have some good ideas, leaving romances behind. Every genre has its stereotypes that give the good eggs a bad name.
Also, expect further news about my novel. The sneak peek is still up, and I've gotten a lot of positive responses about it. The most common being, "What happens next?" Read it and tell your friends, and stay tuned for the release.
Tuesday, January 22, 2013
Writing Strong
Well, the sneak peek of my novel has been up for about a week and I've heard good things about it, such as "WHAT HAPPENS NEXT?" Which, as a writer, I love to hear. So, read the sneak peek, tell everyone you know about it, and read my novel when it comes out. Details forthcoming.
Last week I wrote about how difficult it is to write strong female characters, aka, characters who are undoubtedly female (they act, speak, and think female) yet are strong characters who act and are not acted upon and push the story forward. This week I want to talk a little about how to write strong MALE characters, which, after a lot of thought, I've decided can be just as hard.
I don't usually run into this problem when I write science fiction and fantasy. I'm building on the foundation left me by Tolkien, Asimov, Bradbury, Rowling...the list goes on and on. Generally, it's easier to write strong characters in epic fantasy because the characters can be kings and queens, warriors and magicians, characters with the sheer power needed to influence the plot. It gets harder when writing realistic fiction, especially comedy, and that's what I want to discuss.
Remember last week when I talked about a strong/feminine continuum? I believe there is also a continuum for men. On one side we have men who are strong and masculine, but brutal and uncaring, and on the other side men who are effeminate, foolish, and weak. The Wifebeater versus the Suburban Numbskull. I feel like I see this dichotomy a lot on TV.
If the character is meant to be that way, then so be it. The character comes first. However, when writing a strong male character, the writer does not have to make him violent, cruel, or womanizing. A man can be strong and caring at the same time. Think Atticus Finch from To Kill a Mockingbird. This is a character who has a strong moral code and, importantly, affects the plot and the other characters.
I guess the main jerk-back reaction I have to the problems with writing strong characters, be they male or female, is that it is so easy to fall into a stereotype or the mirror opposite, which can be just as bad. In trying to make a female character look strong, it's easy to write her with the thoughts, speech and action of a man, AND to make all male characters look weak and silly. On the other hand, in creating a strong male character, it's easy to show him dominating silly, weak women. Neither one of these is good writing.
There are real physical and cognitive differences between men and women, and a good writer knows this. The readers certainly know it; I can't tell you how many times I've offered up a piece of fiction and gotten told that my male protagonist sounds like a girl. Also, human beings are complex, convoluted creatures. They don't tend to fit a stereotype. Not completely, at least. I once heard (or read) a quote that said, "Hitler loved dogs." Even the most depraved people have soft spots, and even saints have sins. It's for the writer to flesh out a real person, not a caricature or even a answer-back to conventional stereotypes.
So, how do you write a strong character? I guess the first thing to do is decide what you think it means to be strong. For me, it's moving the plot forward and acting rather than being acted upon. Then build the character with the strength to be strong while adding the talents, flaws, and personal traits that make the character a real person. Male or female, it's just good writing.
Last week I wrote about how difficult it is to write strong female characters, aka, characters who are undoubtedly female (they act, speak, and think female) yet are strong characters who act and are not acted upon and push the story forward. This week I want to talk a little about how to write strong MALE characters, which, after a lot of thought, I've decided can be just as hard.
I don't usually run into this problem when I write science fiction and fantasy. I'm building on the foundation left me by Tolkien, Asimov, Bradbury, Rowling...the list goes on and on. Generally, it's easier to write strong characters in epic fantasy because the characters can be kings and queens, warriors and magicians, characters with the sheer power needed to influence the plot. It gets harder when writing realistic fiction, especially comedy, and that's what I want to discuss.
Remember last week when I talked about a strong/feminine continuum? I believe there is also a continuum for men. On one side we have men who are strong and masculine, but brutal and uncaring, and on the other side men who are effeminate, foolish, and weak. The Wifebeater versus the Suburban Numbskull. I feel like I see this dichotomy a lot on TV.
If the character is meant to be that way, then so be it. The character comes first. However, when writing a strong male character, the writer does not have to make him violent, cruel, or womanizing. A man can be strong and caring at the same time. Think Atticus Finch from To Kill a Mockingbird. This is a character who has a strong moral code and, importantly, affects the plot and the other characters.
I guess the main jerk-back reaction I have to the problems with writing strong characters, be they male or female, is that it is so easy to fall into a stereotype or the mirror opposite, which can be just as bad. In trying to make a female character look strong, it's easy to write her with the thoughts, speech and action of a man, AND to make all male characters look weak and silly. On the other hand, in creating a strong male character, it's easy to show him dominating silly, weak women. Neither one of these is good writing.
There are real physical and cognitive differences between men and women, and a good writer knows this. The readers certainly know it; I can't tell you how many times I've offered up a piece of fiction and gotten told that my male protagonist sounds like a girl. Also, human beings are complex, convoluted creatures. They don't tend to fit a stereotype. Not completely, at least. I once heard (or read) a quote that said, "Hitler loved dogs." Even the most depraved people have soft spots, and even saints have sins. It's for the writer to flesh out a real person, not a caricature or even a answer-back to conventional stereotypes.
So, how do you write a strong character? I guess the first thing to do is decide what you think it means to be strong. For me, it's moving the plot forward and acting rather than being acted upon. Then build the character with the strength to be strong while adding the talents, flaws, and personal traits that make the character a real person. Male or female, it's just good writing.
Monday, January 14, 2013
News and Strong Women
Well, my last post got a good response, so I guess I'll keep doing posts like it. There are so many formulaic ways of telling a story, I doubt I'll have a problem with several more. Comment and let me know if there is a specific genre you'd like me to break down and satire (like romantic comedy, high fantasy/science fiction, for example). That being said, I will say that I LOVE ANY STORY, IF IT IS WELL-WRITTEN. Just because something is a tragic romance, or whatever, does not automatically mean I hate it. It's just when the writer sacrifices skill for whatever tends to "work" that I get a little peeved. Stay tuned: I'm definitely going to do more of those.
So...my publisher puts out a magazine, featuring certain kinds of writing. Emerald Sky is science fiction and fantasy, and guess what? It's featuring a sneak peek of my upcoming novel, The Shifting. Take this link to their current issue, read it, and tell your friends. I'm just new enough to things like this to still get giddy seeing my name published.
That being said, I want to discuss the writing of strong female characters. I think this is really tricky to do in today's society, because no matter how you do it you're going to tick someone off. With some readers, and writers, it seems like there's a continuum between "Strong" and "Feminine" and the more your character leans to one side the less she can be on the other. So how can a write create a female character who is strong and capable, but who is also not a male character named Jamie instead of James?
I'm not sure of the answer. It's not easy to figure this one out, and again, this battle cannot be won. If the female character is, for lack of a better word, girly, there will be readers who don't buy her strength and bad-mouth the story for having a "weak" character. Conversely, a super-strong female may seem too manly to be a woman. Maybe you want this. Maybe you don't.
In my mind, there isn't a continuum. I think a character can be strong AND feminine. Hermione, from the Harry Potter books, is a good, well-known example. It's clear she's female; the way she speaks, acts, interacts with other characters, makes this clear. It's also clear that she's strong. She affects the plot, and without her, the story would not end happily. Eowyn, from LOTR, is also a good example of this. She is female, feminine, and she stabs the King of the Nazgul when no one else can. She's no pushover, but reading her character, I can't fit a man into her role. Her character is female. I can keep going, but I won't.
Here I am, speculating on what "strong" means in this context. I guess I figure that a strong character, of any gender, is one that acts, that is able to move the plot along. Someone that has a will that isn't shaped by another's character but is that character's own, and changes the way the story moves. I like characters that get stuff done. I guess that's why I have issues with Bella Swan as the heroine of the Twilight books. I feel like I'm scraping for ways she influences the plot, even though she is very stubborn and self-sacrificing.
Ultimately, I guess it always comes down to your character. Maybe she is weak and girly, maybe she is strong and kind of manly. But if you sit down to write a "strong, female character", I don't see why one aspect has to trump the other. A lady can like makeup, charm men, and rule a nation in peace and war. Queen Elizabeth the First managed it okay.
So...my publisher puts out a magazine, featuring certain kinds of writing. Emerald Sky is science fiction and fantasy, and guess what? It's featuring a sneak peek of my upcoming novel, The Shifting. Take this link to their current issue, read it, and tell your friends. I'm just new enough to things like this to still get giddy seeing my name published.
That being said, I want to discuss the writing of strong female characters. I think this is really tricky to do in today's society, because no matter how you do it you're going to tick someone off. With some readers, and writers, it seems like there's a continuum between "Strong" and "Feminine" and the more your character leans to one side the less she can be on the other. So how can a write create a female character who is strong and capable, but who is also not a male character named Jamie instead of James?
I'm not sure of the answer. It's not easy to figure this one out, and again, this battle cannot be won. If the female character is, for lack of a better word, girly, there will be readers who don't buy her strength and bad-mouth the story for having a "weak" character. Conversely, a super-strong female may seem too manly to be a woman. Maybe you want this. Maybe you don't.
In my mind, there isn't a continuum. I think a character can be strong AND feminine. Hermione, from the Harry Potter books, is a good, well-known example. It's clear she's female; the way she speaks, acts, interacts with other characters, makes this clear. It's also clear that she's strong. She affects the plot, and without her, the story would not end happily. Eowyn, from LOTR, is also a good example of this. She is female, feminine, and she stabs the King of the Nazgul when no one else can. She's no pushover, but reading her character, I can't fit a man into her role. Her character is female. I can keep going, but I won't.
Here I am, speculating on what "strong" means in this context. I guess I figure that a strong character, of any gender, is one that acts, that is able to move the plot along. Someone that has a will that isn't shaped by another's character but is that character's own, and changes the way the story moves. I like characters that get stuff done. I guess that's why I have issues with Bella Swan as the heroine of the Twilight books. I feel like I'm scraping for ways she influences the plot, even though she is very stubborn and self-sacrificing.
Ultimately, I guess it always comes down to your character. Maybe she is weak and girly, maybe she is strong and kind of manly. But if you sit down to write a "strong, female character", I don't see why one aspect has to trump the other. A lady can like makeup, charm men, and rule a nation in peace and war. Queen Elizabeth the First managed it okay.
Monday, January 7, 2013
Story Satire #1: Tragic Romance
I'm back from break, and ready to write! This will likely last for the rest of the week, and then I'll want to sleep all the time. Anyway, the break has been good for me. I have an idea for a bunch of posts. I talk a lot about how to write well, but each genre has its pitfalls. Today I'm going to teach you how to write badly. This is a joke; if anyone cites me as a source for writing poorly I will point at the title of this post and deny everything. I am not putting this disclaimer on future posts of this nature. If the title says "Story Satire" understand I am not kidding.
(I'm sorry if the last sentence insulted your intelligence. I just want to make myself clear.)
So...here's how to write a tragic romance! Now you too can have readers bawling into a tub of ice cream without using any real writing ability!
1. Introduce 2 characters, a man and a woman, as the romantic couple. Put a social divide between them, such as money, status, life choices, parent's don't approve, prior engagement etc. This will add drama from the beginning. Remember, the bigger, the better. The less the situation parallels real life, the more your readers will love it. For example, if there is a prior engagement, the fiance is a cruel, ruthless pig that will never allow the woman to break it off, and the parents approve of him, and he's rich. Create the perfect storm.
2. One or both of the couple should be poor. The story should be set either in the past (the Victorian Era works well) or in the present. If set in the present, it should take place in a small town. Everyone knows tragic romances don't happen in the city. Romantic comedies do.
3. One of the lovers (preferably the man) should have a heart of gold despite coming from a cruel/humble background. Do not show how rough circumstances may roughen your character, because they haven't. Your poor character must act as if he/she has been raised by kindly nuns. That's not to say this character is not rebellious, but the rebellion is never life-threatening and often categorized under "fun." You want readers to like this person, and that means editing out anything that makes this character sound like anything other than a middle-class nice guy. Most people immediately relate to this role, and writing that character will save you from having to write a character who appeals to readers through tricky details like events, thoughts, and the unique way he sees the world.
4. The other lover (preferably the woman) must be trapped by her society. The Victorian angle works well here. She yearns for rebellion, but never takes one move towards it until the man she loves tells her to. She is a strong character, and you must show this by having her swear, drink, and contradict everyone. Everyone knows a strong woman is never kind. This will appeal to modern women, and you will not have to flesh out an individual for your character.
5. All love must be displayed through sexual actions. That spells out "true love" to your readers. This is more important than sweet, personalized actions real people use to tell others they love them. Such as: making dinner, romantic getaways, planning a date based around the likes of the other person.
6. Throw problems at your couple. Now, other writers will say that this is the point of fiction, and they're right. But you will do more. You will throw problems at your couple that are BIGGER and BADDER than anyone's problems. This is no place to introduce an issue common to your readers and explore how the different characters act. They'll react negatively, you know that. Have a screaming match/drug issues and get on with it. Layer abuse on status issues. Parents are getting a divorce? Not good enough. One should be sick with cancer (or whatever illness is in vogue) or commit a crime. A violent one. Send the male lover to war. Threaten the female with disinheritance. This all comes before the final problem: death.
7. One or both of the characters must die. Accidents are nice, but illness works best. If the story is set in the past, kill with tuberculosis. Call it "consumption". Brain fever also works well, since it is serious, causes hysteric fits, and in fact does not exist as a real medical problem. If in the present, use the most talked-about illness of the time. Cancer, AIDS, certain kinds of flu...it doesn't matter. Your characters must react to whatever you chose the same way they would if you picked another: negatively. Social connotations of each illness must be ignored. Hope will not be abandoned ever, even if the illness is always terminal. Hope causes pain later, because your reader will keep hoping your character will survive.
8. No medical action can be taken. That would defeat the point. All characters, even medical authorities, must shake their heads, weep, and say there is nothing they can do. This is not true of real life, but who cares? You can't let that character live.
9. As for writing and style, there's no need to impress anyone with delightful dialogue and spectacular prose. Write prose as poetically as you can, even if your point-of-view character is from the slums. Dialogue can be kept to a few passages of semi-witty banter (keep it mild, though. This is not a comedy) with long, tortured passages about how much they love each other. "You're my world" and "Who cares about everyone else. All I care about is you" will tear at the reader's heart, and perhaps even get reposted to a Facebook page.
10. Stick to these rules. Do not deviate. Other writers who spend too much time "honing their craft" may say that even a tired formula can be new and fresh when time is spent shaping and developing unique, 3D characters with excellent writing. They try too hard. Why fix what isn't broken?
Now you know what it takes to write a tragic romance that will get the nation sobbing. Get out there and write!
(I'm sorry if the last sentence insulted your intelligence. I just want to make myself clear.)
So...here's how to write a tragic romance! Now you too can have readers bawling into a tub of ice cream without using any real writing ability!
1. Introduce 2 characters, a man and a woman, as the romantic couple. Put a social divide between them, such as money, status, life choices, parent's don't approve, prior engagement etc. This will add drama from the beginning. Remember, the bigger, the better. The less the situation parallels real life, the more your readers will love it. For example, if there is a prior engagement, the fiance is a cruel, ruthless pig that will never allow the woman to break it off, and the parents approve of him, and he's rich. Create the perfect storm.
2. One or both of the couple should be poor. The story should be set either in the past (the Victorian Era works well) or in the present. If set in the present, it should take place in a small town. Everyone knows tragic romances don't happen in the city. Romantic comedies do.
3. One of the lovers (preferably the man) should have a heart of gold despite coming from a cruel/humble background. Do not show how rough circumstances may roughen your character, because they haven't. Your poor character must act as if he/she has been raised by kindly nuns. That's not to say this character is not rebellious, but the rebellion is never life-threatening and often categorized under "fun." You want readers to like this person, and that means editing out anything that makes this character sound like anything other than a middle-class nice guy. Most people immediately relate to this role, and writing that character will save you from having to write a character who appeals to readers through tricky details like events, thoughts, and the unique way he sees the world.
4. The other lover (preferably the woman) must be trapped by her society. The Victorian angle works well here. She yearns for rebellion, but never takes one move towards it until the man she loves tells her to. She is a strong character, and you must show this by having her swear, drink, and contradict everyone. Everyone knows a strong woman is never kind. This will appeal to modern women, and you will not have to flesh out an individual for your character.
5. All love must be displayed through sexual actions. That spells out "true love" to your readers. This is more important than sweet, personalized actions real people use to tell others they love them. Such as: making dinner, romantic getaways, planning a date based around the likes of the other person.
6. Throw problems at your couple. Now, other writers will say that this is the point of fiction, and they're right. But you will do more. You will throw problems at your couple that are BIGGER and BADDER than anyone's problems. This is no place to introduce an issue common to your readers and explore how the different characters act. They'll react negatively, you know that. Have a screaming match/drug issues and get on with it. Layer abuse on status issues. Parents are getting a divorce? Not good enough. One should be sick with cancer (or whatever illness is in vogue) or commit a crime. A violent one. Send the male lover to war. Threaten the female with disinheritance. This all comes before the final problem: death.
7. One or both of the characters must die. Accidents are nice, but illness works best. If the story is set in the past, kill with tuberculosis. Call it "consumption". Brain fever also works well, since it is serious, causes hysteric fits, and in fact does not exist as a real medical problem. If in the present, use the most talked-about illness of the time. Cancer, AIDS, certain kinds of flu...it doesn't matter. Your characters must react to whatever you chose the same way they would if you picked another: negatively. Social connotations of each illness must be ignored. Hope will not be abandoned ever, even if the illness is always terminal. Hope causes pain later, because your reader will keep hoping your character will survive.
8. No medical action can be taken. That would defeat the point. All characters, even medical authorities, must shake their heads, weep, and say there is nothing they can do. This is not true of real life, but who cares? You can't let that character live.
9. As for writing and style, there's no need to impress anyone with delightful dialogue and spectacular prose. Write prose as poetically as you can, even if your point-of-view character is from the slums. Dialogue can be kept to a few passages of semi-witty banter (keep it mild, though. This is not a comedy) with long, tortured passages about how much they love each other. "You're my world" and "Who cares about everyone else. All I care about is you" will tear at the reader's heart, and perhaps even get reposted to a Facebook page.
10. Stick to these rules. Do not deviate. Other writers who spend too much time "honing their craft" may say that even a tired formula can be new and fresh when time is spent shaping and developing unique, 3D characters with excellent writing. They try too hard. Why fix what isn't broken?
Now you know what it takes to write a tragic romance that will get the nation sobbing. Get out there and write!
Monday, December 17, 2012
The Wrong Shall Fail, The Right Prevail
This is my last post until after the Christmas break, so see you all next year. I hope your holiday (whatever you may celebrate) is filled with warmth, joy, and light.
I went to see "The Hobbit" opening day, which was the same day I heard about the shooting in Newtown, CT. I felt bad, at first, for going out and having fun the same day such evil happened, but it turned out to be a very positive thing. There's a line in the movie where Gandalf is explaining why he chose Bilbo. He says, and this is paraphrase, that he believes the darkness is held back not by great shows of power but by small acts, small, everyday acts by small everyday people. I needed to hear this after hearing the terrible news that morning.
Over the past year, and specifically now, I've understood Longfellow's words in the Christmas song: "And in despair, I bowed my head. 'There is no peace on Earth,' I said. 'For hate is strong and mocks the song of peace on Earth, good will to men." I have felt sympathetic with the fantasy characters I write and read, dealing with great evil. I feel that, lately, at least, the Dark is rising. It seems that every day I see more evil in the news and less good. It can be depressing and even terrifying.
It's so easy to write about characters fighting against insurmountable odds. That's fantasy, after all. Good and evil play out in human/creature forms, and good always wins. We envy the hero's strength and courage, we wish we could be more like that, but too often we dismiss it as a figment of a writer's imagination. They're just stories, we think. This isn't at all like real life.
But we forget, I think, that we are, each of us, the heroes of our own lives. We are the protagonists, we are the knights, the princesses, the unlikely children who grow to do great deeds. Sometimes I wonder how life might be different if we thought of ourselves that way, instead of, "Oh, I'm nobody special. My life is ordinary and I'll never shine." Perhaps we'd have more heroes, more people pushing back the Darkness, pinning it back with brightly shining stars. It doesn't have to be much; we don't all have to go out on knight-errant quests to save lives and fight monsters, clad in armor and carrying a sword. A small, everyday act may be exactly the heroism that is needed. A hug, a smile, a sincere compliment given at the right time, any moment where another's needs are placed above your own. That can be truly life-saving to the person who receives it, and the giver strikes one more blow against the Dark.
I believe we all have different talents given to us for the betterment of others. My friend is extremely kind and giving, and she uses her talents by teaching children and also by helping those around her feel better about themselves. I have other friends who give their time and talents to serve others. In my case, I have a talent for writing fantasy for young readers.
G.K. Chesterton said, "Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us dragons can be beaten." Oscar Wilde said, "It is what you read when you don't have to that determines what you will be when you can't help it." I hope my stories, read for fun, tell youths that dragons can be beaten, and that they are the heroes with the power to fight back. I hope my readers grow up believing in hope and light and honor, and also that they are free to act to better the world, even in small ways. I don't want them to say, "The world is dark and evil, and there's nothing I can do about it, so I may as well join it." I want them to say, "There is much in the world that is dark and evil, but it doesn't have to be that way. There is also much good, and I will add to it."
As this Christmastime comes and goes, and after comes the time for new beginnings and promises to do better, I hope it will be a season of light, not darkness. I hope it will be, for you as well as for me, a time for giving of ourselves, for fighting the Dark, and for growing into the heroes we've always wanted to be. I wish you all the best this holiday season. See you next year.
I went to see "The Hobbit" opening day, which was the same day I heard about the shooting in Newtown, CT. I felt bad, at first, for going out and having fun the same day such evil happened, but it turned out to be a very positive thing. There's a line in the movie where Gandalf is explaining why he chose Bilbo. He says, and this is paraphrase, that he believes the darkness is held back not by great shows of power but by small acts, small, everyday acts by small everyday people. I needed to hear this after hearing the terrible news that morning.
Over the past year, and specifically now, I've understood Longfellow's words in the Christmas song: "And in despair, I bowed my head. 'There is no peace on Earth,' I said. 'For hate is strong and mocks the song of peace on Earth, good will to men." I have felt sympathetic with the fantasy characters I write and read, dealing with great evil. I feel that, lately, at least, the Dark is rising. It seems that every day I see more evil in the news and less good. It can be depressing and even terrifying.
It's so easy to write about characters fighting against insurmountable odds. That's fantasy, after all. Good and evil play out in human/creature forms, and good always wins. We envy the hero's strength and courage, we wish we could be more like that, but too often we dismiss it as a figment of a writer's imagination. They're just stories, we think. This isn't at all like real life.
But we forget, I think, that we are, each of us, the heroes of our own lives. We are the protagonists, we are the knights, the princesses, the unlikely children who grow to do great deeds. Sometimes I wonder how life might be different if we thought of ourselves that way, instead of, "Oh, I'm nobody special. My life is ordinary and I'll never shine." Perhaps we'd have more heroes, more people pushing back the Darkness, pinning it back with brightly shining stars. It doesn't have to be much; we don't all have to go out on knight-errant quests to save lives and fight monsters, clad in armor and carrying a sword. A small, everyday act may be exactly the heroism that is needed. A hug, a smile, a sincere compliment given at the right time, any moment where another's needs are placed above your own. That can be truly life-saving to the person who receives it, and the giver strikes one more blow against the Dark.
I believe we all have different talents given to us for the betterment of others. My friend is extremely kind and giving, and she uses her talents by teaching children and also by helping those around her feel better about themselves. I have other friends who give their time and talents to serve others. In my case, I have a talent for writing fantasy for young readers.
G.K. Chesterton said, "Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us dragons can be beaten." Oscar Wilde said, "It is what you read when you don't have to that determines what you will be when you can't help it." I hope my stories, read for fun, tell youths that dragons can be beaten, and that they are the heroes with the power to fight back. I hope my readers grow up believing in hope and light and honor, and also that they are free to act to better the world, even in small ways. I don't want them to say, "The world is dark and evil, and there's nothing I can do about it, so I may as well join it." I want them to say, "There is much in the world that is dark and evil, but it doesn't have to be that way. There is also much good, and I will add to it."
As this Christmastime comes and goes, and after comes the time for new beginnings and promises to do better, I hope it will be a season of light, not darkness. I hope it will be, for you as well as for me, a time for giving of ourselves, for fighting the Dark, and for growing into the heroes we've always wanted to be. I wish you all the best this holiday season. See you next year.
Tuesday, December 11, 2012
My First School Visit!
Some notes to take care of now: this is going to be my second-to-last post until the new year. I'll post next week, but after that I'm on vacation. Also, I'm currently listening to the soundtrack for "The Hobbit" and I am getting very excited for this Friday. I have my ticket, I've finished my schoolwork, and I am ready for some geeky fun.
Yesterday I had my very first school visit as a writer. Basically, I went to an elementary school where my friend teaches sixth grade and talked to all the sixth graders (not just her's) about the writing process. And then, they asked me a bunch of questions and I answered as many of them as I could.
The drive to the school was snowy (of course. I couldn't have an easy first school visit, could I?), and I am not used to driving in the snow. So I was pretty much flustered by the time I got there. The students recognized me (I don't know how) and guided me to my friend. Then, I talked to all the students for 20-30 minutes.I mostly talked about revision and my personal process of writing. Their questions were a lot about what my favorite books and movies are. If you read this blog regularly, you have a sense of what those are. Some questions were really well-thought out, like what my favorite part of writing is and who my favorite fictional hero is. Others were silly, like how long I've known my friend, their teacher, and whether I like my school or our rival school better. I didn't answer that one.
I think it went well. I've heard positive things from my friend and her co-workers. One of the kids asked me to describe my book that's getting published, tell them what it's about in detail, so I did. I wished I had a book out already that they could ask me about or, more practically, I could display examples from when illustrating my points about the writing process. I tried to speak like the authors I've heard speak, allowing my personal voice and style to come through the presentation. As a writer, I have to sell myself as much as my stuff; if they like me, they may read my works.
But okay. I just had my fist school visit! This is what real writers do. (Enter squeee here). I guess that means I'm a real writer, or at least in the early stages of becoming one. I have another friend who wants me to speak at her school, as well, so there may be another school visit in the works. Until then, I'll keep writing and reading and revising, and sooner or later I'll have some cover art to show you. Finger crossed.
Yesterday I had my very first school visit as a writer. Basically, I went to an elementary school where my friend teaches sixth grade and talked to all the sixth graders (not just her's) about the writing process. And then, they asked me a bunch of questions and I answered as many of them as I could.
The drive to the school was snowy (of course. I couldn't have an easy first school visit, could I?), and I am not used to driving in the snow. So I was pretty much flustered by the time I got there. The students recognized me (I don't know how) and guided me to my friend. Then, I talked to all the students for 20-30 minutes.I mostly talked about revision and my personal process of writing. Their questions were a lot about what my favorite books and movies are. If you read this blog regularly, you have a sense of what those are. Some questions were really well-thought out, like what my favorite part of writing is and who my favorite fictional hero is. Others were silly, like how long I've known my friend, their teacher, and whether I like my school or our rival school better. I didn't answer that one.
I think it went well. I've heard positive things from my friend and her co-workers. One of the kids asked me to describe my book that's getting published, tell them what it's about in detail, so I did. I wished I had a book out already that they could ask me about or, more practically, I could display examples from when illustrating my points about the writing process. I tried to speak like the authors I've heard speak, allowing my personal voice and style to come through the presentation. As a writer, I have to sell myself as much as my stuff; if they like me, they may read my works.
But okay. I just had my fist school visit! This is what real writers do. (Enter squeee here). I guess that means I'm a real writer, or at least in the early stages of becoming one. I have another friend who wants me to speak at her school, as well, so there may be another school visit in the works. Until then, I'll keep writing and reading and revising, and sooner or later I'll have some cover art to show you. Finger crossed.
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