One of the things that happens when you
finally manage to “birth” a book is that curious folk want to know all manner
of things about you. In interviews for their blogs or for articles, they’ll ask
how you came up with the idea for your book or who’s your favorite character
or, like I was recently asked, what’s in your to-be-read pile.
Frankly, I’m a little embarrassed by that TBR
pile. Like a lot of writers, mine is about four feet high (or it would be if
half of the titles weren’t on my Kindle), because I don’t have the time to read
all I would like. But you may be surprised to learn my TBR pile is not
dominated by SFR. When I escape to another world, it isn’t always to another
planet via starship. I read historical romance, romantic suspense, paranormal
romance, even a little contemporary romance (most of it written by people I
know, but not always). Occasionally I’ll read a straight science fiction novel
on the recommendation of a friend, just to see if I can follow the science. And
I’m a big fan of historical nonfiction and Stephen King.
Reading Stephen King over the years has given
me a thorough education in the basic skills of novel writing—structure,
character, tension, choosing the right word for the job. He is the absolute
best at what he does.
Reading nonfiction keeps me connected to the
real world and gives me something to talk about at gatherings besides politics
and religion (which should be off-limits to polite folks) and writing (which no
one but another writer understands).
But I’ve learned a number of important things
from reading other forms of romance which have become a big part of my own
writing. Here are, in reverse order, the
Top Five Things I’ve Learned From Reading Non-SF Romance:
5) From historical romance—the art of
dialogue. In many historical romances, much of the action takes place in
drawing rooms and ballrooms, occasionally stables or carriages or gardens. Apart
from the occasional duel (usually held off-page), there is little real physical
action (well, except in the boudoir, of course), so the plot and all character
development must be carried through the dialogue. If the dialogue is flat, the
book fails. The absolute master of this is Eloisa James (Four Nights with the Duke), who can make a conversation about
making over a dress sparkle with wit and innuendo while conveying hidden
nuggets of information. Amazing.
4) From romantic suspense—the art of pacing.
All those King novels certainly gave me a leg up here, but romantic suspense is
very different in tone from horror, or from a thriller or a mystery, and needs a
different approach. You have the added element of sustaining the romance while
danger threatens. How (and when) do you introduce those elements of danger?
When do you start to accelerate to the book’s climactic finish, where the hero
and heroine finally triumph over the villain? I’m still learning how to
structure the story so you just can’t put it down, from Maggie Shayne’s early
stuff, Jayne Ann Krentz, Linda Howard and others.
3) From paranormal romance—the wounded hero
trope. The idea of the alpha male who is vulnerable because of past hurts or a
dark secret is not exclusive to paranormal romance by any means. The writers in
this subgenre have just crafted it to perfection. From the beginning, with
Christine Feehan’s long-suffering vampires, continuing with Sherrilyn Kenyon’s tortured
Acheron and Nick, brought up to the minute with J.R. Ward’s Black Dagger
Brotherhood and found in nearly every demon, vamp, were-creature, angel and hunter
imaginable, the wounded hero redeemed by love is a fundamental principle of
paranormal romance. Readers find this idea irresistible—and I admit, I do,
too. The vulnerability of the hero is essential. Without it, why would he ever
need the heroine? (This was a big theme in TREK fan fiction, too. Both Kirk and
Spock were seen as vulnerable, fallible heroes—and, thus, lovable.)
2) From contemporary romance—the need for
community. The heroes and heroines of contemporary romance live surrounded by
friends and family, often in small towns or in the places where they grew up.
Sometimes, in military romances, they live on ships or bases, with a cohort of
their peers. When things go wrong between them, they have people to talk to.
When bad things happen in their families, or among their friends, or in the
town, they have each other. There is a sense of comfort in community that
readers of contemporary romance like—a lot. They will seek to return to a
certain community--Jude Deveraux’s
Nantucket or Debbie Macomber’s Cedar Cove--over and over to have that feeling of comfort again. This is uncommon in the world of
SFR, but it shouldn’t be. Just think of the great SF series—STAR TREK, STAR
WARS, FIREFLY, BATTLESTAR GALLACTICA, FRINGE, X-FILES. These are ensembles,
with the individuals surrounded and supported by a web of relationships. Create
a community, and readers will want to return to that place over and over.
And, finally, the Number One Thing I’ve
Learned From Reading non-SF Romance:
Worldbuilding. Yes. The thing we are supposed
to be so good at in SFR. When I read a good historical, I’m swept away by the
detail of interior design and costume, street scene and manner that the author
has so painstakingly provided for me. Similarly, the consistent, detailed
creation of a new paranormal world allows for necessary suspension of belief in
the rules of this world. Do I believe in vampires when J.R.Ward writes about
them? You bet I do.
You may think it’s easy to design a cozy
little town on the coast of California and fill it full of seemingly normal people.
But that town has to be as believable as any distant planet, and each of those
folks has his or her own backstory. If something about them doesn’t ring true
for the reader, the book fails. The same is true of a good romantic suspense
novel. The world the author creates must be filled with authentic detail in
order to set the mood for the tense action of the plot.
From all these wonderful writers, I read, I
watch, I learn. Then I practice. Maybe one day I’ll get it right.
So, what’s surprising about your TBR pile? Learn anything from a good book lately?
The latest issue of SFR Quarterly is out, with fiction from Charlee Allden, a review of
Sharon Lynn Fisher’s Echo 8 and an
opinion piece about what makes a great SFR film from yours truly! Download your
copy now here.
Cheers, Donna
I'm a HUGE fan of the wounded hero trope. Probably not a coincidence it's my favorite one to write.
ReplyDeleteYup, another big vote for the wounded hero trope. Actually I'd say I learnt more about world building from historical and fantasy fiction. Reading some of my mum's Barbara Cartland and James Bond books taught me a lot about how I *didn't* want my romances to sound. I love to read Agatha Christie and Conan Doyle but couldn't write a murder/mystery to save my life. I find contemporary anything dull, and high tension suspense /thrillers put me too much on edge for me to find them an enjoyable read. In some ways I have a very narrow reading range, but there's a few oddball things on the list.
ReplyDeleteI can't plot out murders/mysteries/thrillers to save my life either. But I'm great at picking them apart and figuring them out. Which is why my CP and I work so well together. She writes romantic thrillers, and if she can keep me stumped on something, 90% of her readers will never figure it out either.
DeleteI started with writing historical romance, so world building wasn't all that difficult for me. I already knew how to recreate a time long gone, so it wasn't hard to create something that's never existed.
Historical romance has come a long way since Barbara Cartland--thank goodness! I have to admit to a fondness for Sir Arthur and Ian Fleming myself, though I have to agree I couldn't do what they do. And wounded heroes? Yep, love those guys!
ReplyDeleteI actually think historical romance and SFR have a lot in common, Rachel. (Think Lois McMaster Bujold.) And, yes, keeping all the threads going in a mystery/thriller plot is a challenge. I have multiple timelines on scraps of paper all over my desk to keep me straight. REALLY need to get organized one of these days!
ReplyDeleteIt totally is! The same skills are needed to recreate a long-lost worlds, and create ones that will never exist. Writing historical anything requires knowledge of the political climate of the time, manners, customs, speech patterns, slang, dominant worldviews.
DeleteAny writer who can pull one off can absolutely write the other.