I have done it! I have finished my latest historical romance!
Hooray, I hear you say. At last.
It has been polished, re-polished and sent winging its merry way to The Editor, the god-like creature who will pronounce judgement upon my baby. As some old writer hack said, “parting is such sweet sorrow.”
It is an anxious time.
But while I wait, chewing my nails to the quick, I have been pondering on Life, the Universe and…
This week I have been remembering the first draft of my first book. Well, the first book I actually completed.
I remember that it was written by hand, mostly while I was waiting for books to be retrieved from the stack in a very famous library.
The leather-bound tomes, the scholarly hush, the dust dancing in the sunbeams, the academics concentrating all around me…. oh, I remember them as if I’ve only just walked in from that day with my book bag stuffed with notes and my head full of my characters.
Or sometimes I wrote that first draft while I was waiting for an old friend in our favourite coffee shop.
When inspiration struck there, I sometimes scribbled the idea down on any old scrap of paper — including a cafe napkin once or twice.
Revisiting the Romantic Hero Formula —
except that there isn’t a formula, as I tried to show in the first blog on this topic. So, instead, I’m going to explore some aspects of creating the romantic hero.
With examples from a master of the art of hero-creation — Georgette Heyer.
Which Qualities Make a Romantic Hero Attractive — to Readers?
Most of us would say that our aim in writing romance is to create a heroine that our readers will identify with and a hero that they will lust after. Warning: it is not easy to do and not all readers will respond in the same way. Some may adore our hero and some may hate him. As romance authors, we’re winning if we have a lot more of the former. 😉
Tall Dark and Handsome?
Tall dark and handsome? Not necessarily. As readers we probably all have favourite heroes who are none of those. As writers, we may have created some of them, too.
Most telling recent example? Who became the abiding hero in the Game of Thrones series? Yes, Tyrion, the dwarf. Continue reading →
This week I spent a day with Georgette Heyer. Billed as The Nonesuch Conference, this was at a hybrid gathering at London University, offering a selection of papers from accredited academics together with reader/writer participation from people labelled in the programme as independent scholars.
Clearly, and heartwarmingly, most of the speakers I heard were also fans.
It was preceded by a writing workshop the day before. And there was a Regency Soirée in the evening after the conference, which sounds like a lot of fun.
Sadly, I couldn’t make either of these events. For one thing I’m still convalescent. (My energy gives out unexpectedly, so I didn’t want to push it.) For another, the programme was really full. Academics seemed to be supercharged, cheerily steaming from session to session, enthusiasm still at white heat.
When I read my notes I was astonished at the sheer volume of ideas I had noted down for further consideration. Continue reading →
Let’s hear it for the heroes! Tall, dark and handsome?
Hero = handsome; heroine = beautiful?
Bestselling author Susanna Kearsley published a blog last week that asks a thought-provoking question about romantic heroines: — why is it that “some readers, when faced with a blank face, are programmed to fill in the features as ‘beautiful’?”
A disturbing question, too, perhaps.
But what about the heroes? Do we readers fill in male features in a similar way? Why?
Do the heroes of our imagination have to be tall, dark and handsome? Continue reading →
By Day 8, the True Love is getting more ambitious and, frankly, a bit cracked.
Today’s gift embraces both livestock and human trafficking. This is seriously dodgy territory now. He’s clearly into all things quaint, traditional and with just a hint of the Good Old Days. Maybe even Heritage.
I feel we’re beginning to detect some disturbing undercurrents in these so-called gifts. Are they not just another way of tying his Beloved to endless cleaning and animal husbandry? Only now she’ll have staff to placate as well. Not a good outlook. Continue reading →
I’m intrigued by subtext and, in particular, the space between the words in a novel.
Yet perhaps the most perfect example of this is not in a novel at all, but in a movie. It’s the little miracle that is Roman Holiday, starring a luminous Audrey Hepburn as a stifled princess. Gorgeous Gregory Peck plays against type as a distinctly dodgy expat newspaperman. They don’t have a Happy Ever After ending, either. Yet its perfect, mostly because of that extra layer of meaning.
Why Subtext in Roman Holiday is Interesting for Novelists
Writing for a reader is how I finished my very first book. That probably sounds strange, after my heartfelt blog about writing for one’s own inner reader. But the truth is that, although I’d been writing all my life, the very first book I finished was written for a particular reader.
When we read fiction set in the Regency period, we often come across references to sea journeys but, usually, they’re over pretty quickly. On one page, we’re at Dover or Harwich or Falmouth. A paragraph or two later, we’ve arrived at our destination and the story continues. (Not in all fiction, of course. Who could forget Mary Challoner’s horrendous cross-Channel trip in Heyer’s Devil’s Cub? Still, at least Vidal proffered a basin at the vital moment.)
Nowadays, our ships have GPS and radar and even engines! 😉 So this modern figure, staring out over a slightly stormy sea, has little to fear from going on board. But what was it really like, making a sea voyage on one of the Regency’s relatively tiny and fragile sailing craft?