Home of Ane Ryan Walker, Teller of Tall Tales, Writer of Short Stories

Tag: romance writing (Page 1 of 4)

What’s in a name?

I recently had a visit from a long time friend I had not seen in several years. During the catch-up phase of our conversation, she informed me she had rescued two dogs. Being a dog lover myself, of course, I needed more information. “What breed,” I asked. She replied, “mixed.”

Finally, she got to the point and told me the mix of breeds–Chihuahua, and Yorkie. “Chorkies,” she declared.

I thought about it for a few moments, all the time wondering to myself who chooses how names are combined to determine a mix of breeds. Chorkie is a fine choice, but what’s wrong with Yohuahua? Isn’t that also an acceptable combination of Yorkie and Chihuahua?

Other options for mixed breeds, such as Labrador retriever and Poodle, are Labradoodle. Let me offer another option; Poodor retriever. After all, the dog is probably still willing to retrieve things.

Some other options I think may need revision.

  • Bogle – Beagle and Boxer. My suggestion, Beaxer, pronounced Beazer. Much more interesting.
  • Bugg – Boston Terrier and Pug. My take is Terrug. Interesting.
  • Cheagle – Chihuahua and Beagle. much like the Yorkie mix, I would go with Behuahua. Sounds like Bwaaahhhaaaa!
  • Golden Dox – Golden Retriever and Dachshund. Or a Golden hund, you pick.
  • Horgi – Husky and Corgi. This is just mean, who would be so mean to a Husky?
  • Jack-A-Ranian – Jack Russell Terrier and Pomeranian. How about PomTerr?
  • Lhaffon – Brussels Griffon and Lhasa Apso. Laff off, just for ridiculousness.
  • Cavachon – Cavalier King Charles Spaniel and Bichon Frisé. Charles Frise’. It’s a little more personal.

So thinking further on the subject I began to wonder, what’s in a name?

Romance authors choose Hero names with a sharp sound, Brick, Dirk, Clint, or Zack, no Tommies for us. We like real men with hard-sounding names who are durable and dependable.

And for Heroines, we choose languorous, sleep-inducing, sloe-eyed names with a musical lilt, Harmony, Cherie, Susannah. The more ladylike and sultry the name, the better for our heroines. Sexy, huh?

Anewyn, Gaelic for the blithe spirit, gets shortened to Ane and many people spend years pointing out your name is spelled wrong. Over the years I respond, my parents needed the second “N” for another child. Because of obvious criticisms from people you don’t really know, who are not in possession of all the facts, this is annoying at best. You should try to meet these situations with humor.

Generally, I do.

See the list of mixed breed names, revised.

 

 

Courage

  “Life shrinks or expands in proportion to one’s courage.”

― Anais Nin

Seriously, do you know what constitutes courage? Some people think of it as the absence of fear. Some people say it is the ability to face the very thing you fear. But I often wonder if the ability to face fears can sometimes be a foolish pursuit.

When it is not in your best interest to buck the system, fear can become embedded in the operational psyche.

I don’t believe this. I am of the school of thinking where facing your fears reduces them, allowing you to overcome obstacles in your path enabling you to eventually move on.

Assuming this take on the things you fear is the expansion Anais Nin is referring to, then the inability to face our fears must cause our personal universe to contract. Not good.

Sometimes fears are not meant to be dealt with in so cavalier a fashion.

Who will decide which fears are worth facing, and which should be circumvented?

Like most writers, if you are introverted, you avoid walking into a room of people you do not know, it’s too scary. Even when you seek a group of like-minded people, you can still find a situation like this paralyzing.  Seeking out other aspiring writers, or accomplished writers in pursuit of a mentor is a challenging task. If shyness (fear) prevents you from joining such groups or even seeking them out, how your attempts to join such a group are received are critical to how you deal with these situations in the future.

Most of us, as members of RWA, are often assured a welcome in each chapter of the overall parent group. But that is not necessarily the case. Even chapters which claim to promote aspiring writers by mentoring, and use that as their basis for excellence, often forget that common courtesy is everything.

Recently I attended a chapter meeting for an RWA chapter where I am not a member. I have been a member of RWA since 1993, and I do know the “rules.” You should greet new people and make them feel welcome. This is a hallmark of a chapter that aspires to excellence. It certainly should be a given for a chapter that RWA claims are “excellent.”

But no matter, I attended with notice by emailing and letting them know I planned to attend. I confirmed the date, place and time. When I arrived on site, I made myself known by introducing myself to the first two people I met. They gave me their names and shook hands. Then turned away to speak with friends and others they knew in the arriving group. In the meeting, a woman I’ve known for many years, who belonged to another chapter and who I had hosted numerous times in my home was present. She did not speak or acknowledge me until I was on my way out of the meeting.

Now, I could be wrong, but this behavior does not constitute either the principle of RWA’s inclusion or excellence. Sound like they pissed me off? They did. I have belonged to numerous chapters. I have gone out of my way to welcome those not known to the group or still new enough to not be recognized by other members. Making it my business to make time to answer questions, help the newcomers find a seat and get comfortable. At the very least, introducing them to at least two additional people.

This type of isolation and poor reception by a “peer” group could be enough to keep some writers from joining, or even encouraging them to leave RWA. Me, I’m not that dainty. But I will never forget the shabby treatment by this group and I will not recommend them to any writer, aspiring or otherwise. I will not attend any meeting or presentation for or by them in the future. You only get one chance to make a first impression. Something we should never forget.

 

Where does your story start?

There’s the sixty-four thousand dollar question.

I know many authors in various stages of their careers, and not a single one willing to say, “I know exactly where my story begins.”

Once in a rare while we know where to start the story, but not often, and certainly, not always.

As writers we have so many things to agonize over, such as “who does the story belong to?”, and “who will be the primary character?”

We need to decide so many things when we start a new story that we often overlook the obvious when we decide who will tell the story. For Romance writers, we know the story must be told by both sides, the “he said, she said” that keeps romance readers coming back. They love (no pun intended) a gripping story and so of course, they want to know why she behaved that way, and what he thought about it, and why he put the time and energy into winning her back. Did she make it worth his time?

If you have an audience that comes back again and again, you know you’re probably telling the story correctly. But how much do you agonize over the very beginning of the story? How do you decide when you’re just starting out who the story belongs to and how it should be told.

A general rule of thumb is when things change, the story begins. Always a good place to start. Change brings conflict. Conflict and its resolution or lack thereof, is often what keeps readers reading. But, unless we can identify and sympathize with the primary character, then you, as the reader are not likely to buy in for the long haul. And believe me, 400 pages is the long haul.

You must create and open with a character we love, or at least can identify with for the duration of the story. This simple direction is indeed a tall order.
How do I make you love my character? Or at the very least, how do I get you to accept him for who he is, like you but not like you, and still make him interesting.

In a word, backstory.

All of the things I, as the writer know, about the character, who he or she is, how they came to be in the moment fraught with conflict and change, and I must make you care about him and want to know why that happened.

You can love him or hate him, but he must arouse your curiosity, make you ask why? and also wonder, what happened next?

If you fail to incite this interest, you haven’t found the the right character, or the true beginning of your story.

About Writer’s Block

  “You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas.”

― Shirley Chisholm

Writers write. Ask any writer. If they could stop writing, they probably would stop writing. For the rest of us, we write to still the voices in our heads. We write to get our stories out into the world.We write, publish, and repeat the process. Endlessly.

If you ask me about that thing known as “writers block”, I’ll tell you it doesn’t exist. I can pretty much prove it. No other profession allows its practitioners to claim that no work can be accomplished today, tomorrow, this week, next week, or anytime in the near future, because they are suffering from a “block”.

Plumbers block? No. Dentist Block? No. Nurses Block? No. Accounting Block? No.

Trust me, if you are a writer and you’re not writing it’s because you choose not to write.

But wait, you say. I really do have writers block. What can I do? The answer is simple. It’s a choice you make, either a form of procrastination to avoid criticism, rejection, or some other form of negativity. So, you ask, how can I fix that? Start writing. Yes, that’s right. Make a plan and stick with it. Just start writing.

Writing when you have fear is difficult. Fears need to be faced in order for you to overcome them. So of course, the answer is simple. Start  writing.

Having difficulty with your story? Keep writing. Many writers know, you can not fix a blank page, so fill the page, then worry about fixing it later. Nobody–or let me say rarely–does anyone love a first draft. Usually it takes a lot of work, self editing, story restructuring, critiquing, and professional editing to get a story into decent shape.

Did I mention the upside of continuing to write in the face of adversity (i.e, laziness, fear, procrastination, martyrdom, or anything else that prevents you from writing)is you will find your true voice and your writing will improve if you just keep writing.

Truth or Power?

  “All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and not truth.”

― Friedrich Nietzsche

So all the rules you can’t seem to help breaking today which will land you in plenty of hot water maybe perfectly acceptable tomorrow.  Just go with it. Things change. If you can wait around long enough.

When we begin our trip down the path to published author, we first need to learn the rules. Excellent advice. I cannot stress how important it is the know the rules before you break them. Only then can you justify the unique twist applied to individual voice.

My best advice is to go ahead and write through to the end. The end of the first (rough) draft.

Then, when the first draft is complete your real work begins. What do I mean by real work? Well, for starters, editing. What kind of editing you ask? Good question. Editing in and of itself, can be considered an art form.

There is Developmental editing. This editing looks at the overall story. How did you structure the story you wrote? Is it logical? Does it follow a linear timeline? Does it make sense? Does it have all the components of a good story, in a logical fashion which will most likely cause your readers to pick up your book, and keep reading through to the conclusion.

Developmental editing is very expensive, and it is not the kind of editing you can do for yourself. Often we ask critique partners to assist us with line editing, and Beta reads. Not your best choice. As far as critique partners go, they make great critique partners or we wouldn’t keep them as critique partners. Most writers–especially those who take themselves seriously–have beta readers lined up. Those are folks who 1) like to read, 2) will be honest about the material they read, 3)have some idea of what makes a good story. At least look for Beta readers who have a clue about what makes a story good and what make it fail story-wise.

Line editing is exactly as it reads. An editor, who you pay, or your publisher pays, goes through your manuscript line by line looking for typos, grammar errors, (such as their for they are, or where for wear, etc.)and other inconsistencies. A character who is short  in chapter one who towers over others in chapter three, or might have blue eyes for several chapters which mysteriously change to green eyes in the end of the book.

Copy editing is done by the truly anal retentive. A copy editor’s job is to make sure you adhere to the house style designated by your publisher. Check submission guidelines. Submission guidelines as laid out by the publisher, will commonly indicate “house style”. Often the Chicago Manual of Style is indicated as the standard. The copy editor is the one who will help you to “tighten” your story. They help you to remove the unnecessary words, those which drag your manuscript down, making it harder to read, or slower to read.

Acquisitions editor is the employee of the traditional publisher who sees your project (book) through to completion. They buy your book. Which means, they sold your book to the sales team and the editorial board,but that’s a story for another time, another blog.

That’s about it for now, unless you plan to use and editor for SEO. For those of you scratching your heads, Search Engine Optimization. Because, when someone goes looking for your book, you need to help them find it.

Secondary Characters

How important are secondary characters?

Very Important. Think for just a minute how you might see The Harry Potter series without Neville Longbottom. Or perhaps Pride and Prejudiced with Jane Bennett.

Not so interesting, huh?

Important to remember the names for secondary characters. They should not be similar to the hero or the heroines name. The first names of these character should never start with the same letters. Names that sound similar or start with the same letter can be confusing to your reader. You don’t want the reader to confuse Crissy the servant with Sissy the villain. That would not be good. Remember, sound alike–Katy, Kathy, Cody–can confuse as well.

Where some writers will provide a full interview to get to know their primary characters, it isn’t always necessary for secondary characters. Does that mean they are less important? Less well-developed? No.

While they may not require the same depth of development, secondary charterers require the same amount of attention to the in development. Supporting characters who are well-developed are those who provide the proper support for your hero and heroine. Their development provides depth for the story and layers of interest to your novel.

Secondary characters provide a unique perspective through which the main characters can be viewed. What they see, hear,  and think about your hero or heroine and the behavior gives additional insight to the main character.

Characters, like people, are often judged by the company they keep. If you wish to define a characters moral core, the companions they choose are a good gauge of moral compass.

Sometimes the secondary character allows us as readers to compare and contrast the desirable qualities between heroes and secondary characters.

Secondary characters can contribute to a story by the use of valuable dialogue. They will know–and so will your editor–which questions should be asked and which subjects the hero wishes to avoid, but shouldn’t. They hep to increase the conflict by introducing the taboo subject, and sometimes outrageous behavior.

Secondary characters are not held to the same high standards which we impose on our heroes. They do not benefit when they advance to primary status in follow-up stories. And be assured, romance readers love to see the secondary characters follow-up with their own story.

 

 

How About Characters who are Villains?

We spend a lot of time writing and rewriting the hero.  After all, everyone expects him to be perfect. Especially if you’re writing Romance.

Romance readers are a finicky group. They’ve earned the right to be by their support of the fiction market. Many genres include romance, i.e, romantic suspense, historical romance, paranormal romance, contemporary romance…you get the drift. The largest percentage of the fiction market is some type of romance.

But, regardless of what specific genre you write, you sooner or later have to write a villain to oppose your hero.Remember our discussion about conflict?..how it powers your story?… how it makes every story more interesting? Well, the well written villain is the way to go.

Villains are the heroes of their own stories.Their behavior–same as the hero–defines who they are for your story purposes. Your villain will be ruthless, calculating,merciless, and a natural leader. If he’s not a natural leader, who will follow him? So maybe he’s charismatic, too.

There are different shades of evil,the same way there are different types of heroes. His motives, match his traits, and are reflected in his actions. You must show your reader who he is. In order to depict a villain who is not merely melodramatic, you will be required to explore his nature and therefore the evil of his nature and the evils’ origin. We are, after all not born good or bad, but develop into who we are by our life experience.

Be even more careful with the villains backstory. There is no need to dump it onto the page, or into your story. Save it for the perfect moment, the revelation of who the villains truly is and why he wants what he’s striving 300+ pages to accomplish.

The evil nature of a villain has many components. Greed, corruption, domination, deviancy, these traits represent the shadow side of human nature. In other words, these traits are the things we would like to be–just once, or possibly on occasion, in our everyday lives. Tell the truth, sometimes don’t you desire revenge rather than justice? Especially when the hurt is fresh, or when we are angry with others. The wicked character, our villains, act on the desires we deny.

What’s in a Name?

New parents spend time and energy choosing the perfect name for tier offspring. Some writers spend a few hours choosing a character name, and rightfully so. This is a declension which can mean the difference between success and failure for your character, or maybe even your book.

You can choose a name that molds the characters personality, or reflects it, or based on physical traits. Old fashioned names in the modern age can and often do, reflect core strength, and character.  A name can instantly identify a characters ethnicity.

But every name has a meaning.

Consult the baby name books, online resources and even period reflective naming resources, if you happen to write historical or period set fiction. Using a name by its meaning to build your characters personality is an option, or naming him or her in contradiction to strengths is also an opportunity for additional conflict. Nicknames can also tell us quite a bit about a character, his background and his or her intentions.

I’ll cite the perfect contradiction, courtesy of Joss Whedon, the master of character development–a demon named Angel. ‘Nuf said. Conflict on a stick and arm candy to boot.

If you have the wicked twist of mind shared by some writers, you can even give a character the same name as a high-profile public figure, and let them endlessly try to explain, distance, or differentiate themselves. We all believe we’re individuals, right?

But when you sit down to create character, you can have fun with the name. Always remembers who is in charge. You create them and they are what your story needs. They are who you need them to be, in order to keep your readers engaged, and also dependent on what the plot you create requires.

Not only must you decide who they are, you must show us how they behave in terms of story. If you want us to believe your character is a workaholic, who consistently breaks promises to family and friends by choosing his his career over family commitments, then show us how he blows off those commitments, staying to work late when he should be home with his wife, tucking his baby into bed.

There are numerous volumes which will give you a step up in terms of starting to develop your characters. Remember every good trait has a downside, just like every blessing can also be a curse. Using an established method to define character is easily achieved by looking up Linda Goodman’s  Astrological signs, which will tell you the superficial positive traits and the negative traits, as well. It is a good place to start but you must always build your own unique characters.

Don’t use all the information right up front. Remember the 80-20 rule. You do not need to see the entire iceberg to know there’s trouble ahead. Naming a character can give a hint to potential backstory, and sometimes even make it more interesting.

How do I make that hero shine?

Interviewing the hero is a good start, if that works for you. If not, I’m going to give you some guidelines about what a hero should–and shouldn’t be, and how he might act.

Remember, writing doesn’t have a lot of “rules” per se, but if you want your hero to be likable, you will at least consider the following things:

  1. Heroes are strong people, not only physically, but emotionally. They don’t hold other people to blame for every misfortune in their lives, but they do hold the people in their lives accountable. So if your heroine makes a promise or a commitment to the hero, he expects the promise to be kept.
  2. Heroes have an excellent sense of humor. They do not make jokes in poor taste or at the expense of the weaker characters, but they often exercise a dry wit, and they know how and when to be able to laugh at themselves.
  3. During social encounters heroes are aware of their surroundings, and are not likely to be the center of attention, but are aware of the tensions in the room or situation. They are often the person who will diffuse a tense situation or control activities which have the potential to get “out of hand”.
  4. They do not wear flashy clothes or make odd or awkward fashion statements, but have a classic, quiet,  dignity which is always in style.
  5. While the hero is often aware of what others think of him, his actions, his choices, the opinion of others has no effect on the hero’s behavior.
  6. True heroes know the art of romance. They always treat women like ladies, regardless of age or station in life. This behavior towards women is what starts the ordinary man down the path to true hero.
  7. Heroes don’t typically seek out others to help them. They like to resolve their difficulties alone, but are strong and secure enough to ask for help when they need it.
  8. Heroes know how to say no. The have mastered the art of saying no rather than the art of apology. No means no.
  9. Heroes know what they want and are focused on getting what they want. They pursue their desires by doing what is necessary to achieve their goals.
  10. Heroes are decisive, not reactive. No knee jerk reactions. No panic. Again, heroes know what they want and focus on making their desires their reality.
  11. Heroes command respect. Others follow the hero because his is to be admired, not feared. He earns the respect of others by demonstrating the qualities of a true hero. Not by instilling fear into the weaker of the species.
  12. Heroes are problem solvers. The others in their social circle, friends and family know they can count on the hero in their time of need. Heroes are reliable.
  13. Heroes exhibit a calm and serene dignity. The trick to this is not to react, but rather to collect all the available information before making a decision, whether it is personal or advice to a friend or loved one. A calm and serene demeanor is the face a true hero shows the world.
  14. Heroes do not hesitate when a decision is needed. They assess the situation, and make a decision based on the need at that moment in time. They do not hesitate. They are not afraid of failure.
  15. Heroes command the attention of everyone when they enter a room. The exhibit excellent posture, make eye contact, give a firm handshake when introduced to others and always exhibit confidence. Their body language–confident, competent–tells everyone who they are as soon as they arrive in a room.
  16. Heroes know the secret of good communication. They speak less and listen more.
  17. Heroes assume the leaders role rather than wait for others to offer it to him. He is not a jerk, and is not aggressive, but he will stand up for what is right. Every time.

Defining Characters

There are a lot of questions you’ll be asking about developing any character. Some writers like to sit down and “interview” the characters they’ll be working with over the course of a story.

I am not one of those writers.

Is is wrong to interview characters? Yes, and no. If you use this method to delay writing, yes. If you really want to get to know the character before you leave on the story journey, then no. It matters only if you use the interview, or the excuse of the interview, as a delaying tactic to put off working on the story. If the character interview is working on the story, then knock yourself out.

Some of the things you’ll need to know, or will want to ask those characters are what motivates them. In other words, why do they do what they do? In your story, each and every character has a reason for their behavior. That reason is motivation, commonly referred to as the cause and effect of the story. This is part of the conflict that drives your story forward. Characters, no matter how well crafted, are not believable without the proper motivation. For example, the work obsessed tycoon, who is ruthless in business dealings may come from a background of poverty, in which he never knew if he would get another meal. The background of extreme poverty of this type might cause a person to be judgmental of those who waste anything.

If you start out interviewing the character and find the process difficult, just hang in there. It becomes easier as the character takes root in your subconscious

Keep in mind, when the interview ends, the information is for the writer to use as needed. It should not be disposed of in an”information dump” on unsuspecting readers. This interview provides the background that allows you to show us, rather than tell us how a character grew into his role for this story. Like an iceberg, if we see the tip, we know the danger is there without having to view the 80% of the danger which remains hidden.

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