writercises | Entries tagged with romance

Original Posting 2022/2/13

Okay, it's almost Feb. 14, right? So, let's see...

Over here, https://www.goodhousekeeping.com/life/relationships/g38542496/romantic-gifts/ we have a long list of romantic presents?

1. Our Bucket List: A Creative and Inspirational Journal
2. What I Love About You Fill-in-the-Love book
3. Monthly Date Night Subscription box
4. Preserved Roses
5. Conversations and Challenges for Date Night
6. Bamboo Bed Tray

Let's see.. bath stuff, dinner for two at Chesapeake Bay, massage candle, DIY chocolate truffles, a philodendron? It's an eclectic list, but...

Go ahead. Take your romantic couple, and have one of them give the other one something from the Good Housekeeping list of romantic gifts (Or some other romantic gift of your imagination -- a kitten? A puppy? A guppy???). Then tell us what happens... does true romance carry through?

WRITE!

mbarker

Original posting 2022/2/5

Oho! That’s right, Feb. 14 is Saint Valentine’s Day! Celebrating romantic love, young romance, and all that, right? Also chocolate! You can find out all kinds of stuff at https://en.m.wikipedia.org/wiki/Valentine%27s_Day about it, if you like, or just use whatever rumors and vague thoughts you might have rattling around.

So, as writers, what can we do about it? Well, a short story about one of the many themes of this day is certainly possible. Or perhaps a poem? Naturally, you might twist it… what does a vampire do on Valentine’s Day (or night?)? It’s the halfway point for poor February (28 days, three years out of four), which might suggest something. Or maybe… just a chuckle about youngsters and cards and candy and such?

Anyway, I thought some of you might like to take on the challenge of writing a short story, perhaps a 100 word wonder, flash fiction, or whatever? To celebrate the day when love is everywhere, and candy hearts thump?

Write?

mbarker

Original Posting 2021/11/6

One of the tv shows here is the morning drama, 15 minutes a day. A recent episode ended with a twist, as the male main character looked at the female main character and decided that life was actually pretty good. To help drive that point home, as he looked at her, the radio in the background started playing a bit of Louis Armstrong singing On The Sunny Side of the Street. Just a few bits, and he picked up a flyer and read Louis Armstrong's name, and a few lines in English, which he translated into Japanese. A minute, maybe a bit more, and suddenly, we knew what he was thinking, and it had been reinforced by echoes of that song. Nice... Life can be so sweet, on the sunny side of the street!

So... if you need to emphasize an emotional point or realization, think about a song that brings it out, and have your character reflect on that song. Maybe even toss in a line or verse or two. And voila... you get the benefit of background music, even without a soundtrack!

And just in case you're trying to remember that song...

Louis Armstrong - On The Sunny Side Of The Street Lyrics

Grab your coat and get your hat
Leave your worries on the doorstep
Life can be so sweet
On the sunny side of the street

Can't you hear the pitter-pat
And that happy tune is your step
Life can be complete
On the sunny side of the street

I used to walk in the shade with my blues on parade
But I'm not afraid... This rover's crossed over

If I never had a cent
I'd be rich as Rockefeller
Gold dust at my feet
On the sunny side of the street

[Instrumental]

I used to walk in the shade with them blues on parade
Now I'm not afraid... This rover has crossed over

Now if I never made one cent
I'll still be rich as Rockefeller
There will be gold dust at my feet
On the sunny

On the sunny, sunny side of the street

mbarker

Original posting 2021/7/21

Oh, my. tvtropes has many things to say about romance. Starting at https://tvtropes.org/pmwiki/pmwiki.php/Main/RomanceNovel

Apparently the single requirement to be a romance is a "Happily Ever After" (you know, and they lived happily ever after...). Which allows many versions to slip in. 

Hum, there's the Strictly Formula stories? Harlequin and others, where the story follows the tried and true plot line? 

If you have time (and a strong interest) https://tvtropes.org/pmwiki/pmwiki.php/Main/RomanceNovelTropes has plenty of suggestions! Wow!

I think I'll stop here. So we're going to mix up this romance with a hollow metropolis setting? Fun and games... He lived on the West Side, she lived on the East Side. But when they met downtown, where no one lived, it was destiny...

Write!

mbarker

Original Posting 2021/5/21

There is a funny bit going around on Facebook, where some poor guy is whispering into his lady love's ear about how he thinks there is a landscape inside every woman, that needs to be unfolded... it ends with him saying, "Let's construct an assemblage."

Now, admittedly, it's kind of a rough and ready version of romance (when I read it, I was reminded of the old joke about the guy who asks women a fairly rude question, and someone asks what happens? He says he usually gets slapped, but once in a while... constructing an assemblage seems almost as far out). But it suggests an interesting twist.

Take an analogy, a process, something like that. Now, wrap it up in a romantic meeting between your two lovers. You can make it their first date, a somewhat more steamy scene, or even an outright adult scene, but let one of them be trying to lay out this analogy as part of their dialogue.

So, perhaps they see the relationship as a chess game, and they are about to force a checkmate? Or it's like automobile repair, and we're about to make the engine run? Or... go ahead, take your wildest analogy, and wrap it in a romantic dialogue.

Write that scene!

mbarker

Original Posting March 2, 2018

Writer's Digest, November 1990, had an article on pages 26-29 by David Groff with the title "How to Write Believable Love Scenes." How to heat up the romance with love scenes that advance your story… Sounds pretty good!

David starts with a note that "Love is what most novels are about.… Nearly every piece of fiction contains a love story or a motivating romantic charge." Love is a topic throughout our lives. Now, how do you write about it… There's the question.

So what are the challenges in writing a love scene? Well, David suggests:
– you need to write the scene and place it so that it is central to the story and advances the plot.
– You should shape the scene to maintain the novel's conflict and tension.
– You need to write a scene that is fair to the characters, consistent with their personalities, and increases the reader's understanding of them.
– Finally, you need to find a language of relation that is fresh, original, rich, evocative, suits your novel, neither pornographic nor prudish, not clinical or clichéd…

1. Do you need a love scene? Well, how integral is a physical relationship to the story? Don't just write a love scene for sex. Don't do it just for a thrill or break. There needs to be a good reason, something that propels the story and reveals characters.

For a sex scene or love scene to work well in a novel, it should be a natural culmination of building tension and emotions. The simplest test of whether a love scene is necessary or not? Try deleting it. Do the characters really need to come together? Does this scene do that?

2. The shape of your love scene. Well, any scene in the novel needs arising action, complication, climax, and denouement. You need conflict, tension, all the normal bits and pieces. Don't be too casual about it, don't overdo the physical description, and make sure the scene accomplishes what it needs to. You may want to outline this. Think about the point of view, tone, pacing. This is an action scene!

3. Who is in your scene? Your characters need to be consistent. This scene should display who they are, and why they are in love.

4. The language! Fresh, appropriate language is one of the big challenges. Watch out for clichés, make your phrases strong and precise and vivid. Be aware that cutting from the kiss to the cigarettes isn't really satisfactory. Sure, pulling the curtains is easy, but… Think about what you are saying about your characters. This is an opportunity to be very rich and detailed, use it! Don't use clichéd phrases. Use metaphor carefully, and with a light hand. Try to surprise your reader with metaphors. Let the readers imagination do most of the work. Oh, you might want to stick with realism. "The final test of love scenes in fiction is whether they correspond with life and tell us what we didn't know we knew. Comparing fiction with real life will help keep any writer both honest and original."

There you go. Decide whether or not you need a love scene, lay it out as a scene, think about the characters, and then worry about the language you use.

Practice? Well, take a story you like, or one you are working on, and see if there's a love scene there. Then apply David's precepts. See if you can make the love scene ring!

Write!

mbarker

Original Posting Aug. 3, 2017

Over here

https://madgeniusclub.com/2017/08/02/romance-structure-and-genre-expectations/

Sarah Hoyt talks about just what makes a romance. What does a reader expect when they see that genre label? Well, there's several parts. Structure is one, there's also shortcuts that writers and readers use.

Sarah starts out with the well-known plot, Boy meets girl, boy loses girl, boy finds girl. But there's more there than meets the eye. See, it's more like...

Girl meets boy and there's a special attraction! Then, for various reasons, girl and boy both have problems with that. Plenty of meetings, maybe sex gets into the act, but... they're still not quite sure.

And the secondary plot gets into the act! Any and every other genre, often pushing against and mixing up the primary plot. Mystery, fantasy, romance (usually other characters), and so forth.

Eventually, the Happily Ever After (HEA!) hits. This can be a wedding, a child, or something else that proves they are really going to get together and stay there.

Oddities? Romance often uses two points of view, switching rapidly. She thought... He wondered... The point is that readers want to know what both partners are thinking, so... two points of view, mixed.

Shortcuts? Eyes lock. That feeling that there's something special about this. A touch that sets of physical reactions. The mental focus on the other person.

End the subplot before you end the romance! Then kick that HEA into the reader's happy eyes, and let them enjoy the romantic ending.

There you go. Romance, ain't it grand!

tink

mbarker.livejournal.com

Original Posting Jan. 7, 2016

Well... at least over here

http://madgeniusclub.com/2016/01/06/lets-get-romantic/

Sarah is taking up the banner of the romance! So let's see...

The stereotype Romance is boy meets girl, boy loses girl, boy finds girl. Or vice versa, mix-and-match, feel free to throw in a best friend or whatever. It's a play about the attraction between two (or more) people, okay? (not to be confused with buddy cop shows and odd couples and such, except... they do look kind of similar, don't they?)

But since the 80s or so, romances have gotten complex. Often they mix in a healthy helping of mystery, for example. Something like girl accused of crime, runs away and meets hero, who finds out about crime and one or both run away, but... hero solves mystery, redeems her, and they forgive each other, then happily ever after (marriage, children, or something like that).

So, basically, two people meet, circumstances push them apart and then back together, and pow! Love and romance save the day.

Some problems to watch out for:

1. Just because it has a romantic subplot does not mean it is really a romance.
2. Romance, mystery, and science fiction can dance together just fine. In a romance, the relationship is the central element, though.
3. You can always use romance to complicate things! After all, competent people fall in love and lose track all the time.
4. Just because your character is not interested in romance doesn't mean that romance is going to skip right past. Romance trope says if two characters spend time together, sparks will fly! To avoid this in SF/F/mystery/thriller land, you have to strongly signal it.
5. Enjoy the love triangles (and more complex geometries of romance). When A loves B, B loves C, and C loves... anyone but B, you have built-in conflict.

Key concept, and I'll quote from the master here, "Use romance. Be aware of the leads you're laying down, and follow them."

Now, what can we do as an exercise? An obvious one is to take that story you are working on, and consider mixing in a little romance subplot. Or even just make explicit the hidden romance that you've been ignoring!

Or, of course, you could try outlining a romance plot. Classic, or one of the modern variations? You choose!

And write about it. With all the fun stuff!
tink

mbarker.livejournal.com

Original Posting 10 April 2011

Hum, I wonder if Spring Fever is setting in? Ah, well. Let's see. The target date for this round would be around April 24, right? So we'll have finished tax madness and be headed into May flowers, or something like that.

And for the tags to hang your tale on this time... I'll borrow some from a writing game I listened to recently. So, your task, should you choose to take it on, is to incorporate (in some way, shape, or form of your choice):

Romance
The world's strongest man
Buried treasure

Romance? Well, the shape is up to you, but I'd suggest something romantic :-)

Can do? Good. So, on your marks, get ready, and... WRITE!

Current Mood: singalong

mbarker.livejournal.com

Original Posting 8 February 2009

That was romance?

Sunday, Mitsuko was flipping through the channels and stopped on "Love on Sunday." I'm not quite sure whether this is a continuing series or a special, but we tuned in just in time to see a young man stopping a young woman from jumping off the roof. Yes, she was trying to commit suicide. And he walked her home, and then stopped her from killing herself with a knife. He finally gets her to explain that her last boyfriend died in an accident, so she is trying to kill herself.

Oddly enough, they fall in love. I think I missed a couple of scenes at this point, but . . .

And now the young man discovers that he only has six months to live. Doctor tells him, and he goes into a whole set of flashbacks about the young woman and her attempted suicide, plus several flashforwards about what he wished . . . long life with her, kids, etc. But now . . . what should he do?

And he proceeds to lie to her. First, he continues the relationship, with no hint of the problem.

And then one day . . . she discovers an earring in his bed. Not hers. And proceeds to storm out of the house because of the "other woman" that he has been hiding.

He has faked the whole thing, of course. He bought the earrings just for this purpose.

Flash/cut to the man lying in a hospital bed. The doctor (or nurse?) comes in and asks if there is anything he would like. And . . .

The doctor/nurse wheels him out to the park where they always went on Sunday. Sure enough, his young female friend comes around the pond and sits down, reading a book. And the doctor/nurse says something about "Let's talk to her." He refuses. No, it is enough to see that she is healthy. And then another young man comes out and sits down beside her, handing her a drink, putting his arm around her.

And our hero smiles, happy to see that she has found another man to live her life with.

The doctor/nurse turns him around, and heads back to the hospital. Roll credits.

EEP? That was the end? Even my wife was disgusted. Neither one of us liked that one. I suppose his lying to the woman to give her a better life was supposed to be a "noble sacrifice" but we both thought it was just stupid. No resolution, just a lie?

Okay. Your assignment. Take that basic situation -- boy meets girl, they fall in love, boy finds out he is going to die in the not too distant future -- and then figure out how he, and she, should react. Should he tell her? And then . . .

So the best way to end a relationship is to pretend to have another relationship? Yowks, what fools these writers be.

sometimes stories fizzle

Current Mood: romantic

mbarker.livejournal.com

Original posting 15 January 2009

Goddesses for Romance

Writer's Digest, March 2005, pages 52 and 53 have an article by Michele R. Bardsley with the title "Women Rule" and the suggestion that if you "want to create modern-day romance heroines? Let the goddesses be your guide."

"Thousands of years before the first romance novel graced the bookshelf, Greek bards spun stories of strong women -- goddesses, no less -- fighting for a place in the world. They created love stories that would ensure their immortality. In these archetypes of ancient females, we find the seeds for modern-day heroines."

However, Michele points out that romance novels reflect their times. A 2002 survey said that readers' top three favorite traits for heroines were intelligence, strength of character, and attractiveness. Modern romance heroines tend to be independent, opinionated, tough and sexy. As a guideline, Michele suggests using the three archetypes of Hera, Hestia, and Athena.

The Alpha heroine is Hera, queen of the gods and patron goddess of marriage. Strongly protective, acting on principle, and tends to be seen as overbearing or arrogant.

The Beta heroine is Hestia, goddess of hearth and home. Gentle, forgiving, willing to sacrifice for the happiness of others. Here's the complement to Hera, depending on feelings, empathetic.

The Gamma heroine is Athena, goddess of wisdom, military victory, and crafts. Independent, creative, a thinker. Athena bridges or combines characteristics of the alpha and beta.

Incidentally, Michele points out that in 2003, romance novels made up 48.8% of the paperback fiction sold in America. That's a big market!

"The love story, in all its forms, will always evolve and proliferate. Using the goddess blueprints given to us by the ancient Greeks, the romance heroine will continue to epitomize intelligence, strength, beauty -- and kick-ass attitude."

It's kind of interesting. Michele describes each heroine in terms of strengths (Eros' arrows), weaknesses (Achilles' heel), and sexual tactics (Aphrodite's bedroom rating). She also suggests several possible careers, and examples from fiction. Strengths and faults I'm used to thinking about, but the bedroom rating is a new one for me.

An obvious exercise is to go through your work in progress looking at the female characters. Which of the three archetypes is each one closest to? Does it help to strengthen their differences? Can you build a conflict between an alpha and beta? Is there a gamma who can come in and help with the process?

Another thought is to take a look at those old myths and pick out a group of goddesses that you like. How do these help you in shaping your female characters? Can you see echoes of the conflicts of the gods?

Deus ex machina -- but what if there is no machine in the wings? Just keep cranking!

Current Mood: golden apple

mbarker.livejournal.com

Original posting 26 December 2007

Genre Tips for Plot and Structure (28)

It's beginning to look a lot like a plot, all around the scenes?

Anyway, before we torture any other old songs with words of writing, let's get to Plot & Structure by James Scott Bell, shall we? Along about page 218 in chapter 14 where Bell gives various tips. Perhaps the most important is the two-fold injunction to know the chosen genre's conventions and always add something fresh. Good advice for all genres!

Mystery. First bit of advice is the suggestion to start with the scene of the crime and plot backwards from that. Take one killer, a good strong motive, and the murder or crime that gets committed. Then work out from that what clues need to be planted in the plot and what other suspects, distractions, etc. will keep the readers guessing.

Thriller. Often like a mystery, but where the mystery is a puzzle or maze full of clues, the thriller is a narrowing chase towards a climactic confrontation. Probably easiest to start with that scene, then plot and write towards that. Make sure your opposition has a good solid motive throughout, too!

Literary. Mood, texture, impressions - that's the literary goal. So think about resonances, images that will stick to your readers' minds.

Romance. Think about all the things that might keep two lovers apart. Frustration can be good for romance, so pile it on!

Science-fiction and Fantasy. The joy and danger of these genres is the ease with which the writer can change the rules. So don't do it! Establish your world and keep it naturally woven into the story. Make sure there's a real story there, beyond just speculative visions.

Bell cites Brenda Ueland's book "If You Want to Write" where Brenda asserts, "Everybody is talented, original and has something important to say . . . Everybody is original, if he tells the truth, if he speaks from himself."

Plot and structure are tools you use to connect with your readers, but you will be pouring yourself out in the story, that's what makes it unique. So start pouring.

That about does it for Plot & Structure. There's an appendix where Bell summarizes the key points in five pages, and another appendix with a four-step kickstart based around writing the backcover description first, but maybe we'll leave those for purchasers of the book. Right now, it's almost time to start thinking about a story a week!

Current Mood: injunctions

mbarker.livejournal.com

First posted 10 June 2007

Ho, ho.

My wife told me I wouldn't enjoy it, and she was almost right. It's one of those odd Japanese shows that I usually avoid. This one focuses on various people who have been separated from family or friends, usually for years, and brings them back together, or at least brings a note.

However, one of today's . . . you can't call them contestants, can you? People who are looking for a missing connection? One of the people on today's show caught my imagination. A young man, with a sad story of going to a bar . . . one or two nights a month, for a year? and falling in love with one of the bar girls. A waitress? No, let's call her a hostess, one of those graceful young ladies who helps you drink in a Japanese bar, listens to your talk, and then moves on to the next table.

Anyway, He said he was sure that she was also in love with him, although of course the bar rules prohibit consorting with customers. But then one day she disappeared. He proclaimed that he had offered to marry her, and then she disappears! And he really, truly would like to meet her again. So the show did their magic, getting a detective to track down the vanished hostess . . . and what does the panel recommend? Well, before even hearing his story, they were mostly against the meeting. Basically, they thought the hostess was probably just trying to get money, and that he would do best to forget her and go on. Then he protested, no, no, she wasn't that kind of girl! And the second vote? Still mostly against meeting.

And now, behind the door, there might be the girl, a note from her, or maybe nothing (yeah, we've had a few who simply refused to deal with the whole thing, although that's unusual). What do you think? [cut to commercial . . . they always have a commercial at this point, with the door just starting to open]

Frankly, at this point I was thinking about the exercise. Imagine, if you will, that young man and the hostess. Feel free to add in the bar owner or other customers, or perhaps his family? But focus on the story of him falling in love, discovering the disappearance, and his attempts to find the missing girl. Was she out to take his money? Did she disappear to save him from himself? Or was there something else behind her disappearance? I have to admit I heard the story and thought that she was probably more honest than people were giving her credit for. I thought she saw that he was falling for her, and left for his sake. After all, if she was really after his money, sticking around would have been easy.

Anyway, have fun with the vanishing hostess. Why did she leave? How can he find her? He doesn't even have a glass slipper.

You can also tell this from her point of view, of course. Or intertwine the two stories?

tink

PS. On the TV show, she was not behind the door. Instead, there was a note simply saying that for her it had been work, not love. She had gone on to another job and was very happy with her life. She hoped he would go on with his life and not try to find her anymore.

Do you think he will be able to forget her?

Current Mood: separated
Current Music: The Night The Lights Went Out In Georgia, Reba McEntire

mbarker.livejournal.com

Writers Digest, September 2004, page 55 and 56, has an article by Michelle Bardsley concerning three kinds of personalities that are often used in romance. It starts with a quotation about just what character is. A character is "a set of inherent qualities in the imitation of a human being. What we call a character in a novel, play or movie bear close resemblance to human being but is not one." Interesting thought. While we may model our characters on real people, they are trimmed and cleaned up, fitted to our stories. Just as dialogue is not really the way people talk, even though it suggests the way they talk, so to a character is not really a person, even though it suggests a person to the reader.

Now, what are the characters that Michelle describes. Well, she calls them alpha, beta, and gamma characters (yeah, I know, that's jargon for A, B, and C). And for each one, she lists the attraction factor, fault line, bedroom antics (this is romance after all), and occupations.

So the alpha character is attractive because of physical and mental strength, fierce loyalty, and taking action. The alpha's faults are stubbornness, not liking having his views challenged, and not displaying emotion. Bedroom antics? Raw passion, and expects matching enthusiasm. Occupations include law enforcement, military officer, CEO, politician, pilot, and athlete. These are the alpha heroes, the man of action who take charge and make things happen.

The beta character is a good listener, practical and hard-working, and funny . He has faults -- he doesn't like to take risks, he hides behind humor, and he's too cautious. In the bedroom, he sets the mood with romantic gestures and takes it slow. For occupations, these are care providers, singers, veterinarians, accountants, counselors, and artists. The beta character can be a hero, but he is a man of words, not action.

Gamma characters are unafraid to lead, do consider others' ideas, and take calculated risks. They get in trouble because they overthink situations, avoid changes in the status quo, and work themselves into an early grave. Passionate, but romantic, setting the pace without demanding, their style in the bedroom keeps the pot boiling. They might be a doctor, lawyer, writer, scientist, forest ranger, or lifeguard. Gamma heroes are both men of action and of words.

Three short characterizations, for the man of action, the man of words, and the blend. Obviously, you will want to add details, building the cardboard cutout into a more well rounded character, but it's an interesting place to start. Will your hero be alpha, beta, or gamma? And how will the heroine react? Will she help him fight his inner demons, push him to go ahead and act, or get him out from behind the others?

Write!

Current Mood: imitating
Current Music: If You're Reading This, Tim McGraw

mbarker.livejournal.com

The Handsome Suit

This was one of the movies on the flight. I didn't watch it, but the blurb in the movie guide was:

"In this comedy-drama, a homely restaurant chef/owner finds a magical suit that makes the wearer more attractive ("Handsome Suit") and hopes it will improve his chances with the object of his affections."

I did get to pondering that description. My somewhat garbled notes hint...

I think I've heard that story before? Someone wanted a white suit, I think. And as for aids for love -- I'll bet there's a recipe for that somewhere in the cave paintings along with some tales about how it goes wrong!

What's the underlying story?

A wants something (affection!)
A looks for help -- some artificial aid -- and finds X
Should A use X? Does X really help? What happens if the object of the exercise finds out? And so on...

Possible aids? Twist and turn

Magic objects -- suit, shoes, etc.
wig, makeup, clothes, jewelry
Car, house, boat, etc.
pheromone perfume
love potion
Cyrano gag - adviser
Pet
machine
restaurant
"e-puppet" digital avatar

Resolutions?

Learn to trust self -- honesty is the best policy
B goes away, with aid? -- speak for yourself
What's the cost? Blackmail, addiction -- some things cost too much
Taking off training wheels -- Doing it yourself may be scary, but that's when you fly
Everyone does it -- No they don't
Fake aid -- cheated, but a placebo is better than nothing
What's she doing? -- two can play at this game

What fun! There's a stack of stories waiting to be told. Twist that movie summary, paste in your characters and setting, and let the words roll. Come on, I'll bet you have a really fun version of this lurking right there in the grey cells just waiting to get out. So set it free.

Write!
tink
and when the Saints come marching in . . .

Current Mood: helpful

mbarker.livejournal.com

and found some links and links and links :-)

Okay, this is just some scattered links that I want to keep track of. Do a search for science fiction, fantasy, etc. and plot, cliche, whatnot, and you might stumble over:

Assorted generators:
http://nine.frenchboys.net/index.php
http://www.warpcoresf.co.uk/fantasyplot.php

Lists of Plots
http://www.complang.tuwien.ac.at/alex/Handbooks/WWWPlots/genre.html
The Big List of RPG Plots http://www.io.com/~sjohn/plots.htm

Bad Ideas and The Plot That Wouldn't Die and Well-Worn Ideas
http://www.sfwa.org/writing/turkeycity.html
http://www.seetuscany.com/writd/notdie.htm
http://www.strangehorizons.com/guidelines/fiction-common-horror.shtml
http://www.strangehorizons.com/guidelines/fiction-common.shtml

SF Cliches http://www.cthreepo.com/cliche/
Fantasy Cliches http://www.amethyst-angel.com/cliche.html
Horror http://www.darkhart.com/blog/?p=1
Romance Cliches http://www.writing-world.com/romance/cliches.shtml

The Well Tempered Plot Device
http://news.ansible.co.uk/plotdev.html

Evil Overlord List
http://www.eviloverlord.com/lists/overlord.html

Lots of fun to look over.

Current Mood: runaround
Current Music: Relentless, Jason Aldean

mbarker.livejournal.com

original posting: Sat, 10 Feb 2001 02:12:55 -0500

Just a quick note in the muddle...

Have you ever seen something called "Talk Soup"? Flipping through the channels this morning, I caught a brief clip where they were commenting on a "blind date" a young lady had. Apparently she was "given" a visit by an exotic male dancer, who stripped to his shorts and lap-danced?

The commentator exclaimed "That's not romantic!"

And I pondered, as I sometimes am wont to do, just what would be considered romantic. In particular, for a young lady.

So describe that romantic evening (getaway? lunch party? you pick it). Lay out the sights, sounds, tastes, aromas, sensations and events that add up to the elusive romance.

I'll even recommend that both parties enjoy the time together...

(Chianti and pasta? Gaaarlic! Now that's a romansa! :-)

Current Mood: romantic
Current Music: Just a Dream, Carrie Underwood

mbarker.livejournal.com

original posting: Tue, 02 Jul 2002 23:13:15 -0400

You've probably seen the advertisement -- a middle-aged man and woman are enjoying each other's presence, with yogurt playing a prominent part in their byplay, when the kids walk in. "Mom! Dad!" or perhaps "My parents are so weird."

So, here's the plot.

Pick a time of revelation. For example, realizing that our parents are sexually interested in each other. Or that father doesn't always know best. Or that grandma is dead. Or...

Now, put a scene around that, and some characters.

It's often the case that there is a first indication of the revelation (seeing parents entwined in the kitchen, perhaps), but the real impact comes later.

You could use the three-fold path suggested by "Difficult Conversations." First, what really happened. Second, how do I (the characters) feel about that. Third, and most crucial, what does this say about who I am (the identity of the characters).

I like to think about how we realize something, and that changes us, and changes the way that we interact with others. But it's up to you.

Write. Tell us about a time when your characters learned that... and what did it mean to them?

(wow! ministers can lie? What do you mean, Santa Claus is too drunk to sit with the kids? aargh -- old people have sex too? :-)

Current Mood: energetic
Current Music: I Can Sleep When I'm Dead, Jason Michael Carroll

mbarker.livejournal.com

original posting: Mon, 23 Dec 2002 23:10:17 -0500

This week bids fair to be interesting.

This morning, in the elevator at the condominium, an older lady came in, with a corsage in her hands. Clear plastic box, so it was visible.

I joked, mildly, "So does this mean you're going dancing later, or that you went dancing yesterday?"

She turned, with a big smile, and said, "It's the oddest story."

I smiled back, and she said, "It's from a man, because he never took me to a dance when we were in high school. He came to visit yesterday, and I hadn't seen him in 45 years, and he brought me this."

I and the other elevator patron exclaimed, "That's so nice" or similar phrases.

Frankly, while she wanted to tell us about her story, I don't think she was listening to our responses at all. She was dancing with the memories of 45 years, spiced with a corsage.

Go ahead, make up a story about this woman and her long-time beaux. Or take another pair of characters, and separate them for a time, then tell us a tale of their meeting again.

What kind of corsage do you want after all that time?

And what do you say to someone after 45 years?

Write!

"We are most likely to get angry and excited in our opposition to some idea when we ourselves are not quite certain of our own position, and are inwardly tempted to take the other side." Thomas Mann

Not to mention the allure of antagonism and similar contrariness!

Current Mood: chipper
Current Music: Better As A Memory, Kenny Chesney

mbarker.livejournal.com

Original Posting: Fri, 6 May 1994 18:35:02 JST

[have not finished reading the book, but... thought I'd mention it while the marshmellows are crisping...]

How To Write A Romance And Get It Published
Kathryn Falk
Signet 1990
ISBN 0-451-16531-4
$5.99

As I said, I'm still reading this one.

One bit from the book that might help our discussions:

Classification of Romance Novels

1. Category Romances

"These follow the 'romance formula,' a set of rules also known as the 'Cinderella legend.'" [seems to be the formula stuff we've seen some references to.]

2. Historical Romances

"Good storytelling is the main requirement, providing adventure, excitement, and titillation."
"The historical romance rules (in brief): accurate historical research, erotic sex scenes, one woman/one man or one woman/many men relationships, and usually a happy ending."

3. Contemporary Romances

"These are in a contemporary setting with modern and realistic characters. The romance rules may or may not be applied. Sentimentality is evoked; readers may shed a tear. The emphasis is on the woman's emotional and romantic experiences."

4. Regency Romances

"Short and medium-length novels of manners; witty, light. ... They capture the flavor of a Jane Austen novel, and emphasize the repartee between the hero and the heroine, rather than a sexual relationship."

5. Romantic Suspense/Gothic

"A romantic suspense novel is always a mystery, full of action, intertwined with romance, and the background is contemporary."

6. Science Fiction and Fantasy

Mentioned setting as an exciting possibility for a romance ...

The rest of the book consists of lots of little articles and pieces which I am slowly working my way through.

As near as I can tell, the minimum necessary for a romance is a woman, a man, and their relationship. Seems as though that leaves a lot of possibilities for writers. Also seems almost the essence of "character-driven" writing - take one man, one woman, and rub together until smouldering?

Current Mood: busy

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mbarker - EXERCISE: Valentine's Day Prompts?
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