While others
were playing … er, learning and
networking … at RWA National in
2002, I offered an on-line workshop on
cataromance, based around six light-bulb
lessons from my writing apprenticeship.
Each had made enough impact on me to
warrant a special note on my pinboard,
hence the title of the workshop and this
condensed article.
#1: SCENES NEED PURPOSE
We all know a story needs conflict and
purpose (or character goals) and proactive
characters pursuing their goals, but
what about the scenes (story building
blocks)? Every scene should advance the
story, moving the plot and the characters
toward the story's resolution and conclusion.
If the scene doesn’t fulfil that
purpose, then it doesn’t belong
in the story.
As a writer YOU have a scene goal or
purpose. Then there is the character
goal. If a scene isn’t working,
isn’t compelling, is missing something,
it could be this: If the character doesn't
want something and isn’t prepared
to ACT (proactive characters drive the
story!) then the scene will lack purpose.
If the character doesn't have "a plan" (NB:
it can be ill-conceived and it can fail)
and there is nothing stopping him/her
from achieving that goal, then, no conflict.
At the end of the scene the character
either:
- achieves his/her goal BUT… (something
changes, stakes are raised)
- fails AND… (something changes,
stakes are raised).
#2: KEEP THE READER TURNING THE PAGES
Perhaps this is just a personal bugbear
so feel free to disagree! While I like
to see that conflict exists up front,
I hate being TOLD too much too soon.
I love the build in anticipation; I love
second-guessing from the hints given.
I like guessing the secret and I totally
love that punch when the full truth is
FINALLY revealed.
Now, I’m not necessarily talking
about big secrets, suspense and intrigue.
This could include motivation, back-story,
the vital clue to the hero or heroine’s
actions.
Not telling too much back-story up front
also helps keep the pace and action moving
in those early chapters. Keep the reader
guessing, give her an active role while
reading, keep her turning the pages BUT
don’t lose her by introducing plot
elements from out of the blue yonder.
Do not turn plot twists into convenient
contrivances by not setting them up as
plausible. You can do this using a simple
rule of three:
first mention is foreshadowing, second
is reinforcing, third is fulfilling
the plot purpose.
#3: HOW THE HERO/HEROINE IS DISCOVERED
(a.k.a. choosing and planning the opening
scene.)
There are some lines where a certain
kind of scene is favored or even expected
e.g. a cute meet or high action or intrigue.
But no matter what the line, no matter
what the tone, style, pace, the most
important part of the opening scene in
a romance is introducing the hero or
heroine or both.
Before you start planning that scene,
before you decide which scene will open
your book, think about HOW YOU WANT THAT
PROTAGONIST DISCOVERED. Which characteristics
do you want to show? You can’t
show them all, so make sure you choose
those that are key to the conflict and/or
character growth and change. Oh, and
it helps if the reader is instantly intrigued
by and bonded with the protagonist!
Also consider WHO the reader should
meet first. Whose story is this, really?
Yes, it’s a romance. Yes, it’s
THEIR story. But who has most to lose/gain/change?
Who has the steepest character arc? Think
about opening in that character’s
point of view.
#4: CONSISTENT CHARACTER VOICE
There is author voice and there is character
voice, and it’s important to write
deep POV (point of view) in character
and consistent with character. This is
something to think about when you’re
adding your imagery, your sensual detail.
Whose POV is the introspection in? How
would THE GUY describe the scent, really?
What would HE notice? Perhaps it’s
just me, but I really don’t buy
guys who suddenly – and inconsistently – veer
into unrealistically lyrical description.
I’m not being sexist. I’m
talking character consistency. Same goes
if your heroine is a straight-talker
or a tomboy. Introspection should be
in that character’s voice, the
same as dialogue.
#5: PACING ISN’T ONLY ABOUT FAST
It’s also about giving the reader
a chance to breathe, an easing of tension,
and the contrast that is the view of
the mountain from the bottom of the valley.
Build anticipation by slowing the pace,
a similar technique to that used in slow-mo
in movies. For urgency and fast action,
use short choppy sentences and staccato
pacing. Word choice is critical. Slow
down and use lusher language for breathing
room for more tender scenes and emotional
evocation.
Integrate setting, characterisation,
emotion and sensual detail into action
and dialogue. Break up the long descriptive
narratives to keep the pace moving and
the tension up. If you do use long introspective
narratives, make sure something changes.
#6: THE FALLING-IN-LOVE SCENE
For the resolution to be ahhhhh! perfect,
the reader must believe the hero and
heroine can be together, forever. Will
they buy this if they’ve only ever
seen them in conflict? If they don’t
share any common ground? It there’s
no scenes with a warmer, softer, sharing?
Think about how you can SHOW they’ve
fallen in love, even if the characters
themselves haven’t yet arrived
at the obvious! Readers love knowing
that this pair will be perfect together,
if only they can solve that pesky conflict
that’s keeping them apart.
Include a falling-in-love scene, and
some less confrontational scenes that
still include conflict. They could be
talking, working together, sharing a
new understanding … and that may
only make matters worse! BECAUSE THE
STAKES ARE NOW HIGHER. I find these scenes
a wonderful contrast in pace and tone
which, in turn, gives the angstier scenes
more impact. |
