When Throwing Yourself Off A Cliff Stops Working

by Christina Lay

I’ve confessed before that I am the type of writer who works without an outline. The term is Panster, as in “by the seat of your pants”. That’s not entirely apt.  When I start writing a book, I have a pretty good idea of where it’s going. I have a character in a setting with a problem. I know what they want and what’s standing in the way of getting it. I might have a love interest, an antagonist, or a really screwed up family already waiting in the wings. In other words, I’m not flying blind. Chances are, I’ve visualized several scenes in my head. The protagonist’s voice is firmly established. I’m ready to roll.

 

Where the seat of the pants part comes in is the fact that I have nothing written down except a few ideas, snatches of dialogue, and character notes. I have not worked out how the plot is going to progress. I haven’t solved any transitions or tangled plot issues, because I don’t even know what they are yet.  So the first draft is an exciting ride, a test of imaginary agility, and without fail, a mess of epic proportions. But what can I say? That’s how my creativity stays sparked.

And it works, usually. Using this method, I’ve completed about 15 novels and novellas. In recent years, I’ve been able to complete two novellas in a year. However, I recently had the experience of spending over a year writing the first draft of one novella, which turned into a novel along the way (that was part of the problem, but not the only one). Mid-way through, I became well and truly stuck. This is nothing new. It happens with every novel, usually several times, and somehow I wail and claw my way through it.  But this time was different. None of my usual tricks seemed to work.

My first trick is quite clever: I write things down.  Yes, I actually open ye olde spiral notebook to a fresh page and compose a bare bones outline, chapter by chapter, going over where I’ve been, projecting outward to where I’m going, and trying to see where exactly I went wrong. If I’m lucky, this works the first time and I can see where I pushed ahead with an idea because it was shiny and not because it had anything to do with character motivation or a natural sequence of events.

With a particularly tough nut of a plot problem, I might have to re-do this outline more than once, seeking out transition problems between chapters, seeing where I get bored (guaranteeing the reader will too), looking at the fork in the road where the entire juggernaut trundled off in the wrong direction.

In most cases, I don’t do much backtracking or heavy duty rewriting until I reach the end of the first draft. “Fix it in the rewrite” is a mantra that carries me through many a dark day. But sometimes the quagmire becomes too deep, the plot too murky, to keep going. I hate this. I have a deep aversion to stopping, losing momentum, becoming distracted. This time, I had to admit I’d done the outline analysis trick several times. I had to stop. Walk away. Get a fresh perspective. Take another running leap at the thing and fail get again.

One might wonder why the book didn’t become a drawer novel at this point. After all, I’ve got several in the queue, all better and shinier and much, much easier to write (surely). But this book is the fourth in a series. A fourth promised long ago. A deadline crossed and vanished over the horizon. I’ve even had readers query about it, for crying out loud. Plus, I really want to finish the damn book.

So my second trick of taking a little break and letting my subconscious percolate without my interference didn’t work either. Months went by with very little activity at the keyboard. I approached the novel again with my new outlines. Failed. Started to think I’ve forgotten how to novel altogether. That I’d reached the end of my creative juice. That the first 15 novels were a fluke.  That I suffered brain damage while under anesthesia. I was getting desperate. But not desperate enough to write a real outline. That’s just crazy talk.

As it happens, while I suffered through the winter of my Worst Novel Ever, my cohort here at ShadowSpinners, Eric Witchey, wrote this blog. In it, he points out a simple fact: just because something worked once, or multiple times, is no guarantee it will work again. Ironically, the example he uses is hang gliding, literally throwing yourself off a cliff. How annoying, but also such an apt description of my current predicament. I couldn’t figure out why doing the same thing I’d always done before wasn’t working.

I made some changes and tried a third trick. I abandoned the spiral notebook and the linear outline for 3 x 5 cards. On it, I wrote each key scene and the major plot point it represented.

I abandoned my desk, and spreads the cards out on my living room floor.

I sat and stared at them.

The cat chewed off the corners and rearranged them under the coffee table.

Cats are terrible editors: don’t listen to them!

 

I stirred them around and identified the scenes that were shiny, but not helpful. The scenes that had been grafted in from another novel idea, because shiny. The scene that just didn’t fit in with the flow. The one coincidence too many. The disposable scene. The gap that made no sense.

And the one thing that I had to do, absolutely had to do, was start rewriting from the very beginning, even though I’d come so close to finishing the first draft. There was no point in going forward because the entire thing had to be reworked.  At first I tried to preserve my words (precious, precious words!), but those words (so many words) were holding me to plot points that just didn’t work. So I murdered my darlings and buried them in a folder called “cut bits”. (This is a game we writers play: pretending that someday we’ll salvage those wonderful, wonderful words).

At last, I broke out of the quagmire and began to progress, ever so slowly, through the rewrite.

Here’s a fourth trick, one that I wish for all writers to have the wherewithal to do every now and again, whether they are stuck or not.  Go on a retreat.  There is nothing quite like solid hours—I’m talking eight hours a day for several days—to push through to The End. I only recently went on a four day retreat and one year after I began it, I finished the first draft (cue fireworks). For tips on how to have a successful retreat, read Lisa Alber’s blog here.

Now in this case, the first draft consists of several mini-drafts, but I reached The End, the plot seems to hold together, and now I can go back and begin to clean it up.

So the point is, when things get tough, and I mean really tough, the answer is not to quit, but to be willing to do things differently and admit you don’t have all the answers just because you’ve attended five thousand hours of writing workshops and read 872 books on the craft of writing.

The mind is a funny thing, and so is creativity, and so is storytelling. Get a different perspective. Change your methodology. Write in a different place. Start over. Let your cat decide (but not really). There are so many different ways to get past a roadblock. The only way to guarantee you won’t get around it is to stop trying.

Seriously Silly

by Christina Lay

I’ve always been a fan of silliness well-done. Be it Monty Python’s Ministry of Silly Walks or Tom Robbins writing from a vibrator’s POV or Douglas Adams taking us across the universe with nothing but a towel and terrible poetry for company, there is a special sort of joy in reveling in a world where the absurd is commonplace and maturity is a liability.  Lately though, it seems like everyone is becoming much too serious; unable to laugh at themselves or enjoy a quirky perspective on life in general. Our entertainment reflects this, and we get more Game of Thrones, less The Tick. This despite the fact that the more grim and desperate reality becomes, the more we need to laugh, to lose ourselves in mirth.

Just today in a daily inspirational email that I receive, I read this on silliness: “We play yet we do not lose ourselves in play, and our imaginations are never truly given free rein because we regard the products of irrational creativity as being valueless.” Madisyn Taylor, Daily Om.

Irrational creativity. I love that. I had already been thinking about the value of silliness when I read it because I’d been planning to review the book, Space Opera, by Catherine M. Valente, so lucky me, it ties right in to the larger, all important theme of this blog. Yes, as the title suggests, Space Opera is pure and unapologetic space opera (Meaning Science Fiction that pays no attention whatsoever to physics or actual technology. Getting across the galaxy or even the universe might be as simple as pressing a button or hijacking a police call box). This book not only indulges in make-believe science, it revels in it. I appreciate that.  The book is sheer fun, sheer silliness, imagination run riot, and yet…

For a truly silly book to be memorable and not just a forgettable airplane read (which is of course valuable in its own right) a well-crafted silly book is anchored by moments of profundity. The thing about humor is there’s really no better way to set the reader up for a glimpse into the heart and soul of humanity. It’s Us laid bare, exposed, shown with all our warts and ill-fitting plaid jackets, but with compassion, kindness and a deep understanding of the silly kid locked inside of us all.

So that was quite the sentence. To break it down, I’ll quote Catherine Valente. “Life is beautiful. Life is stupid.”  That’s basically the theme of the book. We laugh, we tear our hair out, we cry, we sigh in wonder. A good silly book reminds us of all that.

Space Opera was inspired by an international music competition called Eurovision, where contestants are encouraged to be as outrageously fabulous as possible. I’m thinking Elton John on Acid at a Drag Queen fire sale with glitter explosions in the background (remember, this is the reality part). In the book, Humanity is called upon to prove itself sentient by performing a song of heartbreaking beauty and fabulousness in a musical competition on the other side of the universe.

Naturally, just telling the aliens that we’re sentient doesn’t work. Look at our history, at our now, at all the terrible things we’ve done and keep on doing. So what’s silly about that, you might ask (grimly, brow furrowed)? Nothing. What makes it silly is that we’re also capable of wonderful, fantastic things. The conflicted dichotomy of the human race is stunning. Paralyzing. Beautiful. Stupid. What can you do but laugh?

Valente has mastered the art of irrational creativity. Kudos. And her characters are intensely human, lovable, and relatable. My only nit with this book is that the ratio of narration to actual scenes is off, IMHO. I’d like to spend more time with the characters, and less time reading lengthy (although mostly hilarious) summaries. That aside, this is a thoroughly enjoyable book, with silly and heartfelt both in good measure. In her afterward, she pays homage to Douglas Adams, as is right. I believe Adams, the grand master of silly, would approve.

Even if your current project isn’t silly in the least, it is healthy to allow irrational creativity to flow now and again, to laugh at yourself and your agonizingly constructed sentences, to play at the page. Maybe you’re writing a murder/horror mystery wherein everyone dies. If you don’t allow yourself to be silly while writing something like that, watch out. You will become grim and furrowed. And I suspect that a touch of silliness will make your characters more relatable, your tragedy more heartfelt. As writers, it’s not only the readers we have to think about, but ourselves. To keep ourselves fresh, motivated, happy in our art, we need to breathe, and the best way to get fresh air into our brains and our heart is to laugh.

5 Ways to Put the Romance into Necromancy by Sarina Dorie

Today on ShadowSpinners we welcome Sarina Dorie, creator of the popular series: Womby’s School for Wayward Witches.

 

5 Ways to Put the Romance into Necromancy—Writing Romance

 by Sarina Dorie

I have a background writing science fiction and fantasy. I am a member of SFWA (Science Fiction and Fantasy Writers of America) and the majority of what I write has some kind of speculative element. I also have a passion for romance. I’m a member of RWA (Romance Writers of America) and a lot of what I write has a romance plot or subplot. I am bored by stories that don’t include female characters and relationships of some kind. I love sci-fi but if it is all engines, laser guns, and starships blowing up, my eyes glaze over. That is just my personal preference. I know what I like to read and what I want to write.

Put the two genres together that I am passionate about, and we get paranormal romance—if the story contains vampires, werewolves, and witches in contemporary settings. When it has a werewolf but it isn’t contemporary, it might be fantasy romance or even science fiction romance if it is set in the future. Sometimes the combinations can be pretty eccentric. Because I like humor, eccentric works for me. But this is also coming from someone who has a short story titled “Putting the Romance Back into Necromancy,” and I have an urban fantasy romance titled “Reading, Writing and Necromancy,” which is part of my Womby’s School for Wayward Witches Series. These are funny horror or humorous urban fantasy romances that use both genres to their advantage.

If you are thinking about including romance in a story or writing a romance, consider a few things first:

1.Understand what romance is.The love story should be necessary to the plot. The characters need to have a HEA (happily ever after) or HFN (happy for now) if it is considered romance. It is fine if it doesn’t, but if that is the case, it might be horror with There is a difference and readers have expectations when a book is marketed as a romance. Just because you are including a love story doesn’t make it a romance.

For example, someone told me I needed to see Me Before You because I would love it—because it was a romance and it was about a woman with unusual fashion tastes like me, apparently. I watched it, and I loved it, then I got to the end, and realized it wasn’t a romance. Then I hated it. But I didn’t really hate it. I actually like the movie a lot, but I went into it with the wrong expectation.

 

2. Find the heat level appropriate for the story. Not all romance has sex. The point of a sex scene in a well-written romance should be part of the plot and character arc. Just as a science fiction novel would be broken without the science, taking the love scenes/relationships out of a romance novel would break the plot. If the novel doesn’t need a sex scene or it is outside your comfort zone, you don’t need to include it.

There are many romance novels out there that do not have sex scenes on the page or implied. Some books end on the proposal, wedding, or a happy moment when the characters finally kiss and confess their feelings for each other. Young adult, sweet romance, and inspirational don’t include sex scenes. On the other end of the scale, erotica is more sex scenes than plot and can include a variety of kink like ménage, harem, or bondage.

 

3. Find the tropes for your genre. A trope is a plot device. All genres have them. It isn’t that a trope is inherently bad, although some readers hate particular ones while someone else loves that trope. Readers expect them. In romance, the trope is generally the element that helps the hero and heroine meet or keeps them apart. The thing that makes a trope work is subverting the readers expectations so that the writing feels fresh and original.

If you are writing a horror novel, mystery, historical, thriller, etc. my favorite tropes might not be the tropes you and your audience are drawn to. Figure out what works for you. How do you find tropes appropriate for your genre? (See article: Paranormal Romance and Fantasy Romance Tropes.)

 

 

4. Enjoy the process of research. If you are a writer, you probably enjoy reading. I know all of us writers say we are all too busy to read, but we need to do it to see good examples and bad examples. The guilty pleasure that makes my life more tolerable is audiobooks. I love reading, but I don’t always have time. It is a handy way for me to do research. I “read” books and analyze why I find it trite, boring, and lacking in sexual tension or why I am rooting for the characters. Is it the evocative language? Is it the way the author captures the senses? Is it the building tension between the characters? There is a lot of different kinds of romance—and love stories that are beautiful but are not the romance genre.

Find out what works for you and what doesn’t, whether it is style, language, heat level, or tropes. If you disdain the genre and the idea of including a happy ending, love scene, or relationships, ask yourself why you are punishing yourself by writing a romance. Maybe you really are wanting to write horror with romance elements.

I thought I was writing a slow-burn romance series when I started Womby’s School for Wayward Witches, but as I wrote more books, I realized the romance was not the central plot in every book. It was the B plot. Also, not every book had an HFN or HEA ending with the romance. Because I have done my research and I know my genre, I know what these books are and are not. I would call them urban fantasy mysteries with romance. I had a lot of fun writing them, and I think readers are enjoying reading them, so I am okay with them not being romance.

 

5. Practice—in whatever way makes sense to you. For me, practice is writing. Sometimes writing short stories or flash fiction can be a great way to exercise the mind and get out ideas. A couple years ago at a Romance Writers of America meeting I attended, one presenter talked about how she makes sexy storyboards of all the things to set the mood. At another meeting, a different presenter talked about all the positions she tries with her husband—then has to race away from bed to go write down all the positions it is humanly possible for people’s bodies to contort into. Whatever floats your boat, right?

Whether you are interested in including romance in your genre because it is what you like to read, you are interested in tapping into a different market, or it fits into the story you are writing naturally, I highly recommend checking out Romance Writers of America as a resource.

 

 

Sarina Dorie has sold over 150 short stories to markets like Analog, Daily Science Fiction, Magazine of Fantasy and Science Fiction, Orson Scott Card’s IGMS, Cosmos, and Abyss and Apex. Her stories and published novels have won humor contests and Romance Writer of America awards. She has over two dozen books available on Amazon including her steampunk romance series, The Memory Thief and her collections of short stories like Fairies, Robots and Unicorns—Oh My! are available on Amazon, along with her series Womby’s School for Wayward Witches.

You can find info about Sarina Dorie’s short stories and novels on her website:

www.sarinadorie.com

 

The best way to stay in contact with Sarina Dorie, hear about what she is writing, know when she has a new release, or books offered for free on Amazon is by signing up for her newsletter.

https://mailchi.mp/sarinadorie/authornewsletter

 

The 12 Steps of Getting Over Yourself

by Christina Lay

I have a confession to make. I’ve completed 15 novels and novellas; some of them are even published. This does not include an indeterminate number of drawer novels, those hideous beasties who lurk forever in a state of suspended animation waiting for my fickle brain to become interested in them again. But they are important too, because they represent hundreds of hours of learning the hard way.

I’ve done a lot of hard-way learning. One would think that at this point I would have mastered the art of noveling—or as some people call it, “writing”—but the process of bringing a novel into the world is an ever-evolving, ever-elusive endeavor, and there is no end point, no graduation ceremony after which you will forever breeze through the process of writing like a mature, unruffled professional. No, writing is an exciting ride, a roller coaster of surprises, a minefield of potential failures, a vale of tears.

Recently, I did another dance with The Wall. You know. The one that stops you. This one stopped me for longer than usual. During this Winter of My Worst Novel Ever, I penned the following ripoff of the famous 12 Steps of Alcoholism Anonymous. May they come to your aid during your next Worst Novel Ever.

The 12 Steps of Getting Over Yourself and Finishing the Damn Novel

  1. Admitted we were powerless over the plot, and that our novel had become unmanageable
  2. Came to believe that a really good book on craft could restore us to sanity
  3. Made a decision to turn our plot and our characters over to the care of a workshop or writing group, and to try and utilize their critiques as we understood them
  4. Made a searching and analytical inventory of our novel
  5. Admitted to our muse, to ourselves, and to our writing group the exact nature of our screw-ups
  6. Were entirely ready to ruthlessly cut these defects of plot
  7. Humbly asked our writing group to help us
  8. Made a list of all the places we had gone wrong, and became willing to remove all of our adverbs
  9. Made direct cuts wherever possible, except when to do so would injure the story or character development
  10. Continued to take an honest inventory and when we went wrong, promptly corrected our course
  11. Sought through writing groups and workshops to improve our storytelling abilities as we understood them, gathering the knowledge of how to write and the caffeine to carry those ideas to fruition
  12. Having had an awakening as the result of these steps, we tried to carry this message to others by participating in a writing group, leading workshops, writing articles, and by using what we learned in all our writing affairs

 

Review ~ Storm of the Gods

Welcome to the first outing of a new feature on ShadowSpinners. Every once in a while, when one of us is impressed by a book, we’ll post a review. Sometimes the post might be part of a book tour, like today, in which case there’s an option to enter a giveaway. Don’t worry, we will not be flooding your inbox with empty posts that are just ads for books. We will be very discerning about which books and tours we decide to host.  That said, on to the review:

Storm of the Gods by Amy Braun

An Areios Brothers Novel #1

I was interested in reading Storm of the Gods for two reasons. First, the world building sounded amazing, and I love fantasy novels that bring gods into the mix.  Second, I’d read Amy Braun’s excerpts on the Weekend Writing Warriors blog hop, and always enjoyed the exciting and energetic pace of her action scenes. (Okay, I guess that’s three reasons: world building, gods, action!)

The book did not disappoint in any of those areas.  This urban fantasy is set in a contemporary California that has been taken over and divided up among the Greek gods, who are recently reawakened and looking to kick some ass and get their power back. Oh, they’re still godlike and powerful, but not as much as before, because humans stopped worshipping them. I like my fictional gods with frailties and flaws, and all of the Olympians in Storm, while fearsome and magical, have weak spots, which makes them so much more interesting than all-knowing, all-seeing deities lounging on top of a mountain somewhere. Some of them are indeed super villains, or seem to be, but are layered with so much pathos and personality that they seem quite fresh, despite the fact that we’ve read about them since 7thgrade mythology class.

This new world under the rule of gods is intricately thought out and vividly described, but don’t worry, most of the words you’ll be reading are snappy dialogue and quickly paced action sequences, not florid descriptions of a world gone divine. Actually the world (or California at least) seems to be in pretty sorry shape, with monsters charging about and angry gods destroying things. I’d like to read more about how the rest of the world is reacting to this divine take-over, but maybe they’re just shrugging and ignoring like they do now because—hey—it’s California.

That said, all the magical whiz bang and neato-god stuff wouldn’t be enough to sell me on any book. I am first and foremost a connoisseur of Character, and need well-developed protagonists, allies, friends and enemies to keep me wrapped up in a story. Storm also delivers on this front. In the first pages we meet the Areios brothers; older brother Derek, and younger brother Liam. They are scions, meaning they’re descendants of a god-human hook up. In this case the god is Ares, god of war, and the brothers are his top soldiers, fighting monsters mostly, but also other scions who piss Ares off. Yes, they are kick ass fighters, but they are also compassionate, intelligent, and not too happy about basically being slaves to Ares’ violent whims.

The relationship between Derek and Liam is what really makes this story gripping. From the first pages, you want to hug them and feed them hot chocolate and cookies, they’re so lovable. They have witty, sibling appropriate banter (fans of Supernatural should be very happy) but they care about each other deeply. They have a dark and twisted past involving a rather demented father, but their love for each other keeps them on the right side of that whole good vs. evil conundrum. And they can bring others into their fold, if those others earn their trust. There is a possible love interest blooming, but don’t worry, she’s kickass too and doesn’t slow the action with any lovely dovey nonsense.

My only persnick with Storm is that there might possibly be too much action. The fight scenes are impressive; Derek gets his ass royally kicked soooo many times, but his magical abilities, and those of his brother, help him heal. Just in time to get monster-stomped once again. Although exciting for the most part, it does get to be a bit much for a reader like me who is not so action-oriented. I’m sure many will revel in those long, drawn-out battles. Me, I’d rather listen to Liam and Derek tee-off on each other. I’m very much looking forward to the sequel, maybe with more page time for Liam (hint hint).

I highly recommend this book to anyone who enjoys urban fantasy, and who is not adverse to generous helpings of whiz-bang, action, re-imagined mythology, and humorous banter.

I received an ARC in order to review this book, but I’d already bought my own copy, so there.

***

Storm of the Gods

An Areios Brothers Novel #1

by Amy Braun

Genre: Urban Fantasy

Thirty years ago, the gods of Greek legend returned to the world. Their return restored their powers, which had been spent in a cataclysmic battle with the Titans. With the ancient deities imprisoned in Tartarus, the Olympians now reside in Néo Vasíleio, formerly known as California.

Twenty-four-year-old Derek Aerios is a war scion, a descendant of Ares, the God of War. He and his brother, eighteen-year-old Liam, capture mythological creatures and rogue scions as part of Ares’s elite military force. As he struggles to cope with his violent powers and the scars of a traumatic childhood, Derek tries to keep the two vows he has made: protect his brother, and never kill a human again.

But when Ares forces him to hunt and kill four rogue scions under Athena’s control—by threatening Liam’s life—Derek chooses to go after the scions in order to save his brother and keep his promise to himself.

Yet the closer Derek gets to the scions, the more he realizes that his orders are part of a deeper conspiracy that put him at odds with his mission and his conscience. Athena may not be the enemy, a traitor could be in their midst, and the Titans could be closer to freedom than ever before.

Add to Goodreads

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Goodreads:

https://www.goodreads.com/book/show/42072790-storm-of-the-gods

Buy Links
Amazon:https://www.amazon.com/Storm-Gods-Areios-Brothers-Novel-ebook/dp/B07GCRJS1Z
B&N:https://www.barnesandnoble.com/w/storm-of-the-gods-amy-braun/1128858892
Kobo:https://www.kobo.com/us/en/ebook/storm-of-the-gods

 

 

About the Author

Amy is a Canadian urban fantasy and horror author. Her work revolves around monsters, magic, mythology, and mayhem. She started writing in her early teens, and never stopped. She loves building unique worlds filled with fun characters and intense action. She is an active member of the Weekend Writing Warrior community.

When she isn’t writing, she’s reading, watching movies, taking photos, gaming, struggling with chocoholism and ice cream addiction, and diving headfirst into danger in Dungeons & Dragons campaigns

 

Website* Newsletter* Facebook* Twitter* Instagram* Amazon* Goodreads

 

Author Links

Website:http://amybraunauthor.com/books/storm-of-the-gods

Newsletter:http://eepurl.com/dFm9cL
Facebook:
https://www.facebook.com/amybraunauthor

Twitter:https://twitter.com/amybraunauthor

Instagram:https://www.instagram.com/amybraunauthor

Amazon:https://www.amazon.com/Amy-Braun/e/B00MU4BBYS

Goodreads: https://www.goodreads.com/author/show/8452020.Amy_Braun

 

Giveaway

Signed paperback copy of STORM OF THE GODS, various bookmarks, and postcards (US & Canada only), $25 Amazon (WW) – 1 winner each

 

Follow the tour HERE for exclusive excerpts, guest posts and a giveaway!

https://www.silverdaggertours.com/sdsxx-tours/storm-of-the-gods-book-tour-and-giveaway

 

 

Paranormal Romance and Fantasy Romance Tropes by Sarina Dorie

This week on ShadowSpinners we welcome Sarina Dorie, creator of the popular series, Womby’s School for Wayward Witches.

 

Hades & Persephone: To the Underworld

 

Paranormal Romance and Fantasy Romance Tropes

 by Sarina Dorie

What is a trope?

A trope is a plot device. All genres have them. When done well, a trope feels natural and necessary to the plot. When it isn’t done well, it feels contrived or unoriginal. It isn’t that a trope is inherently bad, although some people are very opinionated about the ones they love or hate.

In every genre, readers expect them. In romance, the trope is generally the element that helps the hero and heroine meet or keeps them apart. The thing that makes a trope work is subverting the readers expectations so that the writing feels fresh and original.

 

What’s an example of a trope?

For example, one of the tropes of Romeo and Juliet (which is a love story, not a romance in case you didn’t realize it) is the idea of enemies to lovers or rival houses. This is the same trope in Westside Story. It’s used in many other movies, books, and television shows.

 

In Twilight, the idea is used with vampires versus werewolves with the protagonist being caught in the middle. After Twilight was published, this trope was used a lot in paranormal romance, specifically the rivalry of vampires versus werewolves. It became an easy (and sometimes lazy) way of creating conflict. For years every paranormal fantasy novel I picked up had rivalries between vampires and werewolves. Writers kept writing it because readers kept reading it.

But every plot was the same: He was a misunderstood vampire with a dark past. She was a werewerewolf/werebear/werepanther trying to avenge her clan. They were mortal enemies, but the only thing they could think about was each other.

 

The trope got old. The conflict felt contrived. People made fun of the genre. This is probably why What We Do in the Shadows worked so effectively. It subverted the viewer’s expectations. The vampire versus werewolf rivalry focused more on the bromance of the story. The actual love story/romance was the B plot (secondary plot) for one of the other characters. This B plot also explored tropes taken to their extreme. And of course, there was the unforgettable line from this movie “werewolves not swearwolves” that lives on in my memory forever.

 

What are examples of your favorite tropes?

That’s just me and my preferences. That trope of enemies to lovers or rival houses lives on in paranormal romance.  When done well, it doesn’t feel contrived, but there are other tropes that other people don’t like because of the execution. Some of my personal favorites that I use in my fantasy and science fiction romance novels are:

Beauty and the Beast

Fairy Tales

Enemies to Lovers

Love Triangles

Sassy heroine

Amnesia

Tragic past

Was it a lie? (disguise/undercover love)

Breaks her heart to save her

Noble rescuer steps in because she’s dating Mr. Wrong

 

Anyone who has ready my Womby’s School for Wayward Witches Series is going to recognize some of these. The first two tropes work especially well in the kind of fantasy and science fiction I write. Sometimes my monster/beast is the pretty human or an unassuming Prince Charming is the real beast. I already like fairy tales and fairy tale retellings, so fracturing a fairy tale worked well for me like in my novel WRATH OF THE TOOTH FAIRY coming out in the summer of 2019. Think about Shrek and why it did so well. The movie completely subverted our expectations.

 

How do you use a trope?

Everyone writes differently. I don’t usually set out to write a trope, it just happens. In the editing phase or partway through writing, I try to be aware of elements that might not be original and subvert expectations. If you are writing a horror novel, mystery, historical, thriller, etc. my favorite tropes might not be the tropes you and your audience are drawn to. Figure out what works for you.

 

How do you find tropes appropriate for your genre?

Do some research. A while back I found some lists of romance tropes. None of these are complete. There are more I find myself using that aren’t on these lists, but it gives you a starting point to think about.

145 Romance Tropes

https://goteenwriters.com/2015/12/16/145-romance-tropes/

All the Kissing’s Favorite Romance Tropes

https://allthekissing.com/2018/02/atk-romance-tropes/

Romance Tropes: What Words for Romance Readers

http://arghink.com/2015/10/romance-tropes-what-works-for-romance-readers/

Sarina Dorie has sold over 150 short stories to markets like Analog, Daily Science Fiction, Magazine of Fantasy and Science Fiction, Orson Scott Card’s IGMS, Cosmos, and Abyss and Apex. Her stories and published novels have won humor contests and Romance Writer of America awards. She has over two dozen books available on Amazon including her steampunk romance series, The Memory Thiefand her collections of short stories like Fairies, Robots and Unicorns—Oh My!are available on Amazon, along with her series Womby’s School for Wayward Witches.

You can find info about Sarina Dorie’s short stories and novels on her website:

www.sarinadorie.com

The best way to stay in contact with Sarina Dorie, hear about what she is writing, know when she has a new release, or books offered for free on Amazon is by signing up for her newsletter.

https://mailchi.mp/sarinadorie/authornewsletter

 

 

Point of View, Perception and Values: How to Create Conflict Without Really Trying

by Christina Lay

You may have noticed that we live in divisive times.  The gulf between opposing points of view seems to be widening every day. People who hold extreme views are becoming more extreme. Middle-of-the-roaders are held in contempt.  Allies turn on each other for not being righteous enough. Opponents dig in their heels, become intractable. Fresh arguments break out every day and when we, as observers, try to make sense out of what is happening, we are told that Facts don’t matter, truth doesn’t exist, science is fake, and that we can’t believe what we read, what we see, or what we hear.

Pretty fun stuff, eh? I often find myself with a headache, a touch of nausea and an overwhelming sense of frustration.  Luckily, I have the refuge of fiction. I escape into a world where I’m in control, where I know what the truth is and I know who the bad guys are. I can exist in this simple world of my own making for a long time; it is balm to my soul.

But then reality begins to creep back in, with its confusions and complications. And that’s okay, because nobody wants to read my fairy tales where nothing very bad ever happens. Readers, for whatever bizarre psychological reason, want conflict. They want the strife I am seeking to escape. They want danger, intrigue, a plot. Go figure.

And so I reluctantly take a closer look at the world around me. Sheesh, what a mess. But what a great time to study and learn about conflict!  Complicated conflict. Conflict between well-meaning, intelligent people. Many works of genre fiction rely on simple forms of conflict.  There is a bad guy, or force, or malevolent power afoot in the universe. In thrillers, it might be a corrupt foreign power, in mysteries, a murderer, in fantasy, an evil wizard bent on controlling the world and killing all the pretty unicorns.  It’s not too hard to create a villain who is so loathsome and evil that readers will cheer when your protagonist shoots him in the face. Or lops her head off.

Although great fun, this is not the kind of conflict I’m talking about now. Because in the end, the super villain tends to be a superficial character, and the plot, with all its twists and turns, is ultimately predictable. Because if you let your hero die and the despicable villain you’ve created win, your readers will want to shoot you in the face. I know. As a reader, I’ve been there.

I mostly read genre fiction, and often find myself more interested in the twists and turns of the hero’s other relationships. The friends, allies, mentors, co-workers, parents, children, who can all become, if not villains, antagonists of the most interesting sort.

And at last I reach my point: how friends, allies, parents, siblings, can become the most interesting antagonists without having to kill a single a person. They might even be good people. The hero might love or be in love with them. And yet these antagonists can be believable and diametrically opposed to the hero on some point of such import that they become the main obstacle to the hero’s success and the satisfying ending your reader craves.

Truth is slippery. If there is one thing to learn from reality today, it’s that facts can be hidden, misinterpreted, ignored. The interpretation of an event can be determined simply by where one is standing. “I heard that man shouting sexist insults!” “Well, I saw that woman whack a man on the head with her Love Always Wins sign!” “They were the aggressor.” “No, that group started it”. “The police were being needlessly brutal.” “No, the perpetrator had a gun.”  It is easy to see how two friends, experiencing an event from different locations, could come away with very different feelings. One might feel the need for action, or revenge, while the other does not.

Beyond the immediate physical view point, there is of course the viewpoint that comes from economic status, regional and racial outlook, religious upbringing, relative health or dysfunction of the birth family and so on. It pays to do a little homework, a little world-building, in order give your main characters diverse backgrounds or life experiences, especially from those closest to them. Honoring diversity in your fiction as well as your life can add so much richness to your stories.

Another way to create instant conflict between people with the same values is to give them different ideas about how to protect those values. Take traditional family values versus women’s rights.  One doesn’t have to be a super villain to believe that families are healthier when the woman stays home to raise the kids, but if that person is your progressive protagonist’s new husband, watch out.

I’m sure I’m not telling you anything you don’t know, but I’ve personally found it eye-opening to look at all this conflict around me through the lens of character development and plotting. It doesn’t hurt that incorporating the frustrations of the world into a work of fiction can be, not only informative, but somehow healing. As my characters work through their perceived differences, I can see how there might be hope for all of us to stop being each other’s antagonists.