First off, best wishes to all of you who are taking on NaNoWriMo! You are my heroes!
I stay away from politics here, but I can’t resist saying that if you’re old enough to vote, I hope you will.
And third. Last post I asked for words that make you cringe, and I relished reading your picks! How about words that you adore? I love palimpsest, both sound and meaning, which I’ve read is the favorite of many, possibly to the point of cliche. I’m wild about grok, which was invented by sci fi writer Robert Heinlein in his classic Stranger In A Strange Land (high school and up). Grok is a verb that means to understand fully, with all the nuance, complexity, and context that any situation can have.
On June 20, 2016, Martina wrote, I am kind of doing a retelling of the fairy tale “Manyfurs” and am mashing it with “Snow White.” My MC is very stubborn-minded, because in the story, when her father wants her to marry a preselected prince, she refuses. (Well, she accepts on the conditions of three impossible items being given to her.) My problem is, later on in the story, she promptly falls in love with another man, and he is instrumental in helping to rid her of the other prince. How can I make her love with the second man not seem forced or abrupt?
Christie V Powell weighed in with, I think that one of the big things in building a romantic relationship is that you focus on things beside romance. Sure, they’re attracted to each other, but just like any other relationship they also need friendship, trust, respect, fun (think sliding down banisters!), and especially selflessness. Pet peeve: romances where the guy is forceful and makes her do things. Sorry, that’s not love, that’s abuse.
One thing I’ve been playing with is the 5 love languages. Everyone speaks and hears love through different ways. My romance in my WIP hasn’t gone far yet (it was barely hinted at in the first book because I wanted the MC developed on her own first, then they’re just learning to be friends in the second), but when I get to the romance stage I’m planning on using all five of them, so it speaks to the reader no matter which the reader likes best. The five are: words of affection, giving gifts, quality time, service, and physical touch.
I agree! True love in fairy tales is usually inexplicable–or unpleasantly explained by beauty and power. I’d add to Christie V Powell’s five the sixth element she mentions in her first paragraph: fun. And a seventh or maybe part of the sixth, a sense of humor.
Here’s something else to consider in this particular fairy tale, if we want our MC to be sympathetic: the rejection of the first suitor. Our MC, and everyone in the real world, has or should have an absolute right to turn down a suitor. She doesn’t need a reason–but she will be more understandable and likable if she has one and the reader gets it.
I’m dealing with this in my WIP, Ogre Enchanted. Fee (short for Phoebe) says no to Wormy (short for Master Warwick) in the first scene. As I kept writing, I realized that even I didn’t like her, and part of the reason was that I identified with Wormy, who felt terrible, and she caused his unhappiness. So I worked on him and made him less appealing.
Now, because I’m embracing complexity, I’ve doubled back and made him more appealing again, although I’m hoping her reasons will still be clear.
So, if we’re dealing with two romantic prospects, we want the reader to understand our MC’s choice.
I do believe in love that comes on pretty fast, if not quite at first sight. I met my husband when I was just eighteen, and he was the first boy I felt totally comfortable talking to. I didn’t yet know I was a word person, but I think that clinched it–along with his other sterling qualities, especially of kindness, sensitivity, and humor.
And I’ve seen it happen with friends. Something in this one hooks into something in that one, like jigsaw pieces. There’s a shared recognition.
So abruptness may work, but not forced-ness. The reader has to get the reason for the romance–and will be able to if we open up our MC’s emotions and thoughts. I think the inner life of our MC is the key. Narrative distance can’t bring love to life.
Not that it always happens fast. Many years ago–I think we were in our thirties–a friend told me about his ambivalence regarding his girlfriend. I was mad at him and probably told him he should go all in or all out. He married her, and, near the end of his life, I reminded him of our conversation, which he didn’t recall. He said that marrying her was the best decision he’d ever made. But it came on slowly.
We know this MC is stubborn. We can use that characteristic to make a speedy connection believable. Maybe something in him can connect to that stubbornness. He may be compliant, and she may think, At last, here’s someone who isn’t always giving me an argument. Or, he can be stubborn, too, and they can enjoy bumping up against each other. We can think about the other traits that we can give each one that will help them fit together, some that are in opposition and some that are complementary.
I’ve said this before, but I will again: We can look for romantic models among happy couples and even happy friendships we know. What makes the two people click? We can set two pairs side-by-side and consider the different ways they make their relationships work.
I read or heard on the radio a while back that relationships that last don’t bury their irritations. That dish left in the sink or that unicorn left ungroomed will rankle if it’s never discussed. Eventually, the dish will sail across the kitchen and the unicorn will be driven over a cliff and the love will corrode. Dire. So I’d add one more element to Christie V Powell’s list: arguing–in a good way.
Anger is also lively. Just billing and cooing gets dull. A little squawking on the page will wake up a scene.
Here are four prompts:
∙ Your romantic duo meet in a prisoner-of-war camp run by the dread Sir Mank. They fall in love plotting their escape. By day, they help each other survive the awful conditions; by night, they plan. Each brings a set of skills to the mix, and they become a mutual admiration society. The escape goes flawlessly. They reach the safety of their own forces and now have to find a way to be together when they’re not in danger. Write a scene from the time they’re imprisoned together and one from the time after. Figure out a way for them to stay in love without outside opposition.
∙ Rewrite the second scene and have them split up.
∙ Write the happily ever after of a fairy tale. Snow White and her prince, for example, are married. The evil queen is dead or permanently imprisoned. Write a scene. You can keep them happy or make them miserable.
∙ She’s a groom in the castle stables. He’s the prince who rides his unicorn daily, leaves it in the stall on his return without even putting out a pail of water for the poor thing. She’s furious. She thinks he’s worthless. Make them fall in love.
Have fun, and save what you write!