Back to Top

Monthly Archives: March 2006

Last week, I talked about getting started again after a long break. I did start again, but I am in the middle of writing a scene I absolutely hate, and I am not sure if that means the idea behind the scene stinks, or if my writing stinks and the idea is good, or what. So I am going to finish writing the scene, gritted teeth and all (my heroine DOES get to knock someone out, which is cool, but the hero doesn’t arrive until later, late bastard), but meanwhile, my brain has been doing its best to keep me away from productive time at the keyboard.

So I’ve pulled out a fun book to browse through, Nicholas ParsonsThe Book of Literary Lists (I cited a Barbara Cartland quote on my own Diary yesterday; click here to read it). And discovered this:

Samuel Taylor Coleridge‘s Four Classes of Book Reader

Sponges, who absorb all they read and return it nearly in the same state, only a little dirtied.
Sand-glasses, who retain nothing, and are content to get through a book for the sake of getting through the time.
Strain-bags, who retain merely the dregs of what they read.
Mogul diamonds, equally rare and valuable, who profit by what they read, and enable others to profit by it also.

I wish I were a mogul diamond, but I think I must confess to being a sponge: I read a lot, and don’t always think too hard about what I’ve just read. Sometimes I read just to keep my mind occupied, sand-glass style, but I do retain more than nothing. My mom is a sand-glass–she can barely remember what’s happening WHILE she’s reading the book, but she reads all the time, and is an even faster reader than me, and I am pretty darn fast.

So–do you think Coleridge is right in his categories? What kind of reader are you? And, as a bonus question, if you were to read a scene where the previously meek heroine decks a guy, would you hate it?

Thanks for sharing–

Megan
www.meganframpton.com


What are our books really about? Is there one central theme common to the books you write, or to the books you enjoy reading?

This has been on my mind ever since I and some other romance writers were interviewed for a local news bureau’s story on St. Valentine’s Day. Note that we were all St. Valentine Day losers–there was a distinct lack of caviar, chocolate, champagne or heart-shaped hot-tubs in our lives, and the reporter adopted that arch “I’m only writing about romances” tone we’re all so tired of hearing. Her first question to me–and she didn’t include this in the interview–I thought was the most interesting one. She asked me, in a rather patronizing tone, whether romances were “only about people falling in love and getting married, and about families.”

And I asked her what other sorts of stories there were. I believe that’s what all stories are about, when it comes down to it. Even in Beowulf the monster has a mother. If you’re interested in the whole storytelling-myth-archetypes topic, check out Christopher Vogler’s The Hero’s Journey, or, if you’re feeling really brave, you can tackle Joseph Campbell whose whole area of scholarship was on the subject.

If I had to give a quick definition of what I write about (naturally I have this suspicion that I’m writing about the same people all the time and/or I’m writing about myself, both of which are to a certain extent true), I’d respond that I like to write about people discovering their true identity.

How about you? Do you find common themes in the books you write or the books you find memorable reads?

Janet

Posted in Reading, Writing | Tagged | 6 Replies

Kathleen Bolton and Therese Walsh of Writer Unboxed make a point that fiction writers can learn from other medias of art and entertainment. I love watching figure skating, and think a well-choreographed ice dance or pairs’ routine has many parallels to a romance novel.

Sadly, in a romance I have read recently, it was as if the hero and heroine met at center ice, then skated off to opposite ends of the rink where they noodled around a bit before rejoining for a kiss at the end. In another it seemed the couple started at opposite ends and spent the entire routine taking baby steps toward one another.

It’s a syndrome writers sometimes call the Sagging Middle. No, it’s not what happens when the writer consumes too many Pepperidge Farm Mint Milanos under deadline pressure. It’s when the writer has problems coming up with a conflict that forces the couple together and makes them work for that happily-ever-after.

If we think about the hero and heroine as ice dancers, though, we’d remember:

  • It’s important for them to be together much of the time.
  • Sometimes they have to skate in perfect unison; otherwise we might not be able to imagine them as a happy married couple, twenty years from now, still linking arms and moving in rhythm.
  • But variety is necessary. When they’re together, their movements can be opposed. When they’re apart, they still relate to one another.
  • And you need challenges. Things that push your characters to their limits even if you (and the reader) are afraid they might crash. The possibility of a crash is what makes it more exciting.

Right now I’m trying to figure out what will happen in the middle of my work-in-progress. In the synopsis, this part basically reads, “interesting things will happen here, trust me”.

Fellow writers, how do you attack the Sagging Middle?

As readers, what sorts of conflicts keep you turning the pages?

Elena
LADY DEARING’S MASQUERADE, RT Reviewers’ Choice Award nominee
http://www.elenagreene.com/

Posted in Writing | Tagged | 9 Replies