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Category: Writing

Posts in which we talk about the writing craft and process


This Sunday, America celebrates Mother’s Day, a day I, as a mother, fully intend to take ruthless advantage of (even going so far as to end a sentence with a prepositional phrase with impunity!).

But this post is not about me. For once. This post is about the person who assumed the maternal role in my life, namely Jeff McLaughlin, my father.

See, my parents split up when I was 12 years old. At the time–for various reasons, some functional, some that have caused years of therapy–I lived with my father, while my mother went and got an apartment across town.

My dad was a newspaper journalist, and a darn good one, too (he’s got a Pulitzer Prize medal that the Boston Globe won in 1972, I think, for covering school busing. He was the metro editor at the time). He worked hard, and had long hours, but he was there when I absolutely needed him.

It’s from him I get my love of words, my dry, sarcastic wit, my intolerance (sorry, Dad) for all sorts of people–suffering fools gladly is NOT a McLaughlin trait–and most especially, my love of books.

It might’ve been from my father’s collection that I first found Pride And Prejudice; my mother, while also a reader, is not so literarily inclined as my father. And P&P is my favorite Austen (Emma is his, a point on which we disagree), probably because its patriarch reminds me so much of my own. To wit (with huge gratitude to Pemberley’s hypertext of P&P):

Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three and twenty years had been insufficient to make his wife understand his character.

Exactly! To quote Gilbert & Sullivan‘s Patience (which my dad and I do frequently), “That describes me to a T. Thank you all very much.”

When Elizabeth goes on a visit, she says, “The only pain was in leaving her father, who would certainly miss her, and who, when it came to the point, so little liked her going that he told her to write to him, and almost promised to answer her letter.” When I went to college, at least we had the telephone. And thank goodness for email!

My dad definitely would’ve pulled the ‘unhappy alternative’ reply Elizabeth got when her mother insisted upon her marrying Mr. Collins (not to suggest my Spouse is anything like Mr. Collins; Dad is just happy I found someone as smart and intolerant as Dear Old Dad):

An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. — Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do.”
Elizabeth could not but smile at such a conclusion of such a beginning; but Mrs. Bennet, who had persuaded herself that her husband regarded the affair as she wished, was excessively disappointed.
“What do you mean, by talking in this way? You promised me to insist upon her marrying him.”
“My dear,” replied her husband, “I have two small favours to request. First, that you will allow me the free use of my understanding on the present occasion; and secondly, of my room. I shall be glad to have the library to myself as soon as may be.”

That’s my dad, down to the wanting to be alone in his library. Dad lives on Cape Cod now, just him and his 30,000+ collection of books. He’s enthusiastically assumed the position of my research partner, and I’ve asked him lately to delve into Regency-era banking (math is not his strong suit, but he hasn’t complained at all), Byron, and whether one would use a hyphen or not in the word ‘chitchat.’ When I was writing A Singular Lady, he read each and every one of my drafts, and did, in fact, catch the title mistake that made it in print (did I listen? No! The prerogative of the child, I guess).

So thanks, Dad, and Happy Mother’s Day!

Love,

Megala
www.meganframpton.com

Posted in Writing | Tagged | 6 Replies

One glance at a book and you hear the voice of another person, perhaps someone dead for 1,000 years. To read is to voyage through time.

–Carl Sagan

This week, the arts and entertainment world has been buzzing with the accusations that Kaavya Viswanathan plagiarized from Megan McCafferty, Sophie Kinsella, and Meg Cabot in her book How Opal Mehta Got Kissed, Got Wild, and Got a Life.

The passages she allegedly copied are striking in their similarity, which begs the question of what the heck was she thinking? But when the story first came out, before I’d noticed the similarities myself, I was pondering what makes an original story. Is it the plot? Well, sometimes; certainly science fiction and fantasy authors create distinctive plots all the time. In romance, however? No. Our plots can be distilled to this: Female and male meet. There is a conflict to what seems like a perfect relationship. Bad things happen, good things happen, until the conflict is resolved and the female and male can be together.

I even had to admit to borrowing from others’ work, too; not in the open, Viswanathan way, but in inspiration (the picture below is of Calliope, the muse of arts and poetry). For example, in the last edit of A Singular Lady (the version that got it sold to Signet), I added an evil uncle whose cane dropped a piece of wood which my heroine kept in her pocket to remind her of what she had to do to save herself and her family. I thought of that after reading Judith Ivory‘s Starlit Surrender, where the heroine sees a red handkerchief she knows belongs to a woman in the hero’s past (plus Judith Ivory gave a talk on the Writer’s Toolbox and explained the whole concept of objects taking on additional meaning, which is when the epiphany struck). I remember somewhere Eloisa James saying she got inspired in her love scenes by reading Loretta Chase‘s Lord Of Scoundrels, which she keeps within easy reach of her computer when she’s writing.

But what keeps most authors’ work from being labeled plagiarism is VOICE. That intangible thing that keeps us reading the same old story time after time. Voice is the way the author says things, which is why the plagiarism accusation cuts so deep; stealing someone’s VOICE is stealing someone’s way of saying things, not like Jamiroquai borrowing Stevie’ Wonder’s phrasings, or Christian Slater doing a Jack Nicholson impersonation, but stealing someone’s core personality.

I’ve been told that, for all my failings at plot and correct titles, I’ve got a good, distinct voice. I value those compliments; plot and title stuff can be corrected, achieving a distinct voice is a lot harder to do. My favorite authors possess their own, distinct voices–authors like Loretta Chase, Eloisa James, Anne Stuart, Mary Balogh, Julie Anne Long, Judith Ivory, Julia Ross, and I could go on and on (and that’s just in romance!).

So–when you read, do you read for plot or for voice? Do you savor the author’s voice? Which authors have the most distinctive voices?

Thanks for being vocal,

Megan
www.meganframpton.com


My latest read, which I’ve about halfway done with, is Diana Gabaldon‘s Lord John And The Private Matter, which takes place in mid-eighteenth-century London. I’ve only read one other Gabaldon–Outlander–and Lord John definitely does some fairly awful things in that book. But Gabaldon makes Lord John more than just a two-dimensional villain, and that, for me, is totally delicious.

See, I like ’em bad; to my mind, there’s nothing more compelling than someone who seems irredeemable being redeemed by love. One of the best examples of that is
Anne Stuart‘s Black Ice; her hero is really, really bad, but you end up believing in him because Stuart writes him so well.

I was watching Pretty In Pink last night (such a guilty pleasure it’s almost come back around the other way and is okay now), thinking how I’ve always liked the James Spader character more than the Andrew McCarthy character. Sure, he’s a snobby a–hole, but he’s hurting. I also have to admit having sympathy for the Joaquin Phoenix emperor in Gladiator.

Maybe I am irredeemable.

The act of redemption is very hard for an author to pull off; we can all cite many cases where the lukewarm villain in one book is the hero of another. Even in the first instance, the reader can tell the villain isn’t that bad. What takes talent is taking someone truly bad and making their redemption believable. In Regencies, Mary Jo Putney has done it, as has Mary Balogh.

Fiona Apple’s song “Criminal” does a great job of getting inside the mindset of the villain maybe to turn hero. The lyrics are below, with few questions for you to answer (if you’d like) following.

Fiona Apple–“Criminal:”

I’ve been a bad bad girl,
I’ve been careless with a delicate man.
And it’s a sad sad world,
When a girl can break a boy
Just because she can.

Don’t you tell me to deny it,
I’ve done wrong and I want to
Suffer for my sins.
I’ve come to you ’cause I need
Guidance to be true
And I just don’t know where I can begin.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

Heaven help me for the way I am.
Save me from these evil deeds.
Before I get them done.
I know tomorrow brings the consequence
At hand.
But I keep livin’ this day like
The next will never come.

Oh, help me, but don’t tell me
To deny it.
I’ve got to cleanse myself.
Of all these lies till I’m good
Enough for him.
I’ve got a lot to lose and i’m
Bettin’ high
So I’m beggin’ you before it ends
Just tell me where to begin.
What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

Let me know the way
Before there’s hell to pay.
Give me room to lay the law and let me go.

I’ve got to make a play
To make my lover stay
So, what would an angel say?
’cause the devil wants to know.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

So–do you like bad folks turned good? Which books are the best examples of the villain made hero?

Thanks for reading–

Megan

www.meganframpton.com

 

Where would we be without them? Those lovable, annoying, fascinating second-tier characters that pop in and out of the main action, as onlookers, catalysts, or just sheer entertainment. For the writer they have the annoying habit of grabbing the limelight far too often, occasionally getting extremely uppity and demanding a book of their very own.

One of my favorite secondary characters is Miss Bates from Emma, who was so brilliantly portrayed in the movie version by Sophie Thompson (younger sister of Emma), who seems to specialize in annoying characters–her screen credits also include the role of Mary Musgrove in the 1995 Persuasion. Poor Miss Bates, destined for a life of genteel povery and the neverending patronage of Mr. Knightley and his lovely new bride. Have you ever wondered why Miss Bates never married?–other than the fact that her interminable chatter may have frightened suitors off; or is her verbal overflow a defense? She was a vicar’s daughter, after all, and we know there were two eligible men, Mr. Knightley and Mr. Weston in the neighborhood. I think there’s a mystery in Miss Bates’ past. The scary thing, too, is that Mr. Knightley, in his late thirties, is considered a catch, whereas Miss Bates, who may be younger, has catapulted into middle age and hopeless spinsterhood. (Note to self: save topic of aging for another post.)


Then there’s Mr. Collins. Mr. Collins lite, played so sympathetically you almost liked him, portrayed by Tom Hollander in the 2005 Pride and Prejudice. Or David Bamber’s superlatively greasy Mr. Collins in the A&E P&P. I so identified David Bamber with his role that every time he appeared in Rome as Cicero I hoped he’d dance again…

Who are your favorite secondary characters? Who deserves their own book? Do tell!

Let’s face it. I’m in this business for the heroes.

What could be better than spending your days with some hunky gentleman in pantaloons, Hessians, and a coat by Weston, who says things like, “You’ve bewitched me, body and soul.”

Sigh!

The Regency gives us such wonderful heroes. Wealthy marquesses and dukes. disreputable Rakes (as opposed to my Reputable Rake, on sale in May, shameless self-promotion here), corinthians, gamblers, impoverished vicars, and my favorite–

The soldier.


I’m with Mrs. Bennett when, in Pride & Prejudice, she says, “I remember the time when I liked a red coat myself very well—and, indeed, so I do still at my heart.”

That’s me. Show me a man in his regimentals and I’ll show you a potential hero.

Take a look at these fellows:

Sigh!

Maybe I love military heroes because my father was an Army colonel. I grew up with that whole military mind-set of duty and honor and country. Woke up to reveille. Went to sleep hearing taps. Or maybe it was listening to all those Chivers audiotapes of the Sharpe series, hearing William Gaminara read, “Sharpe swore.”

Writing a soldier for a hero gives so much dramatic potential. The hero faced hardship, faced death, experienced scenes we would find horrific. He’s honed his body to be strong. When he returns to England from war, he must look on the society to which he returns in a whole new light. I think it makes for lots of interesting possibilities.

I have a brazillion books on the Napoleonic war. Three of my favorites are:

Waterloo: Day of Battle by David Armine Howarth. It tells the story of Waterloo from the soldiers point of view.

Redcoat: The British Soldier in the Age of Horse and Musket by Richard Holmes, This book covers everything about being a soldier during that time period.

Galloping at Everything: The British Cavalry in the Peninsular War and at Waterloo, 1808-15 by Ian Fletcher. This covers all the major operations engaging the cavalry and discusses some of the controversy around them.

I have another book that makes me sad: Intelligence Officer in the Peninsula, Julia Page, editor. These are the letters and diaries of Major the Hon. Edward Charles Cocks, a man who loved soldiering with a passion that makes the journals occasionally boring. It makes me sad because the war takes his life. Even Wellington grieves his loss.

I’d love to write a series of Napoleonic war love stories, sort of Bernard Cornwell-style but with a really satisfying romance. A lofty dream.

Okay, let’s face it. I just want to spend my days with some hunky officer in regimentals.

Diane

Okay. It’s not Regency but it is Gerard Butler as Spartan King Leonides at the Battle of Thermopylae 480 BC. Hey, he’s a soldier, too, right?