Themes in Miliary Romance Writing

Since the start of the 20^th Century, war has defined generations and their heroes. Let's explore themes in military romance writing and the heroes that warm our heart.

Research

Not all of us have a military background, so it's important to research what branch of service you're going to use, the military job your hero might have, rank and structure, weapon, setting, and time period. War in World War I has different weapons and settings than today's modern conflict in Iraq and Afghanistan. There's one more thing to research that will capture an element of authenticity – camaraderie. It's something those who have served know very well, but it may be something you struggle with as a writer.

I'm prior Army. In 1987, we had a loudmouth in our unit, "Morera." Most of us couldn't stand him because he was loud, obnoxious, and crude. He used to give me a hard time until one of my friends, a female NCO, gave me some advice on how to put him in his place. Now I had just won Soldier of the Quarter for my Battalion and I stood in front of the assembled Battalion to be recognized. After the formation, Morera made a point to find me in the chow hall and in a loud voice announced: "I may not like you much, Cardin, but seeing you up there getting that award, you made me feel proud to be in the 583^rd."

I may not have been his biggest fan either, but his smart comments tapered way off and after that, I knew that if the chips were down, I could count on Morera to come through.

Themes

One of the major themes in military/war romance writing is "Love on Hold." In the earlier wars, WWI, WWII, Korea and Vietnam, it's usually the woman waiting for her lover to return, facing almost insurmountable struggles as she raises their love child. With these last two wars, now you might hear of a man minding the children as the woman has been called up for active duty.

Another theme in military/war romance might involve unrequited love – a solider/airman/sailor/marine falls in love for a woman he can't have – an officer in love with a Geisha, perhaps, or a woman who loves a man who cares for someone else.

A favorite theme is "Forbidden Love." Think Romeo and Juliet and harboring a love in one's heart for a person you're supposed to believe is an enemy. I think the most popular example is that of a Nazi soldier in love with a Jewish woman, but certainly it can be applied throughout all the wars. In today's world, think of a "western" man in love with a Muslim woman.  In the novel, "A Woman in Berlin," a German woman comes to care for a Soviet officer.

Military Heroes/Heroines

With Iraq and Afghanistan, there's not just "heroes," but "heroines," too. Both need to find and tap into an inner courage or bravery they might not have possessed before. A military hero has to reach down and find that courage in the face of life or death. There's an element of danger they have to deal with. Our hero has to be trustworthy, noble, honorable, assertive, and he/she has to be able to treat people from all walks of life with respect. Also, all romantic heroes/heroines, need to go on a journey that challenges them to change for the better.

What's your favorite military movie/TV show/mini series? Top Gun? The Final Countdown? Winds of War? North and South? Write in. I'd love to hear your thoughts.

Writing Tips - The Appeal of Romantic Comedy

Some of the traits that draw me toward someone are their laugh, their smile, and their sense of humor. For me, that's the appeal of romantic comedy – watching a couple confront their conflicts equipped with a light-hearted disposition.  So, what are some of the themes that make a romantic comedy work?

Themes:

Fish Out of Water

This is where you take the hero/heroine out of their element and put them in a completely different situation. For example, bring in a "big city" TV reporter to run a small town TV station, or a "big city" cop to be the small town police chief. They're both out of their element. The big city reporter could be attracted to the local fire chief who is a local boy. Or the new police chief from the big city might find himself attracted to the quirky girl next door who teaches at the local school and makes homemade soap on the side.

TIP: What amps up the comedy? Have your characters overreact to the situations they find themselves in.

Deception

Nothing brings out a laugh like a little well- meaning deception. Our hero/heroine is pretending to be something they're not – lying about their job, their feelings or their intentions because they think they might not be good enough for the other person.

Examples: Tess in Working Girl or Fiona in Shrek or Michael in Tootsie.

TIP: Deception helps builds conflict – interior as well as external and conflict is what the characters need to change and grow. Example: Sandra Bullock's character in "While You Were Sleeping."

Mismatched

Think Cinderella with a chuckle. The handsome prince or billionaire sweeps our heroine off her feet only our heroine might be a call girl (think Julia Roberts in Pretty Woman) or a chauffeur's daughter (think Julia Ormond in Sabrina) or Princess Fiona in Shrek.

What makes a romantic comedy resonate?

Ultimately, there's something that terrifies the hero/heroine emotionally. It could be commitment, security, image, or not being good enough, attractive enough, or competent enough. That's inner conflict, and most readers can sympathize with all those elements. The other half of the romance helps them face that fear and overcome it with a little comedy – the tool that infuses their inner strength and courage.

Question:  What's Your all-time favorite romantic comedy?

When Harry met Sally

Pretty Woman

My Big Fat Greek Wedding

Shrek

Working Girl

Other – (say what it is)

I'd love to hear your thoughts about writing romantic comedy.

Smiles

Steph

Writing ideas - I Need a Hero

Prince Harry is currently serving in
Afghanistan

Our hero has a fine line to walk. The modern reader wants a man who is verbal, tender, and vulnerable, but not a wimp. Tall order, huh?

What makes a guy attractive?

Our hero has to convince the heroine - and the reader - that he's an attractive guy - inside and out. Add a dash of danger, a pinch of excitement, and a dose of sexy. It's just not enough to be good looking, he's got to treat those people around him with respect.

The Alpha Hero

He's assertive, dominant, and successful. (Sounds a little like Christen Grey, doesn't he?) He's the guy who owns the company and wants another one.

The Beta Charmer

This guy is playful and relaxed, caring and charming. He owns the company, but lets someone else run it.

A hero needs a convincing job.

He can own the company, be a police officer, fire fighter, or in the armed services. He can be a spy or an archeologist. He can even be a rock star or royalty. Whatever his profession, he's got to love what he does, act honorably, and treat those around him right.

Do you like a rich guy for a hero?

Do you like reading a romance where the hero is filthy stinking rich, or do you prefer to have him a more down-to-earth job?

The job has to fit the hero. It can't be trivial. It's got to be something he enjoys and excels in.

Qualities

What qualities do you want your hero to have? Heroism? Nobility? Honor? Integrity? What kind of job?

Question for you: Do you want a hero who is rich? Why or why not?

Reference: On Writing Romance, by Leigh Michaels, F&W Publications, ISBN: 978-1-58297-437-8, 2007

Self Editing Tips: Understanding "beats"

It's been said writing for publication can be defined as "10% writing and 90% editing." Writing is easy, but self-editing is a challenge all by itself. Today, I thought I'd talk about "beats," what they are and when to use them effectively as you go back through editing your story.

A beat is that tidbit of action laced through a scene. Beats are usually used with dialogue. Examples of Beats: heads nodding, worrying or nipping at the lower lip, gazing out the window and fisting the hands. Those are examples of external beats. A short interior monologue would be an example of an internal beat. Using a beat allows for a couple of things:

#1 varies the pace of the dialogue
#2 ties the dialogue to the setting and characters
#3 allows for small bits of imagery - keep in mind: Use only small bits. Too much description can be condescending to the reader.
#4 beats anchor your story to reality

How many beats do you need? That depends on the ebb and flow your dialogue. If you're writing a high tension scene it's best to use a minimum amount of beats. If you're in a less tense scene, you might want more beats.
Remember: use "fresh" beats. No two people walk across a room the same way. People watch. You get some good ideas from that. Pay attention to beats that you read. You can learn a lot from reading.

Reference: Self-Editing for Fiction Writer by Renni Brown and Dave King, Harper Resource, 2nd Edition, 2004, 279 pages.

Genre Tuesday - A look at paranromal romance

I thought I'd take a look at paranormal romance today. Paranormal romance is a very popular subgenre of romantic fiction. It finds its roots in gothic fiction. (Victoria Holt, anyone?) (Side note: I think I'll do a Victoria Holt day coming up. That sounds like fun. But I digress)

Elements of gothic fiction include spooky castles or mansions, secrets, and events that, while appear supernatural, have very natural causes. (that's the gothic twist!) In a paranormal romance, however, events occur that are outside the range of natural explanations, thus allowing for the supernatural.

Common the paranormal genre are those entities of a "fantastic" or "otherworldly" nature – vampires, witches, shape shifters, and werewolves. Stories that feature characters with psychic abilities such as telekinesis or telepathy are also included in the paranormal.

Time travel romance also falls under paranormal since it is still beyond scientific explanation. What makes a time travel successful is their ability to have the characters react logically to their experiences.

Paranormal stories also tend to organically blend elements of the suspense and mystery genres due to their fantastic plots allowing for a wide variety within the genre itself.

What are some of your favorite paranormal stories?

Genre Tuesday - A look at Inspirational Romance

A look at Inspirational Romance

An inspirational romance is a story that not only has internal/external conflict, but a spiritual conflict as well. The challenge then is to make the spiritual conflict believable.

A Christian Feel

Inspirational Romance should have a mainstream Christian feel. The goal is to have your hero/heroine clearly demonstrate a belief in Jesus Christ by the end of the novel.

Does it matter what religion is used in the story? No, it doesn't. While most stories in the genre appeal to a non-denominational Christian religion, any religion can be used to bring in the spiritual quality you, the author, is looking for.

Themes

Themes help frame spiritual conflict. Does the hero feel bitter toward God? Does the heroine feel like she doesn't deserve forgiveness after what she's done?

The End

Happily ever after doesn't usually occur until your couple gets past their spiritual issues. An inspirational romance is about the spiritual journey one takes to get closer to God.

Genre Tuesday - Paranormal Writing: The Zodiac in the Sky

Astrologers have explored the heavens since early Greek and Roman times – as even far back as ancient Babylonia. They gave those constellations that follow the sun’s ecliptic a zodiac name to help identify them. But why those constellations? What inspired them? I thought I’d take a look at the myths and legends that are behind the zodiac we see in the sky today.
Ah, the zodiac! We know it well. There are twelve signs, and surprisingly, their basic descriptions seem to fit the type of personality we exhibit.

The night sky is a dark presence in paranormal writing, often times taking on its own personality. After all, vampires come out at night, men transform into werewolves during a full moon, even zombies and ghosts are known to do their haunting at night.
When blending paranormal and romantic elements, looking to the night sky and the dynamic zodiac, can give you, the writer, the inspiration you need.

In my novel, “The Hungarian,” my hero, Matthias, is a werewolf who uses the constellations in the night sky to keep him company. He learned the myths behind the zodiac in the stars. I thought I’d share a few of them with you today.
Pisces is well known as representing two fish, but did you know those fish were Venus and Cupid who disguised themselves as fish to escape from Typhon?

Aries has always been represented as a ram. In fact, Aries was a golden ram rescued by Phrixos who took him to the land Colchis.

Taurus is a bull. What I love about Taurus is the stuff you can find in the constellation. Aldebaran is a red giant star that acts as the bull’s eye. The Pleiades, a star cluster, can also be found in the bull’s shoulder. In myth, Taurus represents Zeus/Jupiter who turned himself into a bull to carry off Europa, the daughter of the king of Crete.

Gemini represents the twin brothers, Castor and Pollux, who helped to protect ships and sailors.

Cancer represents a crab. Juno sent a crab to kill Hercules, who squashed it with his foot. Poor crab! Juno lost out with that idea.

Leo is usually associated with royalty. I believe it has Babylonian roots.

Virgo is usually represented as a maiden. She’s the goddess of the farm and harvest and she typically holds a shock of wheat. Again, I believe her origins are Babylonian in nature.

The sun usually find the autumnal equinox in Libria. The constellation is comprised of a set of scales, representing balance. Interestingly, the Romans chopped off Scorpio’s claws to make part of Libria.

Juno/Gaia sent the scorpion to kill Orion, who boasted he would kill all the animals on Earth! Poor Juno. She can’t catch a break. Scorpio and Orion are on opposite side of the sky, destined to never find each other, but always in search of the other.

Sagittarius is a centaur, a half-man, half-horse archer named Chiron, who is shooting an arrow and comes from Roman myth.

Capricorn is usually represented as a seagoat. Pan used it as a disguise.

Aquarius is a water carrier. Again, this constellation has Babylonian origins.

When you look at the constellations in this light, you have a lot of paranormal romantic potential. Keep in mind the myths that the night sky possess, and see if you can’t apply them to your romantic paranormal creatures. You’ll add depth to your stories without realizing it.

Genre Tuesday - A Look at Romantic Suspense

A look at Romantic Suspense

Romantic suspense is a very popular sub-genre of romance. It is also used to transition from romance to more mainstream genres. In order to have a good, solid, romantic suspense, the story must blend suspense and romance in equal proportions and do two things in equal proportions – 1) solve the mystery/suspense 2) have the hero/heroine fall in love.

The Nature of Suspense
What does suspense bring to the table, you ask? It gives the story instant attention. Something dire has happened. Solving the dilemma is a must for our hero/heroine. Keep in mind with suspense that the hero/heroine finds out early on in the story who the villain is. Just how much damage will the villain do before he/she is stopped is the heart of the suspense. Suspense is different from mystery in that in a mystery the hero/heroine take the entire story to find out "whodunit." In suspense, it’s a matter of stopping the villain. Remember to use the setting to help create an element of suspense. Weather, also, can heighten suspense.

The Villain
The villain isn't just plain nuts anymore. Readers are more savvy these days and can appreciate a complex villain. Don't be afraid to show the villain's motivation, which can include: ambition, blackmail, thrill, fear, jealousy and even self-defense. A good villain heightens the suspense.

The Nature of Romance
The nature of romantic suspense really necessitates a short time line. You don't have weeks or months to allow feelings to grow – you have days if that, so the chemistry between the hero/heroine needs to be immediate. Don't forget your internal conflict and those niggly little issues in the back of the hero/heroine's mind that makes them hesitant to jump into romance. Just remember you won't have a lot of time for long narratives or character introspection. Phobias work well, too. Think of what scares your hero/heroine and put them in that situation.

The End
Your end has to accomplish two things –the villain is brought to justice and the hero/heroine commit to working things out. Remember a "high" commitment of marriage might seem out of place since the story takes place in a short period of time, but knowing the couple is on the right track will work for the reader.

Genre Tuesday - Putting the Conflict in Romance

By Stephanie: Burkhart

Let's face it – the minute readers pick up a romance they know there's going to be a happy ending. So why pick up a romance at all? Ultimately it's about going on the journey the couple takes to fall in love and how they overcame the conflicts they faced.

So what is romantic conflict? The difficulty the couple faces that threaten to keep them from getting together and making a commitment to one another.

Conflict should not be:
Fighting
A delay
Misunderstandings
A meddler
Or an unwillingness to admit the other person is attractive.

In all honesty, a reader is not attracted to a couple who constantly argues. It's all right to have an argument or two, but constant bickering does not make the reader root for the characters.

Misunderstandings make the main characters appear incapable of making themselves clear. It's hard to root for a wishy-washy hero.

A meddler – if another person interferes in the budding relationship of the hero and heroine, then they look too passive. Again, it's hard for a reader to root for them.

If the hero/heroine can't admit the other is attractive then why root for them to be a couple to begin with?

So what is good solid romantic conflict?

Short and long term problems.

Short term problem: This is the problem which brings the couple together. This problem lets the couple get to know one another. Perhaps its to solve a crime or overcome a bad situation.

Long term problem: This is the deep problem, the internal conflict which makes it seem impossible for the couple to get together. It may be a fear of rejection or of being hurt again.

Recall some of your favorite romances. Was there a meddler? A delay? A misunderstanding? Probably not. That type of conflict in a romance may be an incident, but ultimately, they don't give the story the realistic conflict needed for the characters' journey.

Reference: On Writing Romance, by Leigh Michaels, 2007, F&W Publications.

Tuesday Writing Tips - Crafting Characters

Characters are the heart and soul of your story, but what makes them cross the line from two-dimensional to three-dimensional? What makes them compelling?

Author David Corbett offers four elements that you can add to your characterization and I think they're spot on.

To cross the line, keep your character's internal compass consistent, yet ensure they can still surprise you.

First, a character has to have a driving need, desire, or goal. What makes a character interesting is what that character wants, and the stronger the desire, the more compelling the drama. Desire helps to create conflict, and how your character manages conflict makes the story interesting.

Second, secrets make interesting characters. If there's a trait or an incident the character wants hidden, but is revealed, it might make that character lose standing with family and friends. What makes secrets delicious is that they tell readers what characters have to lose and why.

Third, contradictions bring to light what readers can't predict and thus shows surprise. For example: a character can be desperate, yet proud, and decide to take a job that might not be up their alley, just so they can earn a living.

Lastly, nothing draws a reader to a character than vulnerability. When people need help or are wounded, we're drawn to help or feel sympathetic to that character. Secrets play into this trait. If the character is afraid of the secret getting out, it gives the character a vulnerability they might not have had.

What can you do to help deepen characterization? Flesh your characters out. Cast the character. Write character bios. What do they like? Dislike? Write a flash fiction or short story to get to know them. Draw on real life inspiration such as friends, family members, and co-workers. You can also make a list of your emotional triggers. For example: What's your greatest fear? When did you show true courage? By drawing on your triggers, you can bring added dimension to your character's desires, wants, needs, secrets, contradictions, and vulnerabilities.

Reference: "Hooked on a Feeling," by David Corbett, page 32-36, Writer's Digest, Jan 2011.

Tuesday Writing Tips - How to Hook the Reader for NaNoWriMo

Hi all, National Novel Writing Month (NaNoWriMo) is less than a week away and I'll be back. This year's project is "The Wolf's Torment." Here's a blurb:

Crown Prince Mihai Sigmaringen has a lot to look forward to. Recently returned from England, he's engaged to Lady Theresa von Kracken. He hopes to unite the Romanian principalities into a nation, but when his best friend, Viktor Bacau, is bitten by a werewolf, his dreams and his relationship with Theresa threaten to shatter into a thousand tiny pieces.

I'm very excited at the project and I'm doing my research and preliminary work now. What's the goal of NaNoWriMo? From the website: It is a fun, seat-of-your-pants approach to novel writing. Participants begin writing November 1. The goal is to write a 175-page (50,000-word) novel by midnight, November 30. That averages to approx 1650 words a day. Do-able write? *wink*

Last year I did NaNoWriMo for the first time. It was a challenge and with all my other "obstacles" work, home, mommy, wife, I slid in with 52K at the end of the month and had a great start to my novel "The Count's Lair" (which is coming out FEB 2011 with Desert Breeze Publishing)


If you want to check out my NaNoWriMo space, here's a link: http://www.nanowrimo.org/eng/user/526402

I'm going to tie this into my next topic which is my Tuesday writing tip: how to hook the reader. It's not as easy as you think.

The beginning of the story must hook the reader or it doesn't do what it's supposed to do. The first sentence, paragraph, chapter has to grab a reader's attention. Some obvious turn offs include: spelling, punctuation, and grammar. Not so obvious: starting with description, back story, or a flashback.

The opening should have the lead character into the problem. Start with action, show the lead in motion, doing something.

Here's an example: Alice skulked after Edmund. What's the reader's next thought? Why. That encourages the reader to read more to find out.

Keep in mind: The opening should have an inciting incident and a story-worthy problem which should hold attention.

Reference: Hooked, by Les Edgerton, Writer's Digest books, 2007. If you want to follow my NaNoWriMo project, I'll be putting up my rough chapters on Writing.com. Here's the link:

http://www.writing.com/main/portfolio/item_id/1262325-The-Wolfs-Torment

Tuesday Genre Writing - POV Narration

POV in a Romance Novel

Point of View Narration can be a bear to tame, but once that is accomplished, it will make a reader's connection that much deeper to the author's characters.

Point of View narration (POV) is simply, the vantage point the reader observes the novel from. The way a character experiences an event through their thoughts and feelings in the novel is known as perspective. The most successful POV narration (for a romance) include a first or third person narration.

First person narration includes the thoughts and feeling of the main character telling the story. In romance, it's usually used with the heroine. In a first person narrative, (an "I" pronoun is used) the reader knows the mind of the heroine. The con? The reader loses what the hero is thinking and feeling. They can hear what the hero says, but has to draw conclusions based on the heroine's impressions.

What makes for a successful first person narration? That depends on the personality of the heroine. Traits that will win over readers include being funny, sympathetic, a friendly soul and someone who isn't falsely modest. It helps to have an interesting character flaw. Think Bridget Jones.

In the third person, you might get multiple characters sharing their perspective. Usually it is just the heroine and hero, but every so often a third character might be used to impart information on the leads. **This is the most widely used narration in romances.**

POV switches occur with a line break so that the scene is in one POV only. The main advantage to the narration is that you get both the hero and heroine's thoughts and feelings. This allows the reader to get close to both lead characters.

POV NARRATION TO AVOID

This is known as a "dual" POV or "Lonesome Dove" after the novel that uses it. This narration includes both the hero and heroine's thoughts and feelings in the same scene. This can be disconcerting to many readers and most professional editors discourage it. The drawback is that the reader is rapidly shifting between points of views and it may feel like a boxing even. It's hard to concentrate on both the hero and heroine's perspectives at the same time.

Reference for this article: On Writing Romance, by Leigh Michaels, F&W Publications, 2007.

Genre Tuesday - The Romantic Heroine

This is an article that I wrote for the Romance/Love Newsletter for Writing.com last fall. Enjoy.

The Romantic Heroine
by Stephanie Burkhart

A modern heroine has a lot to live up to. Our society is so fast paced, and yet she’s suppose to embody that perfect balance between being a woman, and living up to today’s high expectations. So what is she suppose to look like? Let’s start there.

A big element to your heroine is attractiveness, but the romantic heroine shouldn’t be drop dead gorgeous – she should be convincingly attractive to the reader.

What does that mean?

The everyday woman usually doesn’t have model looks. By weaving in realistic physical flaws you can paint a picture of any everyday romantic heroine. Perhaps she thinks she’s too tall. Or she doesn’t like her nose. She could be a plus size, or doesn’t care for her curly hair. Most women can connect with those elements. The big thing to keep in mind as you paint your heroine is to keep her self-respect intact. If she doesn’t respect herself, then how can the hero? Our heroine may not like her nose, but her self-respect for her body and her appearance can’t suffer. If it does, then she isn’t convincing as a romantic heroine.

The Qualities a Romance Heroine Embodies

For a modern reader, a romantic heroine must embody three things: an ability to connect with the reader, strength, and she must deserve the hero. Most modern writers try to deliver.

Food for thought: Have you read “The Great Gatsby” by F. Scott Fitzgerald? Think of his heroine in the story, Daisy. Written in the 1920’s, Daisy doesn’t embody the modern romantic heroine. She lacks strength and she doesn’t deserve Gatsby – yet in the 1920’s, Daisy cut a romantic figure for her contemporary audience. Nowadays, Daisy would be frowned upon.

Keep in mind romantic norms have changed over the years. Modern readers expect heroines, even those in historical, to embody modern trends. This might prove tricky in historical since women were treated differently and expected to act differently, but it is do-able to have historical heroine portray modern norms.

Connect with Readers

If the heroine can’t connect with the reader, then she isn’t convincing. Her physical appearance is only one aspect of connecting with readers. There are other aspects as well. For one: a sympathetic past. This doesn’t mean she suffered an abusive set of parents per se, but she has to be shaped by previous experiences. Was she raised by an aunt and uncle? Did she have a stern father? Was she the only girl in a family of five boys?

NOTE: The reader doesn’t need to know all about the heroine’s past in the first chapter. Reveal it slowly, over time, preferably to the hero of the story. An info dump on the heroine’s past in chapter one is a sure story killer.

Strength

Heroines don’t need to be physically strong, but they must embody an inner strength that the reader can relate it. She may have problems, but she has to have the inner strength to overcome them. She has to be able to do the right thing when the time comes.

She Must Deserve the Hero

Our hero is strong in body and character. He doesn’t lie, unless he think he’s protecting the heroine. He doesn’t steal. H e strives to do the right thing. Our heroine must embody these traits as well.

She may be looking for a romance, but she doesn’t need it. She can take care of herself. Finding Mr. Right is a bonus for her.

The same rules apply to our women as they do our romantic men. They have dignity. They’re honest. They’re tenderhearted toward their men.


So when composing a modern heroine, even a historical one, remember to be convincing, show her inner strength, and make her worthy of her man.

Genre Tuesday - A look at Steampunk

I heard the word steampunk the other day and raised an eyebrow. I was clueless. What was a steampunk romance? Steam with an attitude? I started poking around and found out it was just that – steam with a 'tude.

As the term implies, the story is generally set in the early industrial period where steam power is more widely known, such as early Victorian England, but it adds a second element such as a science fiction, speculative fiction, fantasy or paranormal twist. Adding to the complexity of the "steam" is that the story usually takes place in an alternate time, or parallel universe.

Steampunk, as a whole, has it's roots in the late 1980's, early 1990's, right alongside cyberpunk. According to Wikipedia, it was coined by author K.W. Jeter, who was trying to find a term to describe his writing – 19th Century settings which were typically Victorian and imitated actual Victorian age speculative authors such as HG Wells. In fact, HG Wells, and Jules Verne embody the type of steampunk technology that the genre embraces – they just wrote during the time period, the 19th Century. They were a century too early for steampunk! Current author of the steampunk genre include: KW Jeter, "Morlock Night," Tim Powers, "The Anubis Gates," and James Blaylock "Homunculus." There are several romantic authors who write with a steampunk twist including: Calista Taylor, Natalie Gray, and Katie MacAlister.

Steampunk settings are not limited to Victorian England. You could place your setting in the American west, but it has to meet the following criteria: it has to be in the 19th Century, it has to use "steam" power, and it has to have a sci-fi, speculative, fantasy, or paranormal element. Throw a romance in there and you have Steampunk Romance, which are also very popular in the Romance market.

Historical steampunk stories lean toward using more science fiction/speculative elements and alternate histories. Fantasy/paranormal steampunk lean toward using magic in a London underground setting.

"Steam," of course, is the central element to a steampunk. Technological inventions used in a steampunk shouldn't be that far off from those inventions and gadgets used in the 19th century. You might have a steam powered motor car that works much like a train. Or maybe even a steam powered dirigible. Or you could invent your own steam powered aircraft for your story. You might even have an early dated computer. The appeal of the Victorian era when it comes to technology is that it was an ungoverned time in regards to rules and regulations and an amateur inventor had just as much a chance as hitting on a good idea as a professional. Also, technological inventions didn't just have a metallic look that they do now. In Victorian times, they were works of art, with designs that infused personality.



References:

http://en.wikipedia.org/wiki/List_of_steampunk_works
http://www.boston.com/news/globe/ideas/articles/2007/08/26/the_age_of_steampunk/
http://steampunkscholar.blogspot.com/2009/02/towards-definition-of-steampunk.html
http://en.wikipedia.org/wiki/Steampunk
http://www.calistataylor.com

Genre Tuesday - Types of Romantic Men

Today I thought I'd talk about the different types of romantic men that we find in our romance novels. There are 3 types - the Alpha, the Beta, and the Omega. Let's dive in and have some fun. *grin*

The Omega Man
Think of this man as being the opposite of the alpha male. An alpha male must be perceived as the toughest, smartest, strongest, by his peers and those around them. An omega male cares little for the recognization - but he knows he's all those things and then some.

Omega men have no desire to belong to a group or to be a leader of a group. Now, an omega man does need support occasion, but he only really has one or two intimate friends. Omega men tend to shun shallow acquaintances, whereas alpha males thrive on having a large crowd around them.

The Alpha Male
The alpha man is confident in his abilities. He's powerful, assertive, masterful, and superior. (An Omega male is all those qualities, but in a quieter, more subtle way.) The alpha is somewhat ruthless, and perhaps a touch dangerous. The alpha is the quintessential male character in romance writing, but there is a growing trend for omega and beta.

The Beta Male

A beta male is good looking, charming, afable, and a family type of guy. He's got lots of friends, (unlike the omega.) Think of "Gone with the Wind." Ashley Wilkes is a beta male, while Rhett Butler is an alpha male. Betas don't enjoy confrontation, but won't back down from one either. An Alpha would relish a confrontation, an omega would meet the challenge head on with an even temper.

Betas are also known as practical, down to Earth, and have a great sense of humor.

When putting together your romance, keep the following in mind: Is your story set in the past? If so, an alpha or an omega hero might be more appropriate. Is your story a contemporary or inspirational romance? Then a beta hero might have more appeal. Remember, ultimately, the hero has to be a character that your readers can find interesting.

Let's have some fun: Name a book you've written or read, the hero and tell me if he's alpha, beta, or omega.

*smiles*
Steph

Genre Writing Tuesday - Romantic Conflict

I write the Romance/Love Newsletter for Writing.com and I wanted to share this bit about romantic conflict, especially for new writers, just starting to "hone" their craft.

Conflict must have layers. It's not satisifying if the hero and heroine and tackling a problem and getting along great. They have a problem to solve together, but no conflict.

So what is conflict? Honest to goodness meaty romantic conflict?

It's not:
Fighting or aruging - this is superfiscal.
Let's face it, fighting is not romantic.

A delay - where's the conflict in a delay?
A failure to communicate - your heo and heroine must be able to make a decision. They must know what they want.
Another person meddling - if this is the cause of the conflict, then hero/heroine might appear too passive to take charge of their lives.

ULITMATELY, confict centerrs around the type of character the hero and heroine are.

Short Term Conflict
This is the problem that brings your hero and heroine together.

Long Term Conflict
This conflict challenges them to find happiness.

Short term conflict is an external problem that usually oepns up the romance in your story. The long term conflict is the interal conflict that the characters have - lack of trust for example, or a painful past. This is the conflict the hero and heroine have to overcome to come together as a couple.

Trust issues, a fear of rejection, these are examples of the "meat and potatoes" of romantic conflict.

Once you get past the short term conflict, you need to explore the long term conflict. Then you ca draw out the deep emotions in your characters.

Mastering conflict can be challenging, but very rewarding in the end.

*smiles*
Steph