Categories
Romancing Your Story Writing Romance

A Rose By Any Other Name (Authenticating Details)

Once upon a time, when I was new to fiction writing, I brought a chapter to my weekly workshop/critique group. I read a selection from a romantic suspense where the heroine receives a package from a stalker. In the padded envelope was a dead bird.

My workshop leader/writing teacher/mentor complimented the writing and plot twist, then asked me a question.

“What kind of bird was in the package?”

(I had no idea.) “Hmmm. A little brown bird. A sparrow?”

“Why not say sparrow instead of bird?”

“I don’t know.” (This shows how much I needed to learn.)

“Authenticating details are part of what takes good writing to great writing.”

It took me a long time to understand what my mentor was saying: specificity makes the scene come alive for the reader. “Bird” could mean anything from penguin to turkey and your reader pause to wonder just how big that package was. A sparrow evokes a specific image.

What are some ways to add depth and details to our story worlds?

  • Choose the specific over the general, such as buzzard rather than bird, rose instead of flower. But don’t go so far into specifics (unless it’s vital to the plot), that the reader must pause and research what a long-wattled umbrella bird looks like (black, short-tailed, with a head crest. The males have long wattles).
  • Weather can help set the mood. It’s hard to describe a suspenseful scene if it’s a bright and sunny day. Are the clouds dark and menacing, full of rain? Or white and puffy, moving gracefully across the sky?
  • Food. Is your character eating fries out of a bag while driving their Mini Cooper or leaning over a sink, eating a ham on rye sandwich? Or sitting alone at a long table in an ornate dining room with candles and green cloth napkins to eat a bucket of chicken?
  • Music. What’s playing in the car or in the café? Does a song evoke an emotion in your character?
  • Smells. A steak sizzling on the grill elicits a different expression than driving by a dairy farm. (Trust me, it’s not pleasant.)
  • Clothes and fashion. In the movie Grease, when Sandy’s attire changes from Peter Pan collar blouses and skirts to black leather and off-the-shoulder tops, the viewer knew instantly she was telling Danny she was willing to change to fit into his world.
  • Accessories. Does he wear pearl stud cufflinks and a matching tie pin? Does she wear an armful of bracelets or a colorful necklace?
  • Props. If they scribble a note to say they’re meeting a friend for coffee, do they use a fountain pen, a broken crayon, or a highlighter?

Anything that adds visual detail to your scene will help your readers know and “see” your characters. An engaged reader is one who keeps turning the page. Exactly what we want.

Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever afters. She writes contemporary fiction with romance. She recently signed a contract with Sunrise Publishing to co-write a romance novel with New York Times bestselling author Rachel Hauck that will be published in 2022. Carrie and her husband live in the country with their high-maintenance cat and laid-back dog, within driving distance of their six grandchildren.

You can find her online at:

Categories
Writing Romance

REALISTICALLY RELATABLE

Making your hero and heroine relatable is key to creating characters your readers will care about, will laugh with, and will cry over. Your protagonists must also care about each other. They must have enough in common so that their attraction makes sense, but they also must have enough differences to create conflict.

How do we create characters who leap off the page and into our readers’ hearts?

Characters need to have:

  • Relatability. Make them human, not perfect. Give them flaws, real character flaws, not just physical imperfections. I once edited a book by a man whose heroine was perfect. I told him she needed to have a flaw. “She does,” he assured me. “She has a limp.” A limp is not a flaw, it’s an imperfection. Being quick to judge is a flaw. Lying about inconsequential matters is a flaw. An inability to apologize is a flaw.
  • Strong personalities. I’m a fairly passive introvert and my first drafts heroines are very much like me. In other words: boring. It’s in the rewrite that I figure out their personality and give them some sass and spunk. I’m in the process of doing that with my work-in-progress’s heroine. She’s still way too passive, but she’s getting there. I’ll often think of something outrageous that I would never do and force my heroine to do that. I’ve had characters go bungee jumping, sing karaoke, and appear on a reality television show.  
  • Conflict. Both within themselves and with each other. In my work-in-progress I’m pairing a hero with a strong sense of justice and honesty with a heroine who is intent on helping someone, but it means not telling the full truth. Instant conflict!
  • Attraction. They need to have chemistry, which is easy to see, but hard to write and describe. I guess I’m a prude, because physical attraction is the hardest thing for me to write. Kissing scenes about kill me. I’m beyond grateful I don’t write sex scenes. But showing physical attraction between your protagonists is crucial to getting your readers to cheer them on to their happily ever after.
  • Obstacles. Kind of like Conflict, but bigger, harder, more intense. Always be thinking, What can happen to keep this character from reaching his/her goal? What can I throw at them or put in their way? It can be anything from weather to mechanical to physical/geographical distance to family or work responsibilities to employer policies to those pesky personality differences.
  • Authenticity. Nothing makes a reader lose interest in a book quicker than a character who does something unrealistic. I once read a “romance” where the hero gave the heroine not one clue that he was interested in a relationship. I was convinced that at the end, he’d give her an incredulous look and say, “Where did you get the idea I liked you, much less that we were dating?” and she would realize she’d made up the whole relationship in her head. Alas, he apologized for all the ways he’d failed her and promised to be a better boyfriend in the future. I instantly apologized to my heart for making it pump all the hours I’d wasted reading a book with zero plausibility.

Writing realistic and relatable characters is a skill worth learning. It’s the secret sauce that will turn your stories from good to can’t-put-down-able.

Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever afters. She writes contemporary fiction with romance. She recently signed a contract with Sunrise Publishing to co-write a romance novel with New York Times bestselling author Rachel Hauck that will be published in 2022. Carrie and her husband live in the country with their high-maintenance cat and laid-back dog, within driving distance of their six grandchildren.

You can find her online at:

Categories
Writing Romance

Who’s Behind the Mask?

Upon doing a search for romance novels that include a masquerade, I found that many romance novels include the word “masquerade” in their title, and Goodreads has a list of 1,147 books that include a masquerade in the story, but not all of the 1,147 have the word “masquerade” in their title. Many of them do not look like something I would read as I only read clean and/or Christian fiction, but I just wanted to point out how often masquerades are used in romance novels.

I remember reading only one book that included a masquerade, but I was very caught up in the masquerade and found it intriguing that the gentleman revealed his name to the woman from the start. However, she did not know him, but knew a bit about him as he was from a royal family. In addition, another man comes and interrupts their conversation to ask her for a dance. This man only reveals his first name to her, and so begins a battle for the female character’s heart.

I have heard of other romance stories where the romance begins at a masquerade as well, but neither character reveals their identity and each is left wondering who it is they have found an interest in, as they have no knowledge of the person’s name or what they look like. This begins the romantic plot of the story.

After finding so many romance books that include a masquerade, I have reached the conclusion that a masquerade is a popular romance trope. Because the masquerade often includes anonymity on the part of one character or the other, it brings to mind another popular romance trope—when one character or other has amnesia, usually temporary.

There is also a very famous romance story, the original being released in installments in a Paris newspaper over the course of five months, from September 23, 1909 through January 1910, before being published as a novel just two months after the last installment appeared in the Le Gaulois. This story also included anonymity because of a mask—Le Fantôme de l’Opéra (The Phantom of the Opera) by Gaston Leroux first published as a novel in March 1910, later made extremely popular by Andrew Lloyd Weber’s Broadway musical.

Another popular story that includes a type of anonymity between the male and female characters is Beauty and the Beast, where the man has become a beast because of an evil spell cast upon him. Most of us are most familiar with the Disney version of this story. However, there is speculation that it originated in 2nd Century CE in an ancient Roman tale. Other claims say that the original Beauty and the Beast was written by Gabrielle-Suzanne de Villeneuve in 1740, and the most popular Beauty and the Beast story is said to have been written by Jeanne-Marie LePrince de Beaumont in 1756. All three of these stories are different from each other and different from the Disney one we all know and love.

Tropes are very popular in romance novels and these are just some examples of how you can take a popular trope, such as a masquerade, and tweak or twist it a bit to still create a romance trope that begins with initial anonymity.

Kelly F. Barr lives in Lancaster County, Pennsylvania. She is married and has three sons. She writes historical romance. She has also been a blogger for ten years, and every Friday, you can find her Flash Fiction stories posted for your reading pleasure. She loves her family, including the family dog, books, walks, and chai lattes.

You can find her online at:

Website: kellyfbarr.com

MeWe: KellyBarr8

Categories
Writing Romance

What About Commitment?

Let’s face it. The majority of romance readers, including me, prefer a happy ending. But does that mean  the “fuzzy feelings” last?

Of course, anyone who has fallen in love and had a romantic relationship, whether short term or long term, married or not, knows that … no, the “fuzzy feelings” do not last long term, and … “happily ever after” doesn’t mean there will be no bumps in the road or struggles to overcome.

So, does a happy ending in a romance novel require “happily ever after”?

I don’t think so. But I do think our romance stories are missing an important piece. How does a couple remain “in love” for the long haul? They take their wedding vows – their commitment to each other – seriously, and they don’t give up during the difficult times.

What happened to commitment in our society? Sadly, our world has become a place where we get most of what we want quickly and easily, and this has bred expectations for quick and easy satisfaction in every aspect of life. Also, with the high divorce rate and many churches now accepting divorce, I think too many people go into marriage with the idea that “if it doesn’t work out, there’s always divorce”.

Commitment isn’t really talked about in today’s society or in many marriage ceremonies. Could Christian Romance authors possibly have an effect on today’s society or make them start thinking more about commitment again? I believe we have a responsibility to try. 

I believe we need to give commitment more of a spotlight in our fiction.

I’m not saying, “forget the romance”, but let’s show what commitment means. Imagine having your male and female main characters experiencing some conflict in their relationship. Of course, every story has to have some conflict.

But what would happen if we showed our hero thinking about how much he really loves this woman, in the midst of the conflict, and show his willingness to do the hard work—to find a way to work out the conflict and show he’s in this relationship for the long haul. Or, you can do the same through the female character or, better yet, through both characters.

I know every woman loves a warm, fuzzy, feel-good romance story, but I think there is a place for romance stories to include some of those fuzzy feelings while being more realistic. I believe showing how a relationship can actually last for many years because of the commitment of one or both people can add something to the story – something that will not only surprise the reader, but also give them inspiration, encouragement, and hope in their own relationship.

If you’ve seen the 2008 movie, “Fireproof” starring Kirk Cameron, you know what I’m talking about.

That movie, and Kirk’s insistence to have his real life wife be the one he kissed in the movie, instead of the actress playing that role, was a powerful example of commitment. There must be a need for such stories as that movie grossed $6,836,036 in its opening weekend and went on to gross over $33 million dollars in the box office and over an estimated $50 million in DVD sales. It also inspired couples to try the “Love Dare” to save their own marriages.

This doesn’t mean that if you write a good love story emphasizing commitment, you’re guaranteed a best seller, but your story may inspire some woman or some couple to value the importance of commitment in their relationship.

Kelly F. Barr lives in Lancaster County, Pennsylvania. She is married and has three sons. She writes historical romance. She has also been a blogger for ten years, and every Friday, you can find her Flash Fiction stories posted for your reading pleasure. She loves her family, including the family dog, books, walks, and chai lattes.

You can find her online at:

Website: kellyfbarr.com

MeWe: KellyBarr8

Categories
Writing Romance

Lessons From the Movies

I recently watched Hudson Hawk, a (deservedly) lesser-known Bruce Willis movie. It was released three years after his smash hit, Die Hard.

Bruce gave his all to the wise-cracking and charming title character. But the movie just didn’t spark the same laughs or tension or empathy as I’d felt for his Die Hard character, John McClane. Why?

I spent some time analyzing why Die Hard worked and Hudson Hawk didn’t and realized this was a lesson I needed to remember for my own writing.

  • Die Hard devotes the opening minutes giving us reasons why we should like John.
    • He’s a New York Police Department detective who arrives in Los Angeles on Christmas Eve.
    • He and his wife are separated, and he wants to try and reconcile. We like him because he’s humbled himself to make this trip and he cares about his family.
  • Hudson Hawk opens with Eddie Hawkins (Hudson Hawk) being released from prison. He’s a cat burglar and he just wants a nice cappuccino. But he’s immediately blackmailed by various people to do more jobs, stealing artworks.
    • We don’t know why Hawk was imprisoned. If he was justly accused, tried, and incarcerated, then why would I care about him? If he was unjustly imprisoned, or took the fall for someone else, I might be more sympathetic towards him, but that’s not hinted at.

Take away: Set up my character as someone the reader will care about.

  • In Die Hard, the stakes are clear, and the hero has a goal.
    • John McClane is a well-defined good guy who willingly steps into the arena (Nakatomi Towers) to fight the evil Hans Gruber.
    • Hudson Hawk is coerced into fighting the couple wanting to replicate a design by Leonardo DaVinci and begin turning lead into gold and take over the world. He keeps insisting he just wants that cappuccino.

Take away: Give my character a noble goal, something of value. Then put obstacles in her way.

  • The antagonist is clear and formidable.
    • McClane’s antagonists, Hans and his band of pseudo-terrorists, are serious about their own goal: breaking into the building’s vault and stealing multi-millions of dollars’ worth of bearer bonds. They are professional and cold and believe the ends justifies the means. They murder randomly and are after McClane to stop him interfering with their plans.
    • Hudson Hawk’s bad guys are played so over the top and are so comical, it’s impossible to believe they could achieve their goal of building an alchemy device. Hawk’s buddy and co-burglar walks away from an accident in which the vehicle he was in went over a cliff and burst into flames.

Take away: characters need to be believable, rooted in reality. A little over-the-top goes a long way

Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever afters. She writes contemporary fiction with romance. She recently signed a contract with Sunrise Publishing to co-write a romance novel with New York Times bestselling author Rachel Hauck that will be published in 2022. Carrie and her husband live in the country with their high-maintenance cat and laid-back dog, within driving distance of their six grandchildren.

You can find her online at:

Categories
Writing Romance

Can You Write Christian or Clean Romance That Isn’t Boring?

Let’s face it, even Christian men and women want to feel that spark of attraction in a romance novel or their own relationship. God designed us to be attracted to each other, but there are definite limits we aren’t supposed to cross before we marry.

Some readers prefer their romance novels squeaky clean. Other readers want their romance novels to express some physical attraction.

What do I mean by squeaky clean?

These novels don’t go farther than the man and woman finding each other physically attractive to their eyes, and maybe near the end of the novel they’ll feel a spark or tingle at the other’s hand brushing their arm. But throughout the novel, they don’t hug or kiss. Maybe they hold hands once or twice.

So, in a squeaky clean novel, the writer has to really develop the characters’ personalities and they have to know what they are looking for in a person they would want to marry. These things have to come out in their dialogue and the activities they participate in with each other. That’s how they will eventually come to realize that this is the person for them without getting into any physical affection, or keeping it minimal like the spark when his hand brushes hers or the hug he offers when someone or something upsets her.

One other great way to show their attraction without the physical, is to have him protect or defend her in a situation. For example, he protects her from an old boyfriend showing up and grabbing her arm, demanding she talk to him. Or maybe he defends her when one of his friends says something negative about her.

Readers who like their novels squeaky clean find a man who will protect or defend a woman swoon worthy. They also enjoy when a man sends flowers or presents her with chocolates or a small piece of jewelry, or offers his coat on a chilly night, or opens an umbrella to protect them from a downpour.

Don’t get me wrong.

Readers who like novels with a little more physical attraction action also like the above signs that he cares. But they also want to feel the electrical spark between the leading man and lady, and they want to read about their hugs, caresses, and kisses and their desire for more, even though they refuse to cross that line until they’ve tied the knot.

The readers who want a little more physical attraction don’t want things to go beyond the bedroom door. They just want to know that when the time comes for these two characters to cross the bedroom threshold, there will be some fire, but they don’t want to read about it.

Your Christian or Clean romance novel doesn’t have to be chaste to please your reader. It just has to be either modest, sweet, or steamy as long as it doesn’t go beyond kissing and hugging. None of your Christian or Clean romance readers want to read about the sexual act. They just want to read about the physical attraction.

Kelly F. Barr lives in Lancaster County, Pennsylvania. She is married and has three sons. She writes historical romance. She has also been a blogger for ten years, and every Friday, you can find her Flash Fiction stories posted for your reading pleasure. She loves her family, including the family dog, books, walks, and chai lattes.

You can find her online at:

Website: kellyfbarr.com

MeWe: KellyBarr8