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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
Romancing Your Story

Same Vocabulary, Different Dictionary

I recently attended a conference where one of the speakers talked about how, because of cultural and societal shifts, different generations may converse using the same words, but not realize that the definitions of the words have changed. Basically, we’re using the same vocabulary, but different dictionaries.

Imagine anyone from our current world saying, “My mouse needs a battery and my streaming service has been freezing.” We know exactly what they mean. Someone from a hundred (or even fifty) years ago would likely ask, “What kind of rodent did you train to eat batteries and how could a river/creek/stream freeze?”

To narrow the historical divide a bit, a Boomer or Gen-Xer probably has a different definition of words such as marriage, gender, or furry than a Millennial or Gen-Zer. I know we’ve run into this when talking to our grandkids. We’ve had to ask lots of questions and have them define terms to be sure we’re talking about the same thing. Even emojis may have meanings ascribed to them that are not what you think. 😉

What does this have to do with writing romance?

Everything. Because words matter.

As writers, we need to remember dialogue comes from inside the character. This means that character’s past experiences, their hurts, talents, flaws, everything in them will color how they view life, what they think about things, and what they say.

A man who grew up on a Wyoming cattle ranch will think about a grilled steak differently than a guy from Manhattan’s Upper East Side. But what a fun twist would it be if the cowboy really knew about wine, too? If he had an amazing palate and could pair any food with the perfect wine it could be his super-power.

A woman whose father walked out on her and her mother may be slower to trust men than the gal who grew up with a bunch of brothers and a dad who took her out for donuts every Saturday. For the first woman, it would be a huge step to agree to a second date with a man who accidentally stood her up the first time (due to a misunderstanding). Her agreement would probably be timid, an “Okay, maybe, I guess.” While the second woman would be more able to shrug off the unintended rejection and accept with more enthusiasm. “Sure, let’s try again.”

Dialogue should sound organic and natural to the character.

But don’t fall into the trap of having a character from the South drop their g’s or use exaggerated accents on the page. It be distractin’. Doncha know? Instead, use speech patterns and idioms to create the conversational style you want.

When I wrote a novel set in Tennessee, I consulted several websites listing Southern expressions. Some I used, and some I tweaked for my purposes. One of my favorites, and one that’s often cited as making a reader laugh out loud was, “Well, butter my backside and call me a biscuit.” The actual saying I found was, “Butter my butt and call me a biscuit.” I thought my character would rather refer to her backside, and it kept the alliteration of the b’s, so I changed it to suit my character and my story.

Used wisely, dialogue and word choice can deepen your story and create characters who come alive in the mind of the reader.

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
Romancing Your Story

What’s Your Type?

So many personality types and traits and tools to figure them out.

  • The Enneagram
  • Myer Briggs
  • The OCEAN Model
  • The 4 Types

These are just a few of the various personality typing tools available to writers for crafting characters.

The Enneagram is currently popular but can be overwhelming with its nine personality types and the interconnecting relationships they form.

Myer Briggs starts with four models, but with all the possible combinations, it ends with sixteen personality types.

The OCEAN model measures five traits:

  • Open-mindedness
  • Conscientiousness
  • Extraversion
  • Agreeableness
  • Nervous/High-strung

The 4 Types have had various iterations depending on who’s espousing them. I’ve heard them described as Sanguine, Choleric, Phlegmatic, and Melancholic. Also Popular, Powerful, Peaceful, and Perfectionist. Or Tigger, Rabbit, Eeyore, and Pooh. Otter, Lion, Golden Retriever, Beaver.

What all this means is, as writers, we have a plethora of available personality traits to draw on for characters. The challenge is in making our characters seem like real people, not a list of characteristics chosen from a list.

The Hero:

  • Ruggedly handsome Checkmark with solid fill
  • Over six feet tall Checkmark with solid fill
  • Cowboy/Navy SEAL/Billionaire Checkmark with solid fill
  • Loves puppies and babies Checkmark with solid fill 

The Heroine:

  • Beautiful without makeup Checkmark with solid fill
  • Quiet and studious Checkmark with solid fill
  • Too busy for love Checkmark with solid fill
  • Scheduled/organized or messy/forgetful Checkmark with solid fill 

I got tired of reading about heroines who always had their hair up in a messy bun, so I gave my last protagonist a short, spiky pixie ‘do. Not exactly a character trait, but it was something different and it worked for her.

The best characters are complicated and full of contradictions. A cooking show host who can’t cook (Dining With Joy by Rachel Hauck). A high ropes course guide who’s afraid of heights (a story idea I’m playing with). A businesswoman who paints and creates (You’ll Be Mine by Rachel Hauck and Mandy Boerma). A 5’5” executive protection agent (The Bodyguard by Katherine Center). A doctor who faints when he sees blood (Doc Martin).

How do we “go deeper,” as my former writing mentor used to say, beyond hair and eye color, occupation and height?

Everyone has something from their childhood or adolescence that shaped them into who they are as an adult. Don’t be afraid to explore that incident or wound.

I know a writer who literally (yes, I’m using that correctly) fixes a cup of coffee for herself and her character, then sits down and asks the character all kinds of questions, starting with what kind of coffee drink do they like and why.

“Oh, you’re a tea drinker, not coffee. Why?”

“Yes, having hot coffee spilled and leaving a scar on your arm would be quite painful. Was it an accident?”

“Thrown at you? By whom? Your father? Who was he angry at? How old were you?”

And so on. She drills down until she gets at exactly what happened.

Sometimes, of course, a coffee preference has no hidden meaning. In that case, the questions start more broadly until something pings.

“Tell me about your family. What’s your birth order?”

“Youngest in a large family? Were you the spoiled baby or lost in the shuffle?” She’ll continue in this way until she learns the character was an over-achiever, always trying to get noticed, and this is why her protagonist must be the last one to leave the office every day. She’s overly conscientious and that can lead to compulsiveness and obsessiveness.

Questions are a powerful tool to help you find the personality traits that will move your character from a stock archetype contrived from an Enneagram assessment or Myer Briggs profile into a fully-fleshed out person who rises from the pages to live in the reader’s mind long after they close your book.

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
Romancing Your Story

Why Are Christmas Romances So Popular?

I’m sure you’re aware of all the Christmas romance movies that Hallmark airs on television before Thanksgiving into the New Year. Christmas romance novellas and novels also show up on bookstore shelves and on social media sites and can easily been found on Goodreads and Amazon between Thanksgiving and Christmas. So, what is it about romance stories that take place during the Christmas holiday that glues people to the television set or to the pages of a book?

I believe there are three reasons people, and particularly women, can’t get enough romance stories set during the Christmas holiday, and we’ll look at these one at a time:

1) The Magic of Christmas

This is a secular concept where you can make a wish upon a star or send a letter to Santa to get what you’re looking for. Christmas has been touted as a time when dreams and wishes come true, if you just believe in Santa Claus delivering your much wanted item to your door while you sleep on Christmas Eve, or believe in wishes coming true simply because Christmas is advertised and promoted to be magical. I already mentioned the Hallmark movies, but there are classic movies that include Christmas romance as well, such as White Christmas and Miracle on 34th Street. All you have to do is believe in the Magic of Christmas and you’ll find love.

2) The Most Wonderful Time of the Year

When people are generally happy and will give you a cheerful greeting on the street. When people are feeling more generous and are more willing to lend a helping hand or provide something for someone in need. Nonprofit organizations send out flyers or have tables in store foyers seeking donations to help the needy. Christmas music is played over store loudspeakers or via church bells in the local town, and on the radio. Most people think of a chill in the air and the beauty of a freshly fallen sparkling white snow on the ground, and snuggling by the fire in the fireplace drinking hot chocolate. So many wonderful happy pictures are painted in her minds through the music, movies, books, and advertisements of the Christmas holiday, when even the Grinch and Ebenezer Scrooge find room to be generous, loving, and happy.

3) Jesus Christ, the Savior

To those who know and believe the Word of God, this is the best and most important reason to celebrate Christmas. We believe that God sent His one and only Son to earth around the time that Christmas is celebrated. Why? Because God saw that people needed a Savior – a way to be reconciled from their miserable sinfulness to God, the one who is the only source of true love. Jesus Christ – the true meaning of Christmas, the one who not only brought and offered love, but who is the very embodiment and example of real, true love. He came to live among us and show us how to love one another and how to live with the hope of one day spending eternity with Him, Jesus, the one who laid down his life for each and every one of us; the one who showed us that real love is sacrificial and priceless, and this is the kind of love we all hope and long for.

As a believer in Jesus Christ, I have found The Nativity Story movie, written by Mike Rich, directed by Catherine Hardwicke, and released in 2006, from which I used a picture above, to be my absolute favorite Christmas movie of all time. Though it does not include a typical romance, I think the way Mr. Rich depicted the relationship between Mary and Joseph was so perfect and touching. So, if you’re looking for inspiration for writing a romance story, you might want to consider watching this movie and paying attention to the interaction between the characters of Mary and Joseph.

No matter which of these reasons is your reason to seek and enjoy Christmas romance, they all have a “feel good” sentiment, which is what romance readers want. That’s what I believe makes Christmas romance stories so popular—all people want to be accepted, loved, and happy. So no matter which of the reasons above is your reason for watching Christmas movies, listening to Christmas music, or reading Christmas romance novels, you will find the magic of Christmas is love.

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
Romancing Your Story

Why Are Christmas Romances So Popular

I’m sure you’re aware of all the Christmas romance movies that Hallmark airs on television before Thanksgiving into the New Year. Christmas romance novellas and novels also show up on bookstore shelves and on social media sites and can easily been found on Goodreads and Amazon between Thanksgiving and Christmas. So, what is it about romance stories that take place during the Christmas holiday that glues people to the television set or to the pages of a book?

I believe there are three reasons people, and particularly women, can’t get enough romance stories set during the Christmas holiday, and we’ll look at these one at a time:

1 The Magic of Christmas

This is a secular concept where you can make a wish upon a star or send a letter to Santa to get what you’re looking for. Christmas has been touted as a time when dreams and wishes come true, if you just believe in Santa Claus delivering your much wanted item to your door while you sleep on Christmas Eve, or believe in wishes coming true simply because Christmas is advertised and promoted to be magical. I already mentioned the Hallmark movies, but there are classic movies that include Christmas romance as well, such as White Christmas and Miracle on 34th Street. All you have to do is believe in the Magic of Christmas and you’ll find love.

2 The Most Wonderful Time of the Year

When people are generally happy and will give you a cheerful greeting on the street. When people are feeling more generous and are more willing to lend a helping hand or provide something for someone in need. Nonprofit organizations send out flyers or have tables in store foyers seeking donations to help the needy. Christmas music is played over store loudspeakers or via church bells in the local town, and on the radio. Most people think of a chill in the air and the beauty of a freshly fallen sparkling white snow on the ground, and snuggling by the fire in the fireplace drinking hot chocolate. So many wonderful happy pictures are painted in her minds through the music, movies, books, and advertisements of the Christmas holiday, when even the Grinch and Ebenezer Scrooge find room to be generous, loving, and happy.

3 Jesus Christ, the Savior

To those who know and believe the Word of God, this is the best and most important reason to celebrate Christmas. We believe that God sent His one and only Son to earth around the time that Christmas is celebrated. Why? Because God saw that people needed a Savior – a way to be reconciled from their miserable sinfulness to God, the one who is the only source of true love. Jesus Christ – the true meaning of Christmas, the one who not only brought and offered love, but who is the very embodiment and example of real, true love. He came to live among us and show us how to love one another and how to live with the hope of one day spending eternity with Him, Jesus, the one who laid down his life for each and every one of us; the one who showed us that real love is sacrificial and priceless, and this is the kind of love we all hope and long for.

As a believer in Jesus Christ, I have found The Nativity Story movie, written by Mike Rich, directed by Catherine Hardwicke, and released in 2006, from which I used a picture above, to be my absolute favorite Christmas movie of all time. Though it does not include a typical romance, I think the way Mr. Rich depicted the relationship between Mary and Joseph was so perfect and touching. So, if you’re looking for inspiration for writing a romance story, you might want to consider watching this movie and paying attention to the interaction between the characters of Mary and Joseph.

No matter which of these reasons is your reason to seek and enjoy Christmas romance, they all have a “feel good” sentiment, which is what romance readers want. That’s what I believe makes Christmas romance stories so popular—all people want to be accepted, loved, and happy.

So no matter which of the reasons above is your reason for watching Christmas movies, listening to Christmas music, or reading Christmas romance novels, you will find the magic of Christmas is love.

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
Romancing Your Story

How Candlelight Brings Out the Romance in Your Characters

What is it about candlelight that makes a candlelight dinner so romantic?

First of all, did you know that when someone finds another person attractive, their pupils dilate and the other person finds that attractive as well. Studies have shown that men who viewed a photo of a woman with larger than normal pupils didn’t later recall her dilated pupils, but described her as “more feminine,” “soft,” and “pretty,” whereas, they described the woman with small pupils as “hard,” “selfish,” and “cold.” However, women who preferred “nice guys” were drawn to men with medium sized pupils and women who preferred “bad boys” were attracted to the men with larger pupils. No matter what size pupils you’re subconsciously attracted to, candlelight can help because low lighting, like candlelight, causes pupils to dilate and can duplicate those attraction signals.

Candlelight also reduces stress and helps us relax, making it easier to drop into a romantic mood because you aren’t feeling tense or rushed. Candlelight casts a glow in a small area, so even in a restaurant, if you are seated in a room lit only by candles on the tables, you feel as though you are in your own little private space.

The man in your romance novel can create a perfect romantic scene, whether it’s a candlelit dinner, picnic, or movie night.

Long, slender, taper candles on the dinner table between him and his leading lady. Placing scented candles around the living room and choosing a romantic movie for the two of them to watch as they snuggle up to each other on the sofa, or if you’re writing about a married couple having problems and he’s trying to rekindle the romantic feelings they had for each other in the past, he could fill a couple crystal bowls with water and add a floating candle to each and set them in the bathroom near the tub and run a bubble bath for her, then he can prepare dinner that will be eaten by candlelight in the dining room. He could follow the candlelight dinner with a couple scented candles burning in a room with open floor space, play their favorite love songs, and ask her to dance.

Scented candles can also add something to the scene as we are all sensitive to smells, and certain smells can trigger memories, like an ocean breeze scented candle reminding her of that romantic evening walk along the beach on their honeymoon.

The next time you need to add a romantic scene to your romance novel, or your fantasy or other genre novel needs a little something, remember all the things that candles can add to a scene or to a romance through their light or their scent.

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
Romancing Your Story

Developing the Leading Man and his Lady

The man and woman who will fall in love in your romance story are your most important characters. Therefore, it is imperative that you know them inside and out and develop them throughout the story in a way that shows why they are drawn to each other, what makes them move from being drawn to one another to falling in love, and how do they know this will last.

How do you get to know your characters well enough to build a good love story between them?

First, you need to develop their back stories. What is his view on love and on the world. What is her view on love and on the world. How and why are each of them going to make the decisions they will make throughout your novel. These things are a part of their back stories—what happened to them, in the past, that makes them think, react, and make the decisions they do?

Romance relies on strong main characters and your reader engagement will depend on the chemistry between your leading man and his lady. Therefore, you need to make your protagonists convincing.

Building a character

Start by asking yourself the following questions:

Who is he or she?

What is his or her flaw(s)?

What is his or her lie or burden? This is the thing they carry around with them that influences and determines their view of the world.

These things have all come from their back story—things that happened to them in the past: hurt, rejection, abandonment, etc.

Every character needs a GOAL, MOTIVATION, and CONFLICT. Their GOAL is what he or she wants. Their MOTIVATION is why he or she wants that thing, whether it is tangible or intangible. Their CONFLICT is why they can’t get it—what is keeping them from getting what they want?

When it comes to conflict, there needs to be outside forces that add to the conflict, not just internal conflict. Otherwise, you may fall into the trap where they have a very simple misunderstanding. This will not last long enough or be strong enough to sustain the conflict necessary for a novel. External conflict can produce and intensify the internal conflict within the character and between the man and woman.

Character growth

You also need to develop your characters throughout the story—they have to have some kind of change from the beginning of the novel til the end. Use the interactions between the male and female to show their character development. Have them challenge each other and bring about change in each other through the conflict and bonding.

Changes from the beginning to the ending of your story will include growth in their relationship as they move from mutual interest and physical attraction to a deeper love. Physical attraction is not enough to sustain a relationship for the long haul. Use some of each character’s attributes or quirks to deepen their love; things like intelligence, wit, charm, humor, social status, etc.

Character development is necessary for a successful romance.

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:

Categories
Romancing Your Story

Make it Personal

One of my favorite movies is You’ve Got Mail. When Joe Fox attempts to apologize to Kathleen Kelly for forcing her out of business, he says, “It wasn’t … personal.”

She replies, “What is that supposed to mean? … All that means is that it wasn’t personal to you. But it was personal to me … Whatever else anything is, it ought to begin by being personal.”

The same is true of great fiction. It begins by being personal, meaning your story should embrace universal themes that people will relate to.

The Count of Monte Cristo poses the question, does getting even—revenge and retribution—make one happy and satisfied?

Kristan Higgins’ new release, Pack Up the Moon, is about a grieving widower who receives a letter a month from his late wife for the first year after her death. In spite of the downer premise, the theme is that “life’s greatest joys are often hiding in plain sight.”

A Christmas Carol and Les Miserables pose the question, is redemption possible?

I love stories with themes of perseverance, of never giving up, despite terrible odds. This is why I enjoy Susan May Warren’s adventure thrillers, like her Global Search and Rescue, Montana Marshalls, and Montana Rescue series. The stories are full of danger and intrigue and impossible predicaments, but the protagonists survive. I also like movies like Die Hard, Lethal Weapon, and R.E.D. The heroes. Never. Give. Up.

Another book with a theme of perseverance would be A Wrinkle in Time by Madeline L′Engle.

The theme of You’ve Got Mail is summed up nicely in its tagline: Someone you pass on the street may already be the love of your life.

That’s intriguing. Even if you’re with the love of your life, there are occasions you may wonder what (or who) might be out there. What if you’d walked to work the day you met your significant other, instead of taking the bus?

The movie Sliding Doors shows this “path not taken,” plot with a lot of heart and creativity. Helen is fired from her job and takes a train home in the middle of the day to find her boyfriend with another woman. Or did she miss the train and arrived home after the other woman left, and stayed in a relationship with the cheater?

I think Sliding Doors’ theme is, will true love always find a way?

The heroine of my work in progress is a young widow. I’ve never lost a spouse, but I’ve lost a parent and other close loved ones. I know the stages of grief (anger, denial, bargaining, depression, and acceptance). The hero has his own loss that he’s dealing with, so their journeys are each echoed in the other. I’m attempting to show a theme that life and love can be rich again, after loss.

Grief and joy. Regret and eagerness. Doubt and excitement.

Our job is put those emotions on the page in a way the reader relates to and (hopefully) feels them as much as our characters do. Personally.

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
Romancing Your Story

Hole-Hearted to Whole-Hearted and How to Get There

What hole is in his heart? What hole is in her heart? This is where your romance story begins. Both your main male and female characters—the ones that will commit to one another by the end of the book—need to have a hole in their heart they are trying to fill, or are resisting to fill, at the beginning of your romance novel.

Maybe he wants to find a lasting love but comes from a broken home. His parents divorced when he was young after a lot of fighting, and maybe they bounced him back and forth, or maybe one of them completely walked away from him after the divorce. These things cause him to believe that he isn’t lovable or that all marriages are destined for divorce.

Maybe she longs for a lasting love but has been hurt by more than one man she thought was “the one”. Maybe several men who seemed interested, loving, and kind turned into workaholics with no time for her, or verbally, emotionally, or physically abused her. Now she’s afraid to give another man a chance; unsure she could survive another bad relationship, leaving her with a bigger hole in her heart.

These two characters obviously struggle with an internal conflict.

When they are thrown together in your story, in whatever situation you choose, they may feel a physical attraction. They may think “this might be the one”, but their internal conflict is still raw, so an external conflict results. Each of them resist the relationship in some way, trying to protect themselves.

As time progresses and you continue to put them together through the setting or their circumstances, eventually one of them softens and warms up to the idea that this relationship might really work out.

The other one may still resist for a while, but sooner or later, they both soften and their love for one another builds to where they both believe this relationship isn’t like the one his parents had or like the previous relationships she had.

The hole in each of their hearts heals and they commit to one another.

This is one possible basic plot line for a romance story. Every romance novel needs a boy and a girl who want and need love. Maybe the hole in one of their hearts is something that causes them to believe they don’t have time for love and romance. But whatever the hole is will affect the relationship between them.

The romance plot also needs an external struggle because romance stories need conflict. Conflict is the driving force behind a romance story, and maybe the external conflict is the one I mentioned above, or maybe one of the men who hurt your female character comes back seeking another chance just when she thinks she may have some real feelings for the man you’ve recently placed in her life. There are many external conflicts you can use.

But in the end two characters who began hole-hearted, become whole-hearted.

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:

Categories
Romancing Your Story

Humoring Your Romance

I always say that a book that can make me laugh and cry is an outstanding book that will remain in my memory. I believe this is because a book like this evokes strong emotions within me – emotions that create two of the strongest emotional reactions.

As a romance writer, I think it’s easier to make readers cry than laugh in a romance story. Maybe that’s because I don’t consider myself to be a very funny person and so I don’t make an effort to put humor in my romance stories. However, as I have been working on my future novel, I found a touch of humor flowing naturally in one scene and later, through one character.

Therefore, I decided to explore how to write humor in a novel. I wanted to be sure these little humorous aspects in my romance novel would be written properly and well received by my readers. Of course, one of the first things I found was advice on reading romance novels that include humor.

Though I am not well-read in romance stories that include humor, I found one romance novelist that made me laugh and thoroughly enjoy her romance stories. Her name is Jen Turano, and she uses humor through her characters, whether it’s built into their quirky personality or things that they do. These seem to be two of the most suggested and, possibly, the easiest to write.

Other humor writing options include juxtaposition, hyperbole, alliteration, or an exaggeration from your own life experience. As writers, we often use metaphors, and one idea was to create a list of metaphors for something then use the most ridiculous one. However, this example was also issued with a warning not to use this trick too often or your readers may think you aren’t good at using metaphors. There was also mention of simply playing with your words.

When writing humor into your novel, think about your sentence construction. Stand-up comics generally use longer more descriptive sentences at first, while painting the picture. Then as they approach the punchline, their sentences become shorter and punchier.

The most important thing when attempting to add humor into your romance is to read what you write out loud, which can help you determine whether what you wrote is really funny or not.

Adding a little humor to your romance can add a sense of fun to your story, make an intense scene more bearable, lighten the mood, or allow your characters or readers a moment to breathe. Humor is a great way to connect with your readers or add a spark of fun to your romance.

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: https://kellyfbarr.com/

Twitter: https://twitter.com/kellyb_26

Facebook: Kelly F. Barr, Writer

Categories
Romancing Your Story

Does Setting Matter in a Romance?

The short answer is YES! 

While falling in love can happen anywhere, the choice of your setting sets a tone. 

If you can take your romance and put it in any setting, you need to take a good look at your story. 

A story that takes place in a city can’t be changed to a small town. Nor can a small-town story be moved to the country or on a ranch. The same is true if you need mountains, lakes, or an ocean for your romance setting. Or a story that takes place in a tourist town versus a non-tourist destination. 

There is a distinct difference in the feel of each setting and its impact on your story. 

The setting becomes a minor or major character; therefore, it is essential to have done your research on the place. Go there if you can. Explore the region where your romance takes place. Meet the people because where your story takes place will affect how the other characters react, speak, and what expectations they may have.

In his book Setting, Jack M. Bickham states, “Setting – in real life as well as in fiction – tends to form character in ways you can analyze and use in your work.” It’s true, no matter what period you are writing. In the same book, Bickham suggests after visiting the location and talking to the people, draw up a “setting list” for your desired character. 

No matter whether your setting changes during the story or stays the same, it can cause your character to change their perceptions, feelings, thoughts, motivations, and actions. Your characters live in the physical world of the setting and are subject to impressions that enter their consciousness. 

Mr. Bickham goes on to say that “No mention of setting in fiction can be said to be wholly objective. Selection of viewpoint, as well as selection of the emotional lens through which the described place or event is seen, must be made with constant reference to the desired emotional feel of the story, its present plot situation, and the characters at the time of description.

It matters where you set your romance so much that you need to carefully consider where you want your story to take place before you begin writing. Some authors will draw a map of a fictional location to keep it accurate within their manuscript. Others use real places and do extensive research to get the names of streets and landmarks correct. 

So, yes, setting matters a great deal and should be treated as another character of your story. 

If you want to learn more about your setting’s impact on your story, I highly recommend Setting by Jack M. Bickham as a resource for your writing library.  

Award-winning writer, Rose Gardner’s journey toward publication has come in two phases. During the early years, she was a finalist in thirteen contests and won her category in seven, was a 2007 RWA Golden Heart finalist in the Long Contemporary Category, and 2nd runner up in the 2008 Harlequin Super Romance Conflict of Interest Contest. After a break from writing, she returned to writing with a renewed focus on clean, contemporary heartwarming stories about love, hope, healing, and the power of forgiveness. She has won or placed in several contests for unpublished writers since 2017 as she works toward publication. You can find out more about Rose at her website mrosegardner.com or on social media at Facebook at MRoseGardner/, Twitter MaryGardner6, Instagram mrosegardner/ 

Categories
Romancing Your Story

What Do Your Characters Want and Why?

What drives your character? What is his or her motivation for pursuing their goals, whether it’s defusing an atomic bomb and saving the world or decorating cookies for a bridal shower?

There are lots of books and articles and blog posts about how to make character sketches and how to know your characters. Some writers advocate filling out spreadsheets with lots of details, including physical descriptions and where they lived in the fourth grade. Others journal in their character’s voices for pages and pages, getting to know them. Some take their characters for a metaphorical cup of coffee and chat with them.

I use a system that asks a series of “Whys” to drill down to a dark moment in their past that’s shaped who they are now. 

For example, we’d start with: Who are you? The answer starts with a noun plus an adjective. For this example, “I’m a prodigal fisherman.” 

Why? “Commercial fishing was a job I could get. Prodigal because I can’t go home.” 

Why can’t you go home? “I messed up.” 

How did you mess up? “I got into a fight at my sister’s wedding.” 

Why did you fight someone at your sister’s wedding? 

And so on. 

We’d continue until we learn he felt rejected by his family as a teenager when they allowed him to leave home to play ice hockey at an elite boarding school. 

This system of noun plus adjective and “Why?” questions is from The Story Equation by Susan May Warren and this character profile is Owen Christiansen from You’re the One I Want also by Ms. Warren.

There are often two sets of goals, internal and external, but the motivation is the same for both. The internal want drives the external goal.

Owen Christiansen wants to go home and feel welcomed by his family. That’s his internal desire. The internal meets the external when his brother finds him and brings him home. Of course, there’s a lot more to the story.

This next example is from my own work in progress. The heroine is Chloe:

Who are you? “I’m a driven widow.”

Why? “I have to open my bakery next month to honor my dead husband on the second anniversary of his death.”

Why? “He died in his sleep of an undiagnosed heart condition.”

Why? “I drove him to his death, nagging and pushing him to work harder.”

Chloe is determined to not fall in love again. Because her father also died at a fairly young age, after working extra hours to pay for a family vacation, she feels she’s toxic to men. (Of course, since this is a romance, she’s going to fail at her plan to not fall in love and will finally get her happily ever after.)

In The Story Equation, Susan May Warren outlines a method for diving into your character’s motivation. It involves digging deep and getting to what she calls their Dark Moment Story or DMS. This is a moment in their past that shaped them into the person they are at the beginning of the novel. For Chloe, it’s her husband’s death. The DMS also contributes to the Flaw, a Lie they believe, and several other factors. I highly recommend The Story Equation if this method of getting to know your characters appeals to you.

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
Romancing Your Story

The Romance Promise

Every book written begins with a promise. No matter if it is fiction or nonfiction, there is a promise of what the reader can expect to find in the book.

As a reader, how would you feel if you picked up a diet book expecting tips on losing weight along with recipes for healthy food only to find tips for making candy and recipes for delicious cakes and pies? As the reader, you would be disappointed because it wasn’t what was promised in the description.

The same is true for fiction. Every genre makes a specific promise.

Romance promises the reader a love story. Be it a historical, contemporary, secular, Christian, traditionally or independently published, when a reader buys a book in the romance category, they expect two people to fall in love.

Romance is a broad category in fiction and readers base their expectations of what the book is about on the back cover blurb and publisher. Knowing the market is critical in understanding the promise you are making to the reader.

As the reader begins the first page, she/he is ready to go on the journey with the two main characters. We root for the characters to overcome the obstacles standing in their way and enjoy watching their trust grow and turn to love. When all seems lost, we are eager to cheer for them when their love prevails, and the story ends with the expected happily ever after (HEA).

While attending a secular romance writers group meeting, I listened to some of those attending discuss how the HEA was outdated. Some seemed to think that it should be changed to “happily for now.” I can only speak for myself, but I’d be disappointed if the book I’d invested my time in ended with a “you’ll do until somebody better comes along.”

As a reader, if I’m looking for something clean or Christian, I’m not going to be happy if I stumble into a book with language that I find unacceptable or explicit sex scenes.

With traditionally published books, finding yourself in an unexpected genre isn’t as likely since editors and marketing are careful about the books they publish. Unfortunately, that isn’t necessarily true in independently published romances.

I talked to a local reading group member who told me about a book selection they’d made because the writer was a local Christian romance writer. She shared that she was shocked at some of the language used and the explicit sex scenes written among scripture verses. She said she would never buy a book by that author again. She went on to say she felt cheated.

It was a clear example of a writer having broken her promise to the reader.

Readers need to know they can trust us to deliver a satisfying love story within their chosen romance category. When we break that promise, we disappoint and probably lose a reader. As authors, we don’t want to give readers a reason not to buy our books. When you make the reader a promise, be sure you keep it.

Happy Writing!

Award-winning writer, Rose Gardner’s journey toward publication has come in two phases. During the early years, she was a finalist in thirteen contests and won her category in seven, was a 2007 RWA Golden Heart finalist in the Long Contemporary Category, and 2nd runner up in the 2008 Harlequin Super Romance Conflict of Interest Contest. After a break from writing, she returned to writing with a renewed focus on clean, contemporary heartwarming stories about love, hope, healing, and the power of forgiveness. She has won or placed in several contests for unpublished writers since 2017 as she works toward publication. You can find out more about Rose at her website mrosegardner.com or on social media at Facebook at MRoseGardner/, Twitter MaryGardner6, Instagram mrosegardner/ 

Categories
Romancing Your Story

Should Your Romance Contain a Trope?

In case you’re unfamiliar with the word trope, let’s define it. A trope is a character trait or plot line that has become commonplace. If you read romance, you’ve seen quite a few romance tropes. Some of the most common are: the love triangle – two men competing for the love of the same woman; forbidden love – (this one goes all the way back to William Shakespeare and his classic Romeo and Juliet), where the boy and girl are forbidden to love one another due to parental stipulations, or differences in status (he’s rich, maybe in line for the throne, and she is a commoner or comes from a family with no wealth); Mail-Order Bride; marriage of convenience; and the list goes on.

Now that you know what tropes are maybe you have a favorite romance trope or maybe you don’t like tropes because you prefer a unique romance story. No matter what you think of them, tropes are popular. Recently tropes have been getting a lot of attention. Therefore, including a trope in your book could be helpful in obtaining readership. That doesn’t mean your trope has to be predictable and “just like all the rest”.

If you’ve submitted any queries or studied what agents and publishers look for in a query, you’re aware that one of the questions an agent or publisher wants answered is: how is your story different from those already published in the same genre?

So, if tropes are so popular and used so often, how can you use a trope and still have an original story?

There are several ways, but the first thing you should do is become familiar with the popular tropes. For instance, a current popular genre is fairy tale Retellings. If you haven’t read any, this may be a good place to start to see how an author takes a popular trope and puts their own spin on it. I recently read The Rose Princess by Ivy Hollins, a retelling of Sleeping Beauty, and Ivy had several unique plot points that made her retelling distinctive, such as the Prince and the beauty having a unique link years before they first meet. This story was just as enjoyable as the original fairy tale.

When you consider which trope to use in your story, consider your purpose for using the trope. Are you using it because you know it’s popular and has been successfully used in lots of other romance stories? If this is your reason, you should reconsider.

Instead, start by considering how you want to present your story or what you want your character’s values or point of view to be. Then consider how to use the trope by putting your own spin on it. Think about how the trope will best serve your story. Use your own voice and your own plot. You can also use a bit of the expected before surprising them with your own unique details to create fresh characters and an unexpected twist to the plot.

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:

Categories
Romancing Your Story

Romantic Tension

In the romance genre, it’s a given that your hero and heroine will end up together for a happily ever after. Or at least a happily for now. The challenge for the writer is coming up with the obstacles (AKA conflict) to keep them apart.

The most satisfying stories are those with organic differences that seem insurmountable, but the couple, because of their love for each other, are determined to find a way. Deanne Gist is a master at this. In Tiffany Girl, it’s 1892 and Flossie Jayne is a New Woman. She’s moved from her parents’ home to a boardinghouse, to take a position at Mr. Tiffany’s glass studio. Most young gentlewomen don’t leave home until they marry. And they certainly don’t work at jobs. Reeve Wilder is a resident at the boardinghouse who disapproves of the New Women and believes all women should stay out of men’s business and their domains. He even writes a newspaper column about the proper place for women in the home and in society. I had to keep reading to see how they would reconcile such differing beliefs and come together.

Susan May Warren is another author gifted at creating characters with deep wounds and flaws that seem diametrically opposed, but ultimately can only find healing in each other. I just finished her The Way of the Brave. Orion Starr was a pararescue jumper who was injured in Afghanistan in a mission gone wrong. He’s angry and wants answers. Jenny Calhoun was the CIA profiler who gave the okay for the mission that cost Orion his knee and his teammates’ lives. How can they end up together? But Susie makes it so that not only can they get past these issues, they must, to heal each other and to move on.

In The Wedding Dress by Rachel Hauck, there are two story lines, one contemporary and one historical, (that also intersect with two other timelines). In the historical timeline, Emily is engaged to a suitable young man, Phillip, whom her parents approve of. Daniel, the man she thought she loved once, has returned to town, eager to renew their relationship and upset to learn she’s moved on. Phillip is perfect for Emily and wedding plans proceed. The only problem is Emily and her mother disagree about her dress. And the little things Emily notice that lead her to believe her fiancé may be hiding something from her. If she breaks her engagement, her father will lose his standing in his business and in the community. Her mother will be devastated. Daniel knows Phillip is not what he seems, but if he tells Emily she will be broken-hearted and blame Daniel. Now that’s conflict.

Conflicts and obstacles are not something that can be solved if your characters would just sit down and have a conversation. They’re something deeper and organic. They demand really knowing your characters. They’re hard work. But they make for a richer, more satisfying read that will linger with your reader long after they close the book.

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 after. She writes contemporary fiction with romance. Carrie and her Stud Muffin live in Central California with their cat and dog and within driving distance of their six grandchildren.

You can find her online at:

Twitter: CarriePadgett

Instagram: carpadwriter

Facebook: WriterCarriePadgett

Amazon Author Page: Carrie Padgett

Categories
Romancing Your Story

The Romance Point of View

Point of view (POV) is essential in all forms of fiction to describe the action as the character experiences it, including emotional responses, thoughts, and reactions. Point of view is especially vital in romance fiction as we build a story around two people falling in love.

The hero and heroine cannot talk about everything they see, feel, want, so the point of view describes what is going on. Without it, your reader will not understand the inner lives of your characters. Their inner lives are especially important when the book is all about emotions. By getting inside the character’s minds, you can give the reader the full story. You can show their attraction, even when they don’t act like they are attracted to each other.

The same is true during action scenes, even when most of the focus is on external events. Point of view interwoven with dialogue and action can keep the romance front and center. Often adding a few lines of into a scene is the easiest way to convey pieces of information the reader needs.

Whose point of view is the right one for the scene? Whose head the writer gets into depends on if the hero or heroine has the most to learn or has the most at stake, at-risk, or the most to tell the reader or have the most interesting take on what is happening around them. If you decide both your hero and heroine are equal, you might choose to split the scene between the two characters. As you switch from one character’s point of view to another, use a scene break to make it easy for your reader.

Use an internal monologue to stay in the hero or heroine’s head longer to convey an important point. The most important use of the internal monologue is during moments of great emotional stress, or when the character realizes they are in love with the other person. That is a huge revelation and a key to everything else that will happen. Your reader needs to know how the hero or heroine feels about this sudden realization. Does it make them happy? Perhaps they are furious because this wasn’t in their plan? Do they think their love interest couldn’t possibly love them back? Maybe there have been so many negative things happening between them that they feel it’s impossible to work out the rocky road of their relationship.

No matter what they feel, those feelings are dramatic, complicated, and fascinating, and you need that extra time inside his/her head to tell the reader all about them. You can also use the internal monologue to convey information like what motivates a character or what the character thinks motivates someone else. These don’t fit well into dialogue.  

Choose the character’s point of view carefully. Ensure there is enough at stake to tell the story from inside the hero or heroine’s head. Make their inner life rich enough, so the story is dramatic and intriguing to your reader.  

As a reference for this article, I used Writing a Romance Novel for Dummies by Leslie Wainger.

Award-winning writer, Rose Gardner’s journey toward publication has come in two phases. During the early years, she was a finalist in thirteen contests and won her category in seven, was a 2007 RWA Golden Heart finalist in the Long Contemporary Category, and 2nd runner up in the 2008 Harlequin Super Romance Conflict of Interest Contest. After a break from writing, she returned to writing with a renewed focus on clean, contemporary heartwarming stories about love, hope, healing, and the power of forgiveness. She has won or placed in several contests for unpublished writers since 2017 as she works toward publication. You can find out more about Rose at her website mrosegardner.com or on social media at Facebook at MRoseGardner/, Twitter MaryGardner6, Instagram mrosegardner/ 

Categories
Romancing Your Story

Romancing Your Genre

              In today’s world of literature, no matter what genre you read, you are likely to come across romance. I read a broad range of genres: historical and contemporary romance, fantasy, YA, mysteries, crime novels—pretty much everything except science-fiction, horror, and erotica. I don’t mind a steamy scene, but don’t give me details. In all of the genres I read, most of the books in those genres include some romance, whether it be the main story line, a single scene between minor characters, or just a hint of attraction between characters.

              What does this mean for writers? It can mean a couple things: 1) you can include a romance in whatever genre you are writing, if you choose to; 2) adding a romance to your genre may appeal to and attract a larger audience.

              Everyone has a need to be loved. Maybe that’s why it’s so popular to include some type of romance in a novel of any genre. I recently read a murder mystery that was written like an old classic, but the detective found the woman, who received a threat against her life, attractive. He thought about the possibility of a date with her. That was the extent of the “romance” in that book, but it still offered a taste of romance for the reader.

              In the first book of a fantasy series I read, there was no romance. In the second book, the protagonist’s romantic interest is introduced, but the romance doesn’t really become a big part of the story until the third book. Even then, it’s not the main story line. It never really becomes the main story line throughout the four books in the series. Even in the sequel, where they finally are able to marry, there are many other things they must experience and deal with before they can marry near the end of the sequel.

              Through these examples, you can see that you don’t have to be an experienced or successful romance writer to add a bit of romance to whatever genre you write. Simply add some attraction, or make the romance a secondary story line. If you want more romance, read a romance book or two, or talk to a romance writer.

              Romance is often the beginning of love and everyone wants to be loved. Therefore, no matter what genre you write, you can include a little bit of love. It will not detract from your story. It will add something to your story, and may even attract more readers to your books.

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: https://kellyfbarr.com/

Twitter: https://twitter.com/kellyb_26

Facebook: Kelly F. Barr, Writer

Categories
Romancing Your Story

Location. Location. Location.

When I first visited upstate New York several years ago, I kept getting the feeling I’d been there before, but that was impossible. I finally realized that I’d visited the area through the pages of a book. Several books, actually. Julia Spencer-Fleming’s Claire Fergusson and Russ Van Alstyne series is set in that area. I’ve read them all and they take place in icy winters, muggy summers, and fiery-leafed autumns. So of course I recognized the hills with orange-tipped trees and houses with screened in porches and pumpkins.   

Location is said to be the three most important rules in real estate. Although often overlooked in fiction, it’s pretty important there too.

The locations in our romance novels need to be such that the reader can’t imagine that story taking place anywhere else.

J.D. Robb’s In Death series could not be set anywhere except New York City in the near future. The urban grittiness of the series is a perfect match to Lt. Eve Dallas’s voice and the tone of the books overall.

Not strictly a romance, but I recently read Miss Julia Speaks Her Mind, set in North Carolina. The southern voice and idioms make it the perfect location. Ann B. Ross set her series in a specific time and place, and the hot humid summer weather rose from the pages of the paperback and frizzed my hair. Margaret Maron’s Deborah Knott series does the same.

How do we make our location into a character in our stories? Let’s look at the examples I’ve already mentioned.

  • Specificity. Spencer-Fleming talked about the crunch of ice underfoot, the slipperiness of the roads, the bone-numbing chill. And colors, like the flame-colored trees in the fall. Nora Roberts, writing as J.D. Robb adds aromas and noises to make the future New York come alive. She describes the smell of a chemi-head as he passes her in the booking department, and what a soy dog smells like being grilled by a street vendor, and the sound of a bus belching smoke as it rumbles by her.
  • Voice and Tone. For books set in the south or areas with distinctive speaking cadences, capturing those patterns are essential. But beware of trying to write accents and particularly showing ethnicity by speech. In a Sue Grafton book. Kinsey Milhone was interviewing someone over the phone and at one point she realized they were African American and let her surprise show. The interviewee was (rightly) offended, and put on an elaborate “black,” accent, asking, “Yo, dis better fo yo?” (Grafton was making an effective point.) Use patois and jargon sparingly. Some parts of the United States refer to a soft drink as “pop,” others as “soda,” still others call them all “coke,” or “coca-cola.” If you’re writing about an area you’re unfamiliar with, find out those little idioms and differences.
  • Use location to strengthen your characters. Could Scarlett O’Hara be from Missouri? No, she can only be from the South. She has a particularly genteel determination that’s bred into southern gentlewomen. Can Gidget be from Maine? Nope. She’s a beach girl with sand between her toes and sun-kissed cheeks.

In romance, location can be so much more than a setting for sunsets and picnics and first kisses. Those are nice, but with a bit of detail, your location will become a full character. One your reader can’t imagine your other characters and plot without. 

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 after. She writes contemporary fiction with romance. Carrie and her Stud Muffin live in Central California with their cat and dog and within driving distance of their six grandchildren.

You can find her online at:

Twitter: CarriePadgett

Instagram: carpadwriter

Facebook: WriterCarriePadgett

Amazon Author Page: Carrie Padgett

Categories
Romancing Your Story

When Romance Writers Read and Create

In my opinion, anyone who says they don’t have time to read might as well say they don’t have time to breathe. Reading is as necessary to my well-being as food, water, and sleep are. It can be argued that writers must be readers. Most romance writers are also romance readers.

I also think it’s necessary to read outside of the genre you write in. I’m not saying that if you write sweet or Christian or inspirational romance, that you should read erotica or gay romance. But I am saying that if you write historical romance, maybe pick up a romantic suspense. If you write Amish, try a romantic comedy. You’ll be surprised at how the conventions of the other genre will inspire and inform your own writing.

For instance, I was working on a sweet, contemporary romance but was stuck on a plot point. I was using the secret baby trope, which I know lots of readers hate, so I needed a really, really compelling reason for the heroine to keep this pregnancy and baby from the father.

I story mapped. I brainstormed with my critique group. I tried free associating ideas. Finally, I gave up. I told my subconscious to work on it and I picked up a thriller to read. A couple of hours later, I put the book down and I knew exactly why the heroine didn’t tell the father. She couldn’t tell him. Telling him would ruin his life, and she would never do that. Something in the thriller—a turning point in the story—jogged my subconscious which had been laboring feverishly while my conscious mind had been otherwise occupied. Steven King calls this the “boys in the basement,” at work. My girls in the basement, once I set them loose on the problem, came up with the solution while I read about spies running around Rome, trying to stop a terrorist plot to kill the Pope.

Reading in another genre also helps keep you open to new ways to twist a phrase or expression. Some genres have specific vocabularies and reading unfamiliar idioms will help your brain follow new pathways and make new connections. That all helps keep your writing fresh and unexpected.

If you normally read hard copy books, try an ebook, or an audio book. Something about shaking up your normal routine also shakes up your creativity. Speaking of creativity, let’s touch on the importance of filling up that creative well. Reading outside your usual genre is part of that. But also take time for other creative endeavors. Get outside into nature. Visit museums and art galleries. Even if you live in a rural area, far from a museum, many offer virtual tours online. With the Internet at our fingertips, we can learn Scottish history as easily as we can examine the Sistine Chapel up close and personal.

If there’s a popular romance author that you’ve never gotten around to reading (because, let’s face it: so many books, so little time), seek out a title by that writer and move it to the top of your To-Be-Read stack.

Be purposeful in your reading, yes. But also read for the sheer pleasure of it. Read because you must. Read because without stories, your brain would shrivel up and crumble to dust. Read to make your own stories stronger and better.

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 after. She writes contemporary fiction with romance. Carrie and her Stud Muffin live in Central California with their cat and dog and within driving distance of their six grandchildren.

You can find her online at:

Twitter: CarriePadgett

Instagram: carpadwriter

Facebook: WriterCarriePadgett

Amazon Author Page: Carrie Padgett

Categories
Romancing Your Story

Tension is Necessary in Romance Fiction.

If you are writing a clean or Christian romance, you still need to build tension in your story. Depending on the story you are telling, the tension may or may not begin with a denial of attraction. Perhaps they will experience an initial dislike for the other person or have accepted that they are “just friends.”

Romances, by their nature, promise a love story with a satisfying happily-ever-after ending. Your characters must find a way past the denial stage and realize there is more to their relationship. This is a critical turning point in the story.

Foundation for growth

The first look or the first physical contact may cause butterflies, but there needs to be more of a foundation for a relationship to grow. For some characters, it will be a wish or a desire for affection. Maybe a dream of having a happily-ever-after, no matter how unlikely it seems with the person they feel attracted to. 

The wishing for a relationship must turn to your characters to wanting to spend time together, even if one or both are still in denial. They need to begin looking forward to seeing each other. Maybe external circumstances draw them together, which results in them becoming more comfortable with each other.

That doesn’t mean they are suddenly emotionally on the same page. They may have intense disagreements about something in the story. Perhaps one wants to sell a ranch, and the other wants to keep it, but neither is willing to walk away. So builds the push and pull of their relationship. 

As they learn more about each other, they learn to coexist in their story world. Your characters develop a daily routine, whether they are sharing the same space, as in the ranch example, or regularly seeing each other over a common situation. 

It’s at this stage, that each partner will begin to accept and even appreciate the strengths in the other person. Appreciation is vital in building a relationship. Without it, one or both have no reason to stay connected to the other person. 

They begin to ask the what-if question and begin to imagine what it might be like to be in a real romantic relationship. Maybe one or both of your characters start to wonder what a kiss feel like, or perhaps experience an encounter that makes them feel accepted and connected in a new way. They begin to toy with the idea that maybe it could work. However, if our characters come together too quickly, there will not be tension.

In Susan May Warren’s book How To Write A Brilliant Romance, she says, “The pull toward each other, is just one half of sexual tension. We also need the push away from each other or the fear of loss.” 

The fear of loss

An internal obstacle causes the fear of loss. The internal wounds of one or both characters may lead them to believe the risk is too high. The fear of losing the other person if their most guarded internal wound is exposed. One character may summon the courage to ask what the other person fears. Or even more powerful to risk rejection and ask them to stay. 

The internal wound cannot remain a secret from the other person if their relationship is to be realized. Each character must feel their love interest will accept the broken parts of them and all. They will be loved for who they are and will be there for them in times of hardship. Only then can they become more intimate with each other, both physically and emotionally, and have their wish for the happily-ever-after become real.

If you want to dive deeper into creating emotional tension, I’d like to suggest the following books:

  • Writing A Romance Novel for Dummies by Leslie Wainger
  • How to Write a Brilliant Romance by Susan May warren
  • The Story Equation by Susan May Warren
  • The Writers Journey by Christopher Vogler
  • The Virgin’s Promise by Kim Hudson
  • The Emotional Craft of Fiction by Donald Mass
  • Troubleshooting Your Novel by Steven James

Rose Gardner’s writing journey has come in two phases. The first was focused on contemporary category romance. After a break, she returned to writing contemporary heartwarming stories about love, hope, healing and the power of forgiveness. During the first phase of her writing she was a finalist in thirteen contests and won her category in seven including a 2007 RWA Golden Heart finalist in the Long Contemporary Category, and 2nd runner up in the Harlequin Super Romance Conflict of Interest Contest in 2008. More recently she won 1st place in the Blue Seal Award for General/ Contemporary/ Romance Novels at OHCWC 2017.

Categories
Romancing Your Story

Why Are They Attracted To Each Other?

In my last column, I wrote about the first meeting. Now that your characters have met, the first blush of attraction draws them toward each other.

Why?

Unfortunately, for the writer, it can’t be because we want them to be attracted to each other. That’s not enough. We have to develop an underlying reason for the attraction. In many romances, the first blush of attraction is their physical appearance.  That first reaction may not be enough to sustain a story, let alone a relationship. What stands out about that person that holds their interest?  

In Susan May Warren’s book How to Write a Brilliant Romance, she says, “It’s because they are at a place of Need in their life.”

They either may not know they have a need or are resisting it as a flaw. The hero or hero may not want to NEED anyone or anything because of past wounds. That they have met the person who tugs at the wall they’ve built around them makes them angry.

The writer must build in looks between the hero and heroine. What will they say to each other? Will they engage in banter to draw the other person to them? Or perhaps they’ll engage in sarcastic comments meant to drive the other person away. They could be professional, friendly, outgoing, or shy. Everything they do is based on the personality of the character you are creating.

What are they thinking? Their thoughts may be in direct conflict with what they are saying or doing. What they believe may be the opposite of what their hearts desire.

One thing neither can deny is that something is happening between them. That spark of attraction will continue to draw them together. Initially, they may blame it on having been thrown together by circumstances or another person. You are writing a romance, and even if their circumstances change, their attraction continues to tug them back together.

The attraction is the foundation from which you will build the tension that will carry them through the story. It will lead them toward having their wounds healed so they can give away their hearts.

On a personal note, here is my biggest pet peeve when it comes to the attraction scenes in some romances–the ones that make me want to throw the book across the room:  

When the heroine is otherwise a strong woman but upon one look at the hero and she can no longer think, move, talk, but simply stands there staring starstruck at the hero. Or when the hero wears a smirk and struts around as though to say “She likes me. She likes me.  I’m such a hunk she can’t help but like me.”   These types of scenes make me want to slap the hero and heroine senseless and shake the writer for crafting such a shallow scene.

Do you have a favorite or least favorite attraction scene? Will an attraction scene make you stop reading a book? If so leave them in the comments below.

Rose Gardner’s writing journey has come in two phases. The first was focused on contemporary category romance. After a break, she returned to writing contemporary heartwarming stories about love, hope, healing and the power of forgiveness. During the first phase of her writing she was a finalist in thirteen contests and won her category in seven including a 2007 RWA Golden Heart finalist in the Long Contemporary Category, and 2nd runner up in the Harlequin Super Romance Conflict of Interest Contest in 2008. More recently she won 1st place in the Blue Seal Award for General/ Contemporary/ Romance Novels at OHCWC 2017.