Quote Book

A Composite of a Romance [Novel] Tip Sheet
(Boldface indicates stuff that ticks me off even though I'm not a feminist, or miscellaneous other stupid shit.)

Plot:
The story focuses on the growing relationship between the heroine and the hero. After a number of complications, they discover lasting love and make a permanent commitment to each other in marriage. The plot should move quickly. Background information about the heroine should be kept to a minimum. The hero should appear as early as possible (preferably in the first chapter and no later than the second) , so that the hero's and heroine's feelings about each other are in the foreground as they cope with misperceptions that keep them apart until the final pages of the story. The more tension created by their uncertainty about each other's love, the greater the excitement and anticipation for the reader.

Love is the major interest. Do not inject murder, extortion, international intrigue, hijacking, horror, or supernatural elements into the plot [side note: according to a handout of statistics we got in class today, paranormal-themed romance novels sell quite well.]. Controversial social issues and politics, if mentioned at all, should never be allowed a significant role. Once the heroine and hero meet, they should clearly be interested in each other, but that interest should be complicated by some kind of misunderstanding. He, for example, might find her too ambitious, an opportunist, cold, or flirtatious; or he might assume that she is attached to someone else. She might think he is haughty, snobbish, power hungry, indifferent, or contemptuous of her. The reader knows what they do not: that eventually these obstacles will be overcome. Interest is sustained by keeping the lovers apart until very near the end so that the reader will stay with the plot to see how they get together.

Heroine:
The heroine is a modern American woman between the ages of ninteen and twenty-eight who reflects today's concerns. The story is told in third person from her point of view. She is attractive and nicely dressed but not glamorous; glitter and sophistication should be reserved for the other woman (the heroine's rival for the hero), whose flashiness will compare unfavorably with the heroine's modesty. When the heroine does dress up, however, her beauty should be stunningly apparent. Her trim figure is appealing but not abundant; a petite, healthy appearance is desirable. Both her looks and her clothes should be generously detailed.

Her personality is spirited and independent without being pushy or stubborn because she knows when to give in. Although sensitive, she doesn't cry every time she is confronted with a problem (although she might cry in private moments). A sense of humor is helpful. Because she is on her own, away from parents (usually deceased) or other protective relationships, she is self-reliant as well as vulnerable. The story may begin with her on the verge of an important decision about her life. She is clearly competent but not entirely certain of her own qualities. She does not take her attractiveness for granted or realize how much the hero is drawn to her.

Common careers for the heroine include executive secretary, nurse, teacher, interior designer, assistant manager, department store buyer, travel agent, or struggling photographer (no menial work). She can also be a doctor, lawyer, or other professional. Her job can be described in some detail and made exciting, but it must not dominate her life. Although she is smart, she is not extremely intellectual or defined by her work. Often she meets the hero through work, but her major concerns center on love, marriage, home, and family. White wine is okay, but she never drinks alone-- or uses drugs. She may be troubled, frustrated, threatened, and momentarily thwarted in the course of the story, but she never totally gives in to despair or desperation. She has strengths that the hero recognizes and admires.

Hero:
The hero should be about ten years older than the heroine and can be foreign or American. He needn't be handsome in a traditional sense, but he must be strongly masculine. Always tall and well-built (not brawny or thick) and usually dark, he looks as terrific in a three-piece suit as he does in sports clothes. His clothes reflect good taste and an affluent life-style. Very successful professionally and financially, he is a man in charge of whatever work he's engaged in (financier, doctor, publisher, architect, business executive, airline pilot, artist, etc.). His wealth is manifested in his sophistication and his experience.

His past may be slightly mysterious or shrouded by some painful moment (perhaps with a woman) that he doesn't want to discuss. Whatever the circumstance-- his wife's death or divorce are common-- it was not his fault. Avoid chronic problems such as alcoholism, drug addiction, or sexual dysfunctions. To others he may appear moody, angry, unpredictable, and explosively passionate, but the heroine eventually comes to realize his warm, tender side. He should be attractive not only as a lover but also as a potential husband and father.

Secondary Characters:
Because the major interest is in how the heroine will eventually get together with the hero, the other characters are used to advance the action. There are three major types:
(1)The Other Woman: Her vices serve to accent the virtues of the heroine; immediately beneath her glamorous sophistication is a deceptive, selfish, mean-spirited, rapacious predator. She may seem to have the hero in her clutches, but never wins him in the end.
(2)The Other Man: He usually falls into two types: (a) the decent sort who is there when the hero isn't around and (b) the selfish sort who schemes rather than loves. Neither is a match for the hero.
(3)Other Characters: Like furniture, they fill in the background and are useful for positioning the hero and heroine. These characters are familiar types such as the hero's snobbish aunt, the heroine's troubled younger siblings, the loyal friend, or the office gossip. They should be realistic, but they must not be allowed to obscure the emphasis on the lovers. The hero may have children from a previous marriage, but they should rarely be seen or heard. It's usually simpler and better not to include them.

Setting:
The setting is usually contemporary. Romantic, exciting places are best: New York City, London, Paris, Rio, the mountains, the ocean-- wherever it is exotic and love's possibilities are the greatest. Marriage may take the heroine and hero to a pretty suburb or small town.

Love Scenes:
The hero and heroine may make love before marriage. The choice will depend largely on the heroine's sensibilities and circumstances. She should reflect modern attitudes. If the lovers do engage in premarital sex, it should be made clear that neither is promiscuous, especially the heroine. Even if their relationship is consummated before marriage, their lovemaking should not occur until late in the story. There should be at least several passionate scenes, but complications, misunderstandings, and interruptions should keep the couple from actually making love until they have made a firm commitment to each other. Descriptions should appeal to the senses; however, detailed, graphic close-ups are unacceptable. Passion can be presented sensually but not clinically; the lovemaking should be seen through a soft romantic lens. Violence and any out-of-the-way sexual acts shound not even be hinted at.* No coarse language.

Writing:
Avoid extremely complex sentences, very long paragraphs, and lengthy descriptions. Use concise, vivid details to create the heroine's world. Be sure to include full descriptions of the hero's and heroine's physical features and clothes. Allow the reader to experience the romantic mood surrounding the lovers. Show how the heroine feels; do not simply report her feelings. Dialogue should sound like ordinary conversation, and the overall writing should be contemporary English without slang, difficult foreign expressions, strange dialects, racial epithets, or obscenities (hell, damn, and a few other mild swears are all right).

Length:
55,000 to 65,000 words in ten to twelve chapters.

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*This is bullshit right here. In high school, I had a friend who was into these books and during lunch we'd have Smut Reading Hour wherein George would read the sex scenes out loud in a British accent. There was definitely some kinky sex going on there- in particular I recall a schoolmaster/schoolgirl roleplaying scene including the hero saying "If you behave well, I will give you a treat" and unzipping his pants. The story took place when oral sex was still illegal between everyone, let alone between teachers and students.