The Making of A Heroine: A Purrfect Romance Week

Last week, we spoke about My Kinda Heroes according to my own Rom Com DVD collection. I listed several heroes, but one hero that many of YOU mentioned as a favorite was Jack Callahan from While You Were Sleeping.

As I thought about the topic of heroines this Purrfect Romance week, I considered why Lucy Moderatz (Sandra Bullock) made a good heroine. If you recall, she truly saved Jack's brother from a train--becoming a bonafide heroine by that very act, but so much more goes into a heroine than that, right?

No matter if you are watching a movie, reading a book, or considering the women in your life who seem to fit the bill of a "heroine", there are a number of qualities that make a gal a heroine--in her own right--with the hero opposite her, not defining her, but worthy of completing the journey alongside her in the end: a rich back story, authenticity, and redemption are a few fleshed out so purrfectly in While You Were Sleeping...read on, then share your own!

Back Story-Lucy lived alone, ate alone (well, she had a cat), worked on holidays that most people spent with family, and had a dad-shaped hole in her heart. She managed, but we know as the viewer that it wasn't an ideal situation for her. She was enduring, not necessarily thriving in, the loneliness of an orphaned girl in a bustling world. We root for heroines who stumble upon their chance to change the trajectory of their journey from glum day-to-day to life-giving adventure. A girl stuck in a tower has a chance to get out? A servant escapes her step-mother's clutches and visits the palace? Heroines who take the chance on something different win our hearts and the hearts of those they meet along the way.

Authenticity-Lucy Moderatz wore her dad's old coat, held no airs about her as she pretended to be the girlfriend of Jack's snobbish brother (who was in a coma for most of the movie). Lucy tried to hold a mask up, but she just couldn't manage to hide her true, down-to-earth self. When a hero falls for the authentic heroine, we know that her worth is valued above her status, above her actions, above her flaws. We see a heroine being loved for her whole self, and that makes a purrfect romance.

via GIPHY

Redemption- When I was first writing, I would write heroines with a hardened heart, thick skin, sour responses--manifestations of wounds-for sure-but not very likeable, and certainly not heroine material for the beginning of a story. These manifestations are redeemable, but the audience needs to realize the wound quickly if they must invest in the heroine. Heroines may behave badly, but only if we understand why, and find hope that ill behavior hints to forthcoming redemption. Lucy lies to Jack's family very close to the beginning of the story. But, we see her reasoning, her need, her chance to redeem the lie and the wounds of her past. We are sold on the fact that Lucy is the heroine, not just of the love story, but of her own story.

YOUR TURN: What do you love about a good heroine? Who are your favorites? Be sure to stop by our Facebook Page  on Thursday and chat with me and Pepper about Heroines! Last chance to win our giveaway...and a copy of the brand new The Heart's Stronghold novella collection!

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Angie Dicken credits her love of story to reading British literature during life as a military kid in England. Now living in the U.S. heartland, she's a member of ACFW, sharing about author life with her fellow Alley Cats on The Writer's Alley blog and Facebook page. Besides writing, she is a busy mom of four and works in Adult Ministry. Angie writes historical romance and historical fiction. She enjoys eclectic new restaurants, authentic conversation with friends, and date nights with her Texas Aggie husband. 



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The Exhausting Heroine

As the new cat on the Alley I wanted my first post to be something deep and moving. I was praying about it and God gave me this. He sure has a great sense of humor.

So… we've all been there. You know, wishing you could stretch your hand through the pages of that open book to slap some sense into the heroine. I mean, I am a woman and I can admit that sometimes women can be exhausting! -Fictional and otherwise.

Of course there needs to be conflict in your story. I have yet to see anything worth reading take shape without a hearty helping. Often times, the conflict is the most vital ingredient to your plot. But does there have to be so much . . . drama?

Building conflict in your story is a lot like making a pizza. There is the bland, starchy foundation. We here in St. Louis go for thin crust in a big way, but for your story, the base can’t be flimsy so let’s go deep dish. Be careful not to tip your hand by revealing all the flavors and that one secret ingredient to come, but toss up something that says right off the bat why the cards are stacked against your characters. At this point, usually somewhere in the first 15-20 pages you are simply establishing that the conflict is there.

And can I just say, as a side note, I've never understood those people who think the crust is the best part of the pizza. I mean, it’s completely necessary (and delicious) but it's just one layer that begins the creation of the pizza—or the conflict. If the crust is the best part you might as well save yourself the extra calories and order breadsticks. Just sayin’!

Okay, so back to your story. Next, you make things a little saucy—throw in some spice to kick up the flavor and suddenly your conflict is more robust. Something is revealed that ups the ante and awakens the reader’s appetite. Be careful, not too much sauce because it can weaken the crust, but spoon over enough here to entice the reader to invest in how the hero and heroine are going to defy the odds.

Now you make things interesting when you start layering on the toppings. Maybe some danger, competition, doubts, betrayal. Bam! Yes, we get it. Falling in love isn't always rainbows and butterflies. Sometimes it’s a tough journey. A lesson in trust, forgiveness, or sacrifice. Or maybe even a throw-caution-to-the-wind-and-risk-it-all angle where a heart is even more exposed and vulnerable.

Things are looking pretty tasty at this point. But sometimes, an author decides to toss on a few anchovies here. This is when your main character becomes what I like to call The Exhausting Heroine. Oy, there are far too many of these! 

These are the kind of women who stand in their own way. They deny their happiness, run away, cry, lie, hide from their feelings when we, the reader, know that they will eventually put on their big girl pants and make the right decision. (The resolution is essentially the cheese—the glue that pulls all the pieces of the conflict together.)

And yes, I realize my pizza metaphor is totally out of control at this point, but let’s just go with it.

Drama can’t just be thrown in to lengthen the story, because, quite frankly, it aggravates the reader. It makes us lose sympathy for the heroine, and most often has us rolling our eyes and stifling the urge to yell at our book like a man watching a football game—berating the players who can’t hear him to let them know they are blowing the game (Or their Happily Ever After.)

You want to create a story that can pull off these self-deprecating moments and make them about something more substantial—meatier—than insecurity. We all have insecurities, don’t we? But if that hunky hero is on bended knee, handing over his devotion and his love and the girl runs off spouting “It just couldn’t work out” sob stories . . . well, sister needs a good slappin’!

Make your conflict big! Make me care, sympathize, and maybe even crave another slice of trouble before you wrap it up. Conflict doesn’t always have to be frustrating, it can be fun or suspenseful.

So, as much as I loathe a wimpy, self-sabotaging heroine, I got to thinking about how God might be able to say the same thing about me. Ouch!

You see, He is the ultimate hero. He’s offered up every part of himself, given his love, grace and forgiveness without question or pre-requisite, and yet . . . sometimes I run away. I question if I deserve a Happily Ever After. Sometimes I doubt that his plans are really for my good. Even when, like any great hero, he shows up and saves me time and again, I still have moments when I let my head commandeer a heart that knows better.

How do we get out of our own way and really live in our Happily Ever After?

Put your trust in the Hero that will never let you down. Oh, yeah, and when your prince gets down on one knee, for heaven’s sake, say YES!

I'd love to hear your thoughts on this...What ingredients make conflict really work for you without trying your patience? And have you ever read, or maybe even felt like, an exhausting heroine?

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Amy Leigh Simpson writes Romantic Suspense that is heavy on the romance, unapologetically honest, laced with sass and humor, and full of the unfathomable Grace of God. She is the completely sleep deprived mama to two little mischief makers and would challenge anyone to a cutest family contest. Represented by Chip MacGregor of MacGregor Literary Inc.

Highlights from the Blue Ridge Mountains Christian Writers Conference-2011

Hello Writers Alley,

It’s me – Pepper, and I’m delighted to share the highlights of my visit to the Blue Ridge Mountains Christian Writers Conference two weeks ago. This was my fourth year at Blue Ridge, where each year I attend as a day guest because the conference is about an hour and a half from my home in TN.

Nestled in the beautiful Blue Ridge Mountains, just east of Asheville, Ridgecrest Conference Center might be a bit unexpected for this growing conference, but it’s the perfect place. Beautiful, quiet, with friendly people at every turn.

I was so pleased to recognize lots of faces this year, as well as be recognized by fabulous authors like Deb Raney, DiAnn Mills, and Jim Rubart. Getting to meet new authors like Edie Melson (we’d met last year, briefly, Gina Holmes, and Ramona Richards was another treat. And waving to familiar aspiring authors like Lisa Carter and Lori Roeveld. Oh what a blast. And this year there was even more courses , agents, and editors  than last year.

But I’m rambling (no surprise). I wanted to give you a few of the highlights.

I was only able to attend 2 days – so I tried to pack as much in as possible. I attended DiAnn Mills, Writing Romance That Sells course, Ramona Richards Writing a Lady to Love course, and returned to DiAnn Mills for Writing Dialogue.

From Writing Romance That Sells:

1.       Characters are vital. We remember well-written characters. KNOW THY CHARACTER!!!!

2.       DiAnn suggests filling out a detailed character chart on each character, and filling out the Myers-Briggs personality test for each of your main characters. It gives important information that makes your characters more three-dimensional and complex.

3.       What are some things that make a ‘selling manuscript’?

a.       The triumph of a character through pain to fulfillment

b.      Unusual plots with your unique ‘spin’ on them

c.       Transforming love that makes each main character better people

d.      Witty dialogue

e.      Emotive conflict

f.        Satisfactory ending

4.       Each page in your manuscript must have some type of conflict

5.       Your protagonist should initiate the action rather than be a victim*** (I liked this one. Readers like strong, independent women)

6.       Quick look at 5 Plot Elements

a.       A sympathetic character (make us care)

b.      A problem arises resulting in conflict (make us desire something)

c.       Conflict must have twists and turns, and character must grow (make us have to fight for our desire)

d.      A climax must exist (make us fight to the finish)

e.      Resolution (make us meet our goal, find our treasure, recover our lost item, get the guy, etc.)

A Lady to Love – this class was absolutely awesome. If you get the chance to sit in on it at a conference near you – DO IT! (here are some highlights)

What makes a woman unforgettable? Scarlett O’Hara, Marion Ravenwood, Jo March, Hester Prynne, Vivian (from Pretty Woman)

1.       All of our current movie heroines descend from Cinderella

a.       A young woman struggling against her environment

b.      Breaks free of the conflict because of her personality

c.       Finds her way to break out

d.      End of story resolved well

2.       What type of woman should we write?

a.       One who cares deeply

b.      Independent

c.       Women who face immediate conflict

d.      Smart

3.       Three conflict for your heroine:

a.       Environmental Conflict (something you can ‘see)

b.      Internal Conflict (something within the heroine)

c.       Interpersonal Conflict (with others)

4.       Heroines are one of 7 personalities:

a.       The Boss (ex. Queen Elizabeth I) a ruler

b.      Seductress (ex. Scarlett O’Hara)

c.       Spunky Kid (ex. Meg Ryan in most of her movies) ‘girl next door’

d.      Free Spirit (ex. Lucille Ball) – follow their own path; ultimate hippie

e.      Waif – ‘Ultimate damsel-in-distress’

f.        Librarian – control freak, prim, proper

g.       Crusader – (ex. Marion Ravenwood from Indiana Jones) adventurer

Most heroines have a basic personality of one of these, with another type or two layering over the foundational one.

Okay, I’m going to stop for now. I have so much information – so many notes, but I’ll just have to save those for next time. What would you like to hear more about? Writing romance? Writing Dialogue? Writing heroines? The dance of character and plot?

Or would you like to learn more of the basics? What are conferences like, or specifically the BRMCWC?

Secondary Characters – Side-Kicks, Friends/Family, and Recipes for Conflict Part II

Welcome to Friday everyone! I want to continue talking about secondary characters today, and discuss what they can do for your novels. In Part I of this post, I explained the four types of secondary characters and their importance to stories. Today, I'm going to review the categories and give a few movie examples of the categories to show the kind of dimension they can add to fiction.

Our first category was The Side-Kick/Loyal Friend. As we established before, these secondary characters are the tag-alongs or the MC's right-hand man. These characters are there for their friend no matter what. They often join the hero in their quest and want to be in the middle of the action. Sometimes these characters can be pets.

For example, D'Artagnan from The Three Musketeers. He's loyal and with the Musketeers no matter what. He won't give up and therefore propels the story with his fearless endeavor to do right.

Also, Marley (the dog) from Marley and Me. Another loyal character that acts as the MC's good friend. Marley's loyalty and penchant for action moves the plot forward and helps to make for a great story.

The Spiritual/Moral Friend (also known as the Self-less Friend) are characters, typically friends or family, who see the good side of things. They see the good in the bad and often make the MC want to persevere. They operate by a spiritual or moral compass that guides them to give the MC advice or encouragement that will benefit them or the greater good. These characters want what's best for the MC and are often willing to sacrifice for the hero or heroine.

Beth in Little Women fits well in this category. She's a strong secondary character that has a great impact on Jo with her optimistic outlook and unwavering friendship.

Also, the MC's good friend and lieutenant in the fire department from the movie Fireproof. He provides crucial spiritual guidance that helps the MC toward the positive outcome of the story.

As far as The Well-Intentioned and Flawed Friend, this character often provides tension release or humor. This character tends to help the hero in ways that gets them into more trouble or elicits more conflict even if they're well-intentioned. Through humor or quirkiness, they endear the reader and the MC but often times they leap before they think.

Two examples of this are the brother, Jonathan, from The Mummy and the MC's friend, Riley, from National Treasure. They're both one of the good guys. One is endlessly causing more trouble for the MC's but he's well-intentioned. The other provides much humor, endears those watching and propels the plot with his knowledge or sometimes lack thereof.

Finally, there's The Antagonist. Sometimes antagonists are secondary characters. When they're used in that capacity, they appeal to readers in some way. This is often by showing some sort of redeeming characteristic or qualities that interest a reader--usually a personality trait such as humor. These characters sometimes redeem themselves or end the story with a selfless act.

For example, Tommy Lee Jones' character from The Fugitive can be considered the antagonist. He's against the protagonist, doesn't care much about who killed the protagonist's wife in the beginning, but he changes throughout the movie.

Another strong antagonist example is Ben Wade, gun-slinger and wanted for murder, from the movie 3:10 to Yuma. He's clearly the bad guy but he has redeeming characteristics, like respectfulness and high esteem for good manners. And by the end, he further redeems himself with a selfless act.

As you can see, these characters might fit into more than one category. But the important thing about them is that they add depth and dimension to a story--something that is important for fiction. They encourage, lend humor or move the MC forward spiritually, even act against the antagonist, in order to progress the plot.

Secondary characters can be powerful additions to your novel and help to present it in a more unique way. Do you give a lot of thought to secondary characters before you add them in your novel? Do any of your secondary characters fit into these categories?

Secondary Characters - Side-Kicks, Friends/Family, and Recipes for Conflict Part I

I love witty or quirky or profound secondary characters. I love secondary characters that move me or make me laugh. Sure, we all want strong wonderful heroes and heroines but most of the time those main characters need a little help to get where they are going.

It wasn't until lately that I realized the importance of secondary characters and just what place they have in taking a book to that next level. Secondary characters fit into so many categories and serve so many purposes. To encourage the hero, to provide moral/spiritual support, to add humor, to help create conflict--secondary characters can sometimes even be antagonists. But all those roles serve a purpose, either to propel the plot, or to provide something for the main character.

So let's take a look at the categories secondary characters fit into.

The Side-Kick/Loyal Friend

These characters are the tag-alongs or the MC's right-hand man. These characters are there for their friend no matter what. They typically join the hero or heroine in their quest and want to be in the middle of the action. They support the hero no matter what their goal. Sometimes these characters can be pets.

The Spiritual/Moral Friend (also known as the Self-less Character)

These are characters, typically close friends or family, who see the good side of things. They see the good in the bad and often make the MC want to persevere. They operate by a spiritual or moral compass that guides them to give the MC advice or encouragement that will benefit them or benefit the greater good. These characters want what's best for the MC and are often willing to sacrifice for the hero or heroine.

The Well-Intentioned and Flawed Character

This character often provides tension release or humor. This character tends to help the hero or heroine in their own way, which can often lead to getting the hero into more trouble. Or it elicits more conflict for the MC, even if the character is well-intentioned. Through humor or quirkiness, they endear the reader and the MC but oftentimes they leap before they think.

The Antagonist

Sometimes antagonists are secondary characters. When they're used in this way, they appeal to readers in some form or another. This if often by showing some sort of redeeming characteristic or qualities that interest a reader--usually a personality trait, such as humor. These characters sometimes redeem themselves or end the story with a self-less act.

Secondary characters can often fit into more than one category and serve more than one purpose. But as long as they're serving a purpose, secondary characters can be a great and beneficial addition to novels. In Part II of this post, I'll be giving some movie examples of these types of characters to get a better feel for the importance of their roles.

How do you feel about secondary characters? Do you use them often and what sort of purpose do they serve?

Romancing the Blog - The Wonderful Heroine

A beautiful, charming, sweet, innocent woman meets dire circumstances outside her power to fix until the handsome hero comes to her rescue and whisks her away to a happily every after...

Or NOT.

Heroine's have evolved greatly since the days of Cinderella, Sleeping Beauty, and Beauty and the Beast. Not that I have anything against Belle and her friends. In fact, as a romantic at heart, I LOVED those stories.

But... if ALL stories were like this... it'd get old. Fast.

I think, though, that sometimes there are false or outdated thoughts on what makes a good heroine. Today's heroine can vary much more than in previous days, especially in the Christian romance.

The Beauty

Gone are the days when your heroine must be a size 6 or less and drop-dead gorgeous. Don't get me wrong. Your heroine CAN be size 6 and gorgeous. It just isn't a requirement, and more and more women are appreciating a more relatable heroine.

Kaye Dacus does a great job of making realistic heroine's in her novels. Her most recent novel, Love Remains, features a size fourteen heroine.

Tamara Leigh had a comical twist on the matter in Perfecting Kate.

Jody Hedlund had a self-proclaimed "Ugly Duckling" of the family in The Preacher's Bride.

Now, as with the hero, it probably isn't advisable to have a heroine who never washes her hair, has severe, uncontrolled acne, and has rotten teeth. I guess you could make the case of having a "makeover" and that might be an interesting twist, but unless that is your story...

If you want to use a "realistic" heroine, maybe aim to have at least one unique characteristic that the hero is attracted to her. Maybe she has a crooked nose... but gorgeous hair. Or maybe she thinks her hair is mousy, but the hero is drawn to her shapely... uh... nose? *ahem* You get the drift.

The Belle

Oh, sweet, sweet Belle. She loved her books, and wouldn't hurt a fly. Don't forget about Snow White, all sweet and sing-song, singing to the animals and having everyone love her, except of course the evil witch.

So... of course, our heroines must be sweet, docile women... right?

WRONG!

At least, I hope that's wrong. Most of my heroine's aren't remotely docile... maybe a little sweet at times though.

Feel free to give your heroine some flavor! Make her deep and dynamic. Give her quirks and a personality. Every heroine is different... or at least should be. What makes YOUR heroine stand out from all the other Belle's of the crowd?

There is a misconception, me thinks, that our heroines have to be close to perfect. Their issues have to be "normal" things like pride or forgiving that jerk-of-an-ex-fiancee who dumped her at the alter.

And these aren't bad things. But don't feel like you're limited to that. Some of today's romance novel heroines, even in the CBA, are facing deeper issues. They're facing addictions, out-of-wedlock pregnancies, and abusive pasts that make them not so sweet in the present.

They aren't the perfect heroine. They are flawed and in need of Jesus just like the rest of us.

Here are a few examples of some fiesty, non-run-of-the-mill heroines:

Denise Hunter's Surrender Bay. This lady has some serious issues to overcome and on at least one occasion runs to the bar to try and solve them.

Tamara Leigh's Splitting Harriet. The opening scene is her drunk in a bar... It then skips ahead to where she is a pillar of the church's women's group, but is struggling with the need to be "good" enough. She also has an addiction to jelly beans... For Shame!

Francine River's Redeeming Love. WOW, now here is a powerful book with a powerful message. And it's all about a prostitute.

Julie Lessman's A Passion Redeemed. The main character hibitually lies throughout the novel, tries to entice the hero into bed on numerous occassions, and has very little in way of a moral compass. A great example of a novel where the heroine can also be an antagonist or villain in the story. And truth be told... many times we end up being our own antagonist in real life, am I right?

So the next time someone tells you, "Your heroine can't be like that in the CBA market..." well... listen to it but take it with a grain of salt.

The Ball

Okay, I don't have a point for this one. But I couldn't finish a blog post with a section on the beauty and the belle and not have a ball too:-)  Maybe have a heroine who likes football?????

Discussion:

What are characteristics you like in a heroine? Who are some great heroine's you've read recently?