Salisbury.Fake Life, Weekly Update, writing

Writing Journal #9 Probably

Hi, salutations, popcorn in your bucket, and maybe some peanut butter and jelly on your sandwich?

I’ve been writing, sure. The “Summer Project” is about to be merged with the 2023 draft, and that’s exciting. I have to … grow up? the 2023 draft a bit more because the character is older and some of the stuff is youthful.

Been reading. Finished The Poisonwood Bible by Barbara Kingsolver (highly recommend). Read through a few others this afternoon, actually, and had the thought that I don’t think all people who can discuss books should write them. A lot of “thrillers” and “mysteries” are being churned out by the booktok machine and it’s clearly written for popularity rather than substance. That’s okay. The world does need books like that for the readers who want them. I am not one of them, it seems, so I will consume with caution from now on.

I don’t consider those books beneath me, but I prefer the books I read to offer a satisfying conclusion to a building of tension and “thrill.” Both endings of the books I read today were rushed and one of them I predicted well before the reveal of the “twist” and I felt let down. This is why I don’t tend to read modern mysteries. I usually figure them out before the halfway point and I get frustrated.

That’s all the spokes from this wagon wheel, darlings. I hope you’re well, and I hope the heat isn’t keeping you down.

Until next time, friends.

Salisbury.Fake Weekly Update, writing

Writing Journal #2 – Description

Back when I was a wee writer lass, I used to spend a lot of time on what I now consider “unnecessary description.” We’ll get into that here shortly, I just want to put a disclaimer of sorts here that I am not saying the writers who do this are bad. There are audiences for pretty much any kind of story written. I will also say when I was a younger reader, I did sometimes prefer the description I’m about to go into. As I’ve gotten older, however, I find it is less satisfying to have such direct references and specifics in a story. I like to wander a bit and imagine with some of the vaguer choices.

What I mean by direct references is the name-dropping of brands of clothing, specific types of furniture, exact songs playing during a moment, the color of the paint on the walls, the down-to-the-very-last-detail of the kitchen.

Telling me the main character is wearing Converse is only important if that plays a massive part in their characterization for the whole story. “Black and white shoes worn to the point of needing tape to be held together” indicates the importance of the shoes far more than the brand name does. The fraying, dingy shoelaces, old sharpie drawings of stars and smiley faces. These shoes are beloved, and it is far easier to see that through the description than being told what it is.

It’s the same as giving me a specific song playing in a moment. Unless that song becomes pivotal to the story later on, don’t tell me what song it is. I think book playlists are marvelous because it gives a vibe, but it doesn’t force me to think of a specific song. Giving me the opportunity to see a scene and feel it through the more purposeful description, such as “vibrant violin music played softly in the corner on an old record player” allows me to sink further into the moment far more than “Vivaldi’s Winter was playing.”

One of my favorite books of all time, I Capture the Castle by Dodie Smith has this magnificent moment where the main character is dancing with her sister’s betrothed, and she loves the piece playing, but she doesn’t find out what it is until after the dance has completed and a major moment happens for her. Debussy’s Clair De Lune is also mentioned, but again it’s after being described by the main character within the context of the moment it’s happening.

To reiterate, I don’t necessarily think there’s anything wrong with using direct descriptions. There are audiences for such a thing, but I find it’s so limiting while writing, and relying on those specifics kind of takes away the wonder of a really good description.

This is a ramble. If you made it this far, thank you. I’ll see you next week.

Salisbury.Fake Life, writing

Romance Novels are Dangerous

Bear with me. I’m not about to go trashing a genre that makes billions of dollars. Very clearly it’s a market people want and are all about. But I do want to discuss it a bit.

Let’s take a moment and think about what romance novels are at their core. They’re meant to be distractions. Fantasies about what we want, or think we want. There’s lust. Not a lot of actual romance before we get to the end, and somehow the main characters are in love and ready for their future together. It’s one of those things where we expect to be entertained without going too far into why we’re entertained. It’s time to break into that a bit.

My biggest issue is that the genre presents lust as love, without considering the impact of leaving out the love that gets left behind. Potentially. We don’t really get to see much of that past a happy ending. It’s all wrapped up. Nice little package. But love isn’t always happy. And I’m not talking about the overly drawn out dramatic confrontation that comes right before one of the protagonists realizes that the other is all they’ve ever needed in love. I’m talking about the fact that eventually the quirks that draw you into a partner sometimes might become annoying and not so cute anymore. The nights when trying to be a household feels like an impossibility because you’ve got your own habits, and they have theirs.

Romance novels all have the same basic plot, too, in what I’ve seen from the ten I read in preparation for this post. Boy and girl meet, have a spark, they can’t stop thinking about each other, there’s something holding one of them back from fully accepting feelings, they have wild sex multiple times, one thinks they’re not good enough somehow for the other, big dramatic event happens, the one who tried to leave realizes just how much they love the other, rush to find them/save them/tell them, they get married, and the woman is usually pregnant by the end of the story.

This isn’t a bad plot. But after reading so many in a row, it got tedious. The man is usually incredibly wealthy, completely ripped and fit, handsome as hell, and a loner of some sort. Bad boys are even better. The women are curvy in the right places, but still manage to have a trim waist. Long hair with perfect waves. Career or family driven, never both (there was one rare exception I read), weeps beautifully. The standard impossible people. Some of the main character traits for the men were a bit disturbing. The women consumed their every thought and lives until it was all they could do not to see them. I know the feeling of being in love for the first time with someone and it’s rather difficult to tear one’s mind away from a new love, but the level of . . . intensity and dedication was borderline obsessive. They were overly protective, actively committing violence against a perceived threat to the woman they claimed to love. Jealous. Almost abusive.

The women are typically submissive, even when they’re described as being take charge and full of vivacity. They’re still dominated by the men in the stories, which tells me there’s not much originality in the thought that goes into these things. They’re also consumed by the thought of the man, usually after they’ve had wild sex that stays on their mind for a few days until they can do it again. They snap at the characters around them until one of their friends says something like, “you haven’t been yourself lately, what’s up with that??” and there’s a realization that the woman is in love. But she can’t be in love! They only just met! How could she possibly have feelings for someone she just met? /sarcasm

The level of superficiality in most of these relationships is incredibly off putting to me. There’s not much substance to back up the supposed feelings of the characters. The chemistry they’re meant to have just doesn’t exist. Typical story: they’ve known each other for years, haven’t ever done anything about it, friends pit them together and suddenly they realize they’ve been lacking for seventy years.

What I want from romance novels is reality. I know that doesn’t sell, and maybe I’m an outlier here, but what good are these novels if they perpetuate problems? Women are the main target audience for these (I unfortunately don’t have enough experience reading any LGBTQ+ romance to have an opinion on this, especially when there are others who are much more capable of discussing that topic), and while I appreciate the attempt to have books designed specifically with women in mind, it makes me question what the actual gain is here, and what authors believe women really want.

Sure, the sex scenes are hot. But is that really all the novels are for? I feel like I might be missing the point of these novels. You might be wondering why I’m so interested in this, and the reason is because I’m in the process of writing my own. I read quite a few last weekend all in the name of research, and it discouraged me from wanting to proceed because of how vapid the whole thing is. And maybe that’s the point! That they’re strictly for entertainment purposes, which is fantastic. They are pretty entertaining. But as a reader, I want something more than just a kinky moment in someone’s bedroom. It feels disingenuous and like I’m looking in on something I shouldn’t be. I’m well aware there are plenty of softer romances out there–I read those when I was younger, hoping for inspiration that way–but it still leaves much to be desired in my opinion (no pun intended?).

I think I’ll leave this here for tonight. I do have more to talk about when it comes to characterization problems I have, but that’s a different post entirely, I think, because it’s less related to romance novels. If you made it this far in my ramble/rant, thank you. I would love to have an actual discussion about this kind of thing with writers to see if I’m not quite catching the purpose of this genre. It would be an interesting conversation.