She returned his smile, her hand skimming the gleaming tabletop as it would the chest of a lover. “Sex is always in vogue, Hal. And there are hundreds of thousands, perhaps millions of lonely people out there.†She artfully lowered her lashes. “Not that you would know anything about that, of course.â€
His eyebrows peaked in astonishment. But when he broke into a raucous laugh, she relaxed, knowing she’d struck just the right note. “Damn, I do like you, doll!â€
“My name,†she added, “is Megan. Or Ms. Morley. Or bitch, or thrill-kill, or ball-buster, or–â€
“I gotcha, I gotcha.â€
From the very beginning of her (unpublished) novella, Megan declared herself to be a bitch. She made no bones about it. It was her defense mechanism, and she had every right to be. She changed very gradually (and favorably) over the course of her story—but, from the first, Megan Morley assures the reader that she is a bitch.
One reader’s response to this approach?
“I find your heroine to be rather unsympathetic.”
:shock: :shock: :shock:
Let’s talk about
THE BOX.
Yes. THE BOX. You know what I mean. The one with the invisible boundaries. The one everyone encourages us to think and write outside of, “The Matrix” in literary form.
Do the dimensions depend on the genre? On how accepted you want to be? On how successful you already are, or some other factors?
I may have to do more than one post on this, because I’m just not sure about THE BOX, or what constitutes the inside or outside—and exactly how far outside THE BOX you’re allowed to roam (having received a jaywalking ticket or two in my time). 
If you’re multi-published by a New York house:
1. You can usually do whatever the hell you want, including:
a. Roaming as far outside and AWAY from the box as you damn well please.
b. Starting your story with three chapters or more of backstory, something us lowly surfs get slapped around for.
c. Writing completely unsympathetic characters–included b*tches–who remain that way until YOU as the multi-published bestselling New York author see fit to change them.
d. Doing things within the story that the unpublished masses would get smacked for.
IOW, when they say they want you to think outside the box, what they really mean is come up with something different, that’s not too different. Be innovative, but not so innovative that you scare them. And they scare easily. So just write something traditional that has a teeny tiny difference from the other pablum they publish.
:hushyourmouth: You see, the too different stuff is an honor they reserve only for the biggest horsies in their stable.
I have a prime example of this, but I prefer not to get into it because it’s early and I’d rather not inflate my blood pressure. Not to mention, I haven’t had my coffee yet.
Wow, sheawriter, did this post hit a sore spot. But you know what? I kind of like it when a topic gets under people’s skin, because they really talk about it.
On to THE BOX. It’s a dreadful place most times, because you walk in and think, “this place can use some new decorating.” It’s the same ol’ same ol’. So as to writing there are two people I admire: those who write outside the box. (really they give the box a birdy) and those who write in the box, but they’ve put up new drapes, couches, and one of those tubs with a detachable showerhead. You read them and you don’t even know you are in the box.
Examples(same author):
Outside the Box: Faking It by Jennifer Crusie, heroine does not climax with the first consumation scene. (I’ve yet to see that one pulled off in a romance.)
Bet Me by Jennifer Crusie: It followed all the steps that makes a romance a romance. It even followed every fairy tale known to man. But the heroine was overweight, the charming hero did not win the heroine with his charm and good looks, and the climax scene actually involved a climax. :humping:
Okay, my reply is probably ten pages long. I’m out.
My, my…have pushed a couple of buttons here, yes?
…what they really mean is come up with something different, that’s not too different.
Ah. There’s personal experience resonating there, methinks.
So again, we’re back to, “what are the dimensions of the box”?
…those who write outside the box. (really they give the box a birdy) and those who write in the box, but they’ve put up new drapes, couches, and one of those tubs with a detachable showerhead.
I always sucked at decorating.
But can’t argue with your points, Mel.
That’s my problem! I’ve lost the box (it must have been in that last move. I usually end up in one of those garden labyrinths going, “Box? What box?” :yesyesyes:
Of course, that could just be me. :waving:
So again, we’re back to, “what are the dimensions of the box�
In a broad sense (with romance) you must have a happy ending. Don’t listen to those people who say it has to be “satisfying”. The old school thought is that they get married. “Satisfying” endings is what brought on chick-lit.
The heroine must be likable and you must gloss over her sexual experience. It’s preferable if she likes dogs and children. If not outright stated she must have inner longings when families stroll by.
The hero can be anything but an adulterer and rapist. Monogomy is a must after the first consumation with heroine.
All the great stories pushed these boundaries.
I have to admit, I’ve only ever tried to stay in the box once. The rest of the time I just write. I say “Don’t overthink THE BOX, its just a box.”
I’ve lost the box
Ann, you can never lose the box.
It’s there, even when you can’t see it.
And it will find you. :shock:
If not outright stated she must have inner longings when families stroll by.
Okay, I think I’m going to hurl now…
The rest of the time I just write. I say “Don’t overthink THE BOX, its just a box.â€
Sasha, you may just have a natural talent for it!
Some of us, however, seem to be venturing off into no-man’s land…
Is the box made of cardboard or steel?
I wonder about that.
I sometimes think it’s made of mesh.
I wonder if I’m just a decorator.
Does the box even know I’m in there?
Tanya……
Starting your story with three chapters or more of backstory, something us lowly surfs get slapped around for.
Please if I ever do this, HIT ME HARD with a 2 x 4!!!
‘Ann, you can never lose the box.
It’s there, even when you can’t see it.
And it will find you.’
I used my box cutters on it long ago, Raine. It was made into a ‘Presto Log’, and won’t be back. :)
Does the box even know I’m in there?
Only if you make a sound, Bernita.
But it had better be the RIGHT sound…
Bernard, lol.
Made me think of Legos for some twisted reason…but I’d still keep an eye out for lurking boxes.
If I go into the box will I cease to exist?
“The hero can be anything but an adulterer and rapist. Monogomy is a must after the first consumation with heroine.”
Isn’t he required to go limp at the thought of another woman besides the heroine or is that old school?
Excellent post by the by.
Isn’t he required to go limp at the thought of another woman besides the heroine or is that old school?
If you have yet to hear of the Glittery Hoo-Ha and it’s wonders then I’ll be happy to expound at length with Raine’s permission.
The short verson: once he has dipped his Glittery Hoo-Hoo into the Gittery Hoo-Ha all other Hoo-Ha’s pale in comparison, because at that point the Glitteriness has blinded and dumbed him into believing there is only one Hoo-Ha for him.
Welcome, Amanda! :waving:
If I go into the box will I cease to exist?
Yes. You will be assimilated. Resistance is futile :shock:
Isn’t he required to go limp at the thought of another woman besides the heroine or is that old school?
Apparently not old enough, Amanda, lol.
Yes, the Glittery Hoo-Ha…lmao!
The ultimate quest for all heroes, of course, is to find that one Hoo-Ha, the RIGHT Hoo-Ha, because it’s the only one he’s really interested in, after all.
The hero can be anything but an adulterer and rapist.
So my hitman hero is okay?
The first rule of Box Club is…don’t talk about the Box
Sowwy
I think we need to get Jaq to write a blog post about the Glittery Hoo Ho er HA for SFC