Tag: Cinderella

The Trouble with Tropes

Cruising through the internet last week I came upon a conversation between highly successful romance authors looking for recommendations for romance novels. Many complained that they were bored with the same old tropes played over and over again. As readers, they wanted something  fresh to grab their attention and keep them turning pages past their bedtime.

There were many responses along a similar vein and the recommendations seemed to be for re-reading old favourites. As a romance author I found the discussion interesting and worrisome.

To trope or not to trope. Readers have certain expectations of romance novels. If an author doesn’t meet those expectations, the book is likely to flop. Yet meeting those expectations results in reruns of the same old themes — and bored and disgruntled readers. 

What is a writer to do?

Here are five top tropes in romance along with some suggestions for freshening them up.

  1. Spunky heroine.  The belief is no one wants to read about wimps. Heroine’s must be proactive, kick-ass, goal-oriented, tough . . . you get the picture. And yet, fairy tale heroines beloved of romance authors are often placid and reactive. Cinderella needs her fairy godmother to get her to the ball. She needs prince charming to rescue her after the ball. So, perhaps there is hope for a “non-spunky” main character. I read one book recently where the heroine irritated me no end because she wouldn’t stand up for herself, yet, in the end, she did grow and find love and she “rescued” herself. What kept me turning the pages was the author’s voice, the engaging cast of secondary characters, and the setting.  If you are really tired of writing about or reading about the perky, spunky female, you can go a different route, but you need skill to pull it off.                                                                                                                                                           
  2. Jilted at the altar. This one incorporates the “cute meet” beloved of romance readers too. Usually the bride, or groom, left standing alone meets the perfect mate while picking up the pieces of the disastrous day. I just read a book that began that way. I yawned, but kept reading. I liked the heroine’s voice. However, the book exceeded expectations as the story delved deeply into family relations, small town castes, and an old mystery. So the trope was useful to hook the reader, but it did not determine the entire story.                                                                                                                                                                        
  3. Proximity.  This is the one where the two main characters are snowed in by themselves in a remote cabin, or stranded on an island, or locked in an old castle. There are many variations but the point is they are together and cannot get away from each other. In the world of tropes this must lead to romance.  But what if it doesn’t? What if enforced proximity exposes a nose-picker, or a soup-slurper, or a bully, or a whiner? Perhaps this trope could be used to separate a couple who were romantically inclined at the beginning of the story and can’t put enough distance between themselves when they are finally able to escape? I haven’t read a book like this yet but there must be one out there somewhere. I think if would make a great comedy.                                                                                                                                                                     
  4. Marriage of Convenience.  I admit that this is one of my favourites, especially in historical romance and especially when handled deftly — witness Georgette Heyer. Inevitably the pretend couple ends by falling in love and turning their fake marriage into the real thing. What would happen if they didn’t? What if her old sweetheart, left for dead at Waterloo, returns, alive and well? How does she get out of her “convenient” marriage? Walking away is a possibility in contemporary romances, but for a regency lady to desert her husband and still have a happily-ever-after? Again, such a story would challenge the author but it might satisfy the reader who is tired of same-old, same-old.                                                                                                                                                                             
  5.    Billionaires/celebrity/royalty.  I don’t like this one very much. The characters are too unbelievable for me. The billionaire who never seems to work, the celebrity who misbehaves, the royal who doesn’t understand protocol . . . I’m apt to throw the book at the wall. But it is a trope that is adored by many readers. So, how to make it work?  Be realistic.  If you put a public figure in your story, give them something worthwhile to do. To paraphrase Martin Luther King, let me judge them by their character, not their bank account. Celebrities often spend a lot of time helping charities, or advocating for the poor or hungry or traumatised.  A person who expects adoration because of his wealth or social status isn’t “hero”material. If he loses all his money, will the reader still love him? I’d read that story.

So, dear reader, what are your favourite tropes? Can you recommend a romance that turns an old faithful on its head and sends that author to the top of your reading list? Please share in the comments section. (click the button under the post title.)                                                                                                                                                                                                                                                                                        

 

 

 

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Cinderella and #Me Too

By coincidence, I’ve recently read three books set during the world wars. Even after all this time, those two conflicts call up profound revelations about the human condition. What is a hero? What is compassion? What is friendship? What gives meaning to life? I found the stories unbearably sad.

I was also struck by the depth of societal change wrought by WWI in particular. The old class system was broken down. When servant and master fought shoulder to shoulder in a muddy trench, there was no going back to doffing a cap to your “betters.”

Women, especially upper class women of privilege, were thrown up against brutality they’d never imagined let along touched. Yet, there they were, driving ambulances, nursing men who cried for their mothers, dealing with lice and filth and blood and excrement. Some of these women had never drawn their own bath. Now they were expected to bandage a weeping stump where a leg had been. When the war ended, there was no going back to the ignorance of their former lives. Even those who “kept the home fires burning,” had tasted independence. They’d worked for a wage. Made decisions about their own lives and those of their children without the help or hindrance of a male relative.

When the guns fell silent in 1918, the world was a far different place than that of 1914.

I think the “me too” movement has had a similarly profound effect in North America now, especially in how men and women relate to each other. Since I write romance — stories about men and women falling in love — this new reality affects me as a writer and as a reader. Do the old tropes still work? Is Cinderella part of the problem instead of the solution?

I don’t know the answers, but here are a few thoughts.

I never did like the arrogant, alpha male, who patted the heroine on the head and told her to trust him, or worse, pushed her around, caused her pain and refused to explain himself. Why did women fall in love with him? I don’t know, but scores of female readers did — and do. The Harlequin Presents line, with its emphasis on the alpha hero, is still one of its most popular offerings. With the pendulum of society swinging to female power, this phenomenon is hard to explain. Then again, romance is escapist literature, so maybe that annoying alpha hero is part of the escape.

The “kick ass” heroine has been around for decades, punching and shooting her way through any obstacle in her path. Even before “me too” fantasy romances especially, teamed with warrior princesses and empowered crones. Can these heroines “fall” in love, or do they have to make a rational decision about mutual interests and the survival of the species?

So what about the old-fashioned romance? Those little dime-store novels that catered to women’s longings and created an industry? Can we still write about women who like pretty things? Who want a home and a family? Who like a man who holds doors and brings her flowers? Do these stories belittle women? Can a beta male be a hero?

In my Prospect series, the heroines are all strong, independent women. Lottie, an unwed mother, runs a prosperous farm and makes a home for herself and her son. The man who wins her heart has to offer more than superficial courtesies, but he can’t be a bully.

Emma comes from a world of privilege but must now stand on her own in a harsh country. She won’t trust any man who wants to “take care of her.” She did that once and was betrayed. The man who wins her heart will respect her toughness while seeing through the uncompromising exterior to the passionate and tender woman beneath.

Louisa has been controlled and shamed by her father for her whole life. She sets out to rescue herself, build an independent life in her own home and her own shop. She’s not immune to some light-hearted flattery, but the man who wins her heart must be her equal, not her superior, nor her footstool, and nothing at all like her father.

I think these books can stand scrutiny in the “me too” era while still appealing to women searching for a softer heroine.

What are your favourite romances? Are they fairy-tales with a prince to rescue Cinderella? Are they battle stories with female generals? Are they boy-next-door fiction where she turns out to be a hired assassin?

I’d love to hear your recommendations.

 

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