Nothing New Under the Sun

When the theme came up for November, “Is there a place for old-school heroines in modern romance novels?” it made me laugh just a little. First, let me say, I’ve been reading romances for an unconscionable number of years. My mother was a huge Mills & Boon fan, and while my tastes in genres are a lot wider than hers, when in need of a read I’d grab one of her thousands of books. Her romance library spanned from the early 60s forward. When I was about eleven, and my grandmother realized I was reading those books, she decided I should only be reading Barbara Cartlands, and would send me piles of them. From there, in my mid-teens (still in the Dark Ages LOL!) I branched out, finding and devouring whatever caught my eye.

So when presented with the term, “old-school heroine” maybe my perception of what that means might differ slightly from someone who’s looking at the 1980s, or even the 1970s. I know the term is generally meant to mean the too silly to live heroine who needs the man to save her, usually over and over again, as he molds her gently (or not so gently) into the woman of his dreams. Yet, is that really what an old-school heroine is? How old is old school? And in any timeframe have all the heroines in romance been created in any one mold?

Barbara Cartland was well known for writing heroines who often would fit into the TSTL mold (let me add a caveat that not all of them would). Yet one of her contemporaries, Georgette Heyer, often wrote incredibly strong-minded, strong-willed, smart as a whip heroines, one of my favorites being Sophia Stanton-Lacey in The Grand Sophy, which was first published in 1950.

Too far back, perhaps? Okay, let’s look at the 1970s when, despite being the era of sex, drugs and disco, romances still had heroines who hadn’t a clue about the real world, right? Well, despite the simpering girl/women in some romances, there were also women like Aislinn of Darkenwald, from The Wolf and the Dove. She’s never broken. Instead the hero has to learn to live with a woman as strong willed as he is!

Yet, if we take the saying ‘old school heroine’ at face value, using it to mean the young, virginal heroine who apparently doesn’t know her ass from her elbow, I’d say she’s been around forever…and she apparently isn’t going anywhere. There are variations on the theme. The Unknowingly Powerful heroine, who has no clue about the magic residing within until some forceful older man, often portrayed as the mentor, saves her from obscurity and shows her the truth. The Sweet Doormat, who isn’t moved to stand up for herself until her love for the hero makes it imperative. The Hopelessly Clumsy and Clueless heroine, who doesn’t know how beautiful and desirable she is until the hero can’t resist her allure. Within the last year I’ve read newly released books with those themes, with those heroines.

It can, actually, be done now and even sometimes done well. I think the difference between many of the older books with those heroines and the newer incarnations is the endings. Instead of being no smarter, savvier or able than she was at the beginning, the new breed of old-school heroine is expected to get her act together, and GROW. Not just grow into the relationship, but grow into herself, become a woman in control of her own life, not just a cipher for her man. Realistically though? I can think of at least one book I’ve read recently where at the end I still wanted to strangle the woman and shoot the man, because she was a twit and he a bully and neither had learned anything at the conclusion of the story.

So I guess the answer, at least for some publishers and readers, is yes…there is a place for that old-school heroine. She’s a part of romance history, and doesn’t seem inclined to go quietly into the good night. And as long as there’s a demand for them, they’ll continue to people the pages of romance novels.

Old School and New School—Romantic Set-ups

A funny thing happened to me on the way to publishing my third book.

My editor rejected it. Soundly, I might add. And tears, I’ll add those too. I just figured that once I’d sold two books I was golden. Editors supposed to love everything their authors write, right?

Um, not necessarily.

The main reason my editor rejected the manuscript was that it didn’t follow a typical old school set-up. The characters actually liked each other the moment they met. Not love, but like. This was no good.  Who knew? Well, my editor, but not me.

I didn’t understand that since the dawning of time, readers have adored the old school romantic trope of “enemies to lovers”, or “strangers to lovers”. Those storylines are still going strong because the conflict and tension between the characters is palpable. Conflict keeps us turning pages. The desire to resolve the conflict in a satisfying loving way is why most of us read romance.

After pouting for a bit, I realized I needed to increase the conflict. I began the arduous task by throwing out the first third of the book and starting over from scratch. I made things tougher for my characters. They don’t hate each other but they do have competing objectives—real, noble, life or death goals. If one wins, the other loses and people could die unless they find a way to work together.

After tossing out the first third, I tossed the middle third and completely rewrote the final third. You don’t need to be a mathematician to see that I rewrote the whole darned enchilada. But it’s okay because I love it! This story is much deeper, more complex, more emotional, more…everything. Breath-stealing conflict was the key. Characters we love to root for is another other key. Heart-stopping plot is the third. Well, there are lots of keys.

I am still tinkering, but I am tickled to say that this manuscript is a finalist in four writing contests. I am excited beyond words to see what the final judges decide.

Apparently my editor, like my Mom, is always right.

www.kimberleytroutte.com

Old-school heroines

 Is there room left for an old-school heroine?

Good question. I suppose it depends, in part, on your definition of 'old-school'.

When I first discovered romance novels, I read mostly Harlequin stories. At that time, they all seemed to revolve around the young, virginal heroine and the older, gruff, and very experienced hero. Since they were mostly told in the heroine's point of view, the reader rarely knew what the hero was feeling or thinking -- our only clues came from the rather limited and naive perspective of the young heroine. She was usually wrong. ;)

Back then, it didn't matter that the heroine often needed the hero to save her; or that the biggest 'conflict' was often a silly misunderstanding; or that, at times, the hero seemed harsh, even to the point of being rather a bully, if not abusive. When I was thirteen, I didn't know any better. And apparently neither did a large portion of the romance readership.

Now we are more enlightened. When I think of the term 'old-school heroine', I think of those rather shy, sometimes pathetically inept but kind, untried heroines who always needed to be saved. In that respect, no, I don't feel they have much of a place in the romances of today. But they do still pop up from time to time, sadly enough. I've seen the trend, in particular, take a subtle shift in that direction when it comes to some Young Adult stories and a few adult romances. Nope, not mentioning any titles.

I have nothing against the hero riding into the rescue. I personally love the idea of letting the big, strong man take charge and deal with the messes of life while he protects those he loves. There are days when I wish the man in my life could deal with the hard stuff and let me be the pampered heroine back at the ranch. Sometimes he does; mostly, we share the load.

That said, I prefer to see and be a heroine who can stand by her man -- or at least watch his back when things get dicey. The women in my favorite stories don't have to be trained in martial arts or able to beat the bad guy (gal) in battle. But she can't be a wimp, either. She also can't be "too stupid to live" -- No, sweetie, don't go alone and unarmed into the basement where the serial killer is waiting. DUH!

In my fictional worlds, a heroine should be strong and tough, with a few edges of weakness about her. She can't be invincible because no one would relate well to her. And please, IF she has to go into that basement, give her a really good reason. If she has to rescue the hero, let her show a softer side when the time allows. But don't drop her into a fetal position when she and her man have a fight and are separated forever. Let her cry, sure. A good, hard cry is very therapeutic. Then pluck her up off her butt and get her moving again.

There are all kinds of heroines in the real world and in fiction. I suppose it's up to each of us what type we want to be; what type we want to read about. But humans are complex creatures -- we're rarely all one thing or another at all times. The best heroines will always be those with some depth.

Meg Allison
Indulge your senses...
http://www.megallisonauthor.com