Cliches aren’t an inherent problem. Shocker. I know. You’d never expect Rosie to say something like that, but it is true. Cliches are not an inherent problem in writing or life. The problem with cliches is twofold sincerity and whether or not they’re boring. A cliche fails when it feels insincere. Let’s put it another way your partner can say “You look great”, but you’ll usually be able to tell when they are really serious or just spouting platitudes. Why? Because there is a difference in tone. Whether your reading a book or a blog you can tell the difference between someone writing passionately and with more than a passing interest to get a concept out.
I say this because I think there are a lot of writers who like the idea of writing and the concept of telling a story, but who don’t want to dig into what they’re writing enough to make it feel authentic. You pick up a book or read someone’s story page and your met with an obvious love of the concept of a character or a relationship, but the writer hasn’t made the story worth your while. They love the idea of this handsome young lad sweeping this girl off her feet…but there is actually no relationship between them except for the writer telling you so. They never have serious conversations or bond beyond steamy scenes, and even if your’re left with a bit of enjoyment you can’t quite believe in their relationship.
Plenty of blogs and stories that I started have not been finished for that very reason. They’re concepts with no depth, and that’s how you fall into the cliche. You don’t sound sincere even if you sincerely want to tell your story. D.D Griggs and I talked about this the other day. Whether you are writing non-fiction or fiction there are cliches and themes. She writes self-help books, and 70% of them are similar or have similar themes that are cliches we can all spout to a certain degree. Writers like her put those cliches into a context and a way of living that is incredibly important, but we’re all familiar with self-help stereotypes of conferences, yogis, and hippies. Most people can tell you one common philosophy in self-help, but neither of those things are inherently bad. What makes a self-help book succeed or fail is a matter of someone liking the author’s style, but more so it is a matter of whether that author is speaking from a place of sincerity and belief. That’s what keeps those cliches from being a problem.
When cliches become a problem is when they’re boring and don’t feel genuine. A blogger talking about “the power of positivism” and working out won’t grab your interest if they are just issuing copy-pasted ideas to their audience. If they don’t let you in to who they are you don’t feel like you can trust them because all you see is surface cliches. The same thing happens in fiction. If you have a book about a werewolf romance that is just paint by numbers it may make money…but it won’t make you an audience for the next book. It won’t get you the sort of repeat readers you want because the readers can tell you aren’t in it and you’re not giving them anything interesting. By that same token, someone else can write the exact same plot (and people do this and do it well) but they make the characters more sincere and write with more passion. They try to keep the story interesting and their readers see that. In blogging and ebook writing I see a lot of people just regurgitating what they think will get them blog follows or downloads, and then I go to forums of people upset and complaining about not getting sales. Well, you aren’t giving a unique product. You give something that is pain by numbers…and so have hundreds of thousands of others, which has hurt the market in many ways all on its own. These writers just don’t see how the cliches aren’t what hurts or helps a story or blog or what have you. It is a matter of how something is written and the tone that allows readers to connect.
Cliches can be powerful tools not only when you subvert them, but when you embrace them with the intention of making them interesting and bringing somethign new to the table with all the sincerity you can muster. This not only applies to the page or screen, but to how you talk to people as well. I hope you keep that in mind when writing holiday cards this season or are getting ready for New Years.
Let’s keep the energy from National Novel Writing Month going and have a 5 day challenge! Every day write at least 1200 words of romance that can be as clean or dirty as you like! The goal is to explore different types of relationships and what romance can be. Don’t limit yourself to Nicholas Sparks style dramas. Go anywhere you want with your works! Just try to hit the 1200 words a day!
The trick is to set aside ten minutes at a time when you have a busy schedule. Take that ten minutes and write anything to just keep the creativity flowing. Now, some people do fine with writing whenever the mood strikes them. Some stories absolutely need that style, but when you build this habit you increase your chances of producing a finished product.
In the romance genre, but in any genre as well, you have to build a positive habit in creating content and pieces in a timely manner. Don’t stress about the quality of what you’re writing. Just have a good time, and do your best. Then at the end of this challenge you can edit and do whatever you like. The point is to get your butt in gear. GOOD LUCK!
Also if you’re curious about works I’ve written check out my erotic novels: Suffer too Good
A party. A conversation. A couple with an insatiable lust and desire for each other.
Monica isn’t the simple woman she seems; she craves silky smooth rope pulled so tight against her skin it creates friction, the feel of hands exploring her vulnerable body, and most of all for Mike to tell her what she is…a very naughty princess. After a late night party that sparks both their libidos, Monica thinks she’s ready for a deeper kind of submission…but as Mike pushes her further and further will Monica have the strength to take what she wants?
***Starting: Saturday 11.19.2016 I’ll be giving away five free ARC copies of Suffer too Good in exchange for honest reviews on amazon! If you’d be interested in reviewing a copy, doing an honest author review exchange, or would like to buy a copy from me directly then please leave a comment or contact me via my contact form!***
Buy your copy of Suffer too Good on Amazon today. I promise you…you’ll enjoy it.
“Throughout the night, talk kept going back to our hottest reading lists, and because we were all loose from the alcohol every once in a while a particularly hot scene from a book would be described in incredible detail…and someone ,usually one of the guys, would mention a porno or dirty comic they’d seen in the same detail. The whole thing left my panties sopping wet and my body hot with need.
By the time I plopped down on our love seat with my laptop I knew I needed some sort of relief, but Mike had settled down with his tablet for a little while. So I tried to get my mind off the idea of soft silky rope against my skin, of Mike holding my head as he fucked my throat, or of being made to crawl on my knees just because he liked the look of it. I tried to just check my email, my facebook, my instagram, and twitter…but eventually I found myself on porno sites.“I have to say…I’m being honest. There’s this porn series The Upstairs Club. It’s all sorts of Bondage, naughtiness, and occasional degradation. Let’s say it does the charm every time. ” Pham’s words echoed in my head, and I found myself typing in the name on the porno site search bar.
Hundreds of videos popped up. I might have preferred erotica for my bondage, but the screen caps looked absolutely delicious. “It looks like I’ve found my new porn go to,” I thought with a laugh. The series looked like the Baskin Robins of BDSM porn; they promised something for everyone and all tastes. Totally overwhelmed, I just clicked a video at random. With the sound on mute, I watched the videos filled with bodies of all delicious shapes and sizes grinding, sucking, and screaming silently across the screen. The point break came as I watched a petite redheaded dominatrix tie purple rope across the body of plump buxom Latina woman who couldn’t stop smiling. The sight made a flush come to my face and I could already tell my panties were wet.
Earlier in the evening, my friends hadn’t known that Mike and I had our own games, and with all the business of the evening done I wanted to play with Master Mike so damn badly. I glanced over at Mike’s nearly naked body sprawled out on the couch, and noticed his half erect cock sticking up out of his boxers, as the soft glow of the tablet illuminated his face. I couldn’t help but study his fine muscles, and the way that his good looks weren’t lessened by the shitty tablet lighting. It seemed our roles had reversed for once. He must have been reading erotica, while I watched a healthy dose of porn. I turned off my laptop and set it on the coffee table before rising to my feet.”
Get your downloadable copy of Suffer too Good today at Amazon.
I agree with what a lot of the author here says, but to me contraceptives come down to one thing…anything can be sexy if you set it up to be sexy. I don’t mean describing putting on a condom like taking off lingerie. I mean if you make it fit then it will fit. I love writing bdsm and toying with the mental aspects of it, and I know many people love integrating contraceptives into the “game”. The billionaire gets his secretary on the pill because its his choice not hers anymore. Hot. Sexy. Dominance that she actually agrees with. Great. It certainly surpasses doing nothing because you can’t help but wonder in many stories what is going on. The secretary and the billionaire are going at it like a couple of animals and she only gets pregnant at the happily ever after? That is ok, but it is a bit laughable. For longer more full stories at some point you’re gonna have to tap into that and make choices about how.
How you do it is what makes it sexy. When you get into how you have to get into the scenario…and ask if they’re even going to pause to ask or do anything to prevent anything negative or unwanted from happening. Beyond the billionaire example there are different ways to talk about this without it being shoveled in. The worst and most unerotic thing to do is to randomly drop “The secretary knew it’d be fine if he finished inside her…after all she was on the pill.”. That line isn’t in her head. That line takes us away from her perspective like we’re being tackled by security guards.Sometimes you have characters who don’t think about it. In my Lita Loves Tales she’s on the pill but the momentum of the story in White Hot Room is so forward that contraceptives are the farthest thing from her mind. In book two she mentions being on the pill. It’s a small scene, but she reflects on the fact that she loves sexual fluids and is glad she’s on it. In another hot scene she handpicks male partners with her dominant to choose who will ejaculate inside her. It’s a simple conversation that becomes a game. In other stories the goal is to make it just as organic. Some characters do just randomly worry about that sort of thing and others will ask a partner to wear a condom while making out. The duty of the author is to make the reader believe it and not lose their arousal.
Condoms are an oft vilified thing, but if you can sort of explore it and not make it awkward than you get something. In The Black Hat Society K.K is penetrated by a male dominant and as he puts on the condom she becomes entranced by the sight of his erection. She thinks about how watching her, beating her, treating her like a toy made him that excited. She thinks about how appealing a penis can be, and the anticipation to know what he feels like is driving her crazy. The condom becomes a symbol of his care for her, of her being topped by him, of her penetration and consented violation in front of an eager crowd who can do the same whenever they wish. For K.K this is better than the game…it is the best feeling she could imagine and it is intoxicating. Just because there is symbology doesn’t mean it is some great mythic thing. No it is her, a woman, being aroused and naturally her mind signalling “This is what is happening and this is how I feel”. It isn’t complicated to convey (though all feelings are complex). It heightens the sex. It heightens the joy of it.
Contraceptives can be sexy…so long as you make it sexy.
Allow me one trespass,
One transgression against myself,
Allow me to rejoice in your softness,
To seek shelter in your laughter,
To relinquish the reigns of self control for,
An eternally mystifying dance,
As I move my hips,
And move to kiss your lips.
It is best if I am good and proper,
But I cannot resist any longer,
Allow me one trespass,
One moment where the world,
Is no longer against who we are.
Is it some cardinal sin to mix the two most often criticized aspects of erotica and roll them into one? I take one part physical smut and action, and weave it between bright emotional reaction. Associated with and disassociated with the glorious peculiarities of sex. It seems horribly authentic of me without falling into the over the top or the purple poetic. Yet both rear their heads when appropriate. To me is seems a glaring error, a human folly, to simply praise the literary sex or even to view sex as the wholly erotic. Once on a lark a man dragged is tongue up my spine. My back –rarely touched, rarely seen, but often thought of as a thing best forgotten due to marks and spots of all kinds– reacted as though he shot bolts of sensuous lightening through every inch of my body. It was more intimate, more intensely erotic, and more loving than anything I’ve ever experienced. The intention, the surprise, the feeling, and context swirled together into this marvelous embodied erotic experience. Such trivial matters are major points for those who live them and the beauty of writing is conveying that to others, to writing words so potent and powerful your reader understands how the actions transcend action and become inseparable from how they affect feeling, and are felt. Slot A into Slot B is nothing by itself. However descriptions of intimate acts. Of the fullness of intimate contact ,both mental and physical or real and imagined, provides writers and readers with a connection forged not on simple erotica or romance but on something that feels whole. I’ve read both types of erotica and loved it. However my desire it to toy with that middle ground and make you feel present.
Some would say I’ve done it all wrong. My prose is too purple, too random, too empty, too sexual, too slow, too fast. And yet…my readers, my professors, my friends find it deeply intriguing even as it defies what they expect. I’m not tooting my own horn. They find the flaws, point out my weaknesses, and eviscerate me until I think I might snap like a dragon backed into a corner. Usually those critiques are more than right. I am rough. I need work. Funnily enough that is what my sex, my writing is about, is about. We must round out the rough spots and sex is one means of doing that. Erotica must be well rounded for it to be felt in a way that satisfies me. I will not be satisfied as a writer until I believe I can give you something real to lose yourself in. That I promise you. Perhaps it is a literary sin to dare to make romance, erotica, and such defy itself. Perhaps it is a sin to make purple prose or action orientated sex a necessary part of my style.
Only you can decide. Either way I hope you enjoy what I write.
Ah, love. On the surface it is one of the most simple and effortless things in the world, but truthfully it is one of the most complex. Much the same can be said of writing romance. I grew up on my share of Lifetime Movie and Hallmark Channel dramas(before they got crappy), as well as a love of Japanese anime with heavy romance themes, like Sailor Moon, and anime’s graphic counterpart manga. All over the world we tell great and sweeping love stories that capture the mind, pull on the heart, and make you feel as though you’ve fallen in love yourself. It doesn’t matter where you are people share these amazing stories. One of the most complex love stories I’ve ever read is a manga called Hot Gimmick, which has since been novelized. Nothing has compared to “not really siblings” falling in love, semi-abusive emotionally fragile lovers, easy siblings, hurt childhood friends, and the complexity of Japanese morality. Those are only some of the major parts of that series. What makes that series so gripping is those plot points are not uncommon in Japan, but the grace and intricacy Mika Aihara put into the story made it superbly unique in romance fiction across the globe.
Overall there is a trend in romance towards over simplicity and cliches without depth or real intrigue. That isn’t inherently bad but I want to explain what makes those cliches feel tired, and how to make them fresh. The fact is the same old plot points, relationships, and character arch types aren’t inherently bad. There is a reason we all gravitate towards them. However we often miss the boat on what makes those stories work. So I’m going to make a short basic list on what you need to do as a writer. The short hand for this list would be: Question Everything. Don’t just write. Think. Because if you don’t you may miss out on what could make your next story, book, script, poem, etc. a true gem. Worst of all you may miss out on reaching a whole host of wider audiences. Without further ado let’s get to the nitty gritty.
Do engage with familiar troupes, cliches, characters, and story telling techniques, but try to surpass them and complicate them. The very basis of my writing style is that “Authors complicate the common into the uncommon.” What does that mean? It means that our job is to take basic concepts like love, romance, sex, magic, history, or science and make them compelling. That isn’t easy. Millions of people want to write, hundreds of thousands actually do, and out of those groups only a small percentage of them will know how to tell a truly intriguing story.
I wrote stories for years thinking that I made them compelling when I just made them long and dramatic. Most stories I never even finished. Why? Drama doesn’t automatically make a story compelling or even make what you’ve written into a story. Plenty of cliched stories have drama and it means absolutely nothing. It’s fine if you just want to fill a niche and write stories people won’t remember. However the best friend of an author is making sure readers remember your name and what you write because word of mouth is what gets your writing sold. Word of mouth gets people to try new things. These old forgettable stories just don’t cut it like they used to.
“Grandpa left me this farm and now only sexy farm hand Jake can teach me, a city girl, how to save my family legacy.” A new one of these stories premiers every month on Hallmark. They’re almost all white people who are young attractive and make small town America look idyllic. They all look almost exactly the same and out of the dozens I have watched I couldn’t tell what from what except for those that made themselves stand out. This is one half of why the romance genre is thought of so poorly. We retell the same stories and rarely complicate them. Of course people want their fluff. After all their familiar, warm, and toasted marshmallows taste great! But you can’t eat marshmallows every day. It is just silly to do it. Not to mention that eventually 90% of people get sick of it as each one tastes almost exactly like the last. You don’t know if your readers are coming in on their first marshmallow. You don’t know if they’ve never had any before yours. However, chances are you will be someone’s last marshmallow if you don’t do something vaguely special with your writing. Ask yourself what you can bring to the marshmallow game? Hot cocoa in the marshmallow? Can you dip it in chocolate and add nuts? Can you make glutton free Marshmallows? Maybe you will decide to sell s’mores instead. When you start to ask questions you begin to complicate what you’re doing.
What makes your story unique? What makes Gale moving from the city matter? What makes the family legacy matter? What is Jake other than good looking and kind?If you cannot answer those questions you’re probably telling the same story you’ve read a dozen times. You have to reach out of this boring little box because otherwise your works won’t sell as well as they could, but more than that if you only pay lip service to cliches then you won’t elevate yourself as a writer. You deserve to read better and write better. You deserve to get more out of a page whether it is your own or someone else’s. This is a simple path towards unlocking a new array of story telling in yourself. All it comes down to is thinking. Now I’m going to demonstrate more examples of success and failure across media. These cliches exist for a reason and you should take every opportunity to ask yourself what you can do to make your take on them more unique.
Warm Bodies and World War Z(the book not the movie) take basic genres and genre elements then completely morph them into something new. WWZ is essentially a gathering of interviews and a sort of post-plague diary recounting this terrible outbreak and that allowed it to reach levels of success even in the height of the zombie craze. Yes, that novel probably hit at the right time, but so did a dozen other movies, books, and even CDs. I can only remember a few of them a few years later because very few of them managed to do something new. Warm Bodies combines zombie cliches with Romeo & Juliet. Hell, it even has love bringing R back to life! This shouldn’t work. Logically it should fail spectacularly, but it doesn’t. Why do these things work? Not only are they well executed, but they tip standard zombie affairs into something newer by doing the unexpected. Now why do you think knock-offs or even adaptations fail? Let’s talk about Pride, Prejudice, & Zombies the film versus the book. I read most of the book and saw parts of the film. The book embraced what the genre was. It like the two previous movies I mentioned dived into the style and source material with wit without sacrificing sincerity. However, the film did not. It wasn’t poorly done, but the film didn’t embrace many aspects of Regency romance, and instead cut itself into an action set piece. Worse unlike the UK trailer the US trailer sacrificed every ounce of this so those why may have been interested in the unique blend got nothing.
Stories fail because they don’t manage to grasp what makes them work. They don’t get that the cliches are inverted or turned on their head. They don’t get that the story isn’t just a love story or a zombie story its both. They don’t get that the book isn’t just a zombie movie or a war diary…its a book about a plague, about zombies, and its written with the mindset of a person having lived through and trying to understand them both. Those twists aren’t just pomp and circumstance. They are sincerely crafted to add something new and meaningful to their genres.
Write characters and situations together. Don’t just constantly try to crank things up to eleven or paint by numbers.I recently read that “great authors tell simple stories with complex characters and amateurs tell complex stories with simple characters”. I know this is true because I was that novice. It is so easy to get wrapped up with the grand story of story telling that we forget to convince the reader “Why does this matter?”.We just tell a story…and expect people to care, but why should they? Our job is to make them care.
The biggest problem with Bella in Twilight and 90% of female characters is we are never told why we should care about them because they don’t have a personality. Bella isn’t a character so much as she is a prop in a complex story. Truthfully the elements of Twilight could be absolutely fascinating. However they are executed in such a way where the situation goes under explored and that characters given this facade of depth when they are in fact extraordinarily simple. Their motives and characteristics are paper thin or not fully explored. When that happens you find yourself disconnecting from the story regardless of how interesting the situation can be. This is great for other writers like me who see your story and say “I can do it better,” and write their own take of a genre or story element that surpasses your own. But you don’t want them to do that because your goal is to be that author. Your goal is to create characters and situations that work together, and when you fail even a fun thing can turn bad.
*For clarity you can write blank slates as protagonists/narrators, but even in the best stories there is a character even if that character is a whole town(like in A Rose for Emily). The difference is doing your best to execute that by understanding what makes a character feel present versus feeling empty. Bella feels shallow and empty, which isn’t bad. It makes for a light read if not necessarily a great one. However your intentions to make a reader/author insert need to be felt and understood in the text.
Recently my brother and I discussed the recent Hang Over movies, I know random, but he said something very poignant. He stopped liking the movies because the “world became mean”. This was absolutely fascinating, so I asked him to explain further. In his eyes the movie essentially removed many of the redeemable characteristics of these men and with these increasingly exaggerated “Uh oh what did we do now?” moments he began to wonder why he should root for any of the characters. Their wives and normal lives became shallow nagging things, while the abnormal situations and spaces where the insanity takes place simply became parodies of themselves without getting the junk. Essentially my brother felt that nothing in the characters redeemed these increasingly violent and weird plots anymore. At some point it stopped being “these guys find themselves in crazy positions when they drink” to making a chunk of the audience wonder “What’s wrong with these guys where this not only keeps happening but things get more and more out of control?”. The stories shifted from the comedic abnormality to being about the slapstick, the situation, and ultimately the characters became lifeless props he could not care about. That is the worst possible thing that can happen in any genre, but especially comedy. As a viewer my brother was convinced not only does no one in those movies matter, but that they cause so much sheer chaos to innocent and immoral people alike that he actively wished for the characters to meet a grim ending just so none of the other likable side characters would suffer.
When you fail to make your stories and characters truly depend on each other you fail to tell a convincing story. It can happen in any genre even comedy where many times people are supposed to be just props, so don’t think your story will be an exception.
Don’t assume opposites attract: More importantly convince us they do! I like realism in my escapism. What do I mean? You and I have both heard a dozen stories about couples who bicker like Punch and Judy, but who really love each other. This is a specific cliche, but I think it is broad because it speaks to a larger issue of writing, which we just touched on moments ago…convincing the reader your story works. Often our characters get together because we decide they should. As writers that is just what we do, but as writers we have an obligation to make sure our character’s motives can be interpreted and understood as appropriate. As romance writers you have to create scenarios that feel viable and real to people. **This extends to people who used to be in relationships as well. At some point they loved each other, and if we don’t get it then it is a missed opportunity**
If you have two characters who despise everything about each other then why would they get together, and why should I, as a reader of your story, believe a word of their romance? One common example…Draco and Harry is very popular as a fan pairing in the Harry Potter fan fiction universe. They have nothing in common from what I’ve understood. No interests or hobbies. No love of their crafts. Nothing. Draco was raised to despise people with muggle blood and while he certainly can and does get over that in time it is a prime reason for him never to be involved with Harry. The mutual horrors they witness as Draco struggles with his own growing sense of purpose, morality, and angst simply wouldn’t give way to a relationship under even the best of circumstances. And I’ll tell you authors rarely bother to make the circumstances make sense for the relationships. To them it doesn’t matter. To them it is a distraction from enjoying it and you shouldn’t judge them. Well I’m judging.
The main reason these pairings happen is “Oh its hot.” I have read dozens of stories with the same sort of pairing and it almost always comes down to altering the characters initial personalities to put them together or making their hate sex so steamy they inevitably fall in love. It feels insincere, not holistically enjoyable, and quite frankly dull.
That isn’t how emotions work. Try as you might to do this (even if I enjoy your story) I walk away thinking “Harry and Draco are done-zo as soon as the puppy love wares off”. Why? You haven’t built a a strong relationship. It is just strong sex and if that is your intention then go forward with the grace of the gods and my blessings, but if not…redraft! I have built many a story around characters in love who actually have no reason to love each other…and thank god I now know better! It has radically improved my story telling into something far more engaging.
Plenty of people believe they write a simmering back and forth with sexual and emotional tension. A great example of that would be Kyle and Maxine from Living Single(circa the 90s). They were incredibly intellectual, snarky, enjoyed culture, had great sex, and could keep up with each other on an intellectual level few could. They thought they wanted partners who were “perfect” in the traditional sense; partners who would be exciting, un-aggressive, but loving in their intellectual debates. But over time they came to realize what they wanted and needed was a challenge. They reacted heatedly not because they genuinely disliked each other, but because they enjoyed poking fun, and the depths of how much they enjoyed each other genuinely scared them. When most authors write that is what they think they are building. 9 times out of 10 what they are actually building is a heal-face-turn, an abrupt and sudden, change in character and their dynamic. These characters had no reason to hate each other or their hate changes in an instant after one event, reducing multi-faceted characters to simple props while eliminating key differences between them. Play with those difference. Figure out how people fit together. This only helps you in the long run
So what does this all mean?
GO DEEPER. Just like sex. If all else fails take your time, slow it down, and then just try your best to go deeper. Understand your characters. Understand their motivations. Write out what sort of person they believe they want to love, and then write out who would actually be a good fit for them. If you cannot take the characters who are supposed to fall in love and say 50% of what would be a good fit and 20% of what they think they want is in their love interest then you probably don’t have a good case to convince the reader that this love is real.
Essentially if you don’t do this Dido won’t go down with your ship….and let me say that again for certain types of erotica: No one will go down if the characters relations don’t convince them they’d fuck. Strangers, people who meet online, friends with benefits, long time lovers, employers, and whomever got their relationship to that point, so make us believe how and why. It is your number one job in this genre.