These characters are the lens through which a tale is told, and who they are–and how well the author knows them– directly influences that story. You’d be hard pressed to find a writer who didn’t understand the importance of heroes and heroines. The same can’t always be said of the villains, however.
For anyone who has read the six-word story by Hemingway, “For sale: baby shoes, never worn,” you’ll know an awful lot can be said with an awful little.
From the outside, writing doesn’t look too hard. After all, I spent eight to ten hours a day on my computer, doing the thing I love most in the world. What could be difficult about that? I get to research unique and interesting things, and tell the stories that I want to tell. It’s the dream job. And it is the dream job, but it’s sure as hell not an easy one.
I used to think I could research my books as I went. I used to delve into plot and character development and setting and think I’ll get to that later. I used to believe that research was secondary, tertiary even, to the fundamentals of writing a story. I used to be very, very wrong.
Contemporary stories wiggled around in my head until I gave them life, and soon I found that I was writing in several genres, erotic and more traditional romance in both the historical and modern age. I wrote BDSM novellas and menage novels and pirates stories and everything in between. And along the way, I’ve come to favor certain elements of writing both then and now.
Why aren’t these books marketed as romance novels and why do so many stories have love-story plots or subplots but scoff at the ones that do so intentionally?
Sometimes I write about important things. This isn’t one of those times. This is one of those times where I stomp my feet and beat my chest and demand that our alpha He-Men are also capable polyglots with an eye for Baroque art and a surprisingly vast knowledge of the erotic language in the Decameron.