Writing the Christian Romance(continued)
MILD TIMES In His Dreams, a Christian romance title from Gail Gaymer Martin "Start by looking at your own attributes, qualities, values, and degrees of faith or scrutinize the properties that comprise the personality and attributes of your family and friends." Also recommended: "Cutting out pictures of attractive people from catalogs and newspapers." Note on physical descriptions: "Some publishers encourage keeping descriptions above the chest on the male hero and above the shoulders on the heroine." Surrounded as the average secular writer is with drunks, misogynists, and narcissistic assholes, it may be necessary to pluck goodly heroes and heroines from the public sphere. The heroine, for instance, should be inspired by a lady of class and intelligence, ideally for whom there is little photographic evidence of a lower body. For the sake of this example, we'll use the lovely and talented New York Times op-editress Maureen Dowd. Then there's the hero. He should be a man of fortitude and strength, a man who is working to overcome chinks in his spiritual armor and the sins of the past. A man like former Poison lead singer and star of Rock of Love I and II, Bret Michaels.
JUST HYPOTHETICALLY ... Rock of Love's Bret Michaels, and the New York Times' Maureen Dowd A Christian introduction between two such characters might go a little something like this: Example: Our two heroes find themselves at a Guitar Hero soiree in downtown Manhattan. "Maureen" is attending ironically, coaxed into attending by literary wunderkind Keith Gessen. She scans the room, focused on finding fodder for her next column, "The Infantalization of the American Man." "Bret" is at the bar. As she enters, their eyes meet. He winks at her from across the room, and she is taken aback, horrified at his forwardness. And yet, intrigued. She wanders over to him, curious about this unknown creature with the easy smile and flowery bandanna. According to Martin, writers can avoid the crudeness of secular romance by avoiding gratuitous physical descriptions and "focus[ing] on a admirable characteristic" of each character. There will no bodice-ripping or sheathing of man-swords on this first meeting. Just a quiet appreciation of each other's admirable traits. Example: Maureen knew that many women were drawn to Bret's flaxen hair, but it is was his eyes, glittering pools lined with carefully applied kohl, that she noticed first. Those eyes kept her chatting idly at the side of the bar, sipping her tonic and soda, drawn in. Bret, for his part, couldn't stop taking in Maureen—the way her word choice was so ambitious, the familiar way she spoke of heads of state. He'd heard cautionary tales about women like her before—"handsomely dressed," "career driven." But she was different. Maybe it was her flaming hair, her bodaciousness. No. These were just side dishes—nay, distractions—from her most attractive quality: her indomitable search for truth despite being mired in a den of moral apologists and Jews.
BARE CHESTED ARDOR Reinvented, with a takeaway "spiritual message" "Backstory is the subtle seasoning of a novel. ... One or two of the conflicts [in the past] should be part of the spiritual struggle character; for example, a prideful character knows that the Lord asks him to be humble." Examples: Bret: His past promiscuity and penchant for godless rock and roll might just might conceal a deep longing for genuine spiritual connection. |
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