Genre Bending

An older post revisited.

One of the things that catches me up at the end of a project is selecting the best genre for the book. Seems like it should be a no-brainer but it isn’t really. Of the five complete novels I’ve written in The Bucks County Series, all of them have a romantic component, so I’ve listed them under the romantic suspense genre. Nevertheless, all but one are crime stories: mysteries with clues to be followed and criminals to be apprehended. The one exception —Run For It— is even more hard to define; there are elements of suspense and romance, but no crimes get committed nor are there secrets to uncover. What is that? Realistic fiction, maybe? The thing is, I feel like I might be misleading the reader by including the ‘romance’ part in describing the genre.

Do romance readers expect steamy sex scenes? Or is that now classified as erotica? While the stories I write include the development of romance/relationships between my main characters, I abstain from depicting any sort of physical relationship beyond kissing. I think a romance reader might be a little disappointed. In any case, writing romance was never my objective, it was to write a good story in which a relationship might develop. In fact, I have nearly removed the romantic components from two of the five books because I felt the stories could stand on their own without it. I just liked the books better with the relationship left in.

I’m not a good, traditional romance writer and I know it. And perhaps that’s because I’m not particularly traditionally romantic myself. Candlelight dinners? I like to see what I’m eating. Chocolate? Ok, I’ll take the chocolate but not one of those samplers – half the stuff is inedible in those things. Flowers are nice but eventually they will dry up and all the petals will fall off and make a mess. I can never remember where I keep the vases anyway. New jewelry is lost on me – I always wear the same favorite pieces every day. You see what I mean… I feel like a hypocrite writing those sorts of things into my books. My characters feel as silly as I do in traditionally romantic situations.

So how does a romance go in a book by Meg Sorick? Most of my female leads are self-rescuers – they don’t actually need their men to bail them out of their crises. That is not to say my male leads are not capable of rescuing; I like strong male characters, just not Neanderthals. No offense Neanderthals (I hear that’s actually a thing … Neanderthal DNA showing up in all the ancestry testing everyone is having done to find out your real lineage, not the one your grandma lied about. But I digress…) Anyway, except for the non-mystery in my collection, the women find themselves as the target of some sort of criminal activity: burglary, stalking, attempted murder, and finally vandalism/arson. The men are there to help follow the clues, discuss possibilities and ultimately assist in solving the mystery. This is how I like the relationship to develop — the couple works together to overcome an obstacle or withstand a series of terrible events. They will genuinely like and respect each other, they will definitely be attracted to one another and they will learn to trust each other with their very lives. Not a bad formula, I would say. But then I arrive back at the original issue: how to classify the stories I write. I have some thinking to do. And I may give romance a rest altogether after I finish my next stand alone book —a historical novel set partly during World War One. I have plans for a sweet romance in that story, but after that? I think I should part ways with love…

Serial Distraction

The disadvantages of writing a piece of serial fiction never occur to me until after I’ve started writing and posting on my blog. I get these story ideas and find that they’re too long for one blog post and suddenly they take on a life of their own. Then I find myself facing the pressure of writing a new section each week whether the ideas are forthcoming or not! I should have learned my lesson last time.

Even with a well outlined plot, each segment of a serial piece is a little short story on its own and has to have a mini story arc in itself. To keep the readers’ interest from week to week, there needs to be action and intrigue, there is less time for character development and transition between scenes. Imagine the difference if the reader had the entire piece to read all at once. Both the writer and the reader would have time to explore a little history and character backstory, and the physical location or setting. The hook at the start and the cliff hanger at the end don’t need to come every 800-1000 words. It can be exhausting! Nevertheless, I treat these serial pieces as explorations and of course, they are truly at the rough draft stage, needing revision and expansion. So if each section of the current serial is less than perfect, I hope you will take those things into account.

I remind myself when I get frustrated, that the novel I’m working on began its life as a serial piece —you know, that WWI story I keep talking about? Yeah, I really need to get back to that!

So even though I’ve been distracted from my main work in progress, I still believe these serial pieces are valuable. They can be filed away for possible development and eventually I’ll have two more potential novels in progress.

The Great War – Research Notes (16) The Art Of War

When war broke out in August 1914, no one on either side of the conflict believed that it would rage on for over four bloody, devastating years. Many in fact, welcomed the war, believing it to be an opportunity for adventure —glorious and brief. The famous declaration that the whole thing would be finished ‘before the leaves fell from the trees’ or at the latest ‘by Christmas’ contributed to the romantic notion of going off to war. These fantasies were soon shattered by the gruesome reality of modern warfare.

The responses to the war evolved as time passed; from initial enthusiasm, nationalistic fervor and patriotism to shock, horror, anguish and remorse. These various and sometimes contradictory emotions are reflected in the art of the time. Photography and film news reels brought the carnage to life, so that even those at home got a taste of the true nature of war. Many artists and writers saw the war from the front lines and composed poetry, authored literature and created works of visual art reflective of those dreadful experiences. The following are samples of some of the works of art produced during and following The Great War:

I.  At the outset, many believed that the war would bring an end to the old social and political systems and usher in a new order of equality and progress. This optimism can be seen in the following lithograph from a collection called, Mystical Images of War. The artist, Natalia Goncharova, a Russian living in Paris at the outbreak of war, depicts the angelic host watching over the soldiers as they march away.

The Christian Host ~ Natalia Goncharova, 1914

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II.  Paul Nash is one of my favorite artists and he’s been featured here previously. The painting Ypres Salient At Night heads my poem: Tales Of War. Despite the optimistic title, Paul Nash’s painting depicts a scarred landscape with shell-holes, mounds of earth, and leafless trees –the resulting devastation of World War One.

We Are Making a New World ~ Paul Nash; 1918

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III.  Kathe Kollwitz used her art to portray the grief of loss from war. The following two pieces show the heartbreaking agony and hardship experienced by those left behind.

Killed In Action (Gefallen) ~ Kathe Kollwitz, 1920

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Mothers in different stages of life, held together by one common bond: the need to protect their children.

Mothers (Mütter) ~ Kathe Kollwitz, 1919

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IV.  Christopher Richard Wynn Nevinson revisits the desolation of No Man’s Land with insect-like planes buzzing overhead in That Cursed Wood, a title taken from a line in Siegfried Sassoon’s poem, At Carnoy: “Tomorrow we must go / To take some cursed wood… Oh world God made!”

That Cursed Wood ~ Christopher Richard Wynn Nevinson, 1917

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V.  I’ve featured Otto Dix twice before in my Great War posts. Shock Troops Advance Under Gas was the image for a post on chemical weapons and I used The Wounded Man to head my post about the disfiguring injuries to soldiers. You can click on the links to view those pieces. Otto Dix served for four years as a machine gun operator in the German army on the front lines in Belgium and France. He was grievously injured and suffered terrible nightmares about his experience. After the Armistice, during the height of these nightmares, he produced a series of drawings and etchings called The War (Der Krieg). Here is one more from that collection. In sharp contrast to the nationalist propaganda featuring war heroes like Baron Manfred von Richthofen (The Red Baron), Lens Being Bombed shows the terror and desperation of the citizens of the town in Northern France as they run for their lives.

Lens Being Bombed (Lens wird mit Bomben Belegt) ~Otto Dix, 1923-1924

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There are many, many more significant artists and artwork to consider, so this will be one of several posts on the subject.