Romance Across Genres

The days of writing rigidly to a particular genre, crime fiction, detective fiction, sci-fi, horror, historical fiction, thriller fiction, and romance have slipped, crept, and rolled across the genre borders.

 

Romance has the potential to capture the coldest of hearts.

 

The basic elements of the genre remain. Mystery and suspense with a soft touch of romance add to the allure of the tale. Romance as a genre in its pure form has limitless power to create relationships that stretch and bend the imagination as far as it will go.

 

While romance engages the emotional side of the reader, it does not overwhelm the crime/detective/historical/sci-fi, which occupies the greater space of the genre.

 

The love story element in any story adds the desirous human connection.

 

Age is no deterrent to romance. It’s not restricted to young love such as that of Romeo and Juliet. Including older characters in the angst and joy of their romantic interludes creates an inclusive perception of love. It increases the appeal of the overarching genre at work.

 

The happily ever after isn’t always true. Fiction is a mirror of life. Testing the strength or commitment of a relationship between crime/detective fiction heightens its entertainment value. Romance, while not central to the story outside the romance genre, might add a satisfying element against the crime/detective fiction at work.

 

Love is just a word until someone comes along and gives it meaning   ~Paulo Coelho

Wonderfully true — it is indeed our charismatic or struggling fictional characters who love, or are in love, that linger to remind us why love given and received should never be extracted from the soul.

 

There is no charm equal to tenderness of heart ~Jane Austen.

Magical! The reader is drawn to the story regardless of the genre.

 

I would like to be the air that inhabits you for a moment only. I would like to be that unnoticed and that necessary ~ Margaret Atwood.

Brilliant! This stirs ideas on how this would unfold in a crime fiction tale!

The gist of these well-known lines deepens the human connection in any genre.

 

Happy Reading. Happy Writing.

 

Please like, share, comment and hold on to a tender heart. We need it in both fiction and life.

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Paving the Crime Fiction Way

Why does crime fascinate the reader or the viewer? From a gripping novel to a suspenseful film, both mediums are loaded with intrigue, blood, gore, missing persons, and dead bodies, and they certainly hold our attention for more. 

Pushing boundaries is the adventurous inclination invited by human fascination, as is vying for the person we want to set free from crime. 

Crime writing, like reading crime novels and viewing crime films, is an emotional investment for the adrenaline rush we crave. Words on a page must do the creative hard work that diegetic or non-diegetic music elicits to keep us on edge, before, during and after the crime has been committed. 

Descriptive language, sharp, short sentences, sensory imagery and specific punctuation, create and elevate the mood that befits a crucial scene in a novel. The intrigue must be deep enough for the reader to push on, chapter after chapter, well into the night, or wee hours. 

Crime fiction often draws inspiration from actual crime, which allows for greater reader appeal. Research is vital to achieving a realistic, entertaining selling point. 

Attending a criminal court hearing is a valuable catalyst for storylines to kick off. Make a friend in your local police station and shadow the police person to walk in their shoes for a few days. What better way to get inside the aftermath of the crime? 

Visit a prison, and if allowed, ask to interview a prisoner. Getting inside the minds of criminals fuels the creative urge for the realistic crafting of your MC. 

Research profiles of victims of crime and seek a psychologist or psychiatrist to gain a greater depth of understanding of why the victim might have been targeted. 

Visiting crime sites long after the investigation and conviction enrich the landscapes in a crime fiction story. 

Live research is valuable for the unique imaginative triggers they invite. Equally, reading crime novels of note is vital to the crime writer. 

Crime documentaries are accessible anytime if physically going to a prison or crime site is not an option.  

Don’t go too far. Grab the daily newspaper, and a new crime of the day or week holds our attention as we seek more on the investigation. 

Unending thirst for crime novels and films continues to expand, weaving through different genres and is an inroad to writing for aspiring creatives.  

 

Writing the right crime pays. 

 

What are your favourite crime novels and films? 

Please like, share, and comment in the box below. 

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Villainous Characters

The most memorable characters in literature are often those who remain indelible for their villainous acts, making them timeless scoundrels of literature!

Shakespeare has shaped villainous characters that resonate through time. In creating a dark and dangerous character, turn to some of his notable characters to consider why you loathe them enough to remember their ruthless antics with lucidity.

Are you writing a thriller?

How far will you go? How evil will your characters be? What atrocities will they commit? Will they be politicians? Leaders of some institution, a religious organisation perhaps. Is there a peculiarity other than the evil nature of this character? What positions of power do they occupy or are they aspiring to claim power? Who will they prey on – successful people, kind individuals or the weak and vulnerable? What do they want from life? Will they learn a lesson? Will they become kind and compassionate – perhaps by some ingenious stroke of luck, fate?

 

Remember Iago? 

‘The Moor is of a free and open nature.’

Artful manipulator, toying with the insecurities of Othello, the magnificent military man in a white world, loved by the beautiful Desdemona, his prized possession –  Iago’s manipulation leads to a brutal and bloody end. The characterisation of Iago is powerfully portrayed to make the audience despise him.

 And what about the evil sisters and the wicked and dissatisfied bastard?


Goneril and Regan in King Lear are the evil sisters, corrupt daughters of the king who manipulate the need in their father when he divides his kingdom based on how much his daughters love him.

‘Sir, I love you more than words can wield the matter; Dearer than eyesight, space…’

Edmund, the illegitimate son of Gloucester, half-brother of Edgar is out to be acknowledged, to claim that which he was denied. He, too, manipulates Gloucester, in his bitterness against the world, to turn his father against his son Edgar, his half-brother.

 

‘A credulous father and a brother noble,…

‘My father compounded with my mother under the Dragon’s tail, and my nativity was under Ursa major, so that follows, I am rough and lecherous,’


Two fathers so terribly wronged by their children. Look at daily media reports on domestic violence, incest, and murder at the hands of family members.

And then the desire for the crown and the position of first Lady?
Lady Macbeth and Macbeth, not to mention the conniving witches – ruthless and bloody endings in the quest for power and position.

Lady Macbeth’s power of persuasion is evident in her manipulation of her husband,

‘That I may pour my spirits in thine ear’

Local politics? International politics? Domestic politics? Timeless indeed!

A friend turning on a friend- is this the ‘fault in our stars’ or peer pressure? Really?
Julius Caesar – Brutus, noble friend to Caesar is at first two-thirds sold by the conspirators and then they have him all.

‘I kiss thy hand, but not in flattery, Caesar.’

He, too, plants a knife-wielding blow, mortally wounding his once respected friend.

Shakespeare created characters that are timeless representations of human foibles and the plight of the human condition.

In creating your villainous characters, think about what loathsome qualities will make them timeless, the bard certainly got it right. And there are many more examples, what about  Hamlet?  Mother and uncle behaving badly!

Here’s a memorable line on villainous, scoundrels from The Tempest. Ariel quotes Ferdinand to Prospero,

 Hell is empty and all the devils are here!’

Who are the notorious scoundrels in literature that are memorable for you?

 

 

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