How to Write a Spicy Love Scene

As I enjoyed my morning coffee I came across something hilarious on Facebook. A BuzzFeed article featuring snippets of so-called love scenes from male romance authors. Some men write romance and do it well. Then there are others who, frankly, have no business picking up a pen. Their work was nothing but poor syntax and descriptions that went way beyond any sense of believability. It resulted in some of the funniest stuff I’ve read in years. Unfortunately, I don’t think writing comedy was their intention. 


So, how you do write a spicy scene that won’t make your readers burst out laughing? Just like with any other writing, it’s all about the proper technique. In one of my other blogs, Marina Martindale’s Musings, I wrote an article called, Sweet, Sensual or Erotic Romance?  It discusses the different romance subgenres. I write sensual romance, which is probably the most common. However, the advice I’m giving would also apply to writing erotica.

Have a basic understanding of anatomy and physiology.


Human beings come in two body types with two distinct sets of equipment. This equipment only functions in certain ways. When in doubt there are plenty of medical websites out there where you can get more information.

Handle euphemisms with care.


While you can call body parts by name in erotica, they may be too graphic or harsh for sensual romance. Euphemisms can be substituted, but be careful. Certain words, such as manhood, tend to be overused. Others, such as butterfly, can be downright corny. If you’re new to this kind of writing I would recommend reading some erotica from established authors, such as Anais Nin. 

Use proper grammar, syntax and punctuation


Nothing screams amatuer louder than poor writing. No matter the genre, if your story is poorly written it won’t be read. This is why even the most well known authors use editors and proofreaders. 


So, if you’re ready for a good belly laugh, I’ve posted a link to the article below. Be sure to put your coffee down first as an unexpected burst of laughter while you’re swallowing may result in the coffee coming out of your nose and splattering your computer screen. 


GM

And here’s the article. 
I’m So Sorry, But Here’s How Some Male Authors For Really Real Described Women In Books

Storytelling 101

Fundamental Plot Development

Graphic by Gayle Martin

All stories, whether it’s a short story or Anna Karenina, revolve around conflict and basic plot structure. I call it, The Four “Cs” of Writing. Other writers may call it something different. It’s the formula I use with every story I write, and it works each and every time.

The four C’s of writing

  • Characters
  • Conflict 
  • Climax
  • Conclusion

Characters

Who is your story about? Without characters there is no story to tell. I begin my stories with my lead protagonist(s). However, I don’t consider this a hard and fast rule. Depending on your genre, you may wish to begin your story with a minor character or even your antagonist. Whichever way you go, the plot revolves around the characters and what they do.

Conflict


The meat and bones of the story. It’s all about the conflict because conflict creates the drama. Imagine a story about a happy couple who never argue or disagree. Nothing bad ever happens to them. They live a long, happy, charmed life where nothing ever goes wrong. The end. Now let’s take that same couple. He tells her he has to work late that night, but he arrives home in the wee hours of the morning. She can smell another woman’s perfume on his clothing. She sees lipstick on his collar. Guess what’s coming next?So, which story would make the most compelling reading? Plotlines revolve around conflict, and how the characters react to it.

Climax


The high point of the story. The punch line. They argue. She grabs a lamp off the nightstand and coldcocks him over the head. He falls to the floor, unconscious and bleeding. Meanwhile the neighbors heard them fighting and called the cops. The cops soon arrive and bust down the door. He’s lying dead on the floor while his blood, and her fingerprints, are all over the lamp. 

Conclusion


The loose ends are tied up and you end the story. She’s hauled off to jail, goes on trial, and is convicted. Since I write stand alone novels I resolve the entire conflict and leave my readers with a definitive, satisfying ending. Once again, this isn’t a hard and fast rule. Some authors prefer a more ambiguous ending. They may leave the readers with a hung jury. And if you’re writing a series you’ll certainly want to leave something unresolved to continue in the next book.


And there you have it. The four basic components of plot development and storytelling. 

GM

Is Writing a Memoir a Good Idea?

© Can Stock Photo / khunaspix

Writing memoirs has become a popular trend. When I published books for other authors, it seemed like most of my inquiries came from people wanting to write their memoirs. My advice today is the same as what I gave back then. Ask yourself what is it about your life story that’s so compelling that other people would want to read it. It’s a question you need to answer honestly before proceeding any further.


Our life’s journey is certainly interesting to us. After all, we’re the star of our own show. But I want to be brutally honest here. No one, other than your immediate family, and perhaps your closest friends, really cares about how wonderful your spouse is or how smart your kids are. Nor does anyone care about the details of everything you did on that cruise to Hawaii. So, the first thing you need to do is to check your ego at the door.


Have you overcome an obstacle that’s beyond the ordinary? For instance, have you survived a violent crime? Did you survive an accident or horrible disease that would have been fatal to most people? Have you traveled to some faraway, exotic destination, such as Antarctica, that few will ever see? Were you ever a first responder? Were you ever in showbiz? Have you had some other extraordinary life experience that few people ever will? Most importantly, would your story be an inspiration to others? If you can answer yes to any of these questions, then perhaps you should give some thought to writing a memoir.


People read books because they want to be entertained, inspired, or because they want to learn something new. In other words, there has to be something in it for the reader. Ideally, it should be a story that inspires others, and perhaps changes people’s lives for the better.

GM

Knowing When to Quit, Part Two


© CanStockPhoto/rustyphil

In my earlier post, Knowing When to Quit, Part One, I talked about redundancy. This time I’ll discuss another way to overwork a story. Creating over the top scenarios or plot lines which don’t connect well with the earlier story. This can be especially problematic when you’re writing a series. There simply comes a point when your story, even if it’s a series, has to end. Otherwise it may become absurd or even bizarre.


I’ll use an example familiar to most of us. Star Trek.


I grew up watching the original Star Trek. The characters, human and alien, were compelling and believable; so much so that they became iconic. However, by the third season, the writers seemed to be running out of ideas. The ridiculous storylines in some of the episodes hurt the integrity of the series. NBC then cancelled the show. After that it went into syndication where its following grew.

The movies started ten years later. The original characters were back. However, they were older and they’d changed over time. This kept them interesting. The final original cast film, Star Trek The Undiscovered Country, completed their storyline with a well thought out ending. In the meantime, three new television series, Star Trek the Next Generation, Deep Space Nine and Voyager, created a plethora of interesting new characters with plenty of potential for exciting new stories. They were followed by a series of movies featuring the Next Generation cast.


Sadly, it was all lost for me with Star Trek Enterprise, and the current movie series. Enterprise, the fifth TV serieswas a prequel. And prequels, regardless of the genre, can be problematic. To me, it was lackluster, and I soon lost interest. The new movies, also prequels, featured younger versions of the original characters. They too were disappointing. The stories take place in a parallel universe, so all the interesting back-stories established in the original series were gone. I found it way too confusing, and it certainly wasn’t the Star Trek I’d known and loved for decades. 


This is what happens when you run out of ideas. You lose the integrity of your story, and you risk losing your following. As storytellers, the two hardest words for us to write  are, “The End,” but write them we must, as all stories must end. Otherwise, in the words on my college painting professor, you really do turn your work into mud.


GM

When to Use a Pen Name

People ask me if I write under my real name, or a pen name. I actually write under both. There are many reasons why some authors choose to write under pen names.  

  • The author wishes to keep his or her privacy.
  • The author writes controversial or sensitive subject matter, such as erotica.
  • There is, by coincidence, another author with the same name, or a similar name.
  • The author has a name that is confusing, hard to pronounce, or with an unusual spelling.
  • The author writes in more than one genre, and wishes to build a separate brand for each.

The latter two apply to me.


When I wrote my first book, Anna’s Kitchen, I thought my legal name, Gayle Martin, was perhaps too common. So, I included my maiden name, Homes. However, there was a problem. Before I married Mr. Martin, I spent my life having both a first and a last name with unusual spellings. Gayle Homes. I was constantly having to spell my name for people, and they were still getting my name wrong. They all thought I was, “Gail Holmes.” And no, it didn’t exactly do wonders for my self-esteem. 

Once Anna’s Kitchen was published, I realized that the troubles of the past had come back to haunt me. The name, Gayle Homes, with or without, Martin, simply left too big of a margin for error for a keyword search. Had I not picked up the name, Martin, along my life’s journey, I would have used a pen name from the get-go. That said, we learn from our mistakes. So when I started publishing my Luke and Jenny series, I dropped the name Homes and published as Gayle Martin. It worked, and I successfully built my brand as a children’s book author. Then came the next problem.


As much as I loved my Luke and Jenny books, I wanted to branch out into the romance genre. And most readers in this genre expect some steamy love scenes. This would present a real problem if young Luke and Jenny fans, or their parents, bought my newer books, thinking they too were written for younger readers. So, I created a pen name, Marina Martindale, which is simply a play on my middle name, Marie, and my last name, Martin.


Ultimately, it’s up to each author to decide whether or not to write under a pen name. And if you opt to do so, I highly recommend creating one that’s easy to spell, easy to pronounce, and memorable.

GM
or is it
MM?

How to Create an Interesting Villain

© Can Stock Photo / Ostill

It seems like I spend so much time thinking about the good guys that I forget the bad guy needs love too. Plot lines revolve around conflict. So, there must be a source behind that conflict. And that would be the antagonist. More commonly known as the villain.


There are different approaches to creating a villain. One is to have him or her truly evil and completely irredeemable. Think Count Dracula. Your readers will hate him and root for the good guys to wipe him out. This is the villain you can kill off at the end of the story, and leave your readers feeling relieved and satisfied.


A more interesting approach is to create a conflicted villain. Instead of Count Dracula, you have Barnabas Collins, the reluctant vampire from Dark Shadows. Barnabas had been a good guy until a witch placed a vampire curse him. This leaves him despising what he’s become. I think of Barnabas as a “hero-villain.” He’s an antagonist we can root for. We want to see him cured of his affliction and end up with the girl. In the interim, however, he’ll wreak plenty of havoc.


Some storytellers like to take chances and have their hero go bad. Interesting approach, but it can be tricky. If you’re going to attempt it, your character will need plenty of redeeming qualities. If not, your readers won’t make a connection, and they won’t root for him or her. By the end of the story he or she will have to renounce all the bad things they did earlier. They must also be willing to make up for the sins of the past. If not, your readers won’t be satisfied with the ending, assuming they stayed with your story until the end.


Another way to conclude your story would be to end a tragedy with a tragedy. This works well when your villain has done things that simply can’t be walked away from. At the end of the original Star Wars saga, Darth Vader renounces the emperor and turns away from the dark side of the force. He has to sacrifice his own life in order to save Luke. This made a dramatic, and satisfying, end of the conflict.


So there you have it. With a little imagination, and a few character quirks, you can create interesting and memorable villains who’ll keep your readers engaged. And that’s what good storytelling is all about.

GM

How to Write a Good Description of Your Novel

From time to time I get emails from other authors announcing their latest book, This included one from someone who’s been writing novels longer than I have. It had the usual announcement, along with the book cover and a description. The description, however, was problematic, to say the least. It was at least five hundred words, if not more. And it described the entire plot. Once I finished reading it I had no incentive to buy the book. I knew the story from start to finish.


One of my mentors taught me to write descriptions of ten to one hundred words, and nothing longer. Over time I’ve discovered that a fifty to one hundred word description works nicely. I also write teasers, not plot summaries. The whole idea of a book description is to give a potential reader a general idea of what the story is about. It should also entice them to read more. In other words, it’s ad copy


I’ve pasted the descriptions for my Marina Martindale novels, The Journey, and The Stalker, as examples of effective teaser descriptions.


GM

The Journey

Cassie Palmer’s world is shattered when a car crash leaves her hospitalized and fighting for her life. Her husband, Jeremy, begins his own frightening journey when he meets Denise, one of Cassie’s nurses. Denise seems familiar, but while he may no longer remember her, she has neither forgiven nor forgotten how he jilted her, years before. Denise seeks revenge and Jeremy soon vanishes under mysterious circumstances, leaving his grieving wife behind. As Cassie struggles to recover her life will take another strange turn, when an unexpected visitor reveals that things are not as they appear.

The Stalker

Rachel Bennett may have attended her ten-year high school reunion on a whim, but fate intervened once she saw Shane MacLeod. No longer the shy, gawky teenager she remembered, Shane has matured into a handsome and successful man, but her perfect evening ends when another man from her past suddenly reappears. Craig Walker had been her mentor until he became jealous of her talent and success. Now he intends to either have her, or destroy her at all costs. As Rachel’s family pressures her to take Craig to court, she can no longer ignore her nagging feeling that a tragedy is about to strike.

Knowing When to Quit, Part One

(c) Can Stock Photo Inc. / tomasfoto

 I was an art major in college, and I’ll always remember one of my painting professors said.


“Every painter needs to have someone standing behind him to shoot him when he’s done. Otherwise, he’ll overwork the painting and turn it into mud.”


It’s extremely difficult for us as artists to see our work objectively enough to know when it’s finished. And once we realize we’ve overworked something, it may be too late to salvage it. Fortunately, when it comes to writing, there are warning signs that we can look for. One would be redundancy. I’ll use my Marina Martindale novel, The Deception, to illustrate my point.


I was near the end of the story. I’d resolved the main conflict. But as I was tying up remaining the loose ends I suddenly discovered a huge opening for one of the antagonists to go after the protagonist a second time. This left me with two options. One was to write a sequel. Tempting thought, as I loved my cast of characters. However, in this instance, the conflict would have been virtually the same as the conflict in the first book, thus making sequel redundant. In other words, it would have been a boring, “been there, done that,” story. So, rather than waste my time, and my reader’s time, with a bad sequel, I wrote a definitive ending and killed off the antagonist, ending the feud once and for all. 


Does your story feel like it’s getting stale? If so, go back and look at your conflict. If it keeps repeating itself, or if the results of your character’s choices are always the same, it may be that your story has become too redundant.


GM

Just Add Two Tablespoons of Fate

Anna’s Kitchen was my very first book. I completely produced and published it on my own. I think every author should be required do this at least once. It’s an incredible learning experience. It makes us extremely aware of just how much hard work goes into publishing a book, and why teamwork is so necessary.


Because I was doing it all myself, I had no one to edit or proofread for me. So, I used my spell checker. Big mistake, I know. It’s how I learned, the hard way, that every author must have an editor.


Once the book was printed I found all kinds of errors. One of my friends came across one in a gravy recipe he thought was particularly amusing. It said, “Add two tablespoons of fate.” He laughed and laughed. Then he asked me if it meant that we were supposed to pray over the gravy as it was being prepared. Now mind you, that’s not a bad idea. I pray over the little everyday things in life much more than the big things. In this case, however, it was a typo that the spell checker had missed. The word, “fate” was spelled correctly. But what it should have read was, “add two tablespoons of fat.”


Yes, you need a couple tablespoons of fat if you’re making gravy. However, when it comes to life in general, you might need to add two tablespoons of fate. Just saying.

GM

The Cure for Writer’s Block

Graphic by Gayle Martin

It happens to all of us at one time or another. We run into a proverbial brick wall and suddenly find ourselves unable to come up with something to write about. Ugh!

Creativity is a funny thing. We can’t always turn it on and off whenever we choose. This can be particularly frustrating for fiction writers who have to juggle their writing time between jobs and families.

 
Sometimes switching gears and writing about another topic can help. I have friends who work on two or three different books at the same time. If they get stuck on one, they simply set it aside and work on another one. However, if that doesn’t work, or, if you’re like me, and you only work on one story at a time, then try stepping away from the computer. Go do a project that’s been on your “honey do” list for too long. Those nagging issues really can affect your creativity.

If that doesn’t help, then take a break and do something you enjoy. Bake cookies. Play a round of golf. Go to a movie, or a ball game. Take a day trip somewhere. Read a book you haven’t had time to read. Call a friend or relative you haven’t spoken to in awhile. Taking a time out and doing something you enjoy gives your mind  a chance to focus on other things. It also gives your creative muse a rest. Don’t worry about your story. It’ll come back. And when it does, you can pick up where you left off. 


GM