Archive for » March, 2010 «
There’s been a ruckus over in the YA book blog arena as of late regarding romance in the YA category. I’m not sure where it started but I have read a few of the posts on both sides of the argument and they’re equally polarizing. The argument is whether YA romance should change because of the “bad romance” that’s, as of late, been perpetuated in their pages. Twilight is often used as a reference, making Edward the controlling abusive boyfriend and Bella the weak doormat of a girlfriend. Their love is founded on nothing deeper than superficial looks (and smells), he stalks her, he commands her, he controls her and she loves him for it. Other books like Hush, Hush are used but I haven’t read those.
I have read the Twilight series and I agree that Edward and Bella’s relationship is ridiculous and not something that should be emulated. I read a similar relationship in the book Lament by Maggie Stiefvater between the female MC and her faerie boyfriend. She loved him despite knowing nothing about him and only knowing he existed for a couple of weeks. I’m not a fan of the lust = love that goes on in YA as it’s a bad message to send to the impressionable minds reading it.
Against Change
A common element in posts rallying for YA romance is that it’s “just fiction”(1) and “if you don’t like it, don’t read it.”(2) The people reacting so strongly against YA romance need to stop taking books so seriously(3) and, basically, shut up already.(4)
1) Just fiction, is it? Tell that to the swarms of rabid Twilight fans that claw at their own bodies to bleed for Robert Pattinson when he’s near. Or those same fans inflicting bodily harm on those that don’t like Twilight and dare to voice their opinion on the matter. Or all those thirteen-year-old girls that actually aren’t capable of differentiating fiction from reality and see Edward as the shining star of boyfriends and will actually mould their world to find a guy just like him. Or Twimoms.
My argument is it is just fiction so long as you’re capable of determining where fiction ends and reality begins. I’ve always found it ironic when people passionate about books hear opinions they don’t like resort to the “it’s just fiction” defense. If it’s just fiction, why voice you opinion so adamantly against other adamant opinions? Why have a book blog? Why promote books? Slightly hypocritical.
“It’s just fiction” only applies to those minds that are capable of making that distinction. To everyone else, that “fiction is so much more.
2) If you’ve never read it before, how do you know you’re not going to like it? In my experience, those are usually the same people that’ll chastise a poor review crying, “if you didn’t like it, why did you read it?” and equally harp on someone that pre-emptively judges something, saying, “don’t knock it until you try it.” Really, you can’t have it both ways.
In the likes of Hush, Hush, it’s been getting rave reviews all over the place. People are loving it. If you happen to be a fan of YA romance in general, it’s probably going to be something you’re going to pick up based on the glowing opinions of your peers. Being a reviewer, you’d think it’d be the reviewer’s job to voice concern with a book they thought would be one way but ended up being another. Are they not allowed? For all of the “don’t be afraid to post negative reviews” going around, does that only apply to some books? I am a book reviewer. If I pick up a book thinking it’s going to be one way and it just falls in line with all of the other same-old already out there, I’m going to say something about it. As is the nature of a reviewer. To throw the dissenting line right back at them, “if you don’t want to read my negative review, which will be quite evident from the beginning, then don’t read it.”
3) See 1) above regarding taking books too seriously. This is the very reason why people on the “for” side want change in YA. It’s honestly not all that healthy to draw blood for an actor that you only see as a character, nor is it healthy to physically lash out at someone that doesn’t agree with you about a book. We’re trying to be both proactive and reactionary with this. If we can get the word out that Edward is really a piece of shit that doesn’t deserve to be worshipped, then maybe the readers will start to see flaws in subsequent similar relationships in other YA romance books (which they are). Yet books with such relationships are still being written so it’s a never-ending cycle.
This is another argumentative element that many people only use when it serves them. Apparently little do they realize that they’re taking these books just as seriously when they rebut posts.
4) No. To throw that line back at them yet again, “if you don’t like it, don’t read it.” At least this time you know what you’re going to get so if you further subject yourself to articles that only make you angry, you have no one to blame but yourself. How about not clicking on the post titled, “Why YA Romance Needs to Change”? That would be a good start.
It’s the main reason why I don’t read romances of any kind (for the most part). I’ve never been a fan. There have been a few YA that I have read that I’ve liked, like Sea Change by Aimee Friedman where the female lead actually has a backbone and knows when to put her foot down. But if something is labeled as YA romance, or I read that the central plot is some sort of love issue, I’m going to skip it. It’s rare I end up reading one but why would I subject myself to that? I don’t mind the occasional rant but after a while they’d just get redundant.
I’ve also seen comments chastising bloggers for being feminists, as if that’s a bad thing. Yes, how bull dyke-y of us to get cranky when yet another book comes out with a doormat for a female lead and a stalker for a love interest. God, the nerve, right? Maybe you want to be Mary Tyler Moore in your apron and pearls cooking dinner for your husband and 2.4 kids but I don’t. I don’t have anything against housewives and I don’t see them as weak for not donning a skirt suit and going out into the working world, but it’s not a lifestyle I’d opt into myself. It doesn’t mean I should get the word ‘feminist’ spit at me as if it’s a four letter word. That’ll just make me laugh.
I’ve seen others say that it’s okay to have wimps for main characters because not everyone is Xena. Um . . . okay . . . while I’ll agree that not every chick can jack a guy against a wall with one hand but I wouldn’t go so far as to say it’s okay to have weak female characters. Yes, not everyone has a strong personality but I don’t think it’s right to perpetuate that it’s okay to be weak and submissive and bow down to stronger personalities. Why is it okay to perpetuate the notion that finally giving into your stalker because he “might not be that bad”? Really? That’s okay? Some jackass is harassing you at school, calling you a prude for not going out with him, badgering you for a date and you finally acquiesce to just shut him up . . . and end up falling for him . . . that’s okay? I honestly pity upcoming generations of women if that’s okay.
I also saw one blogger rant on about all of this being called rape culture and how disgusting all of the people making the association were for even making it because rape is such a horrible thing. Yeah, it is. But what’s being forced to date your stalker? What’s being forced to date a bully? What’s being forced to fuck someone just so they might leave you alone? To get a better idea of the notion of YA romance and rape culture, read this blog post. It uses Hush, Hush as an example. It quotes off of this blog post about society’s perpetuation of “you’re damned if you do, you’re damned if you don’t” for women. So am I a cold-hearted bitch for ramming my elbow into a guy’s spine when he decided to cop a feel in a bar? Or am I just crazy? When I tell a guy to his face to fuck off, what kind of bitch am I then? It’s the notion of don’t you dare stand up for yourself ever if you don’t want to be ostracized but if you don’t stand up for yourself and you end up getting raped, well you brought it on yourself and you deserve it you disgusting whore.
So what then? How is that not disgusting? So we have books that are teaching pre-pubescent minds to acquiesce to that creepy guy’s request because otherwise they’d be some form of a bitch and we don’t want that, but that only leads to stalking and death threats and rape and so on and so forth. That’s okay, is it? It’s not disgusting what some of these books are saying is okay? So all teenage girls should go out and give their stalkers a chance? Let’s see what comes of it?
As I said, for those of us that can differentiate fantasy from reality, it’s fluff. Flight of fancy that gives us a chance to escape. Personally I’d step on the nuts of some of these characters with my five inch stilettos (I was always much more fond of Jasper than I ever was of Edward) and go after their non-restraining order friends but that’s just me. But for those that don’t, therein lies the real issue and the one which we’re currently rallied for.
For Change
While I agree with much more of the “for” side than the against, there’s some polarizing stuff that I do think is going too far.
Like giving any book with even a hint of a supposed “bad romance” a bad review simply to send a message. To crawl into a writer’s shoes (as I stand in them so frequently), the messages that a lot of people pull from books the author is usually oblivious to. I can guarantee that SMeyer didn’t intentionally write the Edward/Bella/Jacon triangle the way many of us interpreted it. Personally it makes me question just what her definition of a good relationship is but that’s besides the point. A lot of the times that subliminal message isn’t even realized until other people point it out.
Just like we had that issue with “white privilege” and people “not noticing” that the cover models didn’t match the race of the actual character, we have the “rape culture” notion beaten into our heads that even subconsciously, while we’re writing a romance, we’re writing characters that we don’t see as being weak or submissive until someone else points it out to us. Basically it’s not a notion that we’ve actively adopted but something that’s bred there from birth. While it doesn’t make it right, it doesn’t make it okay to brow-beat people for writing what they feel is a love story.
In a perfect world every woman would recognize a creep right from the beginning and have the nerve to stand up to him. But that’s not the case. While I’m not condoning bad romances in YA, I’m saying look at the other side of the coin before tying the author to a stake and setting it ablaze. A book doesn’t deserve a bad review because the MC didn’t kick the love interest in the nuts when you thought she should. If we did that for every single romance, YA or otherwise, we wouldn’t be promoting shit.
Striking a balance is key. If you really feel that the relationship isn’t a good one, mention it. Will it really kill the rest of the book for you? Most book bloggers out there are over the age of consent so they can read a book for its entertainment value while giving it a more critical eye. I mention the relationship in Lament in my review of it -
As for the relationship between Luke and Dee . . . meh. Dee does become pretty reliant on Luke to get her out of tough situations but when the time comes for her to step up to the plate, she’s capable which is a nice thing to see. Instead of relying on someone else’s help, she finds the strength within to remedy the situation. That’s an awesome thing right there. When all seems lost, the MC makes it not lost with no one’s help but her own.
And so help me, every time Luke called Dee pretty girl, I wanted to punch him in the throat. From the second he said it I felt it was so patronizing, especially within the context of some of his sentences. There were times where I thought it actually belittled Dee but she loved him calling her that. Whatever. To each her own and some junk.
Am I perpetuating the problem? I’m sure some would see it that way. But I’m also not one to go absolute shit when I disagree with it. That would just make me angry way too often and that’s a lot of expended energy. I mentioned parts of the relationship that I didn’t like. I felt that Luke’s comments were patronizing. It doesn’t mean they actually were. It’s just how I read them.
So I mean a line has to be drawn somewhere here. If you read Albatross by Josie Bloss you’ll see that the line isn’t so blurred at all in that story. Micah’s a prick. Plain and simple. The way he treats the MC is despicable but the point of the story is to actually showcase a bad romance, not mask it as something it isn’t. There is no “leave it up to interpretation” here where I think there is in a lot of the other stories.
I can only attest to what I’ve actually read. I’d have to read Hush, Hush to be able to say, one way or another, that I would agree with the above-linked blog post in its interpretation of the relationship. I have made myself very clear in my reviews of Twilight about how I felt about that one.
Yes, weakness bothers me. No, I don’t find the act of falling in love as inherently a weakness. I also don’t interpret lust as love. Love actually requires knowing someone for more than a nanosecond and liking something other than their looks. We all interpret things differently based on how we were raised. Just like with any situation, multiple people can interpret the same scene multiple ways. There are situations where the situation is undeniable. If a girl is asking for help to get away from a bad situation and it’s being denied to her, there’s something wrong there. But if a guy calls a girl “pretty girl,” some girls would find it endearing while others would find it condescending. Not everyone has that feminist streak and not everyone is going to interpret everything as an assault on the female psyche. It’s not a bad thing to be a feminist and stand up for women’s rights but some perspective is required.
So let’s not be so quick to chastise the authors of what one would consider a “bad romance.” Understanding and evaluating both sides of the coin always leads to a more well-rounded and balanced opinion on the matter.
As you can see, I lean much more towards the “this weak female shit’s gotta stop” side of the argument but it’s all within its own perspective. Not every female is strong-willed. Not everyone’s going to see a pet name the same way. I’d like to think that everyone would notice the signs of stalking universally but I guess even that can vary from person to person. I know in arguments like this, especially on the more feminist side, it’s an all or nothing type of thing but that’s not how I like to work. I understand there are different strokes for different folks and with something like that, it can’t be blanketed. It’s different for someone that’s been in a situation where they’ve been powerless and taken advantage of. I have, Hence something like the elbow to the spine. But I still don’t have it in me to try and force my minds eye onto other people about something like this.
It doesn’t mean I like to see weak female protags in YA romance falling for their overbearing stalkers any more. I’m just not going to turn into a rabid snarling feminist about it either. They’re called extremes for a reason.
The Guardian’s Ten rules for Writing Fiction
Never use an adverb to modify the verb “said” . . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs”. (Elmore Leonard)
Mortal sin? I don’t know about that. While going all Tom Swifty is never good for your writing, just like anything else in life, adverbs used in moderation can’t hurt. Yes, a character’s emotion should be relayed through his dialogue, hence making an adverb redundant and all around useless. But every once in a while, scattered sporadically throughout your work, they can be used without weakening your manuscript to within an inch of its life. Now if I see those blasted -ly words everywhere, I just might light the damn thing on fire, especially should the author decide to get creative and make an adverb where there never used to be one. But really, how much can a single ‘quickly’ really hurt?
Sometimes authors get too big for their breeches. Some take immense fame in stride. Others heads inflate to dangerous proportions. Nicholas Sparks needs to make use of a rather sharpened pin. In a recent article from USA Today, Sparks and Miley Cyrus, the epitome of teen don’t, sat down with the interviewer to discuss the upcoming movie The Last Song, adapted from Sparks’s book and stars Cyrus (joy).
In this inglorious article, Sparks is adamant to claim that his stories aren’t romances. Let’s look at the definition of romance, shall we? From the Romance Writers of America website -
Two basic elements comprise every romance novel: a central love story and an emotionally-satisfying and optimistic ending.
A Central Love Story: The main plot centers around two individuals falling in love and struggling to make the relationship work. A writer can include as many subplots as he/she wants as long as the love story is the main focus of the novel.
An Emotionally-Satisfying and Optimistic Ending: In a romance, the lovers who risk and struggle for each other and their relationship are rewarded with emotional justice and unconditional love.
Romance novels may have any tone or style, be set in any place or time, and have varying levels of sensuality—ranging from sweet to extremely hot. These settings and distinctions of plot create specific subgenres within romance fiction.
Now, I admit I’ve never read any of Sparks’s books because, well, I don’t read romance. Sorry, Sparks, but “love story” is synonymous. While Sparks’s work may not be the romance novel of the Fabio variety, and while he not be getting published by Harlequin anytime soon, his works do fit the general definition of a romance pretty closely, I’d think.
He’s also quite adamant about his work not being melodramatic -
Sparks says: “I’m going to interrupt you there. There’s a difference between drama and melodrama; evoking genuine emotion, or manipulating emotion. It’s a very fine eye-of-the-needle to thread. And it’s very rare that it works. That’s why I tend to dominate this particular genre. There is this fine line. And I do not verge into melodrama. It’s all drama. I try to generate authentic emotional power.”
No, Nick. You don’t write melodrama. Because it actually takes a modicum of talent to effectively manipulate someone’s emotions through words. You just hand them over on silver, tear-stained platters. And I’m so glad you think you dominate. Of what you dominate, we have differing opinions.
Then he meanders off into comparing himself against the likes of Euripides and Hemingway -
“I write in a genre that was not defined by me. The examples were not set out by me. They were set out 2,000 years ago by Aeschylus, Sophocles and Euripides. They were called the Greek tragedies.
. . .
“A Farewell to Arms, by Hemingway. Good stuff. That’s what I write,” he says, putting it back. “That’s what I write.”
Maybe someone should draw out some kind of circle chart comparing confidence with cockiness. Is Hemingway crawling out of his grave yet? But is he saying he writes good stuff in general or good stuff by the way of Hemingway? Slap the man if it’s the latter. The former is up for debate. Maybe his debut was good but I wouldn’t say redundancies are the makings of “good stuff.”
And then he does the ultimate author no-no -
Cormac McCarthy? “Horrible,” he says, looking at Blood Meridian. “This is probably the most pulpy, overwrought, melodramatic cowboy vs. Indians story ever written.”
Even hearing a passage about a sunset in which “the mountains in their blue islands stood footless in the void like floating temples” doesn’t sway him.
Ironic, don’t you think? Considering his work is comparable to the likes of The Bridges of Madison County, he should talk.
And, of course, his favorite youthful tale -
Sparks’ favorite tale of youth? “I think A Walk to Remember,” he says, citing his own novel. “That’s my version of a coming-of-age.” He pauses and adds: “You have to sayTo Kill a Mockingbird is an all-time classic.”
Maybe Sparks should expand his reading repertoire, don’t you think? Again, cocky vs. confident. Claiming one of your own pieces of work as your favorite novel = huge nut sack.
And nothing says asshole like writing hypocrite on your own forehead.
Any he thinks are overrated?
“I don’t like to say bad things about others.”
Except McCarthy? “He deserves it,” Spark says with a laugh.
Oh, Karma. Where for art thou, Karma? May you, Mr. Sparks, get everything your swollen head deserves.
And here, you can actually hear the air being pumped into Sparks’s dome -
Asked what he likes in his own genre, Sparks replies: “There are no authors in my genre. No one is doing what I do.”
When others (James Patterson?) are suggested to him, he keeps his lips pursed.
But lo! One mustn’t prove Mr. Sparks wrong! That’ll anger the the god of all non-romance love story tragedies! For he is the only one that can pen such immaculate pieces and what will we all do should he fall? Who else will there be to write tragic love stories? He is the only one with that key! Without him, all will be lost! Chagrin.
The Amazon search function alone disagrees with you there, buddy.
Then he battles with romance vs. love story again -
“No, it’s the difference between Cinderella and Romeo and Juliet,” he says. “(Romances) are all essentially the same story: You’ve got a woman, she’s down on her luck, she meets the handsome stranger who falls desperately in love with her, but he’s got these quirks, she must change him, and they have their conflicts, and then they end up happily ever after.”
Can someone please introduce Mr. Sparks to the Brothers Grimm version of Cinderella? Romeo and Juliet is a romance. Again, while Romeo isn’t played by Fabio, the central plot of the story revolves around the romance of two teens who die for each other. Some would consider that pretty fucking romantic. Me, I consider it moronic but that’s just my opinion.
And is it me or is it laugh-out-loud ridiculous that Sparks considers all romances basically the same? Alas, we are blind to our own faults.
And Sparks insists that you never know what you’re going to get from his books -
Some might say that’s the plot to Nights in Rodanthe, apart from the happy ending.
Sparks disagrees. “No, the themes in love stories are different. In mine, you never know if it’s going to be a happy ending, sad ending, bittersweet or tragic. You read a romance because you know what to expect. You read a love story because you don’t know what to expect.”
Um, when your work is as formulaic as a Betty Crocker recipe, it’s pretty easy to guess the plot, especially when you rehash the same goddamn thing in every single one of your books. Boy meets girl. Boy loves girl. Romance ensues. Tragedy happens but love prevails, with or without both parties involved. The end. Find me a Sparks novel that doesn’t fit some version of that formula and you get a gold star. Remember, I’ve never read any of his books and I could only stand to sit through about half of The Notebook.
Because I’m not a fan of romance.
The Guardian’s Ten Rules for Writing Fiction
Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks.” (Elmore Leonard)
I’m going to have to agree here. Prologues, for the most part, are absolutely pointless. Stories are usually best kept at starting at chapter 1, not eleven years in the future or 20 years in the past or whatever. Chances are, anything you say in your prologue can be interspersed throughout your story. Especially if it’s nothing but an infodumping clump of backstory, the last thing you want to do is bore your readers to tears before the story even begins. That’s great you want to set up your world. Next time learn how to do it from within your story, as that’s where it should be done anyway. Or just set to the task of writing an encyclopedia.








