Know Your Genre: Gothic

Over the past year, I've had to think hard about the meaning of genre and subgenre in commercial fiction. Whether you're traditionally or self-published, understanding how your book fits onto the shelf is a really important component to success. And sometimes, the best way to really understand genre is to listen to someone who knows it inside out. So I've asked author Barbara J. Hancock to share her thoughts with us about the gothic romance genre and what it means to her. Take it away, Barbara! --S.P.

By Barbara J. Hancock

I love to play in the shadows…

Though I’ve written in several genres, there are threads throughout all the books I’ve created that tie them together. I love atmosphere and angst. And larger-than-life characters who are tortured and maybe even scarred by their past experiences. But more than that, I especially love a heroine who somehow saves the day. She may not always carry a sword or wear a uniform, but my heroines are warriors at heart no matter how vulnerable, no matter how tempest tossed.

And this is why I was immediately drawn to the call for modern gothics by the Harlequin Digital First line.

When we think of gothics, our minds conjure the iconic young girl dwarfed by the gloomy manor and intimidated by the mysterious man who may or may not be friend or foe. I read Jane Eyre when I was thirteen and I fell in love with it. I read it at twenty-two and… loved it less. Rochester was kind of pervy, wasn’t he? I read it again in my late thirties and loved it enough to have made it a yearly read. Yes. Rochester is far from perfect, but it makes me crave him even more.

Because the gothic heroine is vulnerable and even intimidated, but, in the end, she’s made of stern stuff. She faces her fears. She solves mysteries. She takes on the most complex and complicated heroes and, often on the very precipice of tragedy and failure, she saves him and herself.

Gothic romances are about the healing power of love and they’re also about characters who find and embrace their strengths when they come up against dire situations. They’re about finding beauty hidden in darkness and doubt. They’re about grabbing happily ever after even when surrounded by danger and haunted shadows. In the most determined heroine and the darkest alpha hero there are hidden places of vulnerability that are drawn to each other. The modern gothic hones in on moments that illuminate those vulnerabilities and, in the end, in spite of the ambiguity of the hero, modern gothic romances become stories that bring hero & heroine together as a team to overcome each story’s black moment.

There are some things to keep in mind when you seek to create a modern gothic romance:

Motivation: Your heroine has to have a very good reason for braving whatever it is she has to face. Think about how angry you get when you’re watching a horror movie and a character goes outside or upstairs or down to the basement. Too Stupid To Live, right? But give her a sibling or beloved pet to save and suddenly we’re torn. She’s not TSTL. She’s a devoted sister. She’s protecting the innocent. Jane Eyre was an orphan with no way of supporting herself. She had to become a governess. Even when she faced danger and the forbidden attraction to her enigmatic employer, she couldn’t easily walk away. Make sure your modern gothic heroine has reasons she can’t simply walk…or run…away.

Chills: Gothic Romance has elements of romance and mystery, but it also has elements of horror and suspense. My imagination takes me old school…Edgar Allen Poe, Oscar Wilde, Robert Louis Stevenson. Creepy, but in a gorgeous way, steeped in lush sentiment and a hint of the macabre.

Setting and Atmosphere: These should be given the importance of a character in your story. Your readers should be transported from their safe, mundane apartment to another world. While technically, these are contemporary or historical stories, they should have an element of fantasy and escapism. I’m not saying you can’t create a gothic romance with an apartment building setting. I’m just saying that maybe the apartment building should be a crumbling art deco masterpiece with few inhabits and a shadowy stranger with secrets who lives in the penthouse suite.

And that brings us to the hero…

A gothic hero is my favorite type of romance hero. He is challenge, mystery, danger, threat, allure, intrigue, and a pure sensual torture to the heroine. And that’s just in the first meeting. He will be the most complicated, dynamic and compelling person she’s ever met and whether or not that’s going to damn her or save her should definitely be buzzing in the reader’s mind from page one. An author has to walk a fine line between giving him motivation and keeping his secrets, maintaining his mystery and making it believable that the smart heroine would fall in love with him in the midst of whatever high stakes situation she faces.

Barbara J. Hancock's brand new full-length book is available as part of the Shivers Box Set by Harlequin-e. There is also a free online read on www.Harlequin.com to give readers a chance to try the line. It's called Lost in Me.

Publishing Pulse: 7/15/2011

With the advent of Google+, along with Facebook, Twitter, Blogging, and other social networking sites, it's easy to get overwhelmed. Author Jonathan Fields discusses technology and the death of creativity.

Agent Jessica Faust discusses re-querying and what to do when you have an offer.

Agent Rachelle Gardner shares some secrets for great pitches as well as explaining why agents don't explain why they say no.

On Agent Mary Kole's blog, she has a guest post discussing alternative plot types.

Editor Alan Rinzler talks about trusting your reader and gives some tips on strategic tweeting for authors.

Have a great weekend!

Danyelle writes MG and YA fantasy. In her spare time, she collects dragons, talking frogs, and fairy godmothers. She can be found discussing the art of turning one's characters into various animals, painting with words, and the best ways to avoid getting eaten by dragons on her blog. Her serial novel THE FAIRY GODMOTHER DILEMMA can be found here. 

Agent-Judged YA Contest Closed & Update

Our contest with Roseanne Wells closed at 9am this morning. We will be going through all of them to make sure things went into the form properly. If you hear nothing from us, your entry is complete, and will be forwarded on to Ms. Wells in the next day or two.

Please do not contact Ms. Wells or the Marianne Strong Literary Agency directly regarding the contest. Winners will be posted here, on the blog, and put directly in touch with Ms. Wells once she has selected the winning opening pages. Winners will get a critique of their pages, and if Ms. Wells finds something that really interests her, we may even have a request or two for material! We expect to have the results within two weeks -- probably sooner.

If you have any questions in the meantime, you can post them in the comments or shoot me (Carolyn) an email using the email address in the sidebar of the QueryTracker Blog!

Thanks again to everyone who entered, and to Ms. Wells for judging!

And if you weren't able to enter this contest, don't worry -- we expect to be having another soon!

The Wicked Truths of Edgy Young Adult Novels

The Query Tracker Blog team recently opened the floor to questions pertaining to writing and the publishing industry. Since I’m a huge fan of edgy YA, I naturally jumped at the chance to answer those ones. (Okay, I screamed, “Mine, mine, mine,” at the computer, but what the hey!)

1. I have written a YA novel that doesn't stop at a kiss. I have noticed all the young adult novels people keep telling me to check out don't seem to go as far as mine. So my question is: do you know of a YA published novel that take the characters further than just a kiss and actually write about it?

My bookshelf’s exploding with YA novels that fit what you’re looking for. The question you have to decide is how far you want to take things. If you’re writing younger YA (readers 12-15 years), the kissing tends be tamer. French kissing falls into this category (just don’t get too graphic with it). In older YA (readers 14 years and older), anything can happen, within reason. Remember, you’re not writing erotica, and each imprint has different guidelines as to what’s allowed. You might write the scene one way, and your editor may ask you to change it to fit the guidelines.

If sex happens in the book, make sure it’s organic to the story. Don’t write it because you’re hoping it’ll skyrocket your novel onto the bestselling list. In the examples listed below, the protagonists had their reasons for taking the relationship further than a kiss. For some it was the right thing to do; for others it was a mistake. The great thing about YA is that we can show both sides. The first kiss isn’t always perfect, neither is the first sexual experience. When I was a teen, I devoured historical romances. Talk about setting me up for unrealistic expectations.

Here’re some suggested books to study so you can see the different ways authors deal with kissing and sex.

Forever by Judy Blume

Twenty Boy Summer by Sarah Ockler

The Duff by Kody Keplinger

Perfect Chemistry by Simone Elkeles

Wicked Lovely by Melissa Marr

Swoon by Nina Malkin

Handcuffs by Bethany Griffin

Forget You by Jennifer Echols

The Luxe by Anna Godbersen

Fade by Lisa McMann (sequel to Wake)

Shadow Kiss and Spirit Bound by Richelle Mead (these are books three and six of the Vampire Academy series)

Also, check out author Suzanne Young’s WriteOnCon Vlog: Sex in YA—the ABC’s of Hooking up,and agent Mary Kole’s post, Sex in YA.

2. My question is: is there a viable market for edgy YA fiction, and if so, why does it seem that most agents won't touch it?

First, what is edgy YA? It isn’t as easy to define like a romance or thriller. Nor is it considered a genre. Your novel might be YA paranormal, but it could have edgy elements to it (like sex, drugs, and swearing). These books deal with issues most relevant to teens, and are done with brutal honesty, which is why teens appreciate them. Wise editors know this. And like everything else in publishing, the term is highly subjective. What one person might consider edgy, another doesn’t.

Elements that might make a story edgy include drugs, abuse, sex, cutting, rape, bullying, etc. But remember, it’s not necessarily the issue that makes the book edgy, but the way it’s written. Ellen Hopkins, Jay Asher, Laurie Halse Anderson, Elizabeth Scott (Living Dead Girl), Courtney Summers (and some of the above authors) are just a few individuals who write edgy YA. Read their books. It’s the best way to understand the concept. And don’t worry. It’s still very much in demand.

Every agent has a preference as to what they want to represent. The trick is figuring out which ones are dying to receive your query. Check out the acknowledgment page of the edgy YA novels you enjoyed, read agent blogs and agency websites, stalk follow agents on Twitter to find out what YA books they’re gushing about. And if this still doesn’t give you the answers you’re looking for, then query them anyway. What’s the worst they can say? No? Seriously, no one has ever died from receiving a rejection.

3. I have substituted euphemisms for four letter words in dialogue, when the four letter word would have been more accurate. I just don't know what is acceptable in YA.

Mary Kole has also blogged about this topic here and here. Basically, swearing is allowed in YA, especially since it adds to characterization. But make sure it’s organic to the character. In The Naughty List and So Many Boys, Suzanne Young’s protagonist doesn’t swear. She uses phrases like strawberry smoothie instead. A complete contrast to Break by Hannah Moskowitz. Her main character uses the f-word, but it feels right coming from him.

If you are going to include swearing, a few carefully placed swear words will take you much further than dousing your manuscript with them. Use too many and your reader will stop noticing them, and you’ll lose the effect you were going for.

Please let me know if you have any more questions regarding YA novels. Otherwise, make sure you read some of the above books. Consider them your homework assignment if you’re planning to write this genre. Trust me. It’s the best homework, ever.

Stina Lindenblatt writes contemporary and romantic suspense for young adults. In her spare time (LOL), she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.

Fantasy World-Building: Magical Rules

World-building is different for those of us who write speculative fiction than for people who write stories based in the "real" world. Rather than examining the past for factual details, we have to make up alternate worlds. One of the most important tasks, then, is to establish the world's "rules," or perhaps more accurately, the laws.

By laws, I mean the factual kind that recur in nature. You can jump upwards as many times as you want to, but as long as you’re dealing with a g of gravity, you will always come back down. You can do your darndest to stop the ocean tides, but as long as the earth keeps spinning and the moon keeps pulling, there will be tides.

The same thing has to happen with magic. There must be laws to any magical universe, and to create them, a writer must ask herself things like

* Who can use magic and who can’t? Only people who are trained? Only people who have certain genes? Only people of a certain gender or race or culture? Why only those people? Must the power be awakened, or is it there from birth?

* What is magic? Where does it come from? Is it a force of nature, neither good nor evil, or is it a spiritual or eschatological kind of power only angels or demons can grant?

* How is magic used? Must the user cast spells, or is magic more of a generalized energy? Must he rely on herbs, or blood, or eye of newt, or are spell components obsolete in your world? Are sigils, runes, or incantations used?

* What price must be paid? If you fight gravity by jumping, eventually you’re going to wear yourself out. That’s the price. So what happens when one uses magic? And are the consequences the same for any kind of magic, or do they vary with the kind of spell?

* What are the limits on magic? If your character can do anything and everything, there’s no tension in the story, so what can’t she do with magic?

* Are there different types of magicians with specialized powers -- like necromancers and alchemists and prophets -- or are they all the same?

Your answers can’t be random, either. They have to make sense, just like the laws of our universe do. And you can’t be whimsically changing them because your character suddenly needs to be able to do this or that kind of magic. You should write your rules down and pretend they're set in stone.

One more thought: It's challenging to come up with new rules if you write in multiple fantasy universes. When you have a logical, well-defined set of rules that you carefully abide by, it can be hard to think beyond them for another story. This is part of the reason many authors set different stories in the same universe. If you have trouble coming up with multiple sets of rules and keeping them straight, don't feel bad about setting things in the same universe!

Dr. Carolyn Kaufman is a clinical psychologist and professor residing in Columbus, Ohio. A published writer, she runs Archetype Writing: Psychology for Fiction Writers and an associated blog. She is often quoted by the media as an expert resource. 

Have a psychology/writing question? Send it to me (using my email address to the right) and you may see it answered on the QueryTracker.net Blog!