R.W. Richard's Blog, page 29
December 6, 2015
Part-Time Romances
It’s a two-thought-for-one Sunday
1. Many romance novels start out with a cute meet and then devise ways for the hero and heroine to be thrown together in struggle. Often in real life, potential couples struggle to see each other once or twice a week and in the case of long-distance, much less.
As an author, don’t miss the chance to show how these want-to-be couples feel and change, rather than say something like he missed her so much and move on to the "scene." The characters’ arcs depend on keeping it real with a good dose of emotion—specifically yearning, worry and expectant joy can be recommended. Most of us have experienced this in our lives, so it shouldn’t be too hard to recall. Writing a part-time romance is difficult if only because the template or journey is wide open.
Example: Carrying on idle talk with mutual friends, he kept looking over his shoulder, they’d probably have figured out his crazy in-love heart by now and forgive his partial attention. She’d be here anytime now. Then she rounded the corner onto the too long hallway. His breath caught as he took in her puckish, Tinkerbelle jaunt. He broke out into a huge smile he could no more stop, than quit breathing. She returned the emotion and put up her hand for a swat. Nonchalantly, “how you doing, Joey?” She challenged him with that “shut up and dance with me” smirk and flirt but he wanted more, much more.
It struck him, he wanted her for the rest of his life, but what was stopping her from saying I love you? he desperately wished today would be the day she'd catch up.
2. Writing part-time romances or the like needs subtlety, which brings me to a great movie I saw last night (which isn’t exactly part-time, hence the two-for-one post), Hallmark's, Just in Time for Christmas. The world-premiere holiday movie stars Eloise Mumford as Lindsay Rogers, Michael Stahl-David as Jason Stewart, William Shatner as Coachman, and Christopher Lloyd as Grandpa Bob.
The writer sneaks in an homage to It’s a wonderful Life starring Jimmy Stewart with a subtle look at what life would be like if the heroine didn’t choose love. This movie is much more than a part-time or even very little-time romance. It’s a mystical alternative-time romance. Through the use of allegory and homage, the writer manages to speak to what is most important in life and, in so doing, twists our hearts into pretzels. Eloise Mumford is my favorite Hallmark actress, very easy on the eyes and with an incredible range of emotion and acting skill.
See this movie.
Here's the Just in Time for Christmas trailer (1 minute):
1. Many romance novels start out with a cute meet and then devise ways for the hero and heroine to be thrown together in struggle. Often in real life, potential couples struggle to see each other once or twice a week and in the case of long-distance, much less.
As an author, don’t miss the chance to show how these want-to-be couples feel and change, rather than say something like he missed her so much and move on to the "scene." The characters’ arcs depend on keeping it real with a good dose of emotion—specifically yearning, worry and expectant joy can be recommended. Most of us have experienced this in our lives, so it shouldn’t be too hard to recall. Writing a part-time romance is difficult if only because the template or journey is wide open.
Example: Carrying on idle talk with mutual friends, he kept looking over his shoulder, they’d probably have figured out his crazy in-love heart by now and forgive his partial attention. She’d be here anytime now. Then she rounded the corner onto the too long hallway. His breath caught as he took in her puckish, Tinkerbelle jaunt. He broke out into a huge smile he could no more stop, than quit breathing. She returned the emotion and put up her hand for a swat. Nonchalantly, “how you doing, Joey?” She challenged him with that “shut up and dance with me” smirk and flirt but he wanted more, much more.
It struck him, he wanted her for the rest of his life, but what was stopping her from saying I love you? he desperately wished today would be the day she'd catch up.
2. Writing part-time romances or the like needs subtlety, which brings me to a great movie I saw last night (which isn’t exactly part-time, hence the two-for-one post), Hallmark's, Just in Time for Christmas. The world-premiere holiday movie stars Eloise Mumford as Lindsay Rogers, Michael Stahl-David as Jason Stewart, William Shatner as Coachman, and Christopher Lloyd as Grandpa Bob.
The writer sneaks in an homage to It’s a wonderful Life starring Jimmy Stewart with a subtle look at what life would be like if the heroine didn’t choose love. This movie is much more than a part-time or even very little-time romance. It’s a mystical alternative-time romance. Through the use of allegory and homage, the writer manages to speak to what is most important in life and, in so doing, twists our hearts into pretzels. Eloise Mumford is my favorite Hallmark actress, very easy on the eyes and with an incredible range of emotion and acting skill.
See this movie.
Here's the Just in Time for Christmas trailer (1 minute):
November 29, 2015
Loving in the Moment
Loving in the moment is not very different from living in the moment.
My mom lives in the moment because she has a disease similar to Alzheimer’s. At Sunday Mass, she remembers most of the words of most of the hymns and sings along. For the newer songs, she can’t remember, and then, unfortunately, she whistles. At least her whistle is hardly noticeable.
My mom also loves in the moment. Aside from singing, love is all she has left. She’ll tell everybody she meets (even for the hundredth time) she loves them. She’s focused totally on the person before her to the likely point that everything else around her disappears.
You don’t need Alzheimer’s to love or live in the moment. When you are with the person you love, you may have tunnel vision and literally not see anything around you except the object of your passion. You may not be able to think of anything else, your emotions may overwhelm you. You are crazy in love. Like moths to the flame, nothing else matters. And there’s not a better feeling.
This condition can be both a guy and gal thing. I know.
Male POV: Don’t hesitate to write some of your heroes this way. This might not work too well for a hero who needs to be observant, i.e. detective, soldier, spy. On the other hand it could be seen as a fatal flaw.
My mom lives in the moment because she has a disease similar to Alzheimer’s. At Sunday Mass, she remembers most of the words of most of the hymns and sings along. For the newer songs, she can’t remember, and then, unfortunately, she whistles. At least her whistle is hardly noticeable.
My mom also loves in the moment. Aside from singing, love is all she has left. She’ll tell everybody she meets (even for the hundredth time) she loves them. She’s focused totally on the person before her to the likely point that everything else around her disappears.
You don’t need Alzheimer’s to love or live in the moment. When you are with the person you love, you may have tunnel vision and literally not see anything around you except the object of your passion. You may not be able to think of anything else, your emotions may overwhelm you. You are crazy in love. Like moths to the flame, nothing else matters. And there’s not a better feeling.
This condition can be both a guy and gal thing. I know.
Male POV: Don’t hesitate to write some of your heroes this way. This might not work too well for a hero who needs to be observant, i.e. detective, soldier, spy. On the other hand it could be seen as a fatal flaw.
November 22, 2015
Don't adjust your TV
Hallmark romance movies are often great entertainment and suited for any romantic soul, but—I haven’t seen them all—hasn’t every hero and heroine ofthe thousands of movies they produced been white?
I’m not much of an activist—was when younger—I marched for equal and civil rights, but would someone tell me I’m wrong and could they site the title or plot of the movie in which either the hero or heroine or both are not white?
RWA has formed a diversity committee. TV has many interracial or multicultural shows. Correct me if I’m wrong, but hasn’t Harlequin dedicated (segregated) black stories? Isn’t it time to acknowledge that stories and people are crossing boundaries all the time? Does anybody feel like I do—ashamed that our romance industry isn’t colorblind?
If you feel like I do, send Hallmark an email. BTW, I did this, months ago, and received no response. I don’t count. They know better.
I’m not going to stop watching Hallmark, I’m just going to adjust the hue.
Here’s a clip from my favorite Hallmark, Christmas with Holly, a story of a little girl who when her mom dies, stops talking. She is raised by her three uncles which isn't featured in the clip below, but the interplay of the three uncles and the little girl almost steals the show.
I’m not much of an activist—was when younger—I marched for equal and civil rights, but would someone tell me I’m wrong and could they site the title or plot of the movie in which either the hero or heroine or both are not white?
RWA has formed a diversity committee. TV has many interracial or multicultural shows. Correct me if I’m wrong, but hasn’t Harlequin dedicated (segregated) black stories? Isn’t it time to acknowledge that stories and people are crossing boundaries all the time? Does anybody feel like I do—ashamed that our romance industry isn’t colorblind?
If you feel like I do, send Hallmark an email. BTW, I did this, months ago, and received no response. I don’t count. They know better.
I’m not going to stop watching Hallmark, I’m just going to adjust the hue.
Here’s a clip from my favorite Hallmark, Christmas with Holly, a story of a little girl who when her mom dies, stops talking. She is raised by her three uncles which isn't featured in the clip below, but the interplay of the three uncles and the little girl almost steals the show.
November 15, 2015
First Person versus Third Person
The jury is out (forever). Suit yourself, but most agents and publishers prefer you use the third person. This week I thought I’d have a little fun with the choice by summoning and then observing the travails of another medium.
Back in 1948, The Mills Brothers recorded Gloria in third person using the mellow, sweet tones the greatest generation came to love them for. The song reached 17th on the charts for the year.
In 1954, The Cadillacs recorded their own version of Gloria (in the ever evolving doo wop) retooling the lyrics to use first person. It reached 6th on the charts for the year as the baby boomers began to take over the music scene. My mom and dad would take a couple years yet to get used to this new music, but then, they got with it.
The first version inspired a few covers but the Cadillac’s take was recorded by more than thirty groups. Billy Joel was asked in 1996 what the attraction was when he added it to his River of Dreams album. He said when he was young and his buddies crossed over to Jones beach, through the tunnel, they harmonized a magical version of Gloria. He went on to say that if a doo-wop band wanted to prove they could sing, they’d belt out Gloria. It’s challenging, with a multi-octave vocal, low bass and complex harmonies. 'Gloria' is a girl's name, but the name also has religious connotations, and there is something spiritual and uplifting about rendering or listening to it. This love song leaves the listener with a feeling of pure devotion, as it should be for anything well written in romance with a celebration of love. God is love and when you write of love you honor the Creator.
Listening to these two versions of Gloria will not decide the issue of whether to use first or third person, but you may find it food for thought.
The Mills Brothers, Gloria, 1948
The Cadillacs, Gloria, 1954
Back in 1948, The Mills Brothers recorded Gloria in third person using the mellow, sweet tones the greatest generation came to love them for. The song reached 17th on the charts for the year.
In 1954, The Cadillacs recorded their own version of Gloria (in the ever evolving doo wop) retooling the lyrics to use first person. It reached 6th on the charts for the year as the baby boomers began to take over the music scene. My mom and dad would take a couple years yet to get used to this new music, but then, they got with it.
The first version inspired a few covers but the Cadillac’s take was recorded by more than thirty groups. Billy Joel was asked in 1996 what the attraction was when he added it to his River of Dreams album. He said when he was young and his buddies crossed over to Jones beach, through the tunnel, they harmonized a magical version of Gloria. He went on to say that if a doo-wop band wanted to prove they could sing, they’d belt out Gloria. It’s challenging, with a multi-octave vocal, low bass and complex harmonies. 'Gloria' is a girl's name, but the name also has religious connotations, and there is something spiritual and uplifting about rendering or listening to it. This love song leaves the listener with a feeling of pure devotion, as it should be for anything well written in romance with a celebration of love. God is love and when you write of love you honor the Creator.
Listening to these two versions of Gloria will not decide the issue of whether to use first or third person, but you may find it food for thought.
The Mills Brothers, Gloria, 1948
The Cadillacs, Gloria, 1954
November 8, 2015
Heroes with fatal positive qualities
Heroes with fatal positive attributes
Fatal flaws aren’t really fatal ( to the plot) and neither are fatal qualities.
Just like heroes with flaws, heroes should have positive attributes, but in this case, he should keep them. You’d think writing a character with a positive attribute is common sense, but some romances are just an awakening into love, the rest of the world be damned. (Some writers think writing in something altruistic is corny.) Just as not employing a fatal flaw is naïve writing, so should forgetting a positive attribute be the same way, naive.
For example, suppose you subtlety write in a little faith, hope or charity (by showing not telling).
By faith, I don’t necessarily mean faith in the hereafter, although if he doesn’t have faith, the heroine might ask him “what are you here after.” In Hallmark’s premier last night of Ice Sculpture Christmas, the hero isn’t happy as a lawyer in his dad’s firm. He’d rather work on promoting or starting charitable organizations. His dad, in turn, it turns out only wants his son to be happy. There’s still plenty of tension and drama to carry the plot. But there’s more. The hero becomes more endearing, more real. He’s a hero with a fatal positive attribute.
Click below for the movie's promo:http://www.bing.com/videos/search?q=ice+sculpture+christmas+hallmark+movie&FORM=HDRSC3#view=detail&mid=4EA05AED8C5F7DD0169C4EA05AED8C5F7DD0169C
Fatal flaws aren’t really fatal ( to the plot) and neither are fatal qualities.
Just like heroes with flaws, heroes should have positive attributes, but in this case, he should keep them. You’d think writing a character with a positive attribute is common sense, but some romances are just an awakening into love, the rest of the world be damned. (Some writers think writing in something altruistic is corny.) Just as not employing a fatal flaw is naïve writing, so should forgetting a positive attribute be the same way, naive.
For example, suppose you subtlety write in a little faith, hope or charity (by showing not telling).
By faith, I don’t necessarily mean faith in the hereafter, although if he doesn’t have faith, the heroine might ask him “what are you here after.” In Hallmark’s premier last night of Ice Sculpture Christmas, the hero isn’t happy as a lawyer in his dad’s firm. He’d rather work on promoting or starting charitable organizations. His dad, in turn, it turns out only wants his son to be happy. There’s still plenty of tension and drama to carry the plot. But there’s more. The hero becomes more endearing, more real. He’s a hero with a fatal positive attribute.
Click below for the movie's promo:http://www.bing.com/videos/search?q=ice+sculpture+christmas+hallmark+movie&FORM=HDRSC3#view=detail&mid=4EA05AED8C5F7DD0169C4EA05AED8C5F7DD0169C
November 1, 2015
Viral writing
What’s the difference between a popular book, video or song?
Not much.
They all hit you with strong emotional content, easily identifiable by the reader/watcher/listener.
They all have amazing voice, tone* and imagery.
In scene one, we have been taught to introduce the inciting incident, but it’s more than that. The reader must identify with and feel a strong pull from the character.
*Tone: I have discovered (listening to NPR) that across the world, in all cultures, we make similar “nonsense” sounds to our babies. We modulate our voice in pitch, tone and quickness to either award behavior, say no or stop, offer encouragement etc. I believe the best singers and writers know how to communicate with their audiences at a subconscious level and that the sounds of love or the honesty of the written word will carry the same basic tones as our coos to a baby. You will forever hear these hit (whether book or song) melodies in word or voice and the sounds mean something deep within you.
Almost any song today or yesterday has these so-called human nonsense sounds (especially doo-wop). In good writing, it’s the emotion of the character on display that creates these resonances within us.
(Susan Elizabeth Phillips, Natural Born Charmer). There was something visceral about a girl in a beaver suit and the quarterback in his hot car screeching to a halt. You feel it, immediately. He was not only tired of all the perfect girls with nothing interesting to offer him. He wanted more from life and he hardly knew it.
Her first paragraph in the novel: It wasn’t every day a guy saw a headless beaver marching down the side of the road, not even in Dean Robillard’s larger-than-life world. “Son of a…” Dean slammed on the brakes of his brand-new Aston Martin Vanquish and pulled over in front of her. [simple words, right? their impact is unforgettable and immediate]
Here's a song I was attracted to when she introduced "nonsense" sounds, especially the ones half-way through. You might not like this character, but it's not a romance. I think her sounds are easily translated. As a father, I see a lost soul and hope for her recovery.
Tove Lo, 2013, Habits
Not much.
They all hit you with strong emotional content, easily identifiable by the reader/watcher/listener.
They all have amazing voice, tone* and imagery.
In scene one, we have been taught to introduce the inciting incident, but it’s more than that. The reader must identify with and feel a strong pull from the character.
*Tone: I have discovered (listening to NPR) that across the world, in all cultures, we make similar “nonsense” sounds to our babies. We modulate our voice in pitch, tone and quickness to either award behavior, say no or stop, offer encouragement etc. I believe the best singers and writers know how to communicate with their audiences at a subconscious level and that the sounds of love or the honesty of the written word will carry the same basic tones as our coos to a baby. You will forever hear these hit (whether book or song) melodies in word or voice and the sounds mean something deep within you.
Almost any song today or yesterday has these so-called human nonsense sounds (especially doo-wop). In good writing, it’s the emotion of the character on display that creates these resonances within us.
(Susan Elizabeth Phillips, Natural Born Charmer). There was something visceral about a girl in a beaver suit and the quarterback in his hot car screeching to a halt. You feel it, immediately. He was not only tired of all the perfect girls with nothing interesting to offer him. He wanted more from life and he hardly knew it.
Her first paragraph in the novel: It wasn’t every day a guy saw a headless beaver marching down the side of the road, not even in Dean Robillard’s larger-than-life world. “Son of a…” Dean slammed on the brakes of his brand-new Aston Martin Vanquish and pulled over in front of her. [simple words, right? their impact is unforgettable and immediate]
Here's a song I was attracted to when she introduced "nonsense" sounds, especially the ones half-way through. You might not like this character, but it's not a romance. I think her sounds are easily translated. As a father, I see a lost soul and hope for her recovery.
Tove Lo, 2013, Habits
October 25, 2015
Sealed with a kiss
Are you overwhelmed by emotions, crazy about the opposite sex, plagued with needs, hormonally driven, in love desperately? Well maybe you’re a teenager, young or new adult.
For the rest of us: do you collect social security, babysit grandchildren or are now raising children? Have you forgotten or are your feelings diminished?
We forget and for many of us we do not either feel love or our love has matured. Less hormones equals less passion, right? Also, the culture has changed from when we were dating. So, avoid summary thought while writing our characters if it is just because we can't generate the entire thought process.
Do you need to be under thirty to write a good romance? Or will research carry you through? Recalling (partially) how you felt is not enough. Listening to kids speak isn’t enough either. I recommend allowing their song and culture to overwhelm your heart. Dedicate a little time each week to immersing yourself in the culture of the age group you are writing about. Being flexible is being real and therefore believable. Dig deep.
When you listen to an old favorite song of yours, do you think your granddaughter would appreciate it as much as the latest from Taylor Swift (who, IMO, is great)? Does that old song speak to your babies? Do you get the Big Bang Theory or the like on TV? Invest a little time. I promise you’ll stay younger (more with it) and produce a better romance. Hey, maybe, if you are single, you’ll fall head over heals.
Try Brian Hyland's 1962 hit, Sealed With a Kiss on your babies. Will they get it? Do people still mope if separated when there is all this social media? Skype? I think a kiss carries the same impact, even if it is only to seal a letter. Obviously, it's emails etc. not letters. So do kids sign off with SWAK?
Kissing for any purpose needs practice.
For the rest of us: do you collect social security, babysit grandchildren or are now raising children? Have you forgotten or are your feelings diminished?
We forget and for many of us we do not either feel love or our love has matured. Less hormones equals less passion, right? Also, the culture has changed from when we were dating. So, avoid summary thought while writing our characters if it is just because we can't generate the entire thought process.
Do you need to be under thirty to write a good romance? Or will research carry you through? Recalling (partially) how you felt is not enough. Listening to kids speak isn’t enough either. I recommend allowing their song and culture to overwhelm your heart. Dedicate a little time each week to immersing yourself in the culture of the age group you are writing about. Being flexible is being real and therefore believable. Dig deep.
When you listen to an old favorite song of yours, do you think your granddaughter would appreciate it as much as the latest from Taylor Swift (who, IMO, is great)? Does that old song speak to your babies? Do you get the Big Bang Theory or the like on TV? Invest a little time. I promise you’ll stay younger (more with it) and produce a better romance. Hey, maybe, if you are single, you’ll fall head over heals.
Try Brian Hyland's 1962 hit, Sealed With a Kiss on your babies. Will they get it? Do people still mope if separated when there is all this social media? Skype? I think a kiss carries the same impact, even if it is only to seal a letter. Obviously, it's emails etc. not letters. So do kids sign off with SWAK?
Kissing for any purpose needs practice.
October 18, 2015
Write what you feel not what you know
If you feel strongly about something and can express it in story, you have a great start.
If you can feel your characters vicariously, you can’t lose.
If you feel you are saying something that will uplift, inform, scare, inspire and your heart is in it you’re on your way to the great American novel.
I know many of us see writing as a business and/or are driven by what the publisher’s vision of what the readers’ preferences are. Fine. Do that. Feeding one’s family is important. But ask yourself will your novel stand the test of time. If that isn’t practical and you need to make a living consider raping your heart, baring your soul, opening a vein and pour out that one story that you feel will contribute to the human race. and be know forever. Make it your To Kill a Mockingbird.
If you must hide this manuscript from your agent or publisher, do so. We want to know the real you. We want to feel something outrageously special when we read your masterpiece.
IMO, most midlist authors are listening to what their publishers know rather than that which burns within. If nothing burns within, that’s okay, you are a professional. I have read many an enjoyable novel full of all the right tropes, fatal flaws, plot twists etc. and have thanked the novelist/friend for it.
If you love to write about cowboys, or rom coms with cute meets, or vampires with toothaches and a fear of dentists, then that’s very okay. Because it is you and that’s all I ask for. Because you feel.
You might ask how can I write what I don't know. Aside from pointing out that that's what the publishers ask of you the real answer is we learn. We can learn almost anything.
Next week as a follow up I'll suggest you stay tuned into popular culture if you want to write about romance, because the times, they are a changin'.
Sometimes it's as simple as blocking out a little time for what you love. Raining on Sunday, 2003 sung by Keith Urban:
If you can feel your characters vicariously, you can’t lose.
If you feel you are saying something that will uplift, inform, scare, inspire and your heart is in it you’re on your way to the great American novel.
I know many of us see writing as a business and/or are driven by what the publisher’s vision of what the readers’ preferences are. Fine. Do that. Feeding one’s family is important. But ask yourself will your novel stand the test of time. If that isn’t practical and you need to make a living consider raping your heart, baring your soul, opening a vein and pour out that one story that you feel will contribute to the human race. and be know forever. Make it your To Kill a Mockingbird.
If you must hide this manuscript from your agent or publisher, do so. We want to know the real you. We want to feel something outrageously special when we read your masterpiece.
IMO, most midlist authors are listening to what their publishers know rather than that which burns within. If nothing burns within, that’s okay, you are a professional. I have read many an enjoyable novel full of all the right tropes, fatal flaws, plot twists etc. and have thanked the novelist/friend for it.
If you love to write about cowboys, or rom coms with cute meets, or vampires with toothaches and a fear of dentists, then that’s very okay. Because it is you and that’s all I ask for. Because you feel.
You might ask how can I write what I don't know. Aside from pointing out that that's what the publishers ask of you the real answer is we learn. We can learn almost anything.
Next week as a follow up I'll suggest you stay tuned into popular culture if you want to write about romance, because the times, they are a changin'.
Sometimes it's as simple as blocking out a little time for what you love. Raining on Sunday, 2003 sung by Keith Urban:
October 11, 2015
Wired for Story
Last month, Lisa Cron lectured at the RWASD meeting on discoveries she presented in her book, Wired for Story. I bought the book and found her presentation and the actual book unique in its approach to the craft of writing.
I’m writing about one idea that was very hard for me, an ex-engineer, to wrap my head around.
“Cognitive secret: Emotion determines the meaning of everything…”
If I design a widget, I expect it to work because I had invested logic and know-how in building it. Ms. Cron, using well-researched materials, shows that one can’t or won’t do [design] anything if there is no emotion permeating whatever you are doing. Her research boldly states, you will do nothing or find yourself incapable of making a decision.
I’ll add a corollary to that by saying a guy is never devoid of emotional reasons when he tries to “hook-up” even for so-called casual sex. It’s for the writer to discover and present the guy’s hidden intentions, even if minimal.
I highly recommend her book, as it covers writing from head to toe and doesn’t ignore the heart for either male or female characters.
Can you think of a case of someone doing something that is only based on logic?Have you written a heartless antagonist?
The movie, The Martian, 2015, is a great example of emotion trumping logic (and all us smart-ass engineers).
I’m writing about one idea that was very hard for me, an ex-engineer, to wrap my head around.
“Cognitive secret: Emotion determines the meaning of everything…”
If I design a widget, I expect it to work because I had invested logic and know-how in building it. Ms. Cron, using well-researched materials, shows that one can’t or won’t do [design] anything if there is no emotion permeating whatever you are doing. Her research boldly states, you will do nothing or find yourself incapable of making a decision.
I’ll add a corollary to that by saying a guy is never devoid of emotional reasons when he tries to “hook-up” even for so-called casual sex. It’s for the writer to discover and present the guy’s hidden intentions, even if minimal.
I highly recommend her book, as it covers writing from head to toe and doesn’t ignore the heart for either male or female characters.
Can you think of a case of someone doing something that is only based on logic?Have you written a heartless antagonist?
The movie, The Martian, 2015, is a great example of emotion trumping logic (and all us smart-ass engineers).
October 4, 2015
I'm sorry
I watched a retrospective about Saturday Night Live last night.
Lorne Michaels stated his methodology, which can be applied to romantic comedies or any light moment in your novel.1. When constructing a skit, if it is about things unsaid by the object of your humor and you* say it, it is funny.
2. Humor is truth. Sometimes telling the obvious lie illuminates the truth.
*You = the character who says or thinks something funny.
Would anybody like to supply a humorous exchange or monologue from his or her novel?
If you don’t have a funny bone in your body or you have no clue what I’m talking about…well, then, I’m Sorry, (so sorry), by Brenda Lee 1960. She belts this number one hit out at the age of 15.
Okay, what's so funny about I'm Sorry? Or how does this song apply to the subject of this post? Or am I pulling your leg and this haunting melody, I just couldn't get out of my head?
Coincidently, I'm sorry my romantic comedy, Double Happiness, doesn't have a bigger audience. If you too lament your sales numbers join me in feeling forlorn.
