Shewanda Pugh's Blog: The Wandering Mind of a Romance Writer, page 3
December 14, 2011
When Sex is Necessary
Let us begin with a few disclaimers. First, I am by no means an expert on sex. Suffice it to say that my status as a parent allows me to claim proficiency. Second, in terms of sex in the literary sense, I draw merely from the sum of personal and public literary variations available to any reader of age. Simply put, the sex scenes I write draw on life and my exposure to said act in any number of quality books. Third, and perhaps most importantly, I am not prude. I do not believe in censure for those considered of age, and I do believe that sex has a function in art.
Sex shows up in varying forms throughout the literary landscape, and in doing so, serves a variety of functions. For some, the simple sentence of “and they had sex” is enough for the purpose of the story. Others see it necessary to recant a blow by blow take of the action—quite literally. So, what is appropriate?
All of the above.
A sex scene, like any other scene in a book, should serve a purpose. It should advance the story. Whether the hero or heroine is experiencing it for the first time, for the first time with a particular individual, or for the thousandth time with the one thousandth individual, it must serve a purpose. I simply cannot stress that enough. Let me provide you with some examples.
In an upcoming book presently in the works, I have a hero and heroine of differing ethnicities have sex after years of sexual tension between them. Their intimacy is forbidden for a number of reasons; chief among them is the fact that their families have functioned as one unit and essentially see them as brother and sister (although they obviously disagree with this notion.) Secondly, the hero is of Punjabi descent and his parents are keen on him having an arranged marriage. When they do get together, it is a hushed and hurried experience taunt with the excitement of possible discovery. It is also a stark rejection of a certain set of ideals.
A sex scene can serve any number of functions, but it should always, always advance the plot. In Elizabeth Benedict’s The Joy of Writing Sex, she explains that sex is the basis of character exploration and forwarding plot. It deserves the same style, vigor and treatment of any other scene. When writing sex, remember that it’s more than the rubbing of body parts (or at least it should be.) Therefore give it a careful hand, and always remember the characters’ emotions.
Sex shows up in varying forms throughout the literary landscape, and in doing so, serves a variety of functions. For some, the simple sentence of “and they had sex” is enough for the purpose of the story. Others see it necessary to recant a blow by blow take of the action—quite literally. So, what is appropriate?
All of the above.
A sex scene, like any other scene in a book, should serve a purpose. It should advance the story. Whether the hero or heroine is experiencing it for the first time, for the first time with a particular individual, or for the thousandth time with the one thousandth individual, it must serve a purpose. I simply cannot stress that enough. Let me provide you with some examples.
In an upcoming book presently in the works, I have a hero and heroine of differing ethnicities have sex after years of sexual tension between them. Their intimacy is forbidden for a number of reasons; chief among them is the fact that their families have functioned as one unit and essentially see them as brother and sister (although they obviously disagree with this notion.) Secondly, the hero is of Punjabi descent and his parents are keen on him having an arranged marriage. When they do get together, it is a hushed and hurried experience taunt with the excitement of possible discovery. It is also a stark rejection of a certain set of ideals.
A sex scene can serve any number of functions, but it should always, always advance the plot. In Elizabeth Benedict’s The Joy of Writing Sex, she explains that sex is the basis of character exploration and forwarding plot. It deserves the same style, vigor and treatment of any other scene. When writing sex, remember that it’s more than the rubbing of body parts (or at least it should be.) Therefore give it a careful hand, and always remember the characters’ emotions.
December 9, 2011
Mood, Music & Inspiration
Authors are sponges. We absorb, regurgitate, manipulate, polish and present. There are days when I sit down and bang out 7 or 8 hours worth of material without hesitation. There are days when I sit and stare. I’m the sort of writer who has only the vaguest notion of what’s going to happen to characters before I begin. Sometimes, they do as I tell them, other times they rebel. There are instances when I begin to craft a scene only to find that said characters will not cooperate. Often, this is because I’ve constructed them so carefully and completely that an act contrary to their intrinsic construction simply won’t manifest. Other times, it’s because of what’s going on around me. What do I mean?
If I’m writing a bit of fiction and a radio station is on, the mood of said music will affect my scene. Completely. If it’s angry rap, my characters begin to argue. If it’s a ballad, suddenly they’re in the mood for romance and a bit of yum yum give me some. Over the years, I’ve learned to channel music to suit my scenes, especially when I’m shooting blanks.
For my debut novel, Crimson Footprints, Robin Thicke’s second CD, The Evolution of Robin Thicke, got a lot of spin time. And for grittier scenes, Lil’ Wayne was the man. Now, as I work on a new project, various portions of the novel require different sounds. The Black Eyed Peas’ The E.N.D. has jumped start my literary motor time and again, as has Miguel, Cold Play, Jack’s Mannequin and more. Again, what I listen to depends on what I need.
What do other author’s listen to?
If I’m writing a bit of fiction and a radio station is on, the mood of said music will affect my scene. Completely. If it’s angry rap, my characters begin to argue. If it’s a ballad, suddenly they’re in the mood for romance and a bit of yum yum give me some. Over the years, I’ve learned to channel music to suit my scenes, especially when I’m shooting blanks.
For my debut novel, Crimson Footprints, Robin Thicke’s second CD, The Evolution of Robin Thicke, got a lot of spin time. And for grittier scenes, Lil’ Wayne was the man. Now, as I work on a new project, various portions of the novel require different sounds. The Black Eyed Peas’ The E.N.D. has jumped start my literary motor time and again, as has Miguel, Cold Play, Jack’s Mannequin and more. Again, what I listen to depends on what I need.
What do other author’s listen to?
December 6, 2011
Love & Stereotypes
To some degree, I would wager that any novelist choosing to write about interracial romances sours at the thought of stereotypes. For these writers, the idea of each character fitting into a pre-made box easily labeled by any reader is something to abhor. Perhaps I should back up.
I’ve been asked time and again where the inspiration for my characters comes from. In my debut, Crimson Footprints, Deena Hammond is a woman of color and an architect. In reality, less than 25% of all architects are women and less than 2% are African American. Although I’ve heard a great many theories as to why this may be, I’ll leave the experts to surmise a credible answer.
But I digress. How was it that Deena Hammond as architect came to be? Well, in her earliest stages Deena went through several careers. She was a grad student in political science and a mid-level manager in a huge corporation, before “architect” fell into place. You may notice that none of her positions feature stellar representation for her demographic, but then again, which are the ones that do?
Let’s take a look at another character with a less than likely career. Takumi Tanaka, Deena’s beau, is a Japanese American guy with bohemian swag whose never worked a hard day in his life. Yes, he’s managed to chalk out a living as an up-and-coming painter, but a fat trust fund has ensured that he’ll never need work.
So, what’s my point? In an upcoming 7 book series, I explore the relationship of an African American girl and an Asian Indian boy who fall in love after growing up in two close knit families. In another, a down south Carolina boy with a “South will rise” attitude falls for the sister who moves in next door, turning families and town upside down. I say all that, to say this. Love is never just love. And stereotypes are boring.
I’ve been asked time and again where the inspiration for my characters comes from. In my debut, Crimson Footprints, Deena Hammond is a woman of color and an architect. In reality, less than 25% of all architects are women and less than 2% are African American. Although I’ve heard a great many theories as to why this may be, I’ll leave the experts to surmise a credible answer.
But I digress. How was it that Deena Hammond as architect came to be? Well, in her earliest stages Deena went through several careers. She was a grad student in political science and a mid-level manager in a huge corporation, before “architect” fell into place. You may notice that none of her positions feature stellar representation for her demographic, but then again, which are the ones that do?
Let’s take a look at another character with a less than likely career. Takumi Tanaka, Deena’s beau, is a Japanese American guy with bohemian swag whose never worked a hard day in his life. Yes, he’s managed to chalk out a living as an up-and-coming painter, but a fat trust fund has ensured that he’ll never need work.
So, what’s my point? In an upcoming 7 book series, I explore the relationship of an African American girl and an Asian Indian boy who fall in love after growing up in two close knit families. In another, a down south Carolina boy with a “South will rise” attitude falls for the sister who moves in next door, turning families and town upside down. I say all that, to say this. Love is never just love. And stereotypes are boring.
November 16, 2011
The Black Obligation
Today I'm pondering the perceived or actual obligation black authors have in their portrayal of black characters in fiction. An equally compelling argument exists for the desire to promote a more positive image of black America while at the same time, the realities of life for so many can't be ignored. Any black author whose creations slant towards "realism" and has queried a number of black publishers has faced the lecture of "positivity." When shopping around Crimson Footprints, my agent and I generally got positive feedback with the caveat that we should change the location--"too gritty"--the family background (um, kind of important), and so on. I wholeheartedly believe that there's a place for positive black fiction, but that said place is not on the toes of all others.
November 10, 2011
The Literary Romance
After my tedious diatribe about the pigeon holing of romance novels, I did a little research. And by research I mean going to Amazon.com and keying in literary romance. (Don't snap at me; that DOES count.) Anyway, after a fair amount of research, say 45 to 60 seconds, I realized the subgenre of serious literary romance does exist. Perhaps it's this subgenre that allows for escape from the rigid structure of traditional romance. I'm not talking about mere semantics here; after all, if your romance reads like a menage trois on steroids, then I dare say it belongs elsewhere. But I digress, so, back to the subject of literary romance.
Apparently, among the criteria for acceptance into this illustrious field is the death of said author. Think Little Women, Pride and Prejudice, anything yesteryear.
So, barring my premature demise, I'll have to look elsewhere for categorical inclusion. For now, we'll call it a crisis of classification.
Apparently, among the criteria for acceptance into this illustrious field is the death of said author. Think Little Women, Pride and Prejudice, anything yesteryear.
So, barring my premature demise, I'll have to look elsewhere for categorical inclusion. For now, we'll call it a crisis of classification.
November 8, 2011
Inaugural Posting
Welcome to the ramblings of my mind. So delighted you could join me. Sit back, pull up a chair and allow me to offer you a cup of coffee. I'll leave the sequencing of events to you. Meanwhile, let's delve right in, shall we?
Often, when considering my novel, Crimson Footprints, the painful issue of genre is brought up. At first glance, the question seems simple enough. After all, historical fiction, sci fi, horror and romance have specific criteria that must be met to properly apply the title. Horror is generally a body of work that aims to instill--you guessed it--horror in the reader. Historical fiction is one that takes place--you're absolutely right--at a given point in history, and romance is a tale of two falling in love.
Hmm. This last one irks me.
What if the story of love takes place in the year 1732? Between a Native American and European? And both the hero and heroine change fundamentally because of their love?
Sounds like a romance novel I read last week, you might say. But in addition to romance I've included the defining criteria for historical fiction and literature (that of the metamorphosis of character)in our made up romance.
Funny, they say that romance is all fluff.
Think I'll create a new subgenre. We'll call it serious literary romance. More about that next time.
Often, when considering my novel, Crimson Footprints, the painful issue of genre is brought up. At first glance, the question seems simple enough. After all, historical fiction, sci fi, horror and romance have specific criteria that must be met to properly apply the title. Horror is generally a body of work that aims to instill--you guessed it--horror in the reader. Historical fiction is one that takes place--you're absolutely right--at a given point in history, and romance is a tale of two falling in love.
Hmm. This last one irks me.
What if the story of love takes place in the year 1732? Between a Native American and European? And both the hero and heroine change fundamentally because of their love?
Sounds like a romance novel I read last week, you might say. But in addition to romance I've included the defining criteria for historical fiction and literature (that of the metamorphosis of character)in our made up romance.
Funny, they say that romance is all fluff.
Think I'll create a new subgenre. We'll call it serious literary romance. More about that next time.
Inaugural Posting
Welcome to the ramblings of my mind. So delighted you could join me. Sit back, pull up a chair and allow me to offer you a cup of coffee. I'll leave the sequencing of events to you. Meanwhile, let's delve right in, shall we?
Often, when considering my novel Crimson Footprints, the painful issue of genre is brought up. At first glance, the question seems simple enough. After all, historical fiction, sci fi, horror and romance have specific criteria that must be met to properly apply the title. Horror is generally a body of work that aims to instill--you guessed it--horror in the reader. Historical fiction is one that takes place--you're absolutely right--a given point in history, and romance is a tale of two falling in love.
Hmm. This last one irks me.
What if the story of love takes place in the year 1732? Between a Native American and European? And both the hero and heroine change fundamentally because of their love.
Sounds like a romance novel I read last week, you might say. But in addition to romance, I've included the defining criteria for historical fiction and literature (that of the metamorphosis of character)in our made up romance.
Funny, they say that romance is all fluff.
Think I'll create a new subgenre. We'll call it serious literary romance. More about that next time.
Often, when considering my novel Crimson Footprints, the painful issue of genre is brought up. At first glance, the question seems simple enough. After all, historical fiction, sci fi, horror and romance have specific criteria that must be met to properly apply the title. Horror is generally a body of work that aims to instill--you guessed it--horror in the reader. Historical fiction is one that takes place--you're absolutely right--a given point in history, and romance is a tale of two falling in love.
Hmm. This last one irks me.
What if the story of love takes place in the year 1732? Between a Native American and European? And both the hero and heroine change fundamentally because of their love.
Sounds like a romance novel I read last week, you might say. But in addition to romance, I've included the defining criteria for historical fiction and literature (that of the metamorphosis of character)in our made up romance.
Funny, they say that romance is all fluff.
Think I'll create a new subgenre. We'll call it serious literary romance. More about that next time.
The Wandering Mind of a Romance Writer
This is the official blog of novelist Shewanda Pugh. Author of Crimson Footprints, and in general, works of sweeping interracial/multiracial novels that celebrate culture and diversity, challenge our
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