The Better To Dominate You, My Dear: Discovering Dominance with Sir Guy

At the last workshop of day 1 of BDSM Writers Conference, Sir Guy addressed a great topic for writers of BDSM romance. Despite the common presentation of a Dom as a man who has sprung, fully-formed in his kink, wielding his implement of choice with aplomb, the truth of the matter is: He had to start somewhere.

There had to be a “first time” for your Dom. Real, or imaginary, he happened upon that first flogger, first time he looked upon a hank of rope at Home Depot and things begin to tingle (they don’t call it Dom Depot for nothing!). The first occasion on which he gave a woman’s ass a smack and declared: It was good! The very first instant in which he held a woman down during sex and it turned the act up a slew of notches.

When the realization hit, or the curiosity grew, that vanilla guy took the first step into his journey of kinky exploration; got his first idea what it was about him that made him need – more.

And when he begins to learn…

The question for an author is this: Is your Dom already comfortable in his own dominant skin? Aware of his fetishes and happily indulging them? Or has he just had that eureka moment? Or perhaps you have a Dom who gets that itch on page one and your story IS his journey?

While the experienced Dom is oh-so-tempting: The supreme Alpha hero – don’t be afraid to explore a less experienced kind of guy.

Because, as Sir Guy explained, it’s not like you’re taking a milquetoast and morphing him into the superhero of Doms. There will be “a dominant personality at the root of all else”. Your character will have a strong presence. He is calmly confident. He can be assertive (not to be confused with aggressive), though he might also be a quieter type of gent.

Sir Guy used words to describe a Dom’s character like: empathy, confidence. Phrases like a Dom “earns respect from others”, is not “domineering, menacing, a bully”. He doesn’t behave in an “actively hostile manner”. And a Dom can, and will, show emotion.

And he will never say he has “never submitted”. Because in reality, we all submit, no matter how dominant, on some occasions (as my heroine Eden responds to my Dom Hud, when asked:

“You are a kink virgin. Never played. Never submitted, right?” He asked.

“Not unless you count the IRS. They have me on my knees on an annual basis.”

And if he does submit? What a wonderful element to add to your plot! But it will never detract from his core of dominance.

These root qualities are the foundation for his acceptance of his desires. So you have the right clay to mold your Dom, on the page, and let your reader watch him evolve. Essentially, you have an Alpha hero who is seduced by his carnal dark side!

As a believer in the idea that it is characters who drive your story, characters in a kinky romance are like the Indy 500 drivers. The race will be faster and more fraught with dangerous curves, but the victory lap will be supremely satisfying. Because your Dom – beginner or old pro – is in the driver’s seat.

So writers, all you have to do is: Choose Your Dom!

Readers wouldn’t you purely enjoy watching a man discover his carnal self? From that very first dominant touch….

The Spice of Variety – The Importance of Mixing It Up In the Boudoir (On The Page, Of Course!)

My personal oeuvre is gritty, raw, erotic romance. I have Dominant Alpha heroes, and feisty submissive heroines. I love intense love scenes, filled with graphic action hot enough to scald. But there are always occasions where I have to mix it up.

By and large I find, in my writing and in the erotic romances I read, that no matter how intense the story is, no matter how dark or dramatic, there come those moments when you need things less intense and more languid. Filled with less boom-chicka-bow-wow and more with velvet caresses and sensual sighs. Where perhaps, something kinder and gentler is called for. Perhaps one of the characters is wounded, at a black point, and the love scene is, in part, a healing or comforting for that character. Or another alternative that may be a perfect fit, something lighthearted - spiced with wry humor, or giddy joy – the occasion when nothing goes right, but it’s all okay! Where my lovers learn to laugh at themselves and relax . . . just a bit more (which we know will make things even hotter the next time around, right?)

One of the things I therefore focus on is the appropriateness of the tone and action of the scene: Does it fit the mood? The place where the characters are both in their own heads at that moment? In the course of their relationship? All while furthering that relationship, working smoothly with the plot, and advancing it at the same time.

I also survey of my love scene “roster” once I’ve got a rough first draft, to ensure that the mood and intensity does vary, so the reader is not treated to the same old, same old love scene throughout. (That’s a major complaint I’ve seen concerning the love scenes in FSOG, for example.) No one in the real world has sex the same way all the time, or feels the same way every time they are having sex. The intensity varies, the commitment varies, and the emotions vary.

Our moods fuel our lovemaking. Internal and external conflicts of my characters will fuel theirs. As will the seasons, surroundings, the atmosphere (one example is the staple of romantic suspense and romantic thrillers where the lovers are in the thick of danger – gotta love those adrenalin-heightened couplings!).

Likewise, the love scenes will morph as the characters and relationships grow and change. That introductory, somewhat stilted, or perhaps edgy, or eager and unfamiliar first love scene – where everything is being experienced for the first time, and those first sights of one another, those first tastes and touches are so vital.

Then the story grows into those scenes where the lovers have become more comfortable with one another, but are still discovering the depths of their passion; they’re exploring and trying new things – but there are still mysteries to unfold, and discoveries about one another to make.

And we continue to progress, reaching those scenes where the lovers are embroiled in their conflicts and problems as you approach the dark moments of the book. Their differences, fears and uncertainty infiltrate the scene. It might make the love/sex desperate, or yearning – or lousy. It might make one lover selfish and demanding, or another withdrawn and hesitant. And it might be a moment for coitus interruptus – the better to ramp up the tension, sexual and otherwise, as the characters deal with it.

Finally, the couple’s emotions are fully mature, and the depth of their love is powerful and strong and committed. As we approach their HEA, so does their sexual relationship swell in power and importance. Everything has become clear. They’ve overcome all the crises. They’ve fallen apart and healed those rifts. They’re recommitted, or reunited, with a soul deep connection that is illustrated in their lovemaking. Physical and emotional have become one, and the coupling is a hallowed moment as the sex becomes an affirmation of their romantic journey together.

So. Each of the moments within my stories have to satisfy many criteria. First and foremost, from a technical perspective, I want to change it up. Keep the sex varied for the readers (and my characters – can you imagine the complaints?!).

Secondly, I want my love scenes to fit smoothly in the moment in the story in which they appear. A humorous love scene in a dark moment probably wouldn’t work. And a wham-bam-thank-you-ma’am when they’ve just acknowledged they’re madly in love would be inappropriate, too. And no brand new couple, falling into the sack for the first time is going to be utterly uninhibited. No matter how tough or feisty or Alpha, we all hold back a bit of ourselves in a brand new relationship, right? It’s a protective instinct to avoid hurt and rejection.

Thirdly, I must remain true to my characters, which means that even as the love scenes evolve along with the story, and with the relationship, they must reflect the ongoing tone, or mood of the moment. The actions cannot go completely against the characters’ grain. But they can reflect that changing moods of the character.

My hero may be a crude and rough sadist, but he will find himself in a romantic situation where his emotions, and desires, prompt him to seek a different way to experience that sexual relationship. By doing so, it allows my hero an opportunity for revelation – for growth. As I did with my down and dirty sadist hero, Hud, in Hold Tight, when he abandons all of the paddlings and spankings, the erotic humiliation and total command of his lover, Eden, and discovers that the more vanilla experience is just as rich, and enjoyable – and even more naked, emotionally – without the trappings of the lifestyle or kinky touches. The simple act of making love is a breakthrough moment as he realizes she’s “the one”. It’s not just the kink. It’s the woman.

Likewise, no matter how freely my submissive Eden gives herself to Hud, there comes that moment when she turns dominant, forcing him to accept her and his own desires, and becomes the driving force of that particular love scene – the climactic one that ends the story.

The bottom line is that I want my characters to change it up in the bedroom. It keeps things lively for them – and keeps my readers looking ahead to see how the characters’ physical relationship grows along with their emotional relationship.

Because as we all know, variety is the spice of life!

Lise Horton writes super steamy erotic romance and, as Lydia Hill, intense erotica. She’s published in full-length fiction by Carina Press, and in short fiction by Ravenous Romance, Riverdale Avenue Press (a recent naughty coupling can be found in RAB’s “Bad Santa”) and her latest story, “Tryst of Fate”, as Lydia Hill, is included in the Cleis Press “Best Women’s Erotica of 2015” anthology, edited by the iconic Violet Blue.. For more on her thoughts on writing romance and the writing life, you can find her and all her social media links at www.lisehorton.com.

What's YOUR Favorite Romance Trope? All That Glitters Is Not Just Her Hoo Ha!

When it comes to the romance trope, I am especially fond of the “glittery hoo ha”, for the name alone. However, I consider it less a trope, than a de rigueur requirement of the genre. No matter the heat level, once the hero has, er, experienced the heroine’s “hoo ha” (or her lips for the chaste among our genre titles), he will be blind to any other woman’s non-glittery type hoo ha (seriously, a tarnished hoo-ha? I think not!). The heroine’s will remain his be all and end all go-to hoo ha, romance-wise.

So, while I chuckle over the term, I don’t consider it a trope, unlike the myriad others from enemies to friends (always good for conflict), to the ‘meet sweet’ trope (not one of my faves). There’s a trope out there for every taste, naturally, but if forced to choose, I am especially fond of what I’ve seen called “the broken bird” trope. (Though it trespasses a tad on the Beauty and the Beast trope, for in that case, the heroine must heal the hero’s psychological wounds and accept his scars, be they emotional or physical – in fact many of the tropes can be found in blended forms, and there are multiplicities of tweaks on all these tropes.)

The broken bird trope actually figures into my own writing quite heavily (perhaps all that misplaced maternal energy to heal and protect one of my characters, along with my tendency for melodrama?). Probably for the same reason that I enjoy suspenseful elements in my writing, and erotic romance – because the broken bird trope offers an opportunity for immense conflict, both internal (the broken character), as well as relationship-wise. It’s always a major uphill battle to heal the broken one and get that character to succumb to love.

However, I’ve most often seen this trope used in stories where it is the hero who is the broken one, and the heroine’s love that heals him. Because we love the tortured alpha bad boy, don’t we?

That’s the essence, in fact, of my recently completed BDSM erotic romance MS, Hold Tight. My billionaire hero (no, money doesn’t heal all wounds!) has been kicked in the teeth by life on a number of occasions. He now lives in his ivory tower, untouched by a woman’s love, and scarred by numerous past betrayals. And it is my average, every day heroine who comes along and recognizes the wounded little boy, and heals him with her love (and her tenacity and willingness to submit to his sadistic domination and mastery of her glittery you-know-what).

But I love seeing the broken bird trope turned upside down. It may be a bit more unusual to have your alpha hero be the strong, supportive and nurturing type who becomes the healer to a broken bird heroine, but I think it offers a wonderful opportunity. You get to create a hero who isn’t tortured or tormented, and who can be the lover to bring his heroine into the healing light. (And at the LIRW luncheon, and in several reviews I’ve read recently, the dearth of the “nice guy” hero was lamented…Voila! I have the answer!) (Keep reading…)

My second Stellato siblings novel, Hot In the City, is an example of this. My heroine is as dark a heroine as I’ve read lately. Not only was she abandoned by her father, and the father of her son, but now she’s smothered by her responsibilities, and her fears for her special needs son should she be unable to care for him. At first, what Berto offers her is hot sex – her only distraction from an anxiety-filled life. Alice sees her future as a bleak and demanding one, until Berto proves to her that he can give her more than momentary, distracting pleasure. He can protect her, provide for her, and love her – but he can also be a partner in life who provides the shoulder she’s never had.

I love my heroes dark and tormented. Mad, bad and dangerous to know. The strong, silent type hiding his wounds behind his muscles. The primal man unleashing his inner demons only to have them tamed by the heroine (and her glittery lady parts).

But it’s wonderful fun to also craft the solid, Gary Cooper, Atticus Finch, Mr. Smith hero who recognizes the humanity beneath a heroine’s tortured persona (and the allure of her glittery vajayjay) – whether she is using sex to block out reality, or cutting herself because of a trauma, or hiding behind an ice maiden shell to avoid pain, or a heroine battered by fate, going down for the last time – as she reaches out for the helping hand of the only one who can save her. When her white knight rides to her rescue, he may be a billionaire, or a boxer. A Regency spy or a WWII officer. A blue collar guy or a once-a-month shifter. But he’s the one who’s whole, and this time he’s doing the healing.

He is the hero broad of shoulder, compassionate of soul, with a heart of gold.

And he’s the proud possessor of the perfect complement to her glittery mound of Venus:

His “Golden Gun”.

How Do I Love Thee? HOT That's How! Let Me Count the Ways . . .

Despite the popularity of kinky, BDSM erotic romance, replete with whips and chains and paddles and ball gags, it may not be for everyone. Don’t lose sight of the variety available for writers and readers of erotic romance. Here’s an overview of a few of the delicious options:

PRO: BDSM erotic romance, to start with, has the heightened plus of edgy sex play and the power exchange dynamic to augment the emotional relationship. From Master/slave, Dom/sub or Top/Bottom roles for heroes and heroines, to S&M paraphernalia, pain play, erotic humiliation, slave auctions; kink allows for an author to ramp up the sexual heat, tension, exploration and growth in a blended role with the emotional relationship. BDSM can also provide another layer of external conflict for characters who have to deal with societal biases against the lifestyle, and personal conflicts over these darker desires.

PRO: Like the kink but shying away from the heavy-duty stuff? Read a wide spectrum of BDSM erotic romance and you’ll see the breadth of coverage of this type of sexual activity. It can run the gamut from the serious scenes in an Eden Bradley, Roni Lauren, or Maya Banks novel to a tamer version that travels the middle road of kinky copulation.

PRO: Then there is what I call “BDSM light” (not a reference to the derogatory comments made about FSOG, BTW). I think of it as kinder, gentler BDSM. You can have an emotional BDSM relationship with the Dominance and submission emotional and psychological elements without the pain play, or the other edgier aspects like erotic humiliation. You can have mild physical “domination” such as being held down, and sexy mind play. This category allows you the opportunity to Alpha-up your hero (they don’t come more Alpha than a Dom, after all!) or heroine (I don’t write Female/male submission so I tend not to refer to it; but all aspects of BDSM can be F/m, M/f, F/f, M/m or any other permutation your kinky little heart desires.)

CON: BDSM, no matter the intensity or scene play specificity, requires a firm grasp of both the technical logistics, as well as the emotional and psychological mind-set of the participants. The more the reading public knows about the scene, the easier they’ll spot errors in your presentation if you don’t know what you’re talking about, S&M-wise!

But there are options, too, for writing smoldering hot ero-rom wholly outside the BDSM/kink realm. Here are two:

PRO: Ménage and polyamory. Here’s the sub-genre of ero-rom where no holes are barred. Any combination of heroes/heroines goes here. (Granted, you can have BDSM ménage, and it’s an incendiary sub-sub-genre all by itself.) Options abound. You can have a pair who bring in a third friend for a 3-way fling, or you can have a committed triad. Lora Leigh is the queen of multiple partner polyamory with up to 3 men per gal where all the men love the woman and she loves all the dudes. It works great with M/M/F, too, as illustrated by Lauren Dane. Whether your male partners are together first, or come together (pun intended) in a bisexual triad while also loving a woman, or whether it’s the M/F/M variety where there is no gay sexual aspect, it can be a super-intense, dramatic and sexy scenario. For one, you’ve got all those extra body parts to play with (and the object of this physical affection is really getting an overwhelming experience). But additionally this ero-rom choice heaps on the conflict. Society frowns on multiple lovers. There’s no legal “marriage” possibility. And there’s a third (or fourth) personality fraught with jealousy and personal issues in the mix that can ramp up conflict, both internal and external. But it’s the orgiastic couplings that are the real treat in this sub-genre.
CON: It takes a skilled hand to avoid falling into the orgy or gang-bang scenario (unless that’s what you’re going for, of course, you naughty thing!).

CON: Writing multiple-partner ero-rom also requires an in-depth exploration of your characters’ mind-sets to ensure that there is a viable emotional relationship and connection among the parties. Just tossing in an extra set of cojones for the fun of it won’t enhance the romance; which, of course, if the bottom line, regardless of the XXX rating. Make sure all your characters are engaged in the relationship (in and out of the boudoir).

CON: Ménage is NOT about cheating lovers. While your triad may have sex independent of one another in some scenes, they are all aware of the actions and no one is lying to another or cheating on an unsuspecting lover.

PRO: Perhaps the most obvious of erotic romance tropes in what I call “hot vanilla”. This is where erotic romance actually started (as far as my experience is concerned). The hottest of the hot couplings of an M/F couple (which now happily also encompasses the M/M and F/F couples). No dominance, no chains, no taking turns with a third, just two loving people having super-hot sex. It’s the nature of the graphic depiction of the love scenes that pushes the vanilla couple into the erotic romance sphere. Simple, straightforward, but hugely satisfying to the reader who loves the sex scorching, but shies away from the wilder side of lovin’.

PRO: One particular thing that can make a vanilla ero-rom smokin’ is that delectably taboo raunch: Anal sex. You’ll definitely find anal in BDSM and ménage (and obviously even in an erotic vanilla M/M). But inclusion in a hot vanilla allows you, the author, to push that envelope to the breaking point. Back door Betties are your friend! One happy way to include it and use it to cement a vanilla M/F relationship? The vaginal virgin is pretty much an anachronism these days (unless you’re writing historical), but your heroic fella can still be her “first” if she’s an anal virgin. Ass play allows for a wider variety of sexual activity and you can mix it up for hotter and hotter scenes.

PRO: Naturally, the good-old graphic BJ is less prevalent in the borderline sexy romance, but it’s a staple in erotic romance along with its “cunny” cousin. So don’t forget to have some give-and-take 69 action in your hot vanilla tale!

PRO: A couple of other ways to turn up the heat for your vanilla couple? Sex toys, mutual masturbation, phone sex, and fantasies. It’s all about exploration, and pushing those intimacy boundaries.

CON: As with any other variety of erotic romance, writing graphic sex scenes when you don’t feel it, or get squirmy (not in the good way) using all those hot 4-letter words, can be problematic. Using euphemistic language doesn’t fly with ero-rom readers. And they’re savvy when it comes to the sex scenes. Toss in a few because you need the heat but they’re not progressing the story or moving the characters’ relationship? They’ll call you on it. And be cognizant that an EROTIC ROMANCE has that requisite erotic plot line that is woven into the others (whether it’s a single romance plot line, or a story with an additional one, such as a romantic suspense plot line). It’s about the erotic, sexual relationship that grows and evolves alongside the affair of the heart.

Clearly, we have a delightful array of combustible possibilities for crafting erotic romance on the writing menu. Be it schtupping in a galaxy far, far away, fornicating in a gazebo in a country manor in the Regency, or doing the mattress mambo in the Big Apple, your options for writing erotic romance are breathtaking!

Can YOU stand the heat?

Back To School: Dr. Charley Ferrer's BDSM For Writers Workshop

I have always loved school, but let me tell you, school was NEVER like this! Last Friday through Sunday I had the immense pleasure to attend BDSM FOR WRITERS, a workshop opportunity provided by Dr. Charley Ferrer, sex expert and BDSM lifestyler.

I write erotic romance and more and more kinky business is finding its way into my torrid tales. What can I say? My heroes and heroines just like it edgy! SO I found this a great opportunity to make sure that I am depicting these characters fairly, realistically and with humanity and complexity. But unlike college with its textbooks and ivy laden campuses, we met in a building on the West Side of NYC in the heart of the garment district. We came with our pens and notebooks at the ready, and our “homework” assignment – print out the manual – in hand, but here is where any similarity ended.

9 of us introduced ourselves and got comfy in a small room where “educational aids” were displayed - including floggers, whips, heavy metal collars, and fetish “intro” kits. We ladies came from all around – from Virginia, Boston, New Jersey and Rhode Island, among other locales. Young, older, some in the lifestyle, some not, we had the one thing in common that brought us together: Writing kinky erotic romance. Paranormal, contemporary, historical and everything in between. And what we wanted to know about BDSM was – well, everything!

Dr. Charley herself provided massive amounts of information on the lifestyle. A sex expert, worldwide speaker and presenter, she had us oohing and ahhing, and laughing. She explained the roles, the kinks, the fetishes and the psychology. She gave us the opportunity to try out the implements on one another, which we did with much giggling. I got to try on a collar and it was a curious experience to feel that heavy metal being locked around my throat. I had a few licks with a deceptively benign looking whip. We even had exercises to get us into the heads of submissives, and masters (though the kneeling was hell on my knees!) which was perfect for this “method writer” as I can now rekindle some of those sensations when crafting my characters. The “never-know-til-you-try” adage was a marvel in this regard because I, and the other ladies, were open-minded and willing.

We shared some of our own personal experiences, and got to know one another the first day, lunching together and chatting about our writing, social media, families and more.

Unfortunately I was unable to take advantage with the other gals when they trekked on down with Dr. Charley to Paddles S&M club. DomSub Friends was celebrating an end of summer party and the reports the next day by the bleary-eyed ladies were eye-opening, and hilarious. Suffice it to say they all had a blast and got into the swing of things with vigor.

In addition to Dr. Charley’s talks, she also arranged for a great group of guest speakers. Electrical play expert Jay presented a mind-blowing presentation on electricity in his “sensual” role. The discovery that Michael’s craft stores, my local supermarket and Home Depot can provide many naughty & fun enhancements to this play was a kinky kick. I’ll never look at Christmas decorations the same way again! Being able to play “hands on” with volunteers and get a sense of this play was really cool. His partner, volunteer and “sweet sadist” MaryAnn was likewise filled with great information about BDSM play and the lifestyle. They also generously shared information about organizations and play in other cities and Jay took names for his “dance card”, promising those ladies one “electric” experience that night at Paddles!

There were also several other speakers, members of the BDSM community, but writers too, which provided a wonderful parallel to the discussions on BDSM. Cassandra Park spoke about spanking and discipline play, and how it infuses her own erotica writings. The amazing Laura Antoniou, author of the cult Master/slave cult favorite series, The Marketplace, among other titles, was insightful, informative and wildly, hysterically funny. And I was thoroughly thrilled to have an opportunity to meet, and listen to, DL King, She is the award-winning editor who acquired my erotica short story “My Master’s Mark” (under my erotica pseudonym, Lydia Hill) which will be the finale in her upcoming Cleis Press anthology SLAVE GIRLS (2014).. She talked about her role in the community, and how her knowledge – and our research into this lifestyle – imbues her writing and will raise ours to a realistic level that will fascinate readers.

A second night at Paddles included game participation by two of the ladies’ husbands, and what was clearly an incredible demo of fire play, by Dr. Charley herself, with the assistance of one of our group who volunteered to be the flammable playee.

Our terrific workshop was rounded out with a discussion on psychological pathologies, including Dr. Charley stressing the distinction consensual BDSM players, sharing the power exchange and a mutual intent, and those who are sadistic and/or abusive outside this structure.

Having a chance to gain some understanding into this socially provocative community, to meet some authors intent on rendering this lifestyle with honesty and realistic depictions, to meet these lifestyle participants who gave so generously of their time, expertise, knowledge and humor, as well as to just make new friends, was simply a delight.

And as I made my way home on the LIRR, my head was filled with wonderful research, newfound respect, as well as great ideas, and a terrific base on which to build my BDSM erotic romance. Where my heroes and heroines play - safely, sanely and consensually - and find their happy, kinkilly ever afters.

Interested in attending next year’s bigger, better conference? Check out: http://www.bdsmforwriters.com/

A MUSE OF FIRE: Something Wicked This Way Comes – The Power of Villains

Thus do I ever make my fool my purse;
For I mine own gained knowledge should profane,
If I would time expend with such a snipe
But for my sport and profit. I hate the Moor,
And it is thought abroad that 'twixt my sheets
H'as done my office. I know not if't be true,
But I, for mere suspicion in that kind,
Will do, as if for surety. He holds me well;
The better shall my purpose work on him.
Cassio's a proper man. Let me see now:
To get his place, and to plume up my will
In double knavery. How? How? Let's see.
After some time, to abuse Othello's ears
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected--framed to make women false.
The Moor is of a free and open nature
That thinks men honest that but seem to be so;
And will as tenderly be led by th' nose
As asses are.
I have't! It is engendered! Hell and night
Must bring this monstrous birth to the world's light.

(Iago's soliloquy, "Othello," Act 1, Scene 3)

Where cerebral or martial, man or woman, William Shakespeare unleashed upon the world some of literatures most complex and chilling villains. As I discussed in my earlier column on crafting strong adversaries/antagonists, villains are a particular subset. An adversary of a different color if you will. An action of fate can be adverse to your hero, but the action is benign. A villain – black-hearted, black-souled, sociopathic, homicidal or psychopathic – acts out of personal motivation to damage, harm, kill, destroy.

Shakespeare’s villains may wound with a word or a sword. They may take action themselves or set in motion a deadly intrigue; and then sit back with a self-satisfied smirk as the blood flows.

Motivations vary, but to me the most dark and chilling villains are the ones not driven by flawed human frailties, by need, or greed, or hatred, but the ones driven by a Machiavellian need to destroy. Iago fits that bill and his cold calculation makes him a deadly adversary for Othello, whose fiery and impetuous, passionate personality serves Iago well. In the end, Othello’s beloved Desdemona is dead at his hand and he is crazed with the guilt of what he’s done.

Creating a great villain requires finesse. A villain must be a worthy adversary for your protagonist: Smart and dangerous enough to challenge, but not superior enough to best your protagonist(s).

The best villains are crafted with enough complexity to intrigue the reader, but to avoid caricature or stereotype. Surprise your reader: The baby-faced torturer, the suave serial killer, the grandmotherly ax murder. Likewise, their psychological makeup must be a canny blend of psychology and motivation. We must understand what drives them, what their triggers are (the better to create an atmosphere of suspense as we see them driven forward on their evil journey, just as we see our hero and heroine compelled on their heroic and romantic journey), what their motivations are, and what conflicts may thwart them.

The caliber of villain you craft will depend on your story. Do you want the blackest-hearted blackguard ever written – whose demise will leave your reader standing and cheering? Or a tortured soul for whom the reader may feel a bit of pity? Is your villain the MacBeth type, or the Iago type? The first driven by human emotion, the other enjoying the murderous outcome with cold satisfaction?

Also, what is the villain’s ROLE in your story? How is he to be the foil, the human embodiment of conflict, for your heroic pair? That question, too, will determine how you need to mold him or her with greatest effectiveness.

To help you craft these characters, you have a wonderful array of resources: Study contemporary villains – sadly, the news on any given day provides a despicable perp walk of villainous types, all of whose characters, backgrounds, motivations and actions are dissected in minute detail.

There are also innumerable non-fiction titles written about every high profile villain, from Jack the Ripper to Charlie Starkweather to Bernie Madoff. Written by forensic specialists, law enforcement, psychiatric professionals and reporters.

There are, too, countless research titles available. You can research abnormal psychology and crime scene investigations. Types of killing and murder, and overviews of demographics of who murders who, how and why (One reason why the Aileen Wournos case was so sensational? Women were not expected to be serial killers, and when the “black widow” murderess invariably showed up, they used not guns or weapons of overt violence, but the “kinder, gentler” weapon of poison.)

And there are books specific for writers: Some simply help you understand different character types. Some help you understand the purpose of your villainous character in the context of your story and how he or she plays against your hero/heroine. Some go into the details about writing different kinds of villainous characters in fiction.

Once you have chosen your villain, read enough to understand the psychology so you can create an intense villain, with layers of human complexity. Set up the character biography so you are clear on what has set them on this path, what their motivation is; what they seek to gain by committing their criminal act, and how they feel in the aftermath. And do enough forensic research that the acts they commit ring true and your reader will shiver at the thought of being prey to the heinous character. Of course, read the best in the genre to see how other capable authors handle these subjects.

As always, there are legions of films and television shows with great evil doers to study. And likewise, in dramatic literature, there are some great villains: Ms. Venable in “Suddenly Last Summer” is a chilling character who’d give Iago a run for his money. Regina, in Lillian Hellman’s “Little Foxes”, Mme de Merteuil in "Les Liaisons Dangereuses" by Christopher Hampton, and of course Sondheim’s bloody “demon barber of Fleet Street”, Sweeney Todd in the play of the same name.

In point of fact, there is no end to the number of dastardly types you can study in order to give your readers the fright of their life: The fear that the hero and heroine may succumb to the marvelously complex and dangerous villain in their midst.

“Do it not with poison, strangle her in her bed, even
the bed she hath contaminated.”

Iago, “Othello”, Act IV, Scene 1

Celebrating A Classic - 75th Anniversary of Gone with the Wind

This year marks the 150th anniversary of the start of the Civil War. Coincidentally, it is also the 75th anniversary of the publication of Gone with the Wind. 75 years after the War Between the States ended, Margaret Mitchell published her only novel; a novel which has become an icon of American literature. It has been called, variously, “one of the most extraordinary phenomena of bestseller history” and “one of the most popular books of all time”, as well as “the most romantic novel in history”. It garnered a Pulitzer Prize for Mitchell, and the subsequent film earned a record 10 nominations and won the Best Picture award of 1939. The book became an instant bestseller, despite an unprecedented price of $3.00.

Gone with the Wind has stood the test of time in the US, but also has remained a bestseller throughout the world. It has been surmised that, perhaps, the themes of the novel are so familiar to anyone, anywhere, because, sadly, war is universal. It has been translated into 40 languages and published in over 50 countries. In Japan, it has been translated and is frequently presented as a stage production. Mitchell herself said that the theme of the novel was “survival”: certainly a timeless and universal one.

The Margaret Mitchell Museum in Atlanta sees visitors from all over the world, who come with stories of their own experiences with war. “Windies” – die-hard fans of the novel and its author – celebrate the book with pomp and relish. This year they are planning a champagne toast at the author’s gravesite to commemorate the anniversary. There have been several sequels, Scarlett by Alexandra Ripley and Rhett Butler’s People by Donald McCaig, as well as the disputed parody novel, And The Wind Done Gone by Alice Randall. Negotiations are also underway for another sequel to be penned. In addition to the frequent Japanese theatrical productions, the musicals “Scarlett” and “Gone with the Wind” have been produced in England.

As with other novels of troubled times, GWTW has earned harsh criticism for its negative presentation of the slave characters and its benign view of the institution of slavery. It seems important to keep in mind, however, that Margaret Mitchell was writing from a single generation’s distance from the cataclysm, and from a locale at the heart of it. Much of her research was based on conversations she heard throughout her life from survivors and participants of the “war of Northern aggression”. The book’s sympathetic tone might rankle now as we view it from nearly a century later. Today’s novels of romance fiction also often deal with sensitive and sometimes controversial topics too, however and come in for their own share of criticism. The books that started it all, the “bodice rippers”, in fact quickly evolved beyond the “forced seduction” scenario in great part because of the outcry over the tacit presentation of rape as something that could be romantic.

Too, the protagonist of GWTW is not a typical romance heroine by any stretch. Scarlett O’Hara will, by her own admission, lie, cheat, steal or kill before she or any of her family go hungry. She is also immature, manipulative, selfish, and covets another woman’s husband until, well, until she doesn’t anymore. Because she has then set her sights on the incomparable Rhett Butler. However, she also embodies many of the de rigueur qualities in today’s heroines: fortitude, bravery, determination, pluckiness (gumption as Ms. Mitchell said), loyalty to home and family, and a zest for life and love.

As for the towering person of Rhett Butler, I find him the consummate romance hero. Despite his shortcomings, he fulfills the number one requirement of a romance hero: He comes through when the need is most dire. Of course, I like my romance heroes mad, bad and dangerous to know and flawed. The better to be saved and converted by a romance heroine!

The tempestuous character of Scarlett, and the novel overall, despite these issues, is unforgettable. Mitchell created a panoramic tale of love, loyalty, heartbreak and lust for life, set against a backdrop of the most devastating events the country has ever faced. The primary characters barely survive – and in fact, a number of them don’t. Characters go from the highest of heights to the most abysmal of lows. Talk about your black moments!

Gone with the Wind is a categorized as a “popular novel”. Certainly I would consider it “women’s fiction”. Today’s romance fiction also falls into those categories yet, in the end, while GWTW is certainly not a romance, by today’s standards (a happy ever after being notably absent for everyone involved) it is one of the most romantic novels of all time. A larger than life hero and heroine, trials and tribulations, historical sweep, passion and as with every romance – painful lessons learned.
Margaret Mitchell’s own words about her book might also sum up a basic romance novel tenet: “I wrote about the people who had gumption and the people who didn’t.”
Despite the differences in length, complexity of narrative, and the most assuredly un-happy ever after outcome, Gone with the Wind might well be considered a progenitor of contemporary romance novels: stories where a hero and heroine meet and fall in love (albeit at different times), face impossible odds on the path to happiness, but who, in the end, are able to overcome the odds and find joy together.

Margaret Mitchell’s novel mirrored her own life in many ways. Her mother died during the 1918 influenza pandemic and she was left to care for her family, Irish Catholic just like the O’Haras. She was an independent woman, choosing to pursue a career in journalism when women were certainly not regulars on the newspaper beat. She suffered through an unhappy first marriage, only to marry the 2nd suitor who had been simultaneously vying for her attention when she accepted the proposal of the first.

Her novel almost never saw the light of day and the tale is legendary in the annals of publishing. While the specifics of the story vary, it is said that after seven years of work she had secreted the manuscript away in a pile of envelopes, in her closet, having no intention of pursuing publication. But when Macmillan editor Harold Latham visited Atlanta in the hope of discovering a new Southern writer (would that this practice was still in place – we could avoid all those rejections and just wait for the editors to come calling!), a mutual acquaintance mentioned Mitchell’s book. Apparently a friend found it humorous to think that Mitchell had written a book and Mitchell, her back up over what she perceived as a slight, marched to Latham’s hotel and handed over her tome. When she later tried to get Latham to give it back, he refused. He’d already begun to read, and had been swept away (couldn’t resist!). The rest, as they say, is history.

Sadly, Margaret Mitchell’s own HEA was not to be. Her life was cut short by tragedy when she was hit by a car and killed at the age of 49.

Gone with the Wind has sold more copies than any other book in history (with the exception of the Bible). It has fired the imagination of other writers who have sought to capture the time, the characters, and the questions of the time. It lives because it speaks to the human spirit of those who struggle against the tides of war. It gives us a heroine who remains unbowed despite all travails. Who never gives up and even as the novel closes, prepares to do battle again for the man she loves. Because, after all, tomorrow is another day!