When you write a
novel, you’re always hearing about “conflict.” Although that doesn’t mean a
knock-down fight, that’s what it often amounts to. Start your book with a bang,
hook ‘em in.
But conflict doesn’t always
mean fighting. It means the inner struggle and the outer. One of the biggest
challenges is to balance all the conflicts, because too much and the reader
will get breathless—not in a good way.
Although I haven’t written
any “romantic suspense” recently, I do tend to write books where there are
things that belong in romantic suspense. I really don’t know where the line is
drawn, I mean, I won a major romantic suspense award for “Harley Street,” a
historical story featuring Richard and Rose. True, there was a murder in
chapter one, and the couple spend the book discovering the murderer, and thus,
other things about Richard’s past, but it’s never to my knowledge been shelved
in that section.
In "Brutally Beautiful," my hero is an ex-gang leader, and he has some serious things to accomplish before he can save his princess and have his happy ending. Definitely erotic, but the suspense element is high. The villain is fairly obvious, but will they catch him or her in time?
My newest release,
coming next month, is “Sixth Sense,” and again, I’m not sure where it belongs. Romance,
I guess. It’s part of the Symbiotics series, but can be read alone and it
starts with a real life experience. Yes, I did lie in an isolation room in a
hospital once, wondering if I was about to lose my leg. It seems strange to
anyone who doesn’t write, but I can almost see the authors reading this saying,
“Yep, it all goes in to the writing pot.”
I never forgot the
experience, and the memories remained vivid. The emergency didn’t last long and
I still have two legs, thanks to the doctors at my local hospital, whose prompt
action and careful diagnosis made sure I got better. But for the two days of
the emergency, I was scared, and then resigned. Because, after all, what could I
do? If it happened, it happened, and I was in the best place.
In the room next to me
was a sailor, in quarantine after suffering a tropical disease. He was
perfectly well, but he had to stay there until they said he wasn’t infectious
any more. I couldn’t talk to him, we just exchanged a couple of sympathetic
smiles.
So I put my heroine,
Poppy, in the same situation. Well, you would, wouldn’t you? Her conflict is an
internal one—how does she cope with this unexpected and terrifying thing? It happened
to her as suddenly as it happened to me. Not an accident, an unexplained
swelling of the leg, so much that it threatened to burst. Blood clot? Septic arthritis?
I had no idea and neither did she.
Instead of a
middle-aged sailor, I gave her a hot, wealthy geek to play with. One who has
inner tensions of his own. He’s in the hospital recovering from cholera,
contracted during an exotic holiday.
Oh, yes, and by
chapter two, the plot has thickened. The external conflict appears. Her condition
isn’t, like mine was, an unexplained occurrence. She’s being poisoned.
So there you have it. Is
it romantic suspense? Some of the story is certainly spent hunting the
perpetrator, but the majority is the love story between two unlikely people who
meet by chance. Both are sexually naĂŻve, being too busy and too shy to explore.
They have satisfactory sex lives, but finally, together, they can play with the
basket of toys that have been lying in Jim’s closet since he left his job in
England.
So which is it,
romantic suspense or erotic romance?