quote:
Ramona Koval: How important is a love interest in a whodunit?Colleen McCullough: You have to have it. If you don’t, your publisher screams blue murder.
Ramona Koval: So did you have to put one in after the first draft, or…?
Colleen McCullough: No.
Ramona Koval: You knew that rule.
Colleen McCullough: This is novel number 16 or 17, something like that, so I’m well aware that you have to have some sort of love interest in a book, and I congratulate myself when I manage to wriggle out from under being obliged to write love scenes, which I hate writing. Describing a non-verbal activity is terrible. I didn’t really have to put in any big love scenes in On, Off which was great. You want to see at least one of your major characters involved on a human level that has very little to do with the problem on hand.
Ramona Koval: You want to give a bit of a respite too, don’t you, to everybody. But everybody likes a bit of romance, don’t they?
Colleen McCullough: Well, they like a bit of a love interest, yes.
I, personally, despise the love interest thing, and avoid writing them into a story. Is this a mistake?
What are your thoughts on this sort of thing?
Edit:
Despise is a strong word, I guess I avoid it because it seems too hard to do well.
[This message has been edited by hoptoad (edited November 22, 2005).]
Because all the various kinds of relationships are crucial to our survival, most of them involving some degree of love (or even hate), then writing in a love interest is probably the most natural and easiest thing to do -- many of us probably do it without conscious effort. Most everyone loves someone else. And a new, romantic relationship is particularly thrilling for those involved -- and far too often, those on the periphery of it. Since having children is also crucial to our survival as a species, then love interests in long fiction seem almost necessary.
It's also an easy way to gain sympathy for a character. Most, if not all of us, have fallen for someone at some point in lives. We know precisely how we felt or still feel when that happens, so it's easy to understand how the character will feel. It doesn't require a whole lot of setup, either. One could simply write: "He loved her more than anything else in the whole wide world." And you'd know exactly how that character felt. Even better, if the love is unrequited, then you have perfect conflict, too.
Do you need a love interest? No, but since we're all human, and most of the characters we write usually pass for human, then it's only natural that a character will fall in love with someone they meet along the journey. Life happens. Love happens. People get together and more life happens. It's nearly unavoidable.
And, of course, it all depends on the story you're writing and the characters involved. Do whatever your story needs, is my point.
[This message has been edited by HSO (edited November 22, 2005).]
Anyway, I think a love interest is a pretty easy thing to have in a story because what provides opportunities for characterization like a love interest?
If you'll forgive me for straying [further] from the mystery genre, I think love interests that are not romantic can be engaging as well. There is the much used dead relative, as we see in the early Harry Potter series. I think someone can have a nemesis thing going on as well.
I don't know, though, I see ads for mystery programs on PBS and I'm having a hard time thinking of them as having love interests. Especially the monk. Or that lady who seems like her true love is probably either cats or gardening. It may just be the subgenre in which this woman writes requires a love interest.
Personally, I'm more interested in non-chemical love in my stories. I'm fascinated by it. I have one story in progress about twins (brother and sister) who love each other. In my big WIP, the main character has a 'love interest' but it is totally platonic and therefore deeper in many ways.
But I don't think all stories need love. Personally, Star Wars (the originals) would have done just fine without the love thing. Better, even. And the prequels...well, we won't go there.
But it's fine if it fits.
I think some of it will depend on the age and circumstances of your character(s). If your character is 55 then it is less likely that there is any romance/love interest. If character is 21 it is almost certain there will be unless he's a total geek and even then there will be longings.
Just write what's appropriate.
I for one would not enter into a contract with an editor who required it.
P.S. I think having a love interest is part of making a story accessible for a wider audience. I mean, we can write books in esperanto if we want, but no one has to publish them. The publisher wants to sell books. If we don't want to give them books that will sell, there are plenty of authors who will. And there is nothing wrong with that.
[This message has been edited by franc li (edited November 23, 2005).]
Is it an essential part of the hero's journey?
I wouldn't say it's always necessary, but it is an element of life, and if the story is True, chances are it will crop in some way or another.
I write fantasy, so allow me to stray away from the whodunit (what an awkward word.)
When I hammered out the outline of my novel, I noticed one thing when I was done. There were no female characters.
Now, this wouldn't have bothered me, but I realized, if I ever want to sell this, I need to have a female in there somewhere . Now, will I put in a love story? Probably not... I think the sexual tension between characters is always more interesting than the actaul sex, so I'll probably stick with that.
$.02
- leaf
Can we pick a story that works without a love interest and involves adults instead?
I can think of several, but that's beside the point.
Here's a title for HSO... How about Lord of the Rings? (The books, not the movie) The main story revolved around the nine males who set forth on the quest. I don't think you can seriously count the love interests with Éowyn, Rosie Cotton, or Arwen as a significant factor in the plot. They were merely backdrop, like the characters love of pipeweed. The biggest deviation Peter Jackson made between the books and the movie was in developing the love story between Arwen and Aragorn.
I personally LIKE love stories mingled in with my fiction, but that's just me. However, I don't think they HAVE to be present for the story to be well done.
[This message has been edited by Leaf II (edited November 24, 2005).]
If you look at the love interest as someone (or some thing) that is sometimes a help to the protagonist and sometimes a hindrance, then a love interest can be quite useful in making a story a little more unpredictable.
But... I think if you cause that much tension between two characters, you had better resolve it eventually or the reader may feel cheated. You can't tease some one forever with that kind of relationship and not resolve it someway. It doesn't have to end in a sex scene either. It could end with the death of one of the characters, or they mutually separate, heck any number of ways could work for a resolution. My rule is: If you start something, you'd better finish it.
Oh, to answer the original question. I think that some sort of love interest should be an integral part of every story. Everybody loves somebody, it only makes sense, and it makes the characters seem more lifelike. In fact, I feel that if you don't use one, you are missing out on a bunch of plot opportunities.
[This message has been edited by TruHero (edited November 25, 2005).]
One way to look at it is giving your protagonist believable motivations for his or her actions.
If the protag (or main character) is trying to save the world, so to speak, why bother saving it if there no one or nothing he loves about it? If he's madly in love with his wife or some other thing, then saving the world is directly relevant, since said saving also saves his true love. Everyone has reasons for what they do. They may not always understand their choices and reasons, but they are always there.
Of course, everything has a price in some measure, and perhaps by saving the world, an unfortunate and unintentional mishap occurs in which the love interest is killed. Or not. But you can clearly see the power of such a plot line. Indeed, similar plot structures are used so often that it's weird not seeing it in a story.
So, in some regards, having some kind of "love interest" is critical. I don't think it has to be a one-on-one romantic love interest, but there has to be a reason why someone would suffer (and most protagonists do suffer miserably in trying to acheive their goals) in trying to right a wrong or whatever...
To paraphrase Morpheus: "What is a 'love interest?' How do you define what love is?"
Everyone is different. Yet everyone has at least one thing to care about, and usually they have so many more than only one.
I will say that I see a good many stories that lack depth because characters do the craziest stuff and have no good reason for doing any of it... Things like:
A guy is severely depressed, has no reasons to live, everyone hates him, and he hates everyone and the entire planet. And yet suddenly when an giant asteroid is heading for Earth, the guy is gung-ho about stopping it... for no good reason. Seems to me this depressed dude would be first in line at the predicted impact site. (Of course, that actually could be wonderful and believable motivation for the character... trying to die, but things prevent him from getting at his destination, and along the way he begins to care -- it's all relative to the story you're trying to write.)
It's one thing to have a wicked cool idea, and it's another to put in believable characters to effect that idea properly. Characterization and motivation are critical to most every story. Love interests help that along in no small measure.
+10
-leaf
quote:
I want to believe that apathy is not the opposite of love.
5 entries found for apathy.
ap·a·thy ( P ) Pronunciation Key (p-th)
n.
Lack of interest or concern, especially regarding matters of general importance or appeal; indifference.
Lack of emotion or feeling; impassiveness
(Courtesy of www.dictionary.com)
I believe that apathy is the opposite of MANY emotions.
Just my opinion, but I think stronger emotions work better in most situations for a piece if you're going to get into human interations. Apathy might come off too dull and boring, but might be right depending on the story.
As to the question of the post, I don't believe a love interest is necessary, but that depends upon the type of story. Fanatsy, for example, has a higher percentage of female readers and they like romance. Just look at romance novels and how many of them are sold.
Science fiction and Horror usually have more action and are more technical, so if there isn't a love interest, it probably has less impact. Most Science fiction readers are male also, which makes the exclusion easier. I'm not sure what the breakdown of the Horror genre is, so I don't know about that.
Males can appreciate romance and the love interest too, but seem to care about it to a lesser degree. Having this kind of thing in a story doesn't usually detract a male reader unless its blatant and overdone, so why not put it in?
If it fits the plot and story, that is. If not, then leave it out. Forcing it where it doesn't belong is a sure way to ruin a story in my opinion.
quote:
Hate may not be the opposite of love, but it is a stronger emotion than apathy. I would say that unless you want to show no interest at all, then hate would allow for more opportunities for story development.Just my opinion, but I think stronger emotions work better in most situations for a piece if you're going to get into human interations. Apathy might come off too dull and boring, but might be right depending on the story.
Well, I agree and don't agree. Yes, hate is a stronger emotion for the person feeling it. But what about the person on the other end? For example, imagine you are passionately, heart-wrenchingly in love with someone. Which is worse: having that person respond to you with hate (which is at least an interaction of some kind), or having that person turn an indifferent shoulder on your effusive protestations of love?
An example that comes to mind (thought it's about father-child love, not romantic) is the scene in Fiddler on the Roof where Tevye turns his back on his daughter Chava for marrying outside the faith. We know he is conflicted, but from her perspective he is dismissing her with complete indifference, as if she doesn't exist. Watch how painful that is for her.
If there is no love interest, then like Batman, James Bond or Sam Spade there is always someone moving through the story that arouses the sexuality of the main character.
A love interest also adds more plot lines to future novels and gives the character someone with which to dialogue or bounce off his theories.
I have two characters in this genre. Maximillius Macedonius Euis Locs, a Roman general. Currently there is no love interest in the first book. the second book will introduce someone who moves through the story in which he has a fling with in order to fullfil a prophecy. In the third book, I am planning on him rescuing a slave by purchasing her and working a love interest from that angle.
Bartholomew Landry, a former professional football player now a New Orleans private investigator has Katie Arceneaux, a New Orleans attorney as his love interest. It helps explain how Bartholmew can stay in business when his clients usually can't afford to pay him except with pencils and loose leaf paper from a school supply locker in which one of his clients, a teacher, worked, shoes and hats from a sporting goods store where one of his clients worked, fresh fish from a Gulf fisherman...again, one of his clients...etc. It's the typical way a PI gets paid.
Katie sends the occasional paying client his way.
Peace,
Scott