Dangerous Men & Adventurous Women: Romance Writers on the by Jayne Ann Krentz

By Jayne Ann Krentz

Romance readers and writers will locate this selection of essays by means of one of the most well known romance novelists writing this present day distinct and engaging. For the 1st time, those authors clarify why romance is so renowned, display why they write during this style, discover the unheralded merits of analyzing and writing romances and lots more and plenty extra.

Show description

Read Online or Download Dangerous Men & Adventurous Women: Romance Writers on the Appeal of the Romance (New Cultural Studies) PDF

Similar women writers books

Catharine Macaulay and Mercy Otis Warren: The Revolutionary Atlantic and the Politics of Gender

Catharine Macaulay and Mercy Otis Warren have been radical neighbors in a progressive age. They produced definitive histories of the English Civil struggle and the yank Revolution, attacked the British govt and the USA federal structure, and instigated a debate on women's rights which impressed Mary Wollstonecraft, Judith Sargent Murray, and different feminists.

The History of British Women's Writing, 1750-1830: Volume Five

This era witnessed the 1st complete flowering of women's writing in Britain. This illuminating quantity positive factors prime students who draw upon the final 25 years of scholarship and textual restoration to illustrate the literary and cultural importance of ladies within the interval, discussing writers reminiscent of Austen, Wollstonecraft and Mary Shelley.

TRANSLATION AND GENDER: Translating in the 'Era of Feminism' (Perspectives on Translation)

Translation and Gender areas fresh paintings in translation opposed to the history of the women's circulation and its critique of "patriarchal" language.

Additional resources for Dangerous Men & Adventurous Women: Romance Writers on the Appeal of the Romance (New Cultural Studies)

Sample text

He has been variously described as a devil, a demon, a tiger, a hawk, a pirate, a bandit, a potentate, a hunter, a warrior. He is definitely not the boy next door. Linda Barlow and Jayne Ann Krentz 20 Indeed, he's a man in every sense of the word, and for most women the word man reverberates with thousands of years of connotative meanings which touch upon everything from sexual prowess, to the capacity for honor and loyalty, to the ability to protect and defend the family unit. He is no weakling who will run away or turn to another woman when the conflict between himself and the heroine flares.

The first and most deceptively simple rule every toddling writer learns is Show and Don't Tell. The next thing the writer learns is just how difficult that standard is to achieve, particularly when trying to Show rather than Tell something about a character while in that character's consciousness. It is not an impossible thing to do by any means, but it is an enduring challenge. We all fall back on telling, and Modleski's "schizophrenic narrator," the "man-watching-from-the-closet" who makes omniscient comments about the heroine's beauty, is really just an untalented writer.

Because this same frustration was one of the hero's dominant emotions in the course of the book, I am led to the conclusion that these readers were comfortably identifying with him, not her. Through her own and the hero's eyes, the reader watches and judges the heroine; the reader does not typically become the heroine in the way she often becomes the hero as she reads, although the closer she moves toward spontaneously identifying with both hero and heroine the more rich and rewarding the romance is likely to be for her.

Download PDF sample

Rated 4.81 of 5 – based on 19 votes