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Monday, October 24, 2011

The Seven Deadly Sins of Paranormal Romance

Please welcome guest blogger Stephanie Draven


While I’m sure I’ve committed one or two of these myself, if I were the goddess of the paranormal romance universe, I would decree the following seven deadly sins:


SLOTH: Info Dumps. Nothing turns me off faster than a book that starts off with a long narrative explaining all the world building. Info dumps are lazy. They’re bad form. The details of your world should come to light slowly, layer upon layer, immersing the reader in the experience. For hints on how to do this, paranormal romance writers should study the best written fantasy.


LUST: Fetishism of the Supernatural. There’s a tendency for paranormal romance writers to fetishize the supernatural elements in the same way that science fiction writers sometimes fetishize the buttons and gadgets of their worlds. That your character is a werewolf isn’t all that interesting in and of itself. Not being a furry, I’m not turned on by long descriptions of fangs and silver-grey coats. And while the fact that your hero can identify anything with his superior sense of smell lends flavor to his persona and reality to your world, it’s not actually characterization. Obsessing on the blood sucking, the mysterious brotherhood, and the magical abilities may appeal to other readers who share this fetish–but it isn’t storytelling. There has to be more to hold the book together than a collection of neato cool superpowers. Paranormal has a place, but don’t use it as a crutch.


GLUTTONY: Big Chunks of Boring Dialog Meant to Convey Realism. Writing teachers everywhere tell budding young authors to listen to real dialog and use it as a model for what their characters should say. This only gets you so far. In real life, people wander off on tangents. They pause and hem and haw. In short, they bore the pants off one another. Why would you want to do that to your reader? Paranormal romance characters live extraordinary lives. We don’t have to hear them talk about their car trouble or what kind of ice cream they’re going to eat unless this has some bearing on the plot, or conveys something about their character, or is a delightful little detail sparingly tossed into the mix. Real life conversations can go on for hours. Conversations in fiction need to be tight and lean! Never overindulge.


GREED: Too Many Speculative Elements. The best paranormal romance takes the world as we know it, or the past as we imagine it, and twists one or two crucial elements, following the repercussions from those changes like ripples on a pond. The worst paranormal romance turns itself into a carnival for every strange and unexplained myth, magic, and phenomenon in the cosmos. Elves and vampires, mining together on Epsilon 4 with space aliens who are ruled by the Wicked Witch of the West in a kingdom called Oz…readers need to be able to focus. In a world where everything is possible, what is truly at stake? (A perfect example of how too much of a good thing can ruin a series, is the beautiful television series LOST which started out with an intriguing premise, but eventually piled so many new paranormal elements onto the stack that the whole thing collapsed under its own weight, bleeding viewers and disappointing fans.)


WRATH: Violence Overload. Most paranormal romance follows the trend of urban fantasy to put existential concerns at the forefront. It’s the fate of the whole world, country, city, species, brotherhood, or pack at stake. It’s gotta be bloody, too. A struggle for survival. Just once, I’d like to see a good secret baby vampire romance or a simple mistaken identity story between witches, or a marriage of convenience between werewolves. At the very least, I’d like to see interpersonal conflicts that focus on a developing relationship at the center of the book, rather than the danger and violence.


PRIDE: A Glossy of Terms. Look, if you want to put a glossary of terms at the back of the book for curious readers to look up terms as they arise, go for it. But putting it at the front of your story signals to me that you think you’re just too special to weave your special special language into your special special special book. It says that artful exposition is something paeans must use, but you are too good for it. You will make your readers actually look it up instead of being able to figure it out in context.


ENVY: Mary Sue Characters. We all want to be six foot bombshells who can kick butt in high heels, smite evildoers, and capture the heart of the sexiest angel ever to fall from heaven. But such heroines can’t be all wish fulfilment, quick-witted, never afraid, never at a loss for a words, and always right. It’s held as a given in paranormal romance circles that your hero can be a bastard but your heroine can’t be a bad girl. However, a reader can’t love her if she’s perfect. Put some dents in her armor and let the hero call her on her bullshit once in a while.



Stephanie Draven is currently a denizen of Baltimore, that city of ravens and purple night skies. She lives there with her favorite nocturnal creatures–three scheming cats and a deliciously wicked husband. And when she is not busy with dark domestic rituals, she writes her books.

Stephanie has always been a storyteller. In elementary school, she channeled Scheherazade, weaving a series of stories to charm children into sitting with her each day at the lunch table. When she was a little older, Stephanie scared all the girls at her sleepovers with ghost stories.

She should have known she was born to hold an audience in her thrall, but Stephanie resisted her writerly urges and graduated from college with a B.A. in Government. Then she went to Law School, where she learned how to convincingly tell the tallest tales of all!

A longtime lover of ancient lore, Stephanie enjoys re-imagining myths for the modern age. She doesn’t believe that true love is ever simple or without struggle so her work tends to explore the sacred within the profane, the light under the loss and the virtue hidden in vice. She counts it amongst her greatest pleasures when, from her books, her readers learn something new about the world or about themselves.

Stephanie also writes historical fiction as Stephanie Dray and has a series of forthcoming novels from Berkley Books featuring Cleopatra’s daughter.

Dark Sins and Desert Sands


Wrongfully accused and broken by torture, an American soldier transforms into a mind-controlling minotaur bent on revenge…

Escaping a hellish Syrian prison, U.S. serviceman Ray Stavrakis emerges with uncanny powers and an eerie ability to morph into a mythical Minotaur, half-man, half-bull. Only one woman can prove his innocence and soothe the savage beast inside–the same woman who’d driven him to the brink of insanity with her cool-eyed interrogation and her hot-blooded sensuality.

But Vegas psychologist Layla Bahset has no memory of Ray or her past. Only a feeling of being stalked by a nonhuman predator. Is it Ray…whose eyes condemn her soul even as his hands ignite her body? Or is another evil force hunting her down like prey?

Now nothing can stop Layla from remembering what she really is…and what her evil creator has planned for her and her soldier lover…

5 comments:

LynnRush said...

LOVE this. Spot on!!!

Love the SLOTH one. That's awesome.

Bella Street said...

Excellent points! My fav is the last one :)

Berinn Rae said...

awesome post. Love it!

Rebecca said...

Great blog post - I really enjoyed this! :)

Julia Rachel Barrett said...

Nice, Stephanie!