The "C" Word: Marketing for Artists and the Magic of Writing Romance

Unrequited ~

Winter is coming, sort of. We are finally getting some cooler days here in Sydney, and yet the occasional 29-30 degrees still crops up here and there to remind us of our roots (classic Sydney "Autumn"). Argh. Give me boot weather.

The Dread of the "C" Word

I've also been thinking a lot about content lately. Content with a capital C. The kind that influencers make. This all came about because I've started posting on my author Instagram (it's not pretty, but it's here if you want to see it, actually, don't look at it). The general advice I hear from authors is to have at least one social media, so I've sentenced myself to Instagram, it's the least offensive.

After seeing all the social media savvy people on my home page, pointing at captions and mouthing along to sound bites, I feel a sense of dread that I'm really not good at this at all. What on earth do I post? I don't think my breakfast is that pretty, nor am I lying on some gorgeous beach, nor am I willing to put on any makeup to take a selfie, nor am I good at this.

My anxiety was slightly tamed after I stumbled upon this YouTube video on marketing for artists (see here). It's by a photographer named Jared Thomas Tapy, and he talks about how marketing doesn't need to be complicated, or convoluted, or about influencing. He breaks his process down into just three steps: put out what you "see" in your art, how it made you feel and why it matters. That's it. He made the point that artists are not influencers; our goal isn't followers, but understanding. This simple video really helped me take a step back and out of the suffocating feeling that posting on Instagram had me in. I highly recommend Jared's video if you're struggling with similar thoughts.

I can post about what I'm doing with my writing in the moment, how it makes me feel (struggles, surprises, hopes), and why it matters (reflecting on the writing craft, art, and the struggle to create). That's what I'm already doing on this blog. So basically keep doing what I'm doing, and no need for cartwheels and star jumps. Ok, now let's never say the C word again.

The Anatomy of a Slow Burn

Let's talk about romance.

Was that too much of a 180? Too bad. Love can smack you out of nowhere, so you should be prepared.

The day I decided to be a writer, way back in Covid times, "Back in my day, kids, when we all ate around a hearth", I knew I wanted to write romance. Fantasy, too, but I really wanted to pen an epic romance. One that would haunt others with how freaking romantic it was.

Fast forward to today, and I'm writing my fantasy romance Project Hollow (read the blurb here). I have two characters, Cin and Ward, who hate each other and now have to work together to save the person dearest to them. The conflict is rife, now how to thread an awesome romance? This is my first draft, so I'm still learning, and I'm going to get it wrong a few times before it clicks, but come along with me while I try to work this out in my mind.

What makes a story romantic? Is it touch? Is it sex? Is it acts of service? Love languages and gifts and such? I know what the beat sheet books say, Romancing the Beat, Save the Cat, and I've also read How to Write a Romance Novel for Dummies (it's a pretty good read for a total newbie). But these guides don't really tell you how to make something romantic. Romance doesn't come from a beat formula. It's magic. It's when you read a line from the lead to their beloved that makes your toes curl and your heart squelch.

You got that? Magic = the answer. Now here is me trying to pull back the curtain.

Firstly, I'm thinking about what promises I'm making to the reader. Project Hollow has no chilli peppers, as the gals on the socials say. There is no sex. It's sexy and hot, yes, but no genitals make an on-page appearance. Sorry. It's also not Pride and Prejudice levels. There is physical awareness and a slow build of intimacy and connection that will culminate in the L word. In other words, a slow burn.

So I've got the tone in mind; next, I'm thinking about who Cin and Ward are as people. Stuff I'm writing down is what have their past relationships been like? What do they find funny? What's going to make Cin crack up or make her lean in closer to hear more? What's that special something that makes Ward pay extra attention to a lady? What does he admire? How would it look if these two were actively wooing each other, if all the obstacles weren't there?

The last step is to write to the inevitable. We know the end, it's love, baby. Loooovveeee. What's one step before that? Is it a confession? Ok good. What's before that? Lots of small moments, some big moments, where each character does, says, or thinks things that show their love interest: they aren't like anyone else; there is something special about them. I make a list of all these little actions or dialogues that will eventually build up to THE moment where falling in love is inevitable.

Think slow, then raise the temperature by one degree here, maybe two, maybe three until it's hot and steaming, and each word these characters say to each other is dripping with innuendos, in jokes and promises. There needs to be steps and progression until it feels like there is no other way forward but for these two to be in love. But it also has to be vulnerable, raw, and real for the characters. A reader needs to believe it. I need to believe it.

That's my big-picture working out on how to write romance so far. I'll keep working on it and report back any breakthroughs as they come.

Project Hollow writing updates ~

Scene 15 of Project Hollow is just about done, and it's been a tough one. I keep asking myself if I'm going too fast with the relationship progression or, conversely, too slow.

I've got two characters who really dislike/hate each other. Would it be believable for them to talk civilly already within one scene? Is that too quick? Should I throw a joke or two in there? Would the other character find it funny or more ammo for their hatred? I guess I'm just going to have to feel it out as I go, heading into scene 16.

Then there are the fantasy world-building elements and the main plot that I also need to keep in mind. I don't want the romance to overtake everything else completely, so do I pare it back or keep it at equal parts? I'm afraid I'm not sure how to just yet. I think I'm too close to the draft to tell. I'll have more thoughts once it's in my rearview. Add that to the list of never-ending editing tasks I need to think about once this draft is over.

While I know each character well, I am still learning about them, and they are growing the more page time they get. It's thrilling, actually, to know there is more and more to them. I'm trying not to get so stuck in the outline and keep having fun. Note to self, have fun.

Scene 16 will bring more page time for the Cin and Ward dynamic. They have to do a break-in together and steal some information while also trying not to kill each other in the process. I'm buzzing just thinking about it. Let's see if it comes out of my pen smoother than scene 15, or if it's a train wreck. I'll let you know in the next blog.

Until next time, happy writing!