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ROMANCE
September 8, 1993
In the interests of openmindedness,
I read a romance novel. I think it
was by Johanna Lindsey.
The writing was pretty awful, but I
could get used to it.
The main character was entirely
useless, completely passive.
I mean, this is a plot: "No, no,
no, no, no, yes..."?
I heard Dawn Friedman make an odd remark recently
about holding a convention panel discussion on the
subject of what SF can learn from Romance novels.
(1) I think, yeah right, you can do an SF novel
about an entirely passive character who just
sits around saying "No, no, no... yes."
(2) Except you could actually do that. A
character could be in control of something
extremely valuable... a resource, an industry,
an alien race, an alien artificat... and
various factions could come up offering him
deals, that he keeps rejecting.
(3) Actually, this is what _Season of the Mists_
is about, isn't it?
And I suppose this is the
opposite of my old idea of
translating the appeal of That notion: the central
male-fantasy fiction (e.g. characteristic of
Detective stories) into male-oriented adventure
women's fiction. fiction is contrived
situations in which
prohibited behavior is
justified. Spider-man
never has any difficulty
finding bad guys to beat
up when he needs to.
So the female analog would be
something like situations in
which playing the whore would
be required by circumstances.
Possible Examples:
The female spy who lures men to
their dooms with her body,
strictly for patriotic reasons.
Ayn Rand's first novel "We the
Living" is about someone who
sleeps with a Soviet official
to obtain medicine required by
her lover.
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