Clara Frost tells you all about kissing

This week we decided on a theme of kissing in books and especially kissing scenes. I have literally no experience writing kissing scenes and I was starting to worry about finding anything to say on the topic until I realized: I have the option of ringing a friend. Enter Clara Frost, romance author extraordinaire. I decided to interview her to get help in writing romance into scenes.

Fool's Gold by Clara Frost

How do you decide when the characters should be kissing and when to go further?
Authors tend to be categorized in one of two ways: plotters and pantsers. Plotters start a new story by working out what will happen in broad strokes, refining down until they know their direction for anywhere from a few chapters to the whole book, and only then do they begin writing. Pantsers write by the seat of their pants, making it up as they go along. While there are shades of gray between the two, I fall on the side of the plotters most of the time.

Because of this, I know at the beginning who my hero and heroine are, how their relationship will develop, and how far I want their intimacy to go in each scene. Take Fool’s Gold, for example. The story is about two relationships: Trent and Victoria, and Victoria and Beta. I wanted Trent and Victoria’s to be fast and steamy and ultimately unsustainable, but Victoria and Beta to start of much slower and grow into something that meant more at the end. Victoria and Trent start with a touch and a kiss and then fall right into bed. Beta, on the other hand, cares deeply about Victoria, and is afraid of hurting her, so he will hardly touch her until much later.

How much set up do you do for any expressions of physical intimacy?
This is a place where I think fiction and reality have much in common. Intimacy is as much mental as it is physical, and the best intimacy is preceded by plenty of anticipation. In fiction this may mean multiple encounters culminating with one grand climax late in the story, or it may mean a much earlier scene that is slower paced and more drawn out, but ends just as steamy.

Of course, fiction and reality are both sometimes too fast and too messy, and the consequences of a deed may be more entertaining than the deed itself.

Do you have any pet peeves regarding kissing scenes in romance or non-romance stories?
Boredom. I hate boredom in all forms of fiction, but a story that beats me over the head with how perfect a hero is, and then he turns out to be a perfect kisser, too, I feel like I've wasted my time. There are certain tropes most romances follow, and when an author can give me a new take on those tropes, I’ll love them forever.

What do you consider to be the most important aspect of scenes featuring physical intimacy?
It has to have a purpose, preferably more than one. Intimate scenes should give the reader insight into all characters in the scene, it should move the plot of the story forward, and it should surprise me. To me, there’s nothing worse than two characters meeting, go straight into a steamy scene, and then afterward nothing has changed.

Duty Honor Family by Clara Frost

How detailed do you get?
In my more recent work, such as Duty Honor Family, I've taken the approach of setting up the scene and fading to black as the clothes hit the floor. If it’s done well, the reader’s imagination will give them a far better experience than I can as the writer. The secret for me is getting their imagination to the right place.

What are your favorite kissing scenes in fiction?
Rhett and Scarlett is probably the most iconic kissing scene in fiction, though I think you can make a case for Han and Leia being a slightly re-written take on the same beats.

But for my absolute favorite, I’ll defer to William Goldman.
“There have been five great kisses since 1642 B.C...(before then couples hooked thumbs.) And the precise rating of kisses is a terribly difficult thing, often leading to great controversy.... Well, this one left them all behind.”

Clara Frost is a romance writer based in the Midwestern United States. You can follow her online at www.clarafrost.com. Her latest novel, Duty Honor Family, is available at all major online retailers, including Amazon, B&N, Kobo and Apple.

The Romance Story

You walk into a book store, eager to find a new story to consume.  You might head to the Young Adult section and pile your basket full with Becca Fitzpatrick, James Dashner, or Veronica Roth books.  You might linger in the Fantasy and Sci-Fi section, hunting for Octavia Butler or digging up the newest Writers of the Future volume.  Maybe you're looking for a great mystery, western, or you can't wait to read the newest Jodi Picoult.  Then you turn the corner and your heart races.  You realize, somehow, you've made a wrong turn, and you're now standing smack dab in the middle of the Romance section.

If you beat a hasty retreat and never look back, you might be missing out on something.  According to the Romance Writer's Association, the Romance genre generated 1.368 billion dollars in sales in 2011, and made up the largest share of the U.S. consumer market, at 14.3%.  That is nearly double the sales of the second-highest selling genre for that year.  In a world of ever-tightening budgets, Romance continues to grow, while publishers are forced to either cut down on, or at best, maintain the number of newly published books within each genre every year.

So if your mystery section lost a shelf, it might have been taken over by that section you try to avoid.  What is it about romance stories that sell so well?  Believe it or not, it's not sex.  In fact, one of my favorite authors in the genre, Carla Kelly, avoids pushing her characters into the physical aspect of their relationships.  (Any LDS readers out there should really check out her books Borrowed Light, followed by Enduring Light.  You have to read them both to get the full Romance-genre effect, and you have to read them in that order.  Don't switch them up.)  There are hundreds of books like this, that fall into the Romance category, but aren't based on the physical side of things.  It's about the emotion, the relationship, and most importantly, the characters.

How does this differ from a romance plot in, for example, a fantasy novel?  Well, for starters, Fantasy is usually about characters embarking on some kind of adventure in a strange new world.  And while you may find a Romance with Fantasy elements, it's vastly different than Fantasy with Romance elements.  Here's how:

• In a Romance novel, the plot centers around the character's relationship with one another.  No other element in the book matters more.  If the story finds the world hanging in the balance, and that takes prescience over the relationship, it's probably Fantasy first, Romance second.
• The struggle takes place inside the character's head.  Her family doesn't approve of her choice in husband, or he has never wanted to be tied down to a wife, and they spend the majority of the book trying to overcome these obstacles.  She'd have to come to grips with the fact that in marrying for love, she might very well lose her family.  He would have to realize that the pros of being married outweigh the cons of losing the woman he loves.  (These are just examples I'm making up, by the way, and very basic examples at that.)  The obstacles are occasionally more substantial: she ends up in jail, at which point he probably rides to her rescue.  Or vice versa.  Maybe the world really is working against them.  But 9 times out of 10, the conflict takes place inside their heads.
• The biggest rule of Romance: there is always a happy ending.  No matter how hard the characters fight their feelings, or what the world throws at them, they always get a happy ending.  When you look through other genres (such as Fantasy) you start to see how big a difference this really is.  Characters die, good guys lose, sometimes things end well, but the boy doesn't get the girl.  Not so in Romance.  The happy ending is King.

And that's pretty much it.  I can see why Romance is the highest selling genre.  When you pick up a Fantasy, you might be able to count on the world being put right by the end of the story, but your characters won't always get a parade in their honor.  They won't necessarily end up with the person they loved, and they will most likely lose a few of their friends along the way.  They achieved their overall goal, without finding what makes them happy.  It's a scary prospect, especially if the series happens to be upwards of three volumes long.  (Or--gasp!--twelve or thirteen books the size of a cinder block.  I'm talking about you, Robert Jordan and Terry Goodkind.)

Romance is a safe bet.  You get struggle, with the promise of resolution.  You watch the characters evolve, grow, and become the people they were meant to be.  And at the end of they day, you close the book with a smile, satisfied that the author--and the genre--delivered what they promised.

Next post, I'll talk about what every genre can glean from Romance, and how you can apply those elements to your own stories.  Until then, I encourage you to check out Marian's Christmas Wish, a holiday favorite of mine that is about as mild as Romance comes. 

Have a great couple of weeks everyone!