The Woodiwiss Legacy
by Nancy
In college, I read a book that changed my life.
It was not by Winston Churchill or Studs Terkel or even Gloria Steinem.
The book was The Flame and the Flower by Kathleen Woodiwiss, and it changed my life because I read it---no, I consumed it---in a single weekend, and when I closed the covers I wondered if I might be capable of writing books exactly like it.
Well, not exactly like it, because although the story was set in England post War of 1812 and full of the history of that period (well, quasi-history) it was bascially the lustful tale of a beautiful young English flower who is raped by an American sea captain, and they are forced to marry because she's pregnant. Which, even at the age of 19 in 1972, I knew was icky.
But rape wasn't really what the book was about.
it was about yearning.
Yes, the "hero" is a rapist and the "heroine" is a hapless twit, and they are foced to marry each other by stock characters and at first they have plenty of reasons for resenting each other, but they spend a good 500 pages struggling to stay emotionally apart while their inner selves hunger to be together. By the end of the book, the couple is madly in love, but the tension in the preceding 500 pages is agonizing.
The Flame and the Flower might not have been the first bodice ripper, but it was certainly one of the books that really set the historical romance genre--er--aflame in the 1970s along with similar rape fantasy books by Rosemary Rogers (the heroine of Sweet, Savage Love is raped by the hero, if I recall correctly, 17 times during the book, and I'm not kidding) and many other female (and at least one male) authors whose breathless, adverb-ridden prose entertained millions of women and earned publishers millions of dollars.
Mind you, I use the rape fantasy term loosely here. (And actually, the rape fantasy served a psychologial purpose in those days--just as The Pill was starting to reach small college towns--when society still pressured girls to feel guilty for enjoying sex.--If she's raped it's not her fault, see? Hey, don't shoot the messenger. Go read Nancy Friday's book.) Since TF&TF was written, many non-rape fantasy romance plots have emerged--the marriage of convenience, the forced marriage, the secret baby, the reunion story, the family feud, the brutal hero civilized, the plucky heroine educated, etc, etc. and countless permunations of each. There's also the theory that all good romances are about a more highly evolved woman "taming" an alpha male. Whatever. They're all guilty pleasure reads. Nothing wrong with that.
All that plot theorizing aside, a romance novel should possess three basic hallmarks: Hunger, yearning and obsession.
Part of me thinks that although those earily historicial romances were incredibly politically incorrect, the books helped a lot of women think about what behavior (theirs and that of the men in their lives) was unacceptable. Many of us--feminists, too--began to learn about ourselves by reading the examples--good and bad--set down in romance novels. Although the roots of it are indisputably sexist by today's standards, the genre has come a long way. Times have changed. The new, improved romance novel is very satisfying reading for a lot of people--even a few male readers, although they might not have a lot of choice in reading material during their incarceration.
I thought I still had my copy of The Flame and The Flower around here, but I can't find it. Which blows me away. Do you have "keepers" you'd never part with? TF&TF is one of those books for me, but it has disappeared. Maybe I lent it to someone? Maybe one of my daughters sneaked it off to college? I was going to re-read it this week to write this blog, but I can't believe it's not here in my library, which, okay, is huge and somewhat disordered. I am not a librarian who stores books alphabetically. (My office is the former law library of the judge who owned this house. I am surrounded by shelves--all of them stuffed with "keepers.")
Anyway, I had one of my best writing epiphanies while reading the Woodiwiss book: Readers love suspense. "Make 'em laugh, make 'em cry, make 'em wait" is still great writing advice. Plant a narrative question early in the story, I learned, then drop hints and change the stakes and make the audience squirm and wonder and salivate until they can't stand waiting another second--then add a twist and make the waiting unbearable before handing over the satisfying ending on a silver platter. Any writer worth his or her royalty checks knows the lesson well.
In the years that followed my first reading of TF&TF, I taught school, got married, started a family and wrote one historical romance. I finished and sold it in 1981. Fair Kate was nearly half Woodiwiss, a generous amount of Austen and some other elements not very artfully stolen from authors like Mary Stewart and Carolyn Keene. (My first editor said it had a very Jane Eyre-like voice. Is that good or bad?) But my second manuscript was cripped by the fact that I had two toddlers to haul to the library where all the historical research needed to take place. (Bill Gates was still in high school, I think.) Faced with a bitter winter and an unreliable station wagon, my writing career seemed short-lived. Then the copyeditor for my first book telephoned to ask if I'd like to write category romances. (70,000 word books with contemporary settings and rarely more than two important characters.) She had been promoted to acquiring editor and was looking for authors. When she said I wouldn't have much research at all, I accepted her offer without having a clear idea of what a catetory romance novel was. (I had a sheltered childhood. I'd never read a Harlequin romance.)
Maybe you read complex literary fiction with subtle subplots and a denouement that's mostly thematic and therefore as obscure as poetry. But the primary narrative question in a category romance novel in those days was: When are they going to Do It? That is, when do the dual protagonists declare their eternal love for each other by way of the greatest sex possible? And that happy ending should be withheld from the reader until the next to the very last page--usually by way of two simultaneous, shattering orgasms. I wrote over 30 romance novels, so that's a lot of orgasms. When I left romance for the mystery genre ten years ago--somewhat wrung out, as you might imagine--I truly recognized how much I learned from and owe to romance novels. I salute the genre as a whole.
The best lesson--withholding the happy ending--was the one I gleaned by reading Kathleen Woodiwiss. Who died last week, I'm sorry to say.
She was a military wife who wrote her first book, TF&TF, on a typewriter she bought for her husband for Christmas. The book was rejected numerous times before famed editor Nancy Coffee bought it for Avon. Publisher's Weekly gave the book such glowing reviews that Avon increased the initial print run to over half a million copies. In the first four years of publication, 2.3 million copies were sold. I doubt the book has ever gone out of print, and I wonder how many total copies are in print. Meanwhile, the author raised a family while continuing to write romances that defined the genre. The Woodiwiss success story is one that still inspires.
To a certain extent, she invented the life I'm leading now--a popular fiction author with a family to raise--and she helped invent a genre that has evolved and grown, endured condemnation and ridicule . . . but always entertains.
Thank you, Kathleen Woodiwiss.