Generational Heroines

Grandma was among the first women in America to earn a Master’s degree. Teaching for many years before then, beginning in a one room school house, marrying and moving to a three story school house teaching fifth grade, then again to the next town where she made an incredible mark as first grade teacher, she also raised four children, studying at night after their needs were met. She graduated with her Master’s in Education the same year her oldest child graduated with his Bachelor’s degree.

A strong woman, yes. Not many dared cross her. Yet she had the gentle fun artsy silly side that made her such a wonderful teacher. There is now a memorial tree and marker planted in her honor at her final school, also my grade school.

She has a son and three daughters. I grew surrounded by all of them and their spouses and children. It was a delightful time of noise, wide discussions, gift exchanges, birthday cakes, and little ones running around everywhere. Family was penultimate in my childhood. It was also highly inspirational.

I’m a people watcher. I always have been. I think it could be because there was just so MUCH variety to watch in one house where we all gathered each birthday and holiday. Think of an artist’s colony except with all ages, and you’ll have a feel for it.

The women in my family were always particularly fascinating and each was a heroine in her own right. The styles were different but whatever the style, things seemed to revolve around them individually, more so than with the men. No offense meant to the men but I come from a very long history of strong independent women. Kudos to the heroes who could deal with them long-term. ;-) We have gutsy women who will say whatever they think and those who will hardly admit any feelings; in charge types and followers; women who love to be out and about and on the go and those more like hermits; some have reached what they went after, others are still trying for it or content with what they did accomplish; some went to school to study and some to socialize. Whichever type(s) they are, they have one common characteristic: they  are strong women. Their strength may not be obvious to the casual observer. Sometimes you have to look deep and try to see it the way they do. And they’re family, part of a chain, intertwined.


My heroines always come with family connections, and the way their families affect them comes out in their individual choices and outlooks. They are always strong, but their strength is often quiet and supportive more than feisty and independent. They tend to have highly independent female friends or relatives they admire, and they grow throughout the book, learning to assert their own independence with age and experience.

My heroines stem from reality. We all know that older women are much more likely to appear stronger and more together and less worried about appearances and the shallow things of life. We do grow. So far, all of my heroines begin as young women at that age of emergence, so to speak. Their stories begin at the point they’re truly beginning to come into their own and the reader always sees how they do, what encourages it.

I go a step farther with the concept of growth and family and intertwining in my Rehearsal series. Beginning when Susie is barely twenty, it extends over four books to after she has fully grown and found herself and become comfortable with her place in the chain. It covers more than ten years. Her family is involved throughout, as is her hero’s family and her best friend’s family. Even the minor characters have familial involvement enough to see where they came from and where they’re heading. The sequel to the series is firmly in my head and checks in on the next generation, connecting the effects of Susie’s generation on her daughter’s. Susie is not a highly independent, outgoing type.  Her daughter, however, is fully both. Their stories will mesh, and continue. While Susie’s mother’s story is only touched on in the series, it will likely become its own.

Whether or not the heroine is the strongest and most vivacious character, she is always the center of my stories, even if she has no POV scenes. We don’t need to direct the stage to be pivotal or the main draw, after all. Sometimes it’s simply what we are that steals the show, and what we are is always affected not only by our parents but by the generations of our families.

Do you have a truly inspirational woman in your family who could be a heroine? I’d love to hear about her!

LK Hunsaker
  

Dating

What do you think about dating in your books?

I don't mean dating as in going out for dinner. Heck, we write romance. There should be some dinner dates or something going on in there! I'm talking about book dating -- specifically, the way some editors say not to add anything to your novel that will "date" your book, such as listening to your 8-track tapes or mentioning currently popular bands. [This doesn't apply to historical fiction, of course.]

I've been pondering this since it came up on a writing list. A writer was wondering whether to use a brand name or not because of trademark violations and dating the story. (It's not a trademark violation if you capitalize the brand name to show it's a brand name.)

But why is dating a story so horrible? Maybe I'm a bit of a rebel, but I purposely date all of my novels. I have specific time periods in mind and make sure to make references to that time. My series even has dates as chapter headings. Why is this a bad thing?

I love reading novels and being pulled back into the time frame of the story. Think of the romances of the Seventies (for those of us old enough to remember the Seventies). Didn't they have that luscious timeframe feel to them? I vividly remember being in a story where I had to take a term and put it into context because it was not applicable to the time period in which I was reading it. But that's part of the fun of reading. It puts you elsewhere. It opens your small world and makes it larger.

It may depend on the story, but with mine being largely music-based and dealing with social and cultural issues, the time periods in which they are set are important to the story. I use specific band/musician references in all of them, and generally brand names, capitalized. Am I making them short-lived that way? I don't think so.

David Copperfield is wonderfully dated. So is John Irving's The Cider House Rules. Still, they're timeless. I believe part of the timeless appeal is the wonderful real sense of the times.

My Rehearsal series is set in the 70s, moving into the 80s as the books progress. The single-mother issue wouldn't be as big an issue now as it was then. Neither would the heroine being half Native American (termed as "Indian" in the series since it was still called Indian back then). The issues raised are dated, and so, the books have to be, also. Maybe in a hundred years, if someone is reading it that far into the future (I can only hope), she won't know who Eric Clapton and The Beatles and Donny Osmond are without looking back into history. But maybe it will convince her to look back into history. Maybe it will spark an interest to help rediscover some of those bands and the era in which they ruled.

What do you think? If you run across a band or song name or product or expression you don't know, does it annoy you or does it persuade you to research a bit and check it out?

Shouldn't we, as authors, be helping to build a biography of our times to leave to the future? Fiction has always helped me see real life and times of the past better than history books. I want to do the same for future generations. And yes, I remember the Seventies well enough to catch the true flavor of the time. I think it was well worth capturing, and it's been a lot of fun revisiting that incredible rock/pop music.

Rehearsal: A Different Drummer
LK Hunsaker
mainstream romance

http://www.lkhunsaker.com