As Good As New September 10, 2014 As Good As New Charlie Jane Anders She has three chances to save the world. Tuckitor’s Last Swim September 9, 2014 Tuckitor’s Last Swim Edith Cohn A hurricane is coming. Headache September 3, 2014 Headache Julio Cortázar Translated by Michael Cisco. A Cup of Salt Tears August 27, 2014 A Cup of Salt Tears Isabel Yap They say women in grief are beautiful.
From The Blog
September 11, 2014
The Ghostbusters are an Antidote to Lovecraft’s Dismal Worldview
Max Gladstone
September 11, 2014
Five Underrated Doctor Who Companions (And One Scoundrel)
David Cranmer
September 9, 2014
My Favourite Apocalypses, or, How to End the World for Fun and Profit
Gary Gibson
September 9, 2014
Sleeps With Monsters: Another Post About Some Books
Liz Bourke
September 8, 2014
Come With Us to All the Magical Londons!
Leah Schnelbach
Showing posts by: Karina Cooper click to see Karina Cooper's profile
Tue
Apr 30 2013 10:00am

Satisfying Plot Resolutions: Happy Ever After Isn’t the Only Option

Happily Ever After isn't the only option

There’s a standard theory that seems to crop up whenever one starts talking about what makes a good story. It doesn’t just affect books, either, trickling its way through film and TV shows. This theory suggests that every story should end with a Happily Ever After (or HEA, for short). In a romance, your main characters find love, commit, and when the book ends, you know they’ll be happy and in love forever—in fact, there should be very little doubt.

If we’re talking classic action movie, it’s all but demanded that the hero survive the chaos, achieve his goals in the end, bring down the bad guy, and then (let’s face it) meet the hot chick he rescued for drinks at a Baja bar. If we’re talking science fiction action, it’s usually about overcoming whatever alien threat is plaguing the main characters and exterminating it. Hooray! We win, minimal casualties, and somebody gets the girl.

Chick flick? Obvious answer: it’s always about the HEA.

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Thu
Mar 7 2013 12:30pm

LGBTQ Characters: If They’re In My Life They Should Be in the Fiction I Read

LGBTQ queer issues Dragonriders of Pern science fiction fantasy

I started reading romance—full-bore (eh heh), graphic romance—when I was eleven or so. At that time, I’d come off a science-fiction and fantasy YA kick and moved to historical adventures of all stripes, and from historical adventures to historical romance. My upbringing was such that there were precious few secrets of life at that age, so the graphic contents didn’t “bother” me all that much. I knew what sex was, how it was (generally) done, and had somehow come to the subconscious conclusion that all that was perfectly fine, in my limited experience with life.

During one of my strays back to science-fiction/fantasy, I picked up Anne McCaffrey’s initial Dragonriders of Pern trilogy—Dragonflight, Dragonquest,  and The White Dragon. This is notable for two reasons: 1) “Oh! Oh! I want to be a dragonrider!”, said my imagination, and 2) it marked my first real run-in with same-sex pairings in the written word—in, most pointedly, a way that fundamentally drew my attention.

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