Posts Tagged marriage of convenience
WEDNESDAY REFLECTIONS #36 – Roomies by Christina Lauren
Posted by lupa08 in Works of Others on February 7, 2018
Via: Daily Prompt – Bewildered
Author Christina Lauren
Genre Contemporary Romance | New Adult | Realistic Fiction
Publisher Gallery Books
Publication Date December 5, 2017
Setting Broadway, Manhattan, New York
Synopsis: There’s nothing special about Holland Lina Bakkar; at least, that’s how she views her own existence. The last of six children, she was mostly left to her own devices by her parents before being semi-adopted by her uncle Jeff and his husband Robert who don’t have any children of their own to dote on. Her uncles helped procure her MFA in creative writing so that she may one day compose the Great American Novel, gave her a position as an archivist in the theater where Robert is the musical director for until such time when she writes said novel, and continue to subsidize her measly salary by paying the rent of her Manhattan apartment since inspiration for the novel remains ever elusive. In return, she merely assures them her unwavering love and loyalty and a brunch comprising of eggs Benedict every other weekend. To make matters worse, she has been crushing on the mysterious busker with the hypnotizing guitar-skills (who was already too sexy to be in her league) and passively prowls the Fiftieth Street station where he performs thrice-weekly (though it’s quite outside of her daily route). Then, on the one night she imbibes enough liquid courage to talk to him, she is attacked by a drunk bozo on the deserted platform and is accidentally thrown onto the subway tracks. And while Calvin [yes, she now knows his name] the Sexy Busker does phone in the police to prevent her being killed by the midnight train, she is disappointed to discover that he doesn’t stick around long enough to make sure she’s okay, which does nothing to boost her confidence. Just when Holland’s spirit reaches its all-time low, one of Robert’s star performers resign the ensemble with weeks to spare before the show’s revival and presents her with the opportunity to be the hero for a change. She introduces Calvin (who turns out to have received his music training from Juilliard) to the team and he is an instant hit with the theater’s board members – until they discover his student visa expired four years ago so any media limelight would lead to instant deportation to Ireland. So Holland does the only thing she could do to save the day: she marries Calvin McLoughlin so his dream of playing for Broadway can come true and Uncle Robert’s production can have its debut star. And she? She can be fake-married to the man she’s been secretly stalking for the last six months. No conflict of interests there at all…
Experience (with rudimentary spoilers): I liked this novel so much that I finished it cover-to-cover overnight and then went back to skimming it for notes the following week. The witty narration delivered in the first-person by the heroine charmed me from the get-go while her innocuous-stalker infatuation for the sexy busker made her immediately relatable [you haven’t lived on the edge until you’ve memorized your crush’s classroom schedule]. Moreover, with the international news in every nation running the gamut on a certain country’s immigration policies, this marriage-of-convenience “Green Card” romance couldn’t have found a more contemporary premise, which may have been Christina Lauren’s inspiration and intent. All in all, it made Roomies read very fast and quite effortlessly.
I want to start this review with the character Holland, who is, after all, the heroine and narrator of this story. Since, in my last month’s #AuthorToolboxBlogHop post, I discussed the many reasons and ways to avoid writing too-perfect protagonists, my mind was very much attuned to how the authors presented Holland’s flaws and challenges as I went through the book. I was not disappointed but I’d like to address how that could’ve been the case.
In romance stories, too often, the heroine’s flaws are limited to her appearance or some behavioral absurdity that’s really more-cute-than-not, as though she can have no greater aspiration than to charm her romantic interest with her form or demeanor. As if describing her as the hag who chews her hair when she’s nervous makes her somehow relatable to the reader. It’s the debutante ball all over again – there’s the belle and then there’s us.
What’s worse, once the heroine is presented at her worst state, the narrator can no longer remain committed to the image created, leaving the reader at a loss to understand who exactly is the character they are reading about. Big-boned turns out to be code for Amazon-beautiful, extra-padding is really Rubenesque-sexy, it’s really adorable and not dangerous when the heroine drunk-dives into the pool and loses consciousness bumping her head against the tiles on her way in… I have found this especially common among heroines written in the first-person. Gold star to anyone who can guess the multiple-personality romance heroine described by Adam Ellis in the following illustration:
I understand the temptation of relying on the ugly duckling formula. If the endgame of the romance novel plot is the realization of true love, why not start by presenting the most obvious challenges to that goal – all the visible traits of the heroine that could make her unattractive to her romantic interest? But unless these visible imperfections come with some deep-seated wound or unless there are additional dilemmas that give the heroine’s journey true meaning, I feel that using physical and social flaws to “add dimensions to the character” is a cop-out.
In Roomies, while Holland’s flaws are introduced as her being an average-looking gal with a klutzy comportment that affects her confidence level, we eventually get to see that her self-derision really stems from her awareness that she’s freeloading on her uncles’ goodwill and has yet to discover the purpose of her life. Sure, she’s aware of her physical limitations when compared to the aesthetically varied and rich dating pool of NYC but she knows how to navigate that by playing with her assets. Rather, her real cause for dissatisfaction is that, in an arena surrounded by the creatively successful, she has yet to discover where she fits. That unwritten novel is never far from her mind and that is what I liked about how the authors focused on developing Holland’s character arc. Even through the sexy scenes, even through Holland’s consciousness of having her crush now married and living in close quarters with her, Holland continues to struggle and grow as an individual.
And I love how Holland approaches each setback, each humiliation as well as each realization and triumph with humor and humility. This made her more than the mundane romantic heroine, this made her capable and centered – it made her real and worth admiring. Going back to a heroine’s consciousness of her form and grace; of course, I think it reasonable that they worry about how they look. Every woman, even those living in the remotest locale untouched by media’s image of perfection, feel self-conscious about some physical trait that they would change. So if a romance heroine does grunt and groan over her nose, thighs, or even a pinky finger, it is perfectly acceptable. But I liked how Holland’s self-deprecation when comparing herself to potential female competitions for Calvin’s field of attraction begins with looks but she again re-centers her mind to the theory that she should focus on developing her career and honing her talent than waste time on aspects that she cannot control. That, my friends, is character growth.
Enough about character flaws; let’s discuss the story. As far as the plot goes, I actually felt the whole novel was very realistically written. As I mentioned before, I went through the novel really quickly and without at all skimming on the expositions, but that is not to say that the writing was hurried. In fact, the scenes were really well-paced and what made them so fluent was the wry hilarity with which Holland reflects on each incident in her life, past and present, happy and sad. Events in each scene reveal the changes in the dynamics of her relationships with others, which, in turn, gradually expose the reader to tiny details about these other characters to form a holistic perspective of Holland’s world. For example, I love how Holland picks up Calvin’s little indulgences when he moves in with her – regular use of Chap Stick, going around mostly unclothed around the apartment, being totally casual about reading notifications on each other’s devices, etc. It makes Calvin more human. I could absolutely feel Holland’s infatuation developing into a deeper and more sustainable attachment.
And it also made the romance sweeter and sexier. Holland is not a brash character. In fact, she habitually assesses risks before taking any step, and the one time she decides to jump in with both feet is when she proposes marriage to Calvin, and she is aware how far outside her depth she’s wading. So it’s good to see her return to her cautious self once she is married. She’s consistent and because of that, it is easier for Calvin to know how to behave around her. This is a couple who married for immigration purposes and is living in a small apartment, sleeping with only a door between them. The awkwardness is real. And we feel it. But we also feel how the proximity allows them to become more sexually alert to the advantage of their living situation and the hesitation that accompanies it as well as how they choose to give in anyway. So… the romance is real.
Recommendation: Although the novel isn’t listed under Realistic Romance, I have chosen to classify it as such because I felt that Christina Lauren did a great job in capturing the emotional struggles and perspectives of the contemporary woman in the process of falling in love, that too with a very plausible plot and setting. In a myriad of mediocre romance novels these days, this story puts no pressure on your suspension of disbelief.
And now, having learned that the book was written in collaboration between two authors, I’m left wondering how that is accomplished with such graceful management of character and plot development…
Wednesday Reflections #34 – The Christmas Wife by Elizabeth Kelly
Posted by lupa08 in Works of Others on January 10, 2018
Via: Daily Prompt – Brilliant & Undulate
Title The Christmas Wife
Author Elizabeth Kelly
Genre Contemporary Romance | Holiday Romance | Christmas
Publisher Elizabeth Kelly
Publication Date November 29, 2015
Synopsis: Deacon Stone, CEO extraordinaire of one of the world’s largest independent toy making companies, is in big trouble. His dear grandmother has finally lost her marbles and threatened to bequeath her controlling shares of the family business – the same toy company that Deacon worked his buns off for over the last decade to rescue from certain bankruptcy – to his greedy ill-equipped cousin if he doesn’t marry before Christmas. Not only does Deacon have an aversion to tying the proverbial noose around his neck but the real challenge is that he has less than a week to do the deed. When his best friend suggests he hires an escort to be his wife for the month, he brushes the idea off as incomprehensible. Then six-years-old Hattie, the daughter of his weekly maid Claire Brooks, glides into his living room, breaks a priceless figurine, and hands him the answer. As single mom Claire gets fired from the cleaning company for the damage caused, Deacon pays an apology visit to the Brookses’ dilapidated apartment to find them living in a state of destitution. Furthermore, he discovers their eviction notice, threatening to render the mother-daughter duo homeless, and suddenly a wife-for-hire doesn’t sound implausible. He realizes that Claire being a dedicated mom in dire straits would never reveal the duplicity of their marriage to anyone for fear of psychological repercussion on Hattie and promptly offers the family shelter in exchange of a marriage of convenience. He even sweetens the pot by offering Claire a hundred thousand dollars as long as they can maintain the charade until New Year’s Day when his grandmother would sign the shares over to him. For Claire, there really is no contest when given a choice between defending her dignity and securing a comfortable future for her daughter. And as long as she can put up a convincing act where everyone believes her marriage to Deacon is real but Hattie doesn’t get too emotionally drawn in, everyone can leave the marriage unscathed come new year. Except once married, the volatile sexual chemistry between Deacon and Claire begins to take precedence over a promise to remain detached and when Hattie and Deacon begin to form new bonds, fake family starts to look dangerously close to the real deal.
Experience: I rated this book 5* on Goodreads – not because I found it “amazing” (as the site’s rating system defines) or even because it was technically flawless. But because, having tried and failed to enjoy the works of a series of newly discovered [by me] authors in 2017, I was tearfully relieved to see that Elizabeth Kelly remembered to dot her i’s and cross her t’s before publishing the novel. And it seems this work was self-published too so bravo!
The book itself banks on an evergreen plot structure in the romance genre – a marriage of convenience – that it liberally peppers with lots of sensual scenes between the newly married couple and then honeys up with the beautiful formation of parent-child bond between a reluctant stepfather and a guileless child. It’s not an ingenious story arc but it guarantees success. I don’t think Kelly aimed to wow her readers with this but rather tried to provide them a homey romance to snuggle up with during the holidays – at least that is how it came across to me and, for once, I’m grateful for the salute to simplicity. Whereas recently I have read too many novels desperately gunning to discombobulate readers by adding an inordinate and unnecessary number of plot twists, The Christmas Wife chose to remain old-school and I found that refreshing. I fell in love with romance novels while reading the early cozy romances written by Sandra Brown and this was sort of a throwback to the sensations they aroused – The Hallmark Channel with a crackling fire smoking up the pages.
Another groan factor for me in 2017 was reading how comfortable so many authors are about treating their characters like plot devices, randomly called to action or left to collect dust as the scene of the moment requires. As though everyone but the main characters is afterthoughts. I have read an actual scene where the hero and heroine – secretly in love with each other – are arguing over something absolutely mundane that the heroine’s roommate is helping to moderate, when because the heroine ingenuously trips and the hero gallantly catches her, they become wholly engrossed in discovering adorable freckles on one’s nose and golden flecks in the other’s eyes, having a conversation that would consume minimum ten minutes in real life while the roommate is floating in the background like a ghost stuck in time without any occupation or even objection to being ignored. While the interaction between the hero-heroine was certainly titillating, the roles of the other characters felt insignificant and implausible. This actually was approved by a notable publishing house and then went on to becoming a YA bestseller. And no, the book didn’t get better after that; rest of it was just as inane.
In a happy contrast, Hattie received a salient role in this novel, despite being a child character in an adult romance. Usually, one would find a novel featuring a single mom/dad using the kid(s) to simply cutesy up the plot – like a pet. They may be part of the conflict or the charm but mostly inactive other than when required to either foil or foster the romantic plot. Not Hattie. She got as much downtime with Deacon as her mom and actively contributed to selling the beauty of “fam-dom” to the resolutely-single hero. And not only did she build bonds with the stepdad but also charmed a shrewd grandmother and formed an alliance with a member of the opposition (the son of that inept cousin trying to weasel away Deacon’s company). This novel was not about only the romantic characters. Kelly did not forget the little people – or rather, the little people had large parts to play.
Meanwhile, the adults behaved like adults and not hapless props acted upon for the sake and break of the romance. Here, the hero and heroine made informed decisions unlike a lot of recent romances where the main characters take rash decisions in the beginning of the novel and for the rest, are juggling the pieces of their lives while they choose to remain blind to the changing dynamics in the said romance or become easily misled due process of salvaging their egos. Conflicts invariably equal to secrets and miscommunications. Again, Kelly broke the mold when neither Deacon nor Claire is relegated to such star-crossed roles. Throughout the novel, both characters had an active hand in how their marriage would be upheld, in its catch or release, whether tightening the hold over their congealing relationship or letting go. They weighed their options as well their constraints before entering the marriage, they chose to become sexually involved letting the other know their individual limits in the relationship, and, when necessary, they each backed off and allowed the other enough space to get their bearings sorted. I felt it was their understanding of each other’s wants that made the ebbs and flows of tension so well-paced and believable. Despite the odds that brought them together and despite the fact that they entered a fake marriage, they always remain a truthful ally to one another. In this lie, they are a unit and that makes each partner a strong support system for the other – in a way, a much healthier foundation for marriage. And it was a relief that the tension was not dependent on yet another incident of “forgot to pass the message” or “didn’t reach the venue quickly enough to stop the villain from gaining center-stage”.
The only objection I had to the novel, though, was that there was no concrete foundation to build the romantic arc upon. What I mean is, while there was oodles of lust between our romantic couple and all, there was no other reason for one individual to fall in love with the other individual. Perhaps I felt this way because there was no real character development in either Deacon or Claire but only the outlook of the “ideal family” they created and fell into character with. Throughout the novel, the most we see of each character as individuals is that one is a hardworking bloke while the other a dedicated mom but everything else they undergo is purely circumstantial. Thrown in such close quarters, any set of individuals would form these bonds, an adult unless heartless would melt towards a precocious child, a married couple with the opportunity and license to initiate a sexual relationship may take advantage of their conjugal rights. And in the process, these people may develop soft corners for each other but it seemed that it could be any rich rescuer or any mother-daughter act that would have done the job. I think it was here, in the enriching of the characters, where simplicity took away rather than added to the novel. But then again, since the novel was no race to becoming the next great American romance, this deficiency is easily overlooked.
Recommendation: If you’re ever in need of an uncomplicated and soothing romance with a little heat, look no further. And you know as well as I that Christmas romances are good to read all year round.