I’m working on the new book-in-progress, “Everything I Know About Love, I Learned from Romance Novels,” and I wanted to humbly ask for your help and your perspective. I’m working on a chapter about the traits most commonly found in romance heroes and heroines (I’m also attempting to use the word “heroes” to describe both, but I think I may have to undo those in editing because hero seems to communicate to most people a masculine, not feminine, role).
What would you say the most common and essential traits are among romance heroes and heroines? Faithfulness? Honor? Strength? Creativity? Instant orgasms? What makes up the ideal romance hero or heroine – by the end of the book, anyway?
This is a very general question, but I’m also looking for specifics: based on the traits you value, which characters are your enduring favorites, and why? Is there a character or plot that was or is totally your “type?”
I am hoping to incorporate romance reader comments in the book, so if you would like to be included in the “quotable” area, please let me know that (a) I may quote you and (b) what name I should use. And if you forget, don’t worry. I can contact you later if I would like to include your perspective. If you want to leave a comment but don’t want to be included in the book, just say so in the comment. Totally cool.
This probably won’t be the only time I ask for your expert opinions, as I want this book to be as representative of the possible lessons found in the romance genre from both the writer and reader perspective, but in advance, thank you thank you thank you for your help.
I thought of a couple more outside of my weird fondness for wounded souls: Intelligence and competence. I’m thinking of the heroes and heroines of Joanna Bourne’s incredibly awesome Spymaster series. Though the protagonists are antagonists, the heroes generally fall for the heroines right from the first and don’t lie to themselves about it. And they are also super smart and capable dudes. The women, too. LOVE! Another take on the smart, competent guy with a sense of humor from outside the romance genre is Sir Robert Carey from P.F. Chisholm’s mystery series (first: A Famine of Horses). He’s a youngest son who’s a cousin of the queen (his grandmother is Mary Boleyn, ie. the Other Boleyn Girl, his grandfather might be Henry VIII). If you’re sick of all Philippa Gregory all the time but you like the Tudor era, these are worth checking out.
a) yep you can still use it
b) I’m still Nancy Klingener (but this time I linked to the right URL).
I like quirky, funny heroines, not to be confused with ditzy, stupid heroines. I like heroines who are strong and intelligent and don’t sleep with a guy because he’s holding the mortgage to her home and threatening to foreclose. I’d like to think they’re smart enough to figure out a different way of handling that situation.
I like guys who are confident, NOT cocky. I dislike INTENSELY (I’m Catholic, can’t use the word “hate”;) the “heroes” who are rude and ignorant to the heroine, office staff or other employees. Name calling is a deal breaker. I think the heroes that I like the most are the ones who are more than a tad enamored with the heroine and are not about the sex first and foremost, and they put more thought into wooing her, than humping her:).
I love a combination of alpha and beta in a hero. He can lean more towards one side or the other, but he should have aspects of both. He has faith in her and can bow to her expertise, but still go all Male In Charge at times. He trusts that she can take care of herself but will still go all protective when she gets put in danger. It’s a fine line, but it’s awesome when an author gets that balance.
Booth from Bones is a great example of this. Despite being all alpha male, he likes strong women and yields to Brennan’s intelligence and, in some episodes, her own ability to defend herself, but he still goes all Man Of Action when she gets threatened. The Doctor is another great example, leaning more towards the beta side. He’s all sweet and beta, but when pushed far enough, goes all Oncoming Storm on you.
I also love it when heroes have an awesome sense of humor. Or, possibly, if a hero’s broody, the heroine can make him laugh, or vice versa, where the hero can make the heroine laugh when she’s going through a rough time. Either way, humor is a nice thing to share.
As far as heroines go, I’m a bit more vague on that. I really just need her to have a personality. If she’s quiet and understated, like Sophie from the Bridgerton series or Eve from the Wallflower books, that’s fine, as long as there’s still a personality there apart from “shy girl.” But that’s why Agnes from Agnes and the Hitman and Willa from To Wed a Scandalous Spy are some of my favorite heroines.
And I get what you’re going for in trying to use “hero” for both genders, but when you’re talking about a genre that has two main protagonists, one male, one female, it’s much easier to have a pronoun that denotes gender.
Also – if you find me quotable, feel free! (though it would probably make more sense to call me Stephanie if you did than sugarless :-p)
I suppose it should be noted I prefer regency romances.
General qualities I often find in romance males are strength, loyalty, devotion, and a fair amount of intelligence. The man will often be protective of those around him, sometimes to the point of being overprotective. If he was a rogue, he’ll probably be growing tired of his exciting but shallow lifestyle. If he was an uptight and down to earth type of guy, he’ll usually be put into a whirlwind situation where he’ll begin to appreciate spontaneity. He’ll be attractive, though not necessarily handsome (he’ll have that “quality” about him which makes him so appealing).
The heroines will almost always be beautiful. Sometimes she’ll be a hidden beauty but during the course of the novel her true loveliness will become apparent. The only heroine I can think of off hand who is described as ugly or nearly ugly, is Mary Balogh’s Freyja Bedwyn. The romance heroine is loyal and gracious (when necessary). She might be drawn to money, but she is rarely selfish. More often than not she needs money to help someone else. The heroine is usually intelligent, but her level of flightiness varies from whimsically silly to non-existent. If she is flighty, it’s endearing rather than annoying.
The heroines I like most are the ones who demonstrate a strong personality that can give when needed but won’t let the male lead run roughshod over it. She should be kind and intelligent, but mostly, if she gets out of the carriage or sneaks out of the house, she should accomplish something more than being caught by the villain (or hero) and treated like just another mindless female. One a similar note, the male protagonists should appreciate the strength of the female and not try to lock her up in the house. This is especially true of any novel in which the female is supposed to be a spy, pirate, or some other dangerous job. If fact there are few things quite as annoying as seeing a female spy become completely useless at what she was once best for just because the male lead smiled that brilliant smile of his.
Amanda Quick’s recent novels have been fulfilling as far as the females go, usually allowing the female to dispatch the ultimate villain. Her males are still a bit domineering, but not as bad as some I’ve read. Mary Balogh’s females also tend to be strong personalities, with nice development that makes them realistic and entertaining.
Persistence!!
Also, go see the movie “Red”. It’s a keeper!
Hah! wall62….don’t hit the wall 62 times, climb over it!
I like my heroes and heroines intelligent. Witty banter is probably my favorite part of any romance—it’s the push-pull in words that does it for me. Cleverness in plotting and in characterization earn major, major points.
a) No thank you.
My favorite hero and heroine are Simon and Lucy from Elizabeth Hoyt’s “The Serpent Prince”.
I love this topic, as well as the title of the book. Over the 30 plus years that I’ve read romances, I’ve learned so many historical facts that I didn’t know before.
There are numerous heroic traits, but I’ll narrow it down to one. No matter what the hero’s goal or how badly he needs/wants it, at some point, he puts the heroine above that goal.
I like heros and heroines whose strong personalities bounce off each other in the story. I love seeing strong female characters (who are accustomed to running their own lives the way they see fit, often without help from anyone else) who have the tendency to run men over, and then meet men who don’t let them get away with it. Heros who are strong in their own right and don’t turn the heroine into a man-dependent piece of milquetoast, but also don’t let the heroines walk all over them as they may be accustomed to. Best example I can think of is Jill Shalvis’s Pacific Heat series – I love both Pace and Wade and how they have this whole alpha-male, macho baseball thing!
feel free to quote me, but I’m not sure what I said makes sense to anyone but me!
Heroes with “eyes wide open” loyalty give me weak joints and melty organs. Loyalty to family, friends, lovers…to himself. When a man is willing to give of himself, over and over, knowing the risks inherent to such steadfast love, that’s irresistible. Both on a page and in person.
Ned, from Courtney Milan’s Trial by Desire, works hard for the family responsible for saving his life, remains true to the wife he hasn’t seen in years, and struggles every day to be the best version of himself he can possibly be. There’s respect, honesty, singular (but not blind) devotion—all living under the guise of loyalty within him. It makes him strong, and a strong man wins the day in the world of Romance.
Complex by nature, woman can rationalize, argue, or deny herself into and out of love with a finger-snap. A female hero who can look at her potential partner and know what she wants from him—without trying to rationalize/argue/deny for him, too—is rare. That said, she can—and should—question and doubt and worry (it’s what makes her her, after all). I guess I appreciate a heroine who’s honest with herself, first and foremost.
Laurel, from Nora Roberts’ Savor the Moment, recognizes her insecurities as she’s falling in love. Her story is especially poignant, one of friends-to-lovers where she worries (non unnecessarily) her feelings aren’t as deeply reciprocated. That this doesn’t stop her from taking risks, that the affair doesn’t derail her life, that her introspection provides her with the strength to try for a happy ending makes her an honest and admirable example of a well-crafted heroine.
Maybe this is obvious and goes without saying, but the key to romance novels for me is that one or both of the characters is changed by love. My favorite hero is a bit tortured; maybe by something in his past or an inadequacy he is trying to hide from the world. He thinks he is not good enough for the amazing woman he has fallen for. But he absolutely cannot be whiny about this; he has to struggle internally and secretly, otherwise he appears weak and annoying. He is eventually changed by the realization that the heroine loves him exactly the way he is, faults and all.
Speaking of weak and annoying, nothing will stop me in my reading tracks faster than a shrinking violet heroine. She has to be someone I can see myself being. I have to be able to somehow imagine myself in her place, making all the same decisions. It breaks the magic if she does something incredibly stupid. As someone said above, Joanna Bourne’s heroines are absolutely perfect. They are flawed, intelligent, brave, and vulnerable all at the same time. Anything else and I start thinking the heroine doesn’t deserve that hottie with the face of a fallen angel and the body of a roman god!
yes you can use any of this if you can get past the blah writing and my name is Courtney.
Ah, the ideal man! My favorite hero isn’t perfect, but he’s never mediocre at his profession. And he’s compassionate, whether he knows it or not – he might be uncomfortable with children, but he’ll soothe a crying toddler…or try to, awkwardly and endearingly. As capable as he is, he doesn’t entirely understand women – but he tries to do that, too. He respects women in general, but the one he really falls for will be the one who surprises him, and impresses him with her guts and intelligence. All that, and a sense of humor, too!
Yes, you can quote me.
Starr Ambrose
In a romance or romantic suspense, I DO NOT like H/Hs misunderstanding each other (when 5 minutes would solve it all)and then the author spends 100 pages of the book with everyone torturing themselves and every one else ANGST! Arrugh. Usually this book becomes a wallbanger. (Forget Cathy and Heathcliffe, and Ashley, and Scarlett. Keep Melanie and Rhett)
I want my heroines to be strong enough to be weak…“Let me go down stairs, I have the gun, am bigger, stay behind even for a bit!” Then He has to rescue her AND save the day, when it might have been a bit easier (for him) if the heroine had deferred – just this once. Just kill her if she’s TOO DUMB TO LIVE. Don’t waste my time.
However, I do not mean that she can Never save him, just use COMMON SENSE. (SWEPT ASIDE by Sharon Sala)
I love Booth in BONES, I don’t like Tempe. In all the years the show has been on everyone else has grown, matured for the better. If anything, the she’s become meaner, more judgemental, less empathetic. One would suppose that being in contact with all her kind, funny co-workers SHE might have learned something. – not So.
So as an Heroine, forget her, keep him! ( As Angela said not very many people would put up with her.)
I thought Ethan and Grace are great, Gabe and Rachel, Eve and Roarke, but add to the list Claire and Jaime, and James and Coco (Anybody know SLEEPING BEAUTY bu Judith Ivory?) . He saves her from herself and she saves him from his enemies. I love that book. I want to ask Jennifer Crusie or Somebody why Judy Cuervas isn’t writing anymore. She has wonderful H/Hs. James has baggage, but is not overwhelmed by it, and when Coco saves him from disgrace, he says Thank you. He knows she was a courtesan, but he loves her: not despite, not because, he just does. He’s true, he know what he wants and he stays the course until he gets her.
I don’t like get the girl, lose the girl, get the girl romances ( see Para 1).
Cait
ps. This discussion has mentioned a lot of books for me to look up.
I want witty banter. Both of them should be strong, intelligent, and with a deeply rooted sense of integrity, but if they don’t have (or find) a sense of humor about themselves and each other, I will skim. This is my escape: I’m going to invest several hours of my life in these characters, I want to have fun.
Aside from that, I don’t care about traits: alpha/beta, objectively gorgeous/the “plain” person who glows only for the other, well-educated/not, handicapped by insecurities/confident, etc.; these provide the relationship development points and color as we watch these two figure out how to be together and I’m up for any well-written combination thereof.
And sexual tension. Something needs to draw me through the book, and when the nominal plot (suspense/mystery/problem) becomes more interesting than the romance, something is wrong. But I don’t require universe-distorting orgasms, and generally let my eyes slide over the over-ripe sex scenes. Even Kresley Cole’s, which are better than most and have steamed my glasses more than once. I love Heyer and will sigh happily with a payoff of an emotional declaration and a passionate kiss.
Having said that, I like learning something as I go (e.g. Roman aqueducts, Regency fashions, Navy SEAL cultural norms, new religions in Discworld, whatever). It should be woven seamlessly in, and be reflected in the nature of the characters, but it’s not strictly necessary. Though I will throw a book against a wall when it’s clear the author didn’t do the research and it will cause me to lose all faith in the characters (yes, I’m a Potato Rager, and proud).
I’m intrigued by all kinds of situations (everything from totally implausible urban fantasy to hyper-constrained Regency) and all kinds of characters. It’s nice when I like them, or can identify with them, but often even more interesting when I don’t. I just want them to be well-rounded characters who are worth my time.
The book that can steam my glasses, sigh wistfully and make me laugh out loud is the Holy Grail. Chase, Crusie, Quinn, Pratchett (the Sam Vimes books) are all close, but even adding the half dozen other writers who can be depended upon to draw at least a smile from me, that’s not enough to feed my reading habit. Need more books! Thinking about trying fiction next, Sarah?
I think we have to look at why we describe the couple as heroes and heroines first; why do we have these two shorthand labels for the people whose story we are reading? I think ‘hero’ and ‘heroine’ are concepts. They are words that imply things to us and for us, things like (this isn’t an inclusive list just some thoughts):
• The characters with these labels are on a journey and they don’t know the destination
• They have obstacles to overcome and these are both internal and external, just as the journey can be either internal, external or both
• They don’t know that they are heroes and heroines because to them they are just on a journey
• This journey is to find something, such as redemption, their authentic self, and so on. It is a purposeful journey filled with intention not a blithe wandering (eg. they haven’t fallen into this relationship just because their biological clock is ticking or all their friends are getting married).
• They have travelled from not-knowing to knowing and from isolation to connection
• They are changed by their journey experience
When I began to read romances again (having given them away in the old skool days of the ‘80’s) I felt that I was often reading a really strong focus on the role of redemption and I don’t mean the good girl saving the bad guy but that sense of love and connection giving the h/h what they needed in order to develop into who they needed to become so they could form a couple and live their HEA. For me the couple’s story works if I can clearly see that they are better for being together so the question of the traits that each brings to that relationship becomes one about what enables this relationship to succeed or have the potential for a HEA.
My ultimate romantic example is from the movie ‘The Last of the Mohican’s’ when under the waterfall Hawkeye tells his love Cora to survive whatever happens and he will come for her. Then he jumps, leaving her to fall into enemy hands as he escapes to fight another day. The trust between them in that moment, when he is leaving her to violence and probably rape is powerful and mutual. He trusts her good sense and courage as well as her belief in him and she trusts his honour and his courage and his competency. Whatever may happen doesn’t matter because she is who she is, the woman he loves. Sometimes we can’t be the ones to take action and enduring takes courage and strength. Also they are both in this together, each doing what they can to solve the situation; there is a sense of joint enterprise and that they are working together even though they are apart.
So for me, the traits for a successful romance hero and heroine are:
• Honour (which tells if you can be trusted)
• Redemption (able to admit that something is wrong and able to do what it takes to fix it)
• Respect for the other ( could also be called trusting the other)
• Acceptance of the other (any change isn’t mandated by one person for the other, the change has to come from within)
• Openness to change (even if this is just seeing oneself differently, eg. as worthy of love)
• Competency and good sense
• Thinking and judgement
This is a quick response to the question. Thanks for the opportunity to comment. I am happy to be quoted if you wish.
Merrian
Cait – I love Bones, and most definitely the cast of characters and Booth is pure deliciousness, but the writers are really pissing me off in so many ways, and what you just pointed out is one of those ways.
Essentially, it’s like they’re scared to make Tempe grow, just like they’re scared to resolve the sexual tension between her and Booth (but yet they keep rubbing our noses in it. If you’re going to acknowledge that it exists, you have to move forward with it at some point, or it just becomes ridiculous)
I get that the show is somewhat based on the interactions between her hyper-rational self and Booth’s… Bothiness, but if they were really good writers, they would be able to make her grow as a person while still keeping the interactions interesting. But you’re absolutely right – if anything, she’s gotten worse. Also – you’d think that, as an anthropologist, she would be able to respect other people’s belief systems. It makes no sense that she’s so judgmental.
I still love the show, but if the writers keep being too scared to do anything interesting with her character, I don’t know how long I’ll be able to say that.
Sorry, I know that was wildly off topic, but it’s a rant that’s been building for a while.
Also, to be somewhat more on topic – I hate huge misunderstandings that could be solved in a 5 minute conversation, but drags on for a hundred pages instead. That being said, I am a sucker for a well written “God I’m such an idiot” moment from a hero. Few books can give me that moment without having me throw the book against a wall for the hundred pages of conflict before it, but when it works, I totally gets to me, and I don’t know why.
And, since I love heroines with big personalities, I also love a hero who knows how to deal with her when she’s being a little neurotic.
I know I’m echoing a lot of sentiments here, but what I really want in my hero/heroine is REALISM. I know we’re reading for escape and that the real world can be a dull and boring place, but I want to read about heroes I can imagine wanting to be with the me that I am, not the me that I wish I were. A hero I can imagine walking into my life, not one who would walk straight past me for the more attractive, dynamic and gorgeous woman right behind me. A heroine who makes tea, gets desperate for the loo at embarassing times, misses her bus. But a hero and heroine who can give me the hope that I too can change, become strong in adversity, can overcome grief and loss and trauma, because they have. A hero and heroine I can identify with. People I could meet and get on with, not people who would pass me over as not being wonderful/special enough.
We are all heroes and heroines to the people that love us. I’d like to see a bit more of that ‘real world’ romance reflected in novels, rather than the ‘super Alpha’ male who would come across as ridiculously controlling in real life, and the ‘I’m so strong..oops, save me!’ heroine who would make most men shout ‘Grow up and sort your own life out!’ if they actually met her.
I don’t want or need to be saved, I can save myself. I want heroines like me and heroes who can be there without having to Be There.
This has all been said before, I think, but if any of it is any use, it’s yours.
Sense of humor! If he can make me laugh, and—just as important if not more—laugh at himself—I know he will be there for life’s ups and downs, be a good daddy, and be in it for the long haul.
Regarding hero/heroine: you could always use the word protagonist.
For me intelligence has to come first. It doesn’t have to be genius level or even high IQ if the h/h have street smarts, shrewdness or ability to start a fire in the rain, but they must have some form of intelligent behavior. Sookie Stackhouse might not rock an IQ test, but she is one smart cookie.
Self-awareness coupled with ability and willingness to change behaviors that are counterproductive.
Sense of humor.
Passionate, both in the sexual sense and emotional sense. Passionate commitment to something and to each other. Real affection for each other, not just lovely love, but the friendly little day-to-day things. He’ll rub her feet and leave love notes in the sugar bowel. She will make him comfortable and his life as easy as possible by taking care of little needs he didn’t know he had. Thnk A Civil Contract by Heyer. They are best friends.
Stubbornness – they don’t give up trying no matter what. No quitters on my list of favorites.
Strength and integrity coupled with humility. When the proud Duke of Avon kneels at Leonie’s feet in These Old Shades by Heyer, my heart melts.
My idea h/h? Jane Eyre and Edward Rochester, and why didn’t he get an annulment years ago? I like Cal and Min from Bet Me, too.
I just noticed that very few of us talk about physical appearance. Apparently washboard abs and flaming red hair aren’t that important in our h/h characters.
a) yes, of course
b) Kilian Metcalf
As a romance reader in the process of writing a romance novel, the most important traits in both a hero and heroine are the abilities to admit that they need help and to be honest with themselves and each other. Maybe because they were my first serious foray into the world of romance, but I’ve always loved the Cynster men and women. By the end of the book, they work as a team and as a family to solve the problems that they face (despite the best efforts of the men to be wonderfully overprotective). Their relationships aren’t just based on all consuming lust, they grow to be partnerships in both the domestic and social spheres, which I find especially important as a younger reader.
A) yes, you can quote me
B) Taylor L.
As I was reading Instant Attraction by Jill Shalvis, I realized that the really appealing aspect of a hero or heroine is the unconditional admiration they have for their romantic interest. When the narrator describes how the rugged hero loves her dimples or her feisty attitude it appeals to the reader because we can insert ourselves into his admiration. It’s basically like reading a horoscope: not every description is going to match our personalities but even if just a few do then we can be excited to know that like this fictional woman, we too can be loved and appreciated by a dashing man. The appeal of these stories is being able to project ourselves into their narrative, and so we seek to identify with the heroine if only to know that our idiosyncrasies are attractive as well.
Hi Sarah,
Your question inspired me, and I now humbly offer you my lengthy perspective…
Romance heros and heroine traits, while typically complementary and often shared, each have a unique tenderness and particular delivery that can only be tasted by the flavor of each of their gender, like a perfectly chosen spice. For example: Masculine devotion tends to promise in a commanding, determined way (think Romeo), whereas feminine devotion tends to comfort in a more subtle, yet equally determined way (think Jane Eyre). Words are so important when used to illustrate pictures, as you well know, and because of this I feel it is important to consider the main objective to this writing endeavor to assist in deciding whether or not to combine male and female character references using one word (hero). Is the objective of the book to redefine the readers’ instinctual response to the word “hero” and “heroine”, or is the objective to emphasize the heroic traits of two different genders?
It seems that the reasons most characters are crowned a “hero” or “heroine” are greatly influenced by how each trait is actually exploited within the context of the story, not merely by the trait(s) themselves. A lot of basic heroic traits can be present in a character like: love, strength, passion, integrity, loyalty, courage, commitment, devotion, cleverness, compassion, etc., but the heroic crowning of a character tends to be determined by the actions that the hero and heroine have taken to unlock their otherwise unfortunate circumstance(s) using their key trait(s), and for me, this is what makes the difference between a seemingly heroic character versus a true hero and heroine.
My fave characters change all the time, but for now my favorite romantic hero is Mr. Darcy (Pride and Prejudice). I am absolutely in LOVE with Mr. Darcy! This character blows me away… Why?! Charm, intelligence, power, discernment, mystery, vulnerability… of course, but above all the obvious adjectives it was his love for Elizabeth. Mr. Darcy selflessly made sure (even if he couldn’t have Elizabeth) that all of the people she loved and cared for were looked after (and he does this in secret no less) because he knew how important their happiness was to her… I melt just thinking about him. Mr. Darcy was a romantic hero ultimately crowned not only by the glory of his own conquest, but because he put his own agenda aside and compassionately brought resolution to the broader concerns of the only woman he would ever love… How romantic!! Who does that?! Heros.
Like heros, there are so many fabulous heroines in literature, but I don’t have a favorite heroine at this time (My own fab adventure somewhere between a bottle of Veuve Clicquot, two different airlines, butterflies, and a salty tequila shot… don’t count I’m sure!) God-speed with your writing project!
a)Yes, let me know if you do! 😉 Thank you.
b)Amber Guidara
When I reflected on the romance novels that I read, & the ones that I reread. I’ve realised that the ones that really resonate for me are the ones that not only mirror the
“real” world ,whilst giving me heroes & heroines with enough humour, wit & intelligence to engage & delight me.
Others have already mentioned Suzanne Brockmann’s “Jules”. To me, he is the romance world’s Everyman. It is irrelevant to me, that the character is gay. What matters is that that over the course of 14 books we see him grow, go through joys & heartaches & THEN finally cheer like mad,when he gets his HEA.
That is what I want from a novel or series . A truly satisfactory resolution, for a character that we know & love.
Loretta Chase is another author who also (for me) achieves this growth & development with her chracters.
Rupert Carsington remains a huge favourite of mine. A solidly beta hero – Not a good term, I prefer ” a Chap”. Who utterly adores his significantly more brilliant other half, with absolutely no ego affecting his delight in her genius.
My ultimate romantic lead, is however, Max de Rohan, from Liz Carlyle’s No True Gentleman.
Having knocked off Catherine Woodeway’s first( & somewhat Wooster-ish ) husband. LC gives us Max. Tall.Dark & Handsome-ish. Intelligent & humourous, protective & supportive. AND he has a “secret ” title to boot ! He makes my cynical heart flutter every time I read that book !
Give me a hero & heroine who have wit & humour & I’ll show you a reader who won’t be aiming her books against the wall in utter frustration.
a. If it’s of any use
b.Cate Nugent
Heroines that have backbone, try to be independent and use the brains given them. It’s okay if a gal can’t physically change her own flat, but she should at least have the sense to know this about herself and contract with an auto club. Even if her phone inconveniently has no service when she needs to call them.
I love the heroes who bother to try to figure out the heroine. Especially the ones who listen for subtext. Really pays attention. Though I think in real life that would have me running for the hills.
I also like the heroes who allow the heroines make mistakes, then support the heroines through the consequences. Not rescue so much as make the resulting consequences more bearable, share the pain so to speak.
For both: humor and smarts…witty banter is one of the sexiest things in the world to me. Also, I love people who can talk their way out of anything, who can skewer opponents verbally, and preferably make others laugh while doing it. When hero and heroine are a good match verbally, yum. (Lizzie and Darcy, sigh!!) If either hero or heroine is TSTL….yuck!!
Both should be intensely loyal to those they love, and also moral at the core (not in the Fundamentalist Christian sense—‘cause I don’t care if they drink, swear, and fall into bed on a whim—but in the deeper sense of caring about the needs and welfare of others…i.e., not being selfish bastards, at least not when it REALLY matters…though a little selfish bastardliness in minor points is a piquant sauce to a hero now and again, especially when the heroine is somehow threatening his equilibrium or usual confident sense of self).
Both should be brave, physically and emotionally (though not necessarily both at once…they need to have issues to overcome).
Both must have a deep capacity to FEEL. Otherwise, why bother?
And while I want heroines who are strong and clever and can take care of themselves, I LOVE moments when heroes are protective—especially when it comes out of the blue while the hero is still utterly denying he cares about the heroine. Like suddenly punching out another guy who insults the heroine. Or swooping in out of nowhere to the rescue. (I can’t help loving those old skool books where the hero makes a logically-impossible appearance to save the heroine—like, last we saw him he was clapped in chains in an inescapable dungeon and the heroine went off after the villain to an obscure forest without leaving word for anyone where she was going, and yet, somehow, just as the villain is about to slaughter/ravish/get-the-MacGuffin-from her, the hero emerges out of the night, pistol in hand, to bring the villain down. Stupid, I know, but it gets me on some primitive, swoony level. )
Despite my fondness for that alpha-stuff…my favorite, favorite hero of all is the minister Christy Morrell from Patricia Gaffney’s To Love and to Cherish. Moral strength, inherent goodness, smarts, humor, humility, loyalty, an incredibly deep capacity to love, a very human sense that he doesn’t always know what he’s supposed to do in complicated situations…plus tawny hair, and a very hot, horse-riding bod. BEST GUY EVER!!
Please switch to heroine (and keep waitress, actress and all the other fem suffixes, while we’re at it).
There’s nothing wrong with a suffix that denotes femininity. I’m proud to be a woman, and not at all put off by being denoted as one. Why would one automatically think a heroine is something less than a hero?
There’s one trait that hasn’t been mentioned, and may not be a strict requirement, but is nevertheless fun: kinkiness. This lack may be to so many heroines being naive innocents (while the men are sexually experiences—a literary standard going back to Tom Jones), but it’s fun when the characters realize that there’s more to sex than a bed with him on top. Great examples include White Rose Ensnared by Juliet Hastings (she’s a submissive, and by the end her lover/husband indulges her in that) and Tempted All Night (where the heroine goes from submissive through the book to the one in charge by the end).
It’s also fun when the heroine realizes that she’s sexy. So many male characters ooze confidence and certainty while the female characters have no idea how beautiful/sexy they are but rather shy and modest. There’s a nice scene in Love in the Afternoon by Lisa Kleypas where the normally modest-dressing heroine gets a sexy bit of lingerie for her wedding night and shows herself off to her husband on their wedding night—leaving him stunned.
(and feel free to quote me)
I want to be convinced that the hero is a good match for the heroine and that the heroine is a good match for the hero. And I want to like them both enough that I’m not thinking “good, those two scumbags deserve each other”.
The specific traits may vary, but the most important trait that both need to have is respect for the other. If the two don’t respect each other by the middle of the story (or by a reasonable point in the story arc before they fall in love if it’s a series), I’m not going to believe that they can truly love each other, and I’m not going to root for them to get together by the end.
Yes, you can quote me, either as Castiron or as my real name (which may be buried in your Gmail box somewhere).
meoskop, THIS. I read a lot (romance and non-romance) and there’s a lot of disparity (alphas, betas, the wounded – literally and figuratively, the over-confident) amongst the heroes and heroines alike, but in the end both characters come to that realization: the other person is an important part of their life that they cherish (sexytimes and otherwise) and that they are better together than apart.
Looking at my own bookshelves, I’m sorry to say that all my favorite re-reads have hero/heroine pairs that fit a very specific mold. Specifically, a hero that has non-standard/effeminate looks, a way overactive intellect and the ability to use it to create verbal smack downs and witty banter with equal ease, a desire for the heroine that manifests itself as concern and helpfulness but not stalker-y smothering. Because the heroine has similarly non-standard beauty, has a brain that matches his beat for beat, is slightly mistrustful, and willfully independent. (See: The Lymond Chronicles’ Lymond and Phillippa, Sayers’ Lord Peter Wimsey and Harriet Vane, Bujold’s Miles and Ekaterin, and even to a lesser extent Elizabeth Peters’ John and Vicky (though they are both too pretty for their own good) and Emerson and Amelia.)
Apparently, silver-tongued devils do it for me. 🙂 I’ll put up with a lot of crap for some witty dialogue. Possibly because it’s indicative of intelligence? A sexy mind trumps perfect abs IMHO.
Yes, you can quote me.
Decency. A sense of What Is Right and the grit and determination to do it no matter how difficult. Many of Carla Kelly’s heroes excel in sheer, unadulterated decency. Some might appear to be beta heroes at first glance, but underneath, there’s a moral code that demands the courage and resolve of the most alpha of alpha males.
Last year my writing persona gave to the real me your book for Christmas and I loved it. So I can’t wait to get my hands on this next one to add to my writing resource collection. Quote away if you’d like!
I think that the main traits that I adore in my hero’s is how they don’t necessarily see the flaws but the great things the female protagonist offers. He see’s her as the epitome of beauty no matter what societies variation of beauty is at that moment. Its not that he loves her because she’s flawless, but he loves because those ‘flaws’ make her who she is.
The other thing I love is when a hero will do anything it takes to protect her. When is only focus is on her and he comes to save the day. I mean really who doesn’t want to be rescued and loved unconditionally?
Oh and of course an epic magical wang of instant orgasm is never a hardship either!
security word: right 68 (does that make 69 wrong?)
In him: sensuality, sense of humor, honorable, open-mindedness plus steely resolve in a conflict, capable of tenderness, able to listen, doesn’t care whether or not the heroine is a virgin, is not a complete rake, at home in his own skin, romantic [or at least tries to be]
In her: feisty [or at least strong], not a shrinking violet, educated [even if self-taught or ‘worldly’ wisdom], not ‘pure and virginal’ [unless the hero is as well], kind, loving, sensual.
My two favorite characters would have to be from Kleypas’ newer romance, Married by Morning. Why? No other characters have stuck with me quite like Leo and Catharine Marks. Leo has charisma. In fact, he’s an enigma. When first introduced to his character at the beginning of Kleypas’ series, he’s heartbroken, has shown such a depth of feeling for a person, but after her death we see him fall so hard. He can be sharp tongued, yet he’s always there for his sisters. He almost burned down their house with his sorrow, but he’s so intense, and so honest, I can’t find fault with him. He’s redeemable, shows compassion, humor, pride in himself yet also in his family.
Catharine Marks shows the same traits. She hides behind a rough, but mousy exterior, yet she can handle Leo’s barbs and helps pave the way for the family to get over Leo’s tragedy and soon himself to where he can help Marks when her life is threatened. It’s the antagonism we feel between them, yet the inevitable sparks that we can’t wait to fly! They have their downfalls, yet they readily admit them. And they emit such charisma even at their worst moments that we can’t help but love them unconditionally.
So, what makes a hero? A heroine? An essential trait that makes us all human, makes us all aware that some things are beyond are control and that’s emotion. The complexity of our hearts to deny it completeness and wholeness yet our inevitable desire to pull ourselves together, to believe in something better. To believe in happiness. It’s the journey – the ultimate quest – to redemption and love, and not simply in a romantic way. It’s the zest for life in all its forms. It’s hope. Pure and simple.
I need my heroine to be clever and capable. I require it for a book to get my own personal A+ grade. I HATE when a heroine is depicted as waiting for the hero to come in and save her. Uh, no. She’s smart and clever; she is not just going to sit there and pray the hero realizes she missed their coffee date and therefore SHE HAS BEEN KIDNAPPED! Help her! Come on, now; it’s in your job description! Help her ‘cause the author couldn’t think of a single way for her to further her own escape while if it were the hero in danger he’d have the kidnapper under his heel.
Perhaps it’s not what they possess but what they don’t. When I met my husband I finally learned that there’s no such thing as perfect, but there’s perfect for you. In my opinion, not having unrealistic expectations give you a much better shot at being a hero to your significant other. What feels better than acceptance and appreciation? Things that drove my ex-boyfriends absolutely batshit insane don’t even hit his radar. Or he thinks they’re “cute” which is sometimes embarrassing but hey, I’ll take it. At least I make him laugh. Just my two cents – know everyone may not agree. And sorry if this is a rehash of an earlier comment – only have 10 minutes left on lunch and can’t read all the previous posts. Sure there’s all kinds great stuff up there though! 😀
@James Lynch
I found this comment particularly intriguing, because I’m not sure if this is either just a good trait for a hero or heroine to have, or this trait makes a character heroic.
For many traits, such as honor, trustworthiness, integrity, etc., they’re both: good for hero(ine) to have and make a character heroic if they have them.
Is sexiness one or the other or both?
I read a few comments and yes bravery and cleverness is VERY important in a hero. I think an excellent specimen is in Stephanie Laurens’ book “Devil’s Bride”, the main male character Sylvester Cynster. He’s sexy, intense, laconic, desirable, clever, and beneath all that, romantic! That’s the perfect hero.
As for the “female lead” in any romance book (I think you should call them the heroines) is a strong woman who many not know about her sexuality but she knows who she is a a person. She knows what she wants in life and doesn’t take shit from anyone. I’m going to stay within the book I suggested and give Honoria as a perfect example for a heroic female.
I don’t know about other readers but I enjoy when a strong female makes a strong male work for her love.
I think there is a potential hero/ heroine in any kind of character when they are transformed by love: love makes anything possible, less than love makes excuses. I read that in a romance novel somewhere and it stuck. The whole premise and promise of romance fiction is the idea of the redemptive power of love….
Besides what listed above (smarts, or at least common sense, morality, humor, decency, a not very large sexual past for the heroes, heroines who save themselves, the caretaker heroes), I’ll add the “why” of the falling in love make a good hero. If he’s in love with her and listing why, and her (physical) beauty is at the top of the list, no matter how much I like the hero it always ruins it just slightly. I want the hero/ine to have someone they want to have dinner with twenty years down the line, not have sex with now. Physical attraction is usually important, but physical beauty is not. As someone noted above, no one on this list has mentioned “must have dark eyes” or “wash-board abs” as a heroic trait, so I don’t like it when the hero falls in love because of beauty. (To clarify, saying “I love the way your brow crinkles when you’re angry” is different from “I love how you look”.) I want the heroes to love the heroines for a core part of their personality. For instance, the reason Rupert (from Mr. Impossible by Chase) is my favorite historical romance hero because of how he loves Daphne’s intelligence. (And Daphne is one of my favorite because she has that intelligence.) But he never once wanted her to be stupid, but rather wanted her to be as smart as she could, as she was.
Sarah W: Amen! My favorite kind of heroines.