Romantic expressions - part 2 by J. S. Marlo

J. S. Marlo BWL Author Page

Like I said last month, I'm fascinated by expressions & idioms. In my October blog, I covered some criminal expressions, but since I write romantic suspense, not just suspense, there's also a romantic side to my stories.
So, here are some expressions about love and romance, their meanings, and their origins:

- To fall head over heels in love (late 1700s): to fall deeply and completely in love. "Heels over head" used to describe a bad fall, but then in the late 1700s,  it changed to "Head over heels" to describe falling in love.

- Sugar Daddy (early 1900s): a rich older man who lavishes gifts on a young woman in return for her company or sexual favors. In 1908, Adolph Spreckels, heir to the Spreckel's sugar fortune, married a woman who was 24 years younger than him. She called him "Sugar Daddy".


-  On the rocks (late 1800s): a relationship experiencing problems. It was originally used for ships which ran aground on rocks and broke apart. Since the late 1800s it has been used figuratively for other disasters or problems.

- The course of true love never did run smooth (1598): people in love often have to overcome difficulties in order to be with each other. It was first used by William Shakespeare in his play "A Midsummer Night's Dream".
 

people in love often have to overcome difficulties in order to be with each other (Theidioms.com)

- No love lost (1800s): there is a mutual dislike between two people. It originated in the 1500s where it meant extreme love or extreme hate. Then in 1800s, it began to signify hate exclusively.

- Labour of love: a task done for the pleasure of doing it, not for gains or reward. It originated in the Bible.

- Pop the question (1826): ask someone to marry you. It has been used since 1725, but with the meaning of asking something important. The specific sense of proposing marriage has been used since 1826.

- Kiss and make up (mid 1900s): become reconciled. In the mid 1900s, it replaced the expression "kiss and be friends", which had been used since the 1400s.
 




- Wear one's heart on one's sleeve (1604): make one's feelings apparent. It was first recorded in Shakespeare's play "Othello".

- Marry in haste, repent at leisure (1693):  those who rush impetuously into marriage may spend a long time regretting it. First originated in print in "The Old Batchelour" by William Congreve.

 

- Get hitched (1600s): get married. It was initially used in 1500s to describe tying horses to wagons. Then in 1600s, it started being used to describe two people getting married.



- Cupboard love (mid 1700s): affection given in order to gain a reward. It derives from the way a cat shows superficial love for a person who feeds it, or for the cupboard that holds its food.

- Hell has no fury like a woman scorned (1697): a betrayed woman is more furious than anything  hell can devise. The English playwright and poet William Congreve first wrote these words in his play "The Mourning Bride".

Time to go back to writing, and maybe use one or two expressions.

Happy reading!

JS

 J. S. Marlo's Website

The Two Eileens Strike Again! by Eileen O'Finlan

                                                       Click here for purchase information
                                                       Click here to visit Eileen O'Finlan's website

It was my great pleasure to once again team up with fellow BWL author, Eileen Charbonneau for a couple of library talks and book signings. As some of you may already know, Eileen Charbonneau and I have the same name. (O'Finlan is a pen name. My real last name is Charbonneau). We didn't know it until about a year ago, but we are distant cousins. Maybe our shared DNA is what makes us such a great team. Whatever, the reason, I'm grateful for it as it is sheer joy to work with Eileen. We've created a presentation in two parts with Eileen doing the first part and me picking up where she leaves off. It flows seamlessly and seems to be greatly appreciated by every audience for whom we've presented.

This time around we spoke at two libraries in Massachusetts – the Shrewsbury Public Library and the Worcester Public Library. After each talk, we opened it up for Q&A. Eileen and I were quite gratified by the interest and knowledge of the audiences at both libraries. Attendees asked thoughtful questions, made insightful comments, and (bless them!) gave us kind compliments. I've had wonderfully responsive audiences when I've spoken solo, but there's something about the two of us together that really stimulates those who attend. Perhaps it's because Eileen and I manage to play off each other so well. Often we're able to add to each other's comments, which offers a deeper, more meaningful answer to a question. Whatever it is, folks who came to our two talks were certainly animated. Questions kept coming from every direction. If the librarian at the Worcester Public Library hadn't stepped in, we might still be there. These audiences were knowledgeable, as well. We learned as much from them as they did from us. The give and take is invaluable!

Eileen Charbonneau at Worcester Public Library

Eileen O'Finlan at Worcester Public Library

On the days between our scheduled appearances we had the opportunity to have a little fun. We shopped in some unique places, visited the Worcester Art Museum, and even got in a little research for the sequel to Kelegeen which will be set in Worcester in the 1850s. Eileen was game for playing the part of research assistant, so we visited the Salisbury Mansion and the Worcester Historical Museum. What a treasure trove of information we found at both places!

Eileen Charbonneau makes some great finds at Ed Hyder's Mediterranean Marketplace

The Two Eileens having some fun at the Worcester Art Museum

(That helmuet was HEAVY!)

The Salisbury Mansion built in 1772

Sewing Machine one of my characters would have used
Worcester Historical Museum

Map of Worcester in 1851
Worcester Historical Museum

If you're an author planning to give talks my advice is if you can find a partner to present with, do it. It's fun for the authors and their audiences. You don't have to have the same name, but somehow it seems to help.

Do critiques have to be cruel?

Beta readers, writing partners, and family give us feedback and,

– supportive, positive and useful feedback is possible.

In 1986 twenty-five newbie writers survived a writing course and started a writers’ group for the support and education of writers. Among us were a few who had suffered cruelty at the hands of a particular published author. As an instructor, she’d shredded her students writing. It didn’t take the group long to figure out we needed a way to help writers give positive but useful feedback.

We didn’t want to end up with the Aunt Martha approach. ‘This is lovely, dear. You’re a good writer.” The comment might or might not be true. Either way, it’s not useful.

Writers, like most people, react badly to harsh comments. That was our starting point. Comments such as ‘this sucks’ were banned. However, without feedback, we don’t grow as writers. What to do? A few of us sat down with a bottle of wine and did what writers do, we brainstormed what we’d want in a critique and how’d we do ‘unto others’ the same.

Thirty-one years later, that manifesto is still given to new group members. The method we devised provides support, validation, and tips to do better. It is also simple to use. It is, I believe, one of the reasons our group is flourishing after 31 years and holds the reputation as the best group in the area for learning writing craft.

This is what we use.

1)      Process:

·         State what you like about the story or the character and a particularly lovely phrasing.

·         Put in what you liked about the main characters. You might mark a bit of dialogue as ‘for me, this seemed out of character for Ms. Smith. Is there a reason she broke character? If so the reader needs to know.’

·         Please avoid negative statements like—this doesn’t work. Your character is a wimp.

·         State what emotion or image you experienced when reading the whole book or specific scenes.

·         Identify any place where you were confused or found inconsistencies.

·         Underline passive verb structures, non-specific word use, overuse of adverbs, adjective + noun structures where stronger “showing” verbs would be better, and negative structures that could be positive.

2) Tone and attitude:

Structure critique comments as questions or suggestions.

2)      Sample Comments

1.      This is a strong verb – I can see action here.

2.      Colorful description-I like it.

3.      Evocative turn of phrase, it made me think.

4.      This made me cry/laugh/giggle/get angry…Is that what you intended?

5.      Never thought of it like that.

6.      Oh, oh - had to read this 3 times – maybe change order/add/delete/use different words for clarity.

7.      Lost me here. Not sure what you are trying to say.

8.      I understand this to mean XYZ – is that what you intended?

9.      From what you said earlier in the story, I thought she had blue eyes?

10.  I underline issues and structures I’m sure you’re going to address in your re-write.

Here’s a comment I received. “Your world and people are slick. There’s a lot of sliding between the trees, slipping around a corner, sliding onto a bench, slipping through the doorway. Is there an atmosphere you are trying to portrait? If not, you might want to check on the frequency of these words.”

It made me laugh and it was easy for me to accept the comment and fix the word use.

Beta Readers or editors, devise a system that is both supportive and educational. Use our method if you like. Writers offer this list with your manuscript when you ask for feedback from volunteers. It will help your readers to give you the information you need without worrying about upsetting you. You are more likely to get an honest and helpful critique.

Writers helping writers—be kind to one another.