Why do we write what we write?

A few nights ago, as part of my Orson Welles binge, my husband and I watched his version of Jane Eyre. He went into it rolling his eyes at why anyone would find Rochester attractive; I went into trying to explain why Jane would be attracted to someone like him. By the time the movie was over, our positions were reversed: he was so impressed with Welles' performance that he could sympathize with both of them for the first time; I was so horrified by some of the highlighted dialogue that when Jane left Thornfield I couldn't get the door closed fast enough. 

Rochester just might be the prototype for the manipulative alpha-male many modern readers groan about in romance novels.

I had another disturbing thought as I watched Welles (who was magnificent in the role) teasing, belittling and wooing Joan Fontaine's Jane Eyre: he's a lot like a character I had originally written as the romantic lead in The Family You Choose. I shuddered a little bit before I reminded myself that at this point he is most definitely not, but still.

On that note... Loren Kleinman was kind enough to host me on her blog today to talk about some less disturbing influences. I promise- no more alpha males :-)

"Don't look sad yet, Jane; I haven't asked you to compromise your principles for our love yet"