Wanted:  The Ideal Hero

by Susan Vaughan

Wanted: a hero to sigh for, a hero to die for.

What qualities make up the sexiest, most heroic hero possible? Does he have to be a cowboy or a cop? Alpha? Tall? Dark? Handsome? Dangerous? Vulnerable? Tortured? Scarred? Strong yet gentle? Virile? Testosterone overload?

The stories that touch our hearts and make us fold down page corners center on strong, determined women paired with powerful, enigmatic males, but we read romance for the hero. Mary Jo Putney, in Dangerous Men and Adventurous Women, suggests the hero is the linchpin who holds the story together and sets the tone of the book. In the same work, Linda Barlow asserts that the hero is a “split-off portion of the heroine’s own psyche which will be reintegrated at the end of the book.” Other theorists suggest the hero is the feminine ideal of what a man should be. Sheila Seabrook, Golden Heart finalist, believes that female writers of romance take the best qualities from the men we know and use them to characterize our heroes. I’ll leave that debate to others.

Exactly who are our favorite heroes? Of course, not every reader hankers for the same type. Alicia Rasley in The Heroic Alphabet and Tami Cowden, Caro LaFever and Sue Viders in Heroes & Heroines, Sixteen Master Archetypes have categorized heroes into types. Let’s examine instead the particular characteristics that make any type of hero special, sexy, and sensationally memorable.

Although many enjoy a book with a sensitive, caring regular guy as hero, generally the dark and dangerous type appeals to a wider audience. In real life, most intelligent women avoid this fictional arrogant, domineering male like hornets and housework. Well, maybe he’d be all right for a fling, but not to marry. Let’s remember that romance, like any genre fiction, is essentially fantasy.

Susan Elizabeth Phillips says the domineering male is the catalyst that makes the “empowerment fantasy” work. When the spunky heroine stands up to the menacing, macho male, we pump our fists and shout, “Yeah!” Within us females may lurk an atavistic urge to tame and domesticate a male who could also protect us against marauders. We complain about caveman tendencies, but we sigh over these macho types.

Several writers and readers of romance describe the D & D type as their ideal, sexy hero.

Kathy Lynn Emerson names her own creation Jamie, in Firebrand, as the pirate type readers sigh over. Another of her favorite heroes—and mine—is John Rafferty in Linda Howard’s Heartbreaker. Rafferty is known for his sexual appeal and appetite, intensely focused on the heroine. “A look from those dark, hard eyes...made a woman’s pulse go wild,” muses the heroine about this man she describes as “six feet three of muscled masculinity,” “sheer power ... and intensity,” and a “dark fire” dominating with his size and his forceful, ruthless personality. Almost any of Linda Howard’s heroes fit this description, from Marc Chastain, the Irish-Cajun police detective in Kill and Tell, to Robert Cannon in Loving Evangeline and Ben Lewis in Heart of Fire.

Historical author Diane Drew’s perfect hero is James Malory from Johanna Lindsey’s A Gentle Rogue. A manipulator, selfish and single-minded, he is nevertheless gentle and protective. Teresa Medeiros’ newest hero, Lord Bannor, in Charming the Prince, is a war hero and bastard son of the king. He is virile, sexy, kind-hearted, and very passionate.

More than one writer/reader mentions Suzanne Brockmann’s “tough but tender” SEAL heroes. GH finalist and Superromance author Linda Style cites Prince Joe. “A sense of humor is a must,” she writes. “I like my heroes to take charge, to be intelligent, honest, honor bound and courageous ... in the face of their own fears.”

I cannot omit one of my favorites, the enigmatic and darkly mysterious Roarke from J. D. Robb’s [Nora Roberts] In Death series. Here is a man who exudes sex appeal merely with his dark, “fallen-angel beauty.” He is confident, elegant, and ambitious, smooth and competent at everything. Around him hovers an aura of danger as well as power and self-made wealth. To top that, he knows both what his woman wants and what she needs. And, honey, he delivers.

Others prefer intelligent, tortured heroes with agonizing pasts, loners who are secretive, wounded, and sensitive, men the heroines must save from themselves. Jack Boudreaux, the sexy Cajun horror writer from Cry Wolf, by Tami Hoag, fits this bill. The heroine finds herself pursued and seduced by this sexy, tormented man who might be a serial killer. Anne Stuart, who specializes in the tortured hero, says, “A hero should be fascinating and ultimately redeemable.” Convicted murderer Richard Tiernan in Night Fall epitomizes this troubled hero. Mysterious and devastatingly attractive, he lures the heroine to either her own destruction or his salvation.

Even these brooding heroes possess a sense of humor, albeit a wicked one aimed at themselves or at the heroines. They also must have “honor, courage, and determination,” according to Jayne Ann Krentz. “Underneath the arrogance,” says Virginia Henley, “lies a gritty integrity.” “A hero can be flawed,” adds Robin Lee Hatcher, “but in the end, he must ultimately rise above his own human weakness and behave in a heroic manner, which to me means acting with integrity and moral courage.”

Many readers and writers like MERWA member Marie Morey prefer more “real life heroes,” strong, vulnerable, and sensitive guys, yet with stubborn arrogance that challenges the heroine. She cites Jamie in Diana Gabaldon’s time travel/historical series. Here is more of a Mr. Nice Guy, right for humorous or adventurous plots. He’s comfortable in his masculinity, virile but not violent. MERWA member Ruth Krauth prefers this male with a good heart and a sense of humor: “one who will tempt me to sneak into a dark closet when no one is looking for a mid-day event.”

Wait. This is just fantasy we’re talking about, isn’t it?

To continue, Stobie Piel cites Tom Hanks’ character in the movie You’ve Got Mail as this type of hero. Because of his love for the heroine, he “becomes heroic, finds his inner hero,” and is a man who goes “above and beyond.” Piel’s own hero Dane in The Midnight Moon is a perfect example, compassionate, witty, resourceful, and honorable.

Sara Orwig’s Oregon Brown is a light contemporary romance with a hero who is both dangerous and a “regular guy.” While he appears to the heroine to be lazy, slow-moving, and full of teasing humor, sometimes the dangerous and mysterious aspects of Oregon Brown peek through. For example, he avoids an explanation of his crooked nose and muscular build by saying, “I do a few other things,” and he removes the heroine’s greedy aunt and unwanted suitor with obscure but effective threats. At the same time, Oregon openly desires the heroine. He pursues her with bold kisses and a “velvety masculine voice that would strum over her quivering nerves.”

Naturally or in spite of themselves and because of the heroine, our favorite heroes are leaders, protective and possessive, tough and decisive, charismatic and dangerous, but with honor and courage. And let’s not leave out intense sexuality. One factor making these men heroic and sexy is their vulnerability regarding the heroine, uncompromising passion, and eventual undying love for her.

Besides his fascination with the heroine’s mind and heart, Robb’s Roarke experiences a desperate lust for her. Sharon Ihle can forgive a hero any shortcomings if he’s “hopelessly, helplessly, gut-sick and ‘besottedly’ in love with the heroine.” Barbara Freethy feels a hero should be able to “kiss the heroine senseless.” The sexiest romantic heroes possess raw sexuality, deep passion, and undying devotion. They must be attentive lovers. Karen Davenport, Outreach member and one of my critique partners, says, “He may not understand her, but he will always defend...the heroine no matter at what cost. He will love her forever. He will be passionate...annnnnd he will be well-endowed.”

That leads us to physical qualities, to which romance readers and writers give less emphasis than character and personality. Roberta Gellis’s perfect hero must be physically appealing but not necessarily handsome. Many people want height, dark hair, expressive eyes, and a lean and muscular body.

A sexy voice and laugh are important. Orwig describes Oregon Brown’s laugh as a “lazy, raspy tiger’s purr, rumbling up from his chest.” Roarke’s smooth voice is rendered even sexier because of its “whisper of Ireland.” Emilie Richards likes broad shoulders and “a lopsided, quirky smile.” Several authors, including Nora Roberts, look for “a really great butt.” Lori Foster sums up the sensual and physical attributes: “Heroes can be homely of face, but they must have a great bod...and they have to be sexual. No one wants a good lookin’, honorable fellow just to gaze at.”

Do you notice similar threads weaving through all preferences? The similarities vastly outnumber the differences. Whether alpha or beta or delta, Boss or Best Friend or Loner, whether cop or cowboy or chieftain, the most memorable, “keeper” heroes manifest Boy Scout traits and then some: honor, integrity, strength, a hint of danger, tenderness beneath the toughness, loyalty, intelligence, sex appeal, a sense of humor, passion, protectiveness, and courage.

Geralyn Dawson says it succinctly. “The perfect hero has the same qualities as a good dog: he’s loyal, affectionate, protective, and has a nice tail.”

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