Showing posts with label Romance Genre (General). Show all posts
Showing posts with label Romance Genre (General). Show all posts

Thursday, January 31, 2008

Surfacing

Whew. The day job turned my brains to mush, and I left a few things hanging. For instance, the Create a Contest Contest. Isabelle Santiago is the winner, and her "What Kind of Thief are You" contest will run on February 12 with my guest post at Beyond the Veil. (Isabelle, if you've purchased Like a Thief, I'll send you a MB&M gift certificate. Sorry about the delay.)

Also, last week, Jane at Dear Author wondered whether the ePublishing's reputation for erotic fare was driving away potential readers. She used Like a Thief in the Night as an example, since neither the interest Ember might have garnered from The Serial, nor Sherry Thomas 's public french-kiss--er, enthusiastic review of Ember and Like a Thief last week generated enough purchases at MBAM to put Like a Thief on their top ten bestseller list.

An interesting discussion of the perception of ePublishing resulted. Mrs Giggles blogged her thoughts. Nice Mommy/Evil Editor Angie started a weekly series at her blog highlighting Samhain's non-erotic romances.

Another interesting result? It's over there on the left.

What do I think of the whole thing? Aside from being thrilled to see Like a Thief in such great company (Hi Shiloh! Hi Bonnie!) I commented briefly on Dear Author, and in more detail at Mrs. Giggles's blog. In an overlarge and overlong nutshell, my thoughts are these:


The thing I like about ePublishers is that they seem a little more willing to take risks and break genre rules. Like a Thief has plenty of sex and even more violence, but those aren't the tough selling points. Like a Thief features a heroine who is, by her own admission, heartless, and the story crosses several genre lines--I call it an a sci-fi paranormal action-adventure erotic romance. Bit of a mouthful, eh? And its only 28,000 words long--roughly a third the length of the average single-title romance.

Writers writing for New York know what New York wants. Just as writers writing for ePubs know what sells. I knew going in that M/M and menage were hot categories. I knew Like a Thief's violence and the heroine might be a turn-off for some readers. But I wrote the story I wanted to write, and Samhain published it, and I'll always be happy about that.

I didn't expect to see Like a Thief on that list. It's my first novella. Ever. And the first thing I ever submitted anywhere. I expected a polite rejection from Samhain. Everything since then has been an awesome surprise. I did rather expect to see The Valentine Effect and Erotics Anonymous on the list on day 1. Both Bonnie Dee and Veronica Wilde have written some excellent and very well-reviewed stories. They have fans (I'm one).

The Strangers in the Night stories came out on the same day as the three stories from Samhain's Court Appointed M/M anthology. All three stories from the M/M anthology are on the list, along with two menage stories. At the time of this writing, the top 5 books are M/M or menage.

What does that mean for new authors? Or for authors that don't write erotic, much less M/M or menage? It means we are being subsidized by the more popular categories. The success of those subgenres is what allows ePubs to take chances on the next hot-selling subgenre.

So, while I think it's a shame some readers are put off by the more exotic and/or sex-centered offerings, I'm won't complain if my books' sales numbers get trumped by shapeshifting threesomes or hawt gay lawyers. Popular erotic subgenres fund the risk-taking I admire in ePubs.

I'd like it if more people appreciated the diverse offerings available from ePublishers.
And, like Jane, I'm going to do my best to remind people who think ePubbed books are all erotic romance and/or pr0n that ePublishing offers a diverse array of genres and content.

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Wednesday, December 19, 2007

Does the Romance Genre Need a Make Over?

Another great post over at Dear Author wherein Jane wonders if a makeover would get the Romance genre a little respect from the mainstream.

Now, I hate mantitty, secret babies and clinch covers as much as the next gal-who-also-likes-to-occasionally-read- in-public-or-on-the-bus, but not even a tag team of Oprah, Tyra and Ty Pennington could spruce up the genre enough to get it an invite to the Mystery/Sci-Fi/We're almost literature Prom.

It's not that I'm down on Romance. You know I'm not. Thing is, Harlequin's many secret babies, Fabio dressed up like a metrosexual Indian, and those clinches that defy the the limits of human flexibility--they sell. And since they sell, they aren't going anywhere--not unless those of us who hate them rip off those cute calico "bookcovers" we bought at the last garage sale our romance-reading 80-year-old neighbor had (the one where she tried to sell you a whole box of Cassie Edwards novels for $0.50) and stop buying books with covers we hate.

And since I am not about to forgo one of my favorite genres for 3-5 years just to make publishers change their ways, I will suggest that those of us who would like to class up the look of our reading material give up on lifting all boats with a rising tide of respectability and focus our attention on the well-crafted vessels that aren't weighed down by the claptrap and cliche for which our beloved genre is (somewhat justifiably) mocked.

In the comments at Dear Author, I suggested that the Romance genre follow in the footsteps of comic books--er-hem, graphic novels--and think up a new name for books that aspire to a more artistic level. Comic books were long reviled as thinly-plotted, tawdry niche-market geek-boy fantasies. There were plenty of good--great--comics out there, like Love and Rockets or The Watchmen, but they never got any respect because they shared shelf space in dingy, geek-filled little stores with the afore-mentioned tawdry niche-market geek-boy fantasies. And then some clever person decided to christen the good stuff "graphc novels" and the rest, you know, is history.

So here's my question: What do we call our classier, more literary-leaning subgenre of Romance novel? And how do we make it stick?

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Tuesday, October 9, 2007

Tall Order

When I try to recall the Romance novels I've read from the eighties they blur into this weird image of a hydra-headed chimera of asshole billionaires, white savages and pirates--all somehow depicted by Fabio--forcibly seducing a veritable secretarial pool full of foot-stamping, head-tossing, chin-lifting virginal heroines. And, I seem to recall, that for most of those asshole billionaires/white savages/pirate princes, "tall" was 6' or maybe 6'2".

Lately, though, I can't seem to find a Romance hero under 6'4". And don't even get me started on paranormal romances, where the heroes remind me of that episode of Gilligan's Island where the castaways found a box of radio-active seeds and inadvertently grew giant versions of garden variety vegetables. In paranormal, it seems, there isn't a hero under 6'6".

To which I say WTF?! Heroes have gotten super-tall, but heroines have remained small and feisty. Whenever I see such a pairing in print, I imagine the heroine as a fluffy Pomeranian (not unlike my current favorite TV dog, Mr. Muggles) yapping around the hero's feet. If authors are going to keep writing giant-sized heroes, they could, at the very least, make their heroines a few inches taller, too?

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Tuesday, June 19, 2007

First-Person Fatigue

Is it just me, or are there a few too many snarky-heroined open-ended first-person paranormal series out there? I can't buy books because I am broke, so I picked up Karen Marie Morning's latest fairy-flavored offering from the New Books shelf at the local biblioteca. She's not my usual style - a few too many virgin heroines - but borrowers can't be choosers.

Darkfever was fast and readable, but rather stale. Perhaps I've seen this sort of young, snarky, fashion-obsessed first-person narrator before? Lately when I pick up a first-person narrated paranormal I get the same queasy feeling I get when I've eaten too many beignets. The difference between "enough" and "one too many" is always one - and you never know which one until it hits you. Mmm. Hungry. Who wants beignets?

Maybe I should give up on the first-person dark fantasy story that's been sitting on my hard drive for the past two years...

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Tuesday, June 5, 2007

Samhain Got Game

So first Kate alerts me to this cool contest over at Samhain, and then I read in Dear Author that Samhain has partnered with Kensington for a print line. Congrats to Samhain. It sounds like a great deal them and an even better deal for Kensington.

With heroes that have morphed from rapacious asshats to billionaire sheikhs to brooding vampires/werecods to Navy Seals and heroines that have gone from TSTL, to feisty, to kick-ass and back again - it's no secret that the Romance genre is prone to trends. Print publishing, by virtue of the time and money it takes to print and distribute books, is always a little behind the curve. Epublishers, on the other hand, can not only bring their product to market faster, they have real time information about what's selling and what isn't. Epublishers also seem more willing to take chances on new authors, many of whom go on to successful careers in print.

Print publishers that partner with ePublishers or - as I'm sure will soon be the case - create their own ePub imprints will be able to develop new writing talent and track genre trends faster, more cheaply, and more efficiently than their print-only rivals. I've no doubt that epublishing will play a big role in romance fiction's future.

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Monday, May 14, 2007

When in Doubt, Link

Lacking anything original to say today, I will link to a couple of interesting entries over on Dear Author. The first is an interview with Heather Osborn, formerly of Ellora's Cave and now with Tor. Osborne has insight into both ePub and print publishing, which makes for some interesting reading. Also, I find Tor's move to break into romance quite interesting.

The second interview is with Jaid Black (a.k.a. Tina Engler) the founder of Ellora's Cave. Engler addresses the recent brouhaha on Karen's blog about possible declining standards at Ellora's Cave.

(To put my $0.02 in: the Vampire/Werewolf/Clusterfuck genre may make bank for EC, but it does tend to go bad if not properly refrigerated.)

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Monday, September 25, 2006

Worldbuilding - It's not Just for Sci-Fi

Romanceland is a strange sort of place, airy and ephemeral. Setting often does not seem to have the same sense of importance as it does in other genres. Most historicals are set in a vague and misty "past" - usually European and usually peopled by lords and ladies who travel about in coaches or on horseback. Contemporaries often take place in recognisable modern cities - where would chick-lit be without NYC? Where would paranormals be without New Orleans? - but rare is the heroine who lives in Levittown, Baton Rouge or any of our fair nation's less picturesque urban centers. Redlands, California, anyone? How about Henderson, Nevada? They're both really quite charming.

I often wonder if the ubiquity of certain settings - New York for chick-lit; quaint, generic small towns for the inspirationals; England for historicals - occurs because it is easier for the author to focus on the story when she uses settings that are already familiar to most of her readers. A Regency set in London, for example, often seems to require only a few cursory mentions of Almack's, Hyde Park, and Bond Street to sketch in the backdrop. Set a similar story in Edinburgh, and the writer has a lot more work on her hands.

Musing on the subject of setting, I began to wonder if an author who chooses an unusual historical or contemporary setting has to do as much, or almost as much world-building as SF/F writers who create their worlds from imagination. Both writers must familiarize the reader with the lay of the land, the local customs, and whatever bits of local history are pertinent to the story. Both writers must make the setting intriguing enough to draw the reader in, and believable enough to keep them from hurling the book against the wall in disgust (ask me, some time, why I so rarely read novels that are set in L.A., and I will point out the dent in my living room wall).

Added to the responsibility of rendering unfamiliar settings intriguing instead of intimidating, is the research authors must do when they use a real locale, instead of one they invented for the story. I started this post intending to explore the importance of world building in Science Fiction and Fantasy novels, but the more I think about it, the more I appreciate the the unsung world builders of historical and contemporary novels who make real places live and breathe as part of their stories.

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Wednesday, September 6, 2006

Serial Killers:

You know what I like about foreign TV shows? They end.

Instead of hanging around like talkative drunks at the end of a party, foreign shows go out on a good note. They last a season or three, and they leave you wanting more.

American shows go to crap. They don't just hang out on your couch after the booze is all gone and the lights are turned out, they take up residence there, annoying the shit out of you until you're ready to call them a cab and charge it to your own card just to get them the hell out of your house. Think Buffy, think Alias, think The West Wing, think ER, for god's sake! (ER without George Clooney is just like the sorry losers who hang out after you've turned the music off, nursing a lite beer and never even offering to help clean up.)

"But Bettie," you say, "what the shit-all does this have to do with novels?" Stick with me chickadees, this is what they call, the build-up.

Ah-hem: Series books are a lot like those malingering TV shows. While they don't always suffer from reuse of the same old characters - or, worse yet, twee new characters - the way TV can, they do suffer from too much of the same thing.

Some authors love a family or set of characters so much they are loath to leave them. Some authors just like to make full use of all their fingers and toes. And some just plain don't know when to quit. But everyone should remember: the law of diminishing returns has to kick in some time.

"But Bettie," you say, "you're an aspiring writer. Haven't you got a series or two knocking around in your noggin?"

Maybe I do. Stop looking at me like that! How the hell do you think I started musing on this subject in the first place? Here's the question keeping me up (and away from my writing) tonight:

How does one write a series without it getting old?
So far, I've come up with a few ideas. Feel free to add your own.
  1. Write loosely connected stories set in the same place.
  2. Limit books in your series to 3 (Hey, it worked for this guy)
  3. Change your name to J.D. Robb
Ok. That's it, I'm tapped out. G'night, folks.

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Friday, September 1, 2006

"We named the dog Indiana..."

In the comments (Yay! Comments!) for my post on he-man heroes, Kimber said,

There ought to be a moratorium on heroes named (or nicknamed) Devil, Demon, Damien, Lucien, Lucifer, Luc, Lion, Lyon, Hawk, Raven, Rayne, or Wulf. These used to be what the hero's HORSE was called.

I heartily second that motion! And while I have the podium, I'd also like to call for a moratorium on creative spellings - especially gratuitous use of the letter "Y". (I'm looking at you, Rayven.)

Some authors seem to think it makes their characters "different", "edgy" or "wild". They think it makes their characters stand out from the crowd.

Yeah, that's what my friend Ginniphyr's mother told her.

If you want a name that's "different", why not pick a name that actually is different. From the Social Security list of popular baby names to Kate Monk's Onomastikon there are hundreds of sites on the web offering all sorts of names from around the world.

And as for all those "dark, dangerous, edgy" hero names like Demon, Hawk, Raven & Wulf, well, I always imagine that, like the great Indiana Jones, they merely lifted their monikers from the deceased family pet.

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Thursday, August 17, 2006

By the Powers of Numbskull: On He-Man heroes

Does it seem like Romance heroes are becoming ever more Alpha? Back in the day, when I was stealing my mother's old Harlequin Presents titles, the hero was usually "a doctor" or "a businessman". In historicals, the hero was usually Sir SuitablyEnglishSurname or Lord SuitablyEnglishName.

By the time I was old enough to check Romances out of the library, it seemed like the heroes in contemporaries were all millionaires and brain surgeons, and the heroes of historicals were all dukes and earls with "dark" sounding names.

Now, it seems like the heroes of contemporaries are all billionaire former Navy SEAL businessmen named "Connor" while the heroes of historicals are rakish aristocrat spies with titles like "Devlin, Duke of Darkdeeds" or "Laird Angus MacAngsty". And don't even get me started on the paranormals, where the heroes are billionaire-brain surgeon-CIA operatives tormented by their bad childhoods and the fact that they turn into a were (choose one) wolf/tiger/cod every full moon.

Is this plague of uber-alphas just authorial one-upsmanship, where each writer tries to create a hero who's richer, stronger, smarter, more emotionally tortured by his past, y más macho than the last? And if it is, shouldn't it stop before some hapless author crosses the line from enjoyably campy to just plain campy? Well, I guess it's too late for that.

I'm not saying I haven't savored a few books with tall dark and tormented heroes in my day, but there is such a thing as taking it too far. Some of these black-leather wearing, Harley-riding, long-haired, emotional cripples sound just like the guys I see milling around outside the local leather bar at 2 a.m. Whatever those hardbodied, leather-clad wanderers are looking for, I can guarantee it ain't a petite, feisty blonde heroine with aquamarine eyes. See what I mean about camp?

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Thursday, August 3, 2006

Ladies First

Remember back in the day? Back when Romance novels featured nurses, doctors, and the lavender-shaded post-marital fade to black?

No, wait, not that far back.

I meant, back in the late eighties - think Fabio covers - when Romance Novels featured sex, but the heroine was always a virgin, and the couple always had simultaneous orgasms from nothin' but good, old-fashioned penis-in-vagina sex. What bullshit.

Has anyone ever had a simultaneous orgasm? I mean, really? And if you say you did, and it was spiritually beautiful, and it brought you closer together as a couple, just shut up now because we know you're lying.

What got me thinking about the subject was that I read a textbyte by one of those "Wait Until Marriage" types. She said that waiting until marriage makes couples more likely to have simultaneous orgasms.

I wondered if she'd ever had an orgasm, to even say such a thing. The Mister and I came at the same time once, and my exact thoughts were, "Whew, I got that one in just in time." Because if you're talking no-toys-allowed, P-I-V sex, once he comes, it's over for a while, you know? And some of us girls do like our seconds and thirds.

That's why I'm rather glad most men, and most romance novels, are catching up to the "She Comes First" way of thinking. Some women lament the death of chivalry, but not me. I can open doors for myself, and pick up the check, too. A man whos' a cunning linguist, a man who'll bow like a gentleman and say, "After you," is way better than some fifties-era throwback with a hymen hang-up and the mistaken idea that there is a "right" kind of orgasm.

And forget about me spending $7+ of my hard-earned dinero to read about some martyr woman/alpha jackass couple who gain spiritual insight about twue wuv through getting their rocks off at the same instant. Bull Shit.

But, if there is no "right" kind of orgasm, I guess that means I ought to lay off the Simultaneous Orgasm Booster Club. So, if you did, and it was spiritually beautiful, and it brought you closer together as a couple, I owe you an apology. More power to you...suckers.

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Wednesday, August 2, 2006

Inspiration: What is This Thing?

Sometimes, I wonder why I want to write publish novels. Writing I will always do, because I like a good story and no other author ever tells quite the story I want to hear.

Sometimes, I wonder why I work and polish and rewrite 'til so late at night that I go into work yawning the next day. I don't tell anyone I write, so I can only shake my head when folks ask why I'm yawning.

"It's my neighbor's dogs," I say, while making a little shooty motion with my hand. It's mostly sincere. I really would like to do violence to those ill-mannered, unneutered rottweilers.

My Mister says I should just tell people I write. Um, No. I mean, does Spider Man or Wonder Woman ever tell people they save the world? It's not just that the fun of having a secret identity would be ruined. No. What keeps me mum is the fear of my own personal kryptonite - advice.

People are always so well meaning.

"Romance? Don't you want to write something that, well, that matters?"

"Science fiction? Does anybody read that? What you ought to do is write one of those legal thrillers like John Grisham."

"Do you know how slim your chances of ever getting published are? And you hope to make a living this way?"

Jeebus, Krishna, Moroni! Save me from this plague of idiots. Nobody ever told Superman that his chances of reversing time by making the globe spin backwards were slim to nil. And while a well-placed word might have saved us from the travesty that is Superman III, my point still stands. Telling someone they can't do something is not helpful, it's mean. It encourages them to stop before they have a chance to ever find out if they really could be a contender.

My book may not be something the well-meaning advice givers would ever want to read, but I'm not writing for them. Whenever I get depressed or discouraged, I fire up the old computer and listen to Act one of "What is this Thing" (This American Life episode 247). It reminds me that there are millions of readers out there who might want to read what I write.

And that, unlike so much of the well-meaning "advice" I've received over the years, is very encouraging.

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