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Category: Risky Book Talk

Posts in which we talk about our own books

A few things have happened in the last month or so to put diversity in historical romance at the forefront of my mind. All of them came to a head when I was reading tweets discussing the recent post on SmarthBitches. So I went over and read it. It’s basically the same argument/discussion that I’ve seen kicking around Romancelandia since the oughts when I first joined. I’ve seen it called a chicken and egg syndrome: readers can’t buy what isn’t for sale, but I’m here to tell you, readers don’t seem to buy it when it is for sale. And while we may all bemoan this, that doesn’t change it.

Historical romance is very white, straight, cis, and upper-class. It’s also kind of like playing jenga. It’s really hard to remove one of those and not have the whole thing come crashing down. Why? Let’s take a look (hopefully without making judgments about readers or authors, which I’ve seen quite enough of lately).

Dukes sell. They just do, like it or not. A few authors have managed to make names for themselves by moving into the gentry (Carla Kelley and Rose Lerner spring to mind) and some authors are pulling off love stories among the lower classes (like Erica Monroe), but from what I’ve seen during my writing career, when you leave the ton behind, you lose a lot of the readers who want that extra soupçon of fantasy.

Books set outside of Georgian/Victorian England and Scotland are harder to sell. I honestly don’t know why this is, but even Ireland and France are hard, let alone Ancient Rome or Shogunate Japan. A lot of us thought (hoped!) that indie publishing would unleash a tidal wave of settings that would brush away Regency England’s chokehold on the genre. Didn’t happen. And every time a new historical TV show is a hit, I see a flurry of hope that the setting will crossover into publishing. But it never seems to. Thankfully, there are authors writing other settings (like Beverly Jenkins, Jeannie Lin, and Sandra Schwab), but those are labors of love. Readers vote with their wallets, and the majority of them vote for Georgian/Victorian England and Scotland (preferably with dukes).

Because the most popular setting is among the 18th and 19th century British ton, the most popular characters are by default Caucasian. There are ways to work in characters of other races/ethnicities (England certainly had free blacks, a Jewish population, Anglo-Indians, Indians, and Chinese), but outside of an Anglo-Indian character, it’s hard to get a non-Caucasian character into the ton. For example, the movie Belle radically changed her actual history to make her wealthy and accepted in a way that she wasn’t in real life. Why? My best guess was that her real life story wasn’t romantic enough. The best examples I can find for how she might have been viewed in her own time are in the works of Austen (Sanditon) and Thackeray (Vanity Fair), which both have wealthy prospective brides who are mixed race as Dido was. Austen treats it as a non-issue. Thackeray does not. Both of which fit with the changing ideas of race and class as depicted in the book White Mughals (which I highly recommend).

Straight and cis. Yep. See above. There are certainly ways to tell gay and trans stories in a historical setting. There are real world examples (Lord Hervey, the Chevalier d’Eon, possibly the Ladies of Llangollen, maybe Dr James Berry), and I’m glad to see these stories being told (e.g. KJ Charles and Cat Sebastian), but we’ve not yet reached a place where these books aren’t niche when it comes to readers (I’ve seen discussions about why some readers avoid these and it’s much the same as why they avoid roms about working class people: the nagging worry about security breaks the fantasy for them; so while a contemp LGBTQ rom works for them, a historical one doesn’t because the HEA never feels “safe”).

So, what does this all add up to? It adds up to authors wanting to make a living (which I’ve been told is an inadequate excuse; a statement with which I strongly disagree) and publishing being a risk-adverse business. When it takes months (or years, depending on the author) to write a book, purposefully writing one that isn’t “to market” is a risky choice, especially if this is how you support yourself. And it comes down to readers.

How does this play out in real life?

When I pitched my first series, c. 2004, I pitched a black hero for book three. I was told by agents and editors that it was a no-go. The profit and loss on it was too risky, especially since those sales numbers would haunt us forever and would probably kill my career (which is funny, since losing a slot at a certain Big Box store killed that pen name long before this book would ever have come out). I did squeeze in a half-Turkish hero (my lowest selling book to date) and I got roundly told that bi-racial characters were “cheating” (as someone who IS bi-racial, this still pisses me off to no end).

[As an aside, I’ve also seen authors’ attempts to diversify their series dismissed as “tokenism”. So I’m damned if I don’t include any diverse protagonist in my series, and damned if I do, but not to the (arbitrary) extent that pleases whomever is deciding these things. Please note, there was a long discussion of this at a recent conference and several authors flat out said they’d rather be dismissed with the faceless majority than paint a target on their back so they could be singled out for tokenism or fake-diversity. I sincerely doubt this is the goal those pushing for diversity wanted, but it’s the one they got.]

Back to me: When I brushed myself off and began pitching again, I always pitched that guy’s book. Agents and editors were suddenly talking about wanting unusual, stand-out books (c. 2008). Books with a different angle. Books with a hook. Books they could promote as DIFFERENT. You know what they meant? They meant maybe not a duke, but still duke-adjacent. Oh, they loved the younger sons angle, but could I throw in a secret society to make it all hang together? I wish I were joking.

Sneak Peak: cropped image of my fencing master’s cover image

Ok, so this time I put that black character IN the series. I was hoping I’d get fan mail asking for his book that I could show my editor. I never did. Not a single email or tweet. What did I get? Requests for very minor (white) walk-on characters. *sigh* When I submitted by my black fencing champion as the hero for one of the books, I got told they’d let me do an e-only novella for him. Not even a novella set with other authors who were also writing Georgian (which they had!). None of that came to fruition anyway, and I left NY, so his book is still sitting there on the back burner (though I have cover shot, so I’ve got that tucked away waiting). This is a story I really want to write, but to date no one has wanted to publish it and I’m honestly not sure readers will pick it up unless I’m very, very lucky. And yes, I have a plan to hopefully help my luck, but if I had to pay my bills with writing monies, I can’t say that this book would ever be written. I know that every hour I put into that book is an hour I might not get paid for; or at least not at the rate that I would get paid if I was writing a duke. But I’m lucky. I have a day job that pays my way and a stubborn streak that wants to write what it wants to write. So, eventually my fencing master will get his book and I’ll get to see if readers love him or if only I do.

So that’s my take. YMMV.

 

 

 

 

Over the years, I’ve been asked frequently if my books were available in audio, and to date I’ve always had to apologize and say no. Neither of my previous publishers ever issued my books in audio, even though they held the rights to do so.

Well, that changes today! After getting the rights back to my first books, I reissued them with fantastic new covers, and then I sold the audio rights to Scribd. Today the first one came out! It’s narrated by Dan Calley (who I think has an absolutely lovely voice), and I’m dying to know what readers think!!!

You can find Sin Incarnate here. And they offer a 30 day free trial for those who want to check out everything that’s available. And yes, Scandal Incarnate and Temptation Incarnate are both on their way.

beauty&beast-vintageCan we talk about #tropes? Romance fiction is full of them, and some are specific to Regency romance. Do you have favorite tropes that always draw you to a story? Or some that guarantee you won’t pick up a book? I got a poor Amazon review for my book An Unlikely Hero mostly because it was a “house party” story and the reader was sick of those. I do wonder why she bought it!

Elena talked about a few she dislikes back in January here when she was judging Rita books –and oh, boy, that task is coming up again all too soon! But the reason tropes are on my mind today is because in my “other” little Regency author group, the Bluestocking League, we are working on a website where we intend to include what may amount to a small encyclopedia of Regency romance tropes –a list, with descriptions of each and perhaps a few words about their appeal– and we have been compiling the list to start with. Not as easy as you might think, despite the existing lists already out there!

Want a peek at our list-in-progress? Have any you think we should add? Here it is in no particular order:

Loveable Rogue/Rogues in love

Agents of the Crown secret-agent-man

Childhood Friend Romance

Protectors

Dukes

Scandal

Beauty & the Beast

Ugly Duckling/Makeoveri_love_being_estranged_mug-re330ccf88ac348ad8b2b7575bfeb37a8_x7jsm_8byvr_324

Estranged Lovers reunited

Friends to Lovers

Marriage of Convenience

Compromised

Governesses Governess

(other) Boss/Employee

Rakes

Mistaken Identity

(kidnapping) –almost always mistaken identity?

Rags to Riches

Wounded Hero/Caretaker Heroine

House Party Chatsworth-House

Masquerades (including Secret/Hidden Identity)

Road Trip/Runaways

Amnesia

Wagers/bets

my-guardian-angel-85701 Ghosts/guardian angels/magic locket–i.e. Something paranormal outside of self influencing the romance.

Soldier

Thief/highwayman/con artist  (are there any gypsy Regencies–and if so, would they fit here or as own trope?)

Hidden treasure

Murder(s)

Spies (not just Agents of the Crown–could be a soldier, a French spy, etc.)

Wills (tricky provisions and/or inheritances that play a major role in the plot)

Marrying out of one’s class (not sure how to say that more simply)

Demi-monde/light skirts

Spinsters

Widows/Widowers

InventorsMusicians 1817

Artists/Musicians/Writers

Heroes who have a profession

Naval/Sea faring

Smuggling

Politics/Parliament

Handicapped (could be hero or heroine or secondary character whose handicap is an issue)

Social Issues (including slavery, abuse of children, etc.)

Farming/Raising Horses/Animals?

Waterloo (since this seems of particular interest to some readers)

Christmas (and perhaps other  holidays)

India/Other foreign travel?

Children (stories where a child or children play a significant role in bringing the hero and heroine together)

Lots of books include more than one, and some overlap. Which books that you’ve read (or written), leap to mind when you look at these tropes?

We could talk about which favorite tropes appear in which favorite authors’ books. Or we could get into a discussion about where some of these tropes originated (besides the history of the period itself) –Austen? Heyer? Some of the early Regency writers like Cartland?

Sadly, I’ll have to leave that to you in the comments –I am really short on time this week! But I would love to hear what you all have to say about some of these tropes, or even about the list itself!

indexRevisiting an old story intent on revising it can be a scary journey full of rocks and potholes. I’m deep in the throes of revising my old Signet Regency, The Magnificent Marquess, and I have to tell you, the process isn’t pretty! It’s not just the mess of annotated pages scattered over my dining room table and all the handwritten notes that are keyed to them, but also my precarious state of mind.

What do you think about “new and improved” versions of older books? Have you ever picked up a new version of an old favorite and read it to see if you liked it better? And did you? If you write, have you gone back to previously published work and significantly changed it? I’m not talking about just a minor tweak or correction here or there. Were you pleased with the result? Please let me know in the comments!writers-block21

While I am firmly convinced this original book can be greatly improved, I am also terrified I may make it worse rather than better.

There seem to be two schools of thought about reissuing backlist books. One is that old books are like old friends and should just be sent back out again in the same lovable form they originally presented to the world. The other is that reissuing them offers an opportunity to improve them –to fix mistakes, enliven the writing, or even indulge in the deeper surgeries (or expansions) required to improve plot, character, or motivations. What’s your experience with this, as a reader, or a writer, or both?

writing_as_professionalMost of my old Signets packed a lot of plot into a relatively short book format –the length was a requirement of the publisher’s line. I believe that by expanding The Magnificent Marquess, I can tell the story more effectively. Too much had to be left out of the original version. But one of many dangers then becomes losing the pacing, not to mention the challenge of keeping the writing tight. All the same problems of writing any original version!

I just keep reminding myself that even though these characters and their story are old friends of mine, for readers who never read the first version, this revised one will be brand new. I’ll let you know when it’s ready!! happy reading 2 peeps

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ge-tmm-banner-750x1125 Happy 2017! I had hoped to give you a date for the re-release of The Magnificent Marquess, but I am finishing up my revisions and still aiming for the end of this month or early February. I just can’t sit on my new cover any longer –take a look!! (click on images to see them bigger)

The hero in this book has lived in India for most of his life, and besides some loyal Indian servants who chose to come with him to London, he also has brought his pet cheetah, Ranee. She is the cause of some trouble right at the beginning of the story. And while you might not think the topic of cheetahs is very connected to the Regency, let me show you how it is!

When this story was first published by Signet back in 1998, some readers didn’t realize that in the early 19th century there were still (or ever had been) Asian cheetahs in India. They are gone from India (the cheetahs, not the readers) and are very nearly extinct now even in the Middle East, where they used to roam freely. I was very distressed recently to read that cheetahs of every kind are now considered endangered. But in 1816, that was not the case.

In India, cheetahs were often trained for hunting. They are, after all, the fastest animal on the planet. It almost seems like cheating!! cheetahs-2Just because the British were in India where the climate was quite unlike that at home doesn’t mean they were about to give up their treasured leisure pursuits. But not all cheetahs were suited to it, and that is the case with Ranee, who is much happier as a pampered companion.

Of course, Ranee is fictional, and I went with my belief in “what could have been” when I wrote this story. Have you ever read or written something in a story that seems reasonable based on research, even though you couldn’t document that anyone ever did it? Isn’t it exciting when later you stumble across information that supports it? It’s so much easier to do research now!

The Internet was just blossoming back when I wrote the original version of this book. At that time I did not find any actual cases of cheetahs being brought to London. But do you know who had one? George III! And the artist George Stubbs took time off from painting horses long enough to paint a picture of it. Here it is:

stubbs-painting-of-george-iiis-cheetahIt breaks my heart that the king’s cheetah eventually ended up in the zoo at the Tower of London, such a sad fate for a magnificent animal born to run. How long it survived there I have not been able to find out. Even though this happened some 60 years before my story takes place, pre-Regency, the king and many other people from that time were still alive during the Regency and might have remembered poor Sultan, or at least saw Stubbs’s painting exhibited at the Royal Academy.

I still haven’t been able to access much information about Sultan or even the later history of the Stubbs painting, and now I would love to know more. If you’ve ever run across this or know of an accessible source, please share!

In the meantime, please let me know in the comments what you think of my new cover? I always wished Signet had included Ranee in the original one. I hope by next month I’ll be letting you know the new version of the book, revised and expanded, is out and available!! Happy New Year, everyone!    cheetah_trainer-croppedP.S. If you are interested in learning more about cheetahs, there’s a fascinating blog that follows the story of one rescued cheetah from cub-dom to adulthood (click on any of the cheetah pix on the site’s homepage, or go here for a single post:  http://sirikoi.blogspot.com/2013/09/sheba.html   or here for a nice narrative version of Sheba’s story: http://www.care2.com/causes/cheetah-raised-by-humans-who-loved-her-enough-to-set-her-free.html  Also here’s a link to the recent information about how endangered these beautiful cats have become today (with some more lovely photos): http://www.care2.com/causes/worlds-fastest-land-animal-is-now-racing-extinction.html

 

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