Romance Writing Central

The guidelines for the hero must be followed for the heroine. She is not Venus or Aphrodite, her qualities are a reflection of what the readership wants.

The readers do not have all the say. The author must create a heroine which fits the story. This includes been a match for the hero in every way. Also their goals and lives must connect.

They must have some differences as well as this will cause the sexual tension required to keep readers turning the pages.

Some qualities the heroine could have are: conviction, attractiveness, compassion and ambition. The heroine will have a few of these qualities as it’ll make her more believable.

Next time the definition of the villian.

What is the definition of a true romantic hero? The answer is different for each romance line because readers decide what characteristics they want in their heroes.

Category romance is traditional but does keep up with the times and focuses on strong heroes who are level headed and wealthy or can stand on their own two feet.

Single titles provide more freedom as the heroes are not based on formula writing so the characteristics can be many. Take a look at each publisher’s submission guidelines for a better understanding of what is published.

Next time the definition of a true heroine.

The character profile is a dossier about the likes, dislikes, looks and status of each character. This will enable the author to be even more accurate when writing the story and develop characters in which readers can sympanthise with.

Include the following in the character profile:

Name

Age

Date of birth

Place of birth

Residence

Marital status

Life goals

Likes

Dislikes

Looks

Occupation

Place of work

Family members

Friends

Places travelled

Next time what is the definition of a true romantic hero.

In romance, a character-driven story is the most important aspect of this genre because a reader is faced with understanding the hero and heroine as people and the obstacles faced in making the relationship work.

The reader is also faced with deciding how believeable the characters are. That is, a writer should ask whether a reader can sympathise with the characters and if there is enough description about them.

This is created through keeping a character profile for all characters in the story. Even the minor characters do not escape this tooth comb exercise.

Next time learn about the character profile.

The sample chapters are just that samples but to an editor they are a blueprint to what your writing style is like, and above all, if there is any zing to the story.

Lesson one - grab the reader’s attention from chapter one. This chapter is even more important than the others as it is the very start. Concentrate your efforts by drawing your readers into the story. That includes focusing on whether the storyline is organised and if the theme, mood and scenery are described efficiently. What about how believable your characters are?

Lesson two - chapter two and three are an extension of the introduction and sub-plots are included but do not complicate the main storyline. This includes not introducing so many characters and unnecessary description.

Lesson three - keep the story easy to follow so it reads like a page turner. An editor looks for this quality because then your book is a saleable one.

Next time, the art of characterisation.

The cover letter is the first thing the editor reads, it is the first impression you make, so it has to zip, zing, pow! You must also consider the editor is a very busy person and your window of opportunity is small. There can be no personal chit chat such as “How are you?”.

Be assertive. Get to the point. Make your point from the start. The first paragraph after all is like an introduction of a story—it tells the outline of the story. The second or three paragraphs explain further about the outline 0f the book.

The fourth paragraph is to sell yourself. Outline your background and why you’re the best person to write the novel. Stick to the point once again.

When presenting your work, have a well-designed letterhead—it will show your professionalism. Letters can be printed by online printing companies in which you can upload your designs.

Next time read about the sample chapters.

The process of marketing your work is a specified and complicated process and at the heart of all the stress is the synopsis.

According to submission guidelines of top publishers, a 1 - 2 page document is required. This must be written in the present tense and single spaced.

The X factor comes from writing short concise sentences which stick to the point. What if your story is a saga? Then write about the saga in a punchy summary. Do not add information that isn’t relevant or will end with the publisher losing interest.

Present the highlights and let confidence shine through. After all selling a story is an art form all its own. So own it.

Next time, read about the elements of writing the covering letter.

Online publishers are a great place to get your start. Here are a list of publishers which are always accepting submissions:

Sapphire Blue Publishing

www.sapphirebluepublishing.com

Ravenous Romance

www.ravenousromance.com

New Concepts Publishing

www.newconceptspublishing.com

Ellora’s Cave

www.ellorascave.com

Next time, check out the techniques of getting your foot in the door of the publishing world.

Check out these great romance publishers:

Mills and Boon

http://www.millsandboon.co.uk

This UK publisher has over 100 years of publishing history and the key to their success is understanding the market so writers are expected to share the same vision. Submission guidelines are at the official site.

Avon Books

http://www.harpercollins.com.au/imprints/avon/

An imprint of Harper Collins Australia, it does not accept unsolicited submissions unless you have a literary agent.

Kensington Books

http://www.kensingtonbooks.com

Publishes great books in genres such as Chick Lit. Accepts only partials. Submission guidelines are at the official site.

Next time, watch this space for more romance publishers.

Over 35% of fiction sold in North America is romance and about 50 in paperback.

The figures above (quoted in the last post) show not only that much of the books sold are romance but that this market is made of a wide range of sub-genres.

The sub-genres are always growing especially with many that fall under Chick Lit and that of paranormal and speculative romances.

How do you keep up with the continuous changes? To thrive in the world of writing you need to be clued in. The stark reality is that the publishing industry is somewhat a business and you need to understand who your readership is to discover what they want to read.

Your best bet is to check out the submission guidelines of the major players. Also read books published in the romance lines. This is the greatest type of research because it gives you insight into the use of plots, writing style, characterization, setting etc. Once you have completed your research you can then focus on the creative elements of writing.

Next time: Check out a list of publishers.

Figures above are from the RWA website: http://www.romanceaustralia.com/romance.html