Kitabı oku: «Secrets Uncovered – Blogs, Hints and the inside scoop from Mills & Boon editors and authors»
Secrets Uncovered
Blogs, hints and the inside scoop from Mills & Boon editors and authors
www.millsandboon.co.uk
Foreword
On September 13th 2011, Mills & Boon is launching New Voices 2011 - our second global search for fresh writing talent to join our galaxy of romantic fiction stars.
We’re looking for talented new authors, and if you’ve got a romance bubbling away in your head we want to hear from you! But where to start?!
To help you put pen to paper (or finger to keyboard…!) more confidently, we’ve pulled together some brilliant advice - from last year’s competition website, exclusive previews of this year’s content, some of our wonderful authors and highlights from editor Flo Nicoll’s weekly ‘Behind the Scenes at Romance HQ’ editorial blog on www.millsandboon.co.uk.
The aim of this collection is to give you all the tools you need to make your romance stand out from the crowd, so we hope you find the top tips and advice helpful and inspirational!
Have your say or enter New Voices at: www.romanceisnotdead.com
Chapter One – Characters
Having strong and believable characters in your novel is a must – it’s the best way to gain your readers’ sympathy and keep their interest. More than an exciting plot, clever twist or an exotic location, characters are the reason why we read romantic fiction.
So, to help you get started, here are Romance HQ’s top tips from New Voices 2010 on how to create characters your readers will fall in love with!
Take inspiration from the world around you. People you know or have known might provide some ideas for interesting personality traits (though only use for inspiration!!). Or you might like to base physical characteristics on someone who caught your eye on the bus, a cute guy who serves your morning coffee… dream a little!
Keep an eye on the news. You’ll often find intriguing characters to inspire you in newspapers, magazines or on the TV. This helps keep your ideas up-to-date.
Create character profiles or biographies. It’s also a good idea to find photos from magazines that you feel most resemble your characters. This might help bring them to life, especially if you’re a very visual person.
Ask questions like: “What do they want?”; “What are they afraid of?”; “What is the worst and best thing that could happen to them?” All this preparation will help make your characters three-dimensional.
Try to write one single defining sentence about your main characters. This is a difficult but useful task, which helps you to focus on your characters.
The most important things to know about your characters are the issues that will drive the story forward. You need to know your characters’ goals – and the conflicts that they must overcome to achieve those goals.
And remember to avoid character stereotypes – they might be humorous, but they’re dull and can feel like plot devices. The blonde “other-woman” might just have had her day!
The Heroine: She must be someone likeable, someone your readers can identify with. But that doesn’t mean she has to be perfect! We all have flaws and like reading about people who do too.
The Hero: He must be desirable, someone your readers can fall in love with, someone who is so real he almost steps off the page.
Have fun! You get to create new and exciting people to take on an interesting journey – and these characters will be with you for a long time - so enjoy the ride!
Now let’s look at your characters in some more detail, starting with the wonderful world of the Mills & Boon hero!
Firstly, advice on how to be seduced by the Alpha male, from New Voices 2010!
We editors like to consider ourselves highly trained experts on men – fictional men that is! We can (and do) spend hours debating the eternal Mills & Boon editorial dilemmas:
Mr Big or Aidan?
Is Colin Firth the tastiest Regency hero ever?
Does Simon Cowell qualify as an Alpha male? (Jury’s still out on this one – there’s a controversial 50/50 split in the department)
Is there a better job on earth…?!
Whilst we might not be able to agree on these all-important questions, one thing is sure – the Alpha male reigns supreme at Romance HQ!
And we know we’re not the only fans. Despite popular misconceptions about the Alpha male – as an old-fashioned two-dimensional bully with no depth of character - he has always been integral to successful romantic fiction: from Mr Darcy (Pride and Prejudice) through Mr Rochester (Jane Eyre) to Rupert Campbell-Black (Riders), he has been a much-loved archetype!
Why do women love a fictional Alpha male? Here’s what we think…
He’s the ultimate fantasy - an irresistibly attractive embodiment of heroic qualities and a celebration of positive male strength!
Some of the most exciting conflicts in a romance stem from ‘taming the beast’. The hero is stopped in his tracks by the heroine, and it is through her that he changes and develops.
He takes control and drives the story; he has the power to make things happen!
He is the key driver of the romance – he is the aspiration of the story’s heroine and the reader.
How do you create a successful Alpha male hero?
Your aim should be to ensure that the reader instantly falls in love with your hero – his charisma should ooze off the page and sweep the reader off her feet! To achieve this, it is important that you are confident in his Alpha qualities – his passion, his attraction, his charm, his charisma, his ability to control his environment, his confidence – but also his honour and his integrity.
So, just for you we’ve put together our top tips to guarantee your Alpha hero is utterly irresistible…
Recognise that he is the ultimate nurturer and build his character around this trait. He acts for the welfare of others and he is the one who recognises the heroine’s true goodness and worth.
Build a list of his strengths and show them throughout your story.
Know his weaknesses and have the heroine, and the storyline, challenge them – force him to change. Giving him recognisable human flaws will ensure your hero is emotionally convincing, not a 2-D caricature of a wannabe Alpha male poser!
Be clear about the heroine’s emotional and sexual needs; it is through her journey of fulfilment via the hero that the reader gains insight into his character.
An Alpha male should still be vulnerable – even if he’s too proud to admit it! We need to see that underneath the arrogance, charm or guarded heart, he’s capable of great emotional depth.
He’s allowed to be funny! Mills & Boon books are there to entertain, and some dry wit and wise-cracks from the hero can go a long way to helping us adore him!
Above all, remember that he is the man whom every woman wants. If you are in love with your hero, then the reader will be too!
And, to prove that it’s possible for Alpha males to come in all shapes and sizes, here are the Mills & Boon editors’ guilty pleasure crushes:
John Nettles
Simon Cowell
John Thaw
David Seaman (circa Euro 1996)
Zack from Saved by the Bell Zac Efron (and his HSM dad…) Taylor Lautner – clearly we like them young! Andrew Marr Nigel Havers David Bowie & Mark Bolan – we’re still loving 70s & 80s musical talent Peter Kay Andy Parsons Lucius Malfoy Jonathan Ross Louis Theroux Jeremy Paxman
More on heroes from the archives of the weekly Behind the Scenes at Romance HQ blog by editor Flo Nicoll…
Is Beta the new Alpha? Posted July 21st, 2011 http://community.millsandboon.co.uk/forums/behind-scenes-romance-hq/beta-new-alpha
Hi all!
I have a confession to make. Up until two weeks ago, my love for all things romance was of the ‘PG to rated R only’ variety. But then I went to that hotbed of iniquity (aka the RNA) and courtesy of an absorbing talk by the founder of Xcite books, graduated onto my first x-rated erotic romance. Which I promptly read on the train home – all in the name of research, obviously! – and wow, was it an eye-opener. I kept stopping to read extracts aloud to Anna, which kept both us (and the other occupants of the carriage) fascinated and giggling all the way back to London.
What’s the point of this potentially quite embarrassing anecdote? Well, from a romance-reader’s perspective, the erotica’s most fascinating aspect was that it featured a hero who managed to be both strong and sexually submissive. It’s also not just erotica that explores this fantasy successfully - if anyone’s a fan of Suzanne Brockmann’s excellent Troubleshooters series and has made it to Decker’s story…well, be still my beating heart. Here’s a hero who is SO Alpha and tortured by his experiences as a top military operative that the only way he can get outside of his own head and unleash his sex drive is by having his heroine order him to. Trust me, it’s hot.
All this has got me opening the whole what-exactly-does-‘Alpha’-mean can of worms!
It’s an often-asked question: can a hero be Alpha if he also exhibits what some might think of as ‘beta’ qualities - caring/ socially awkward/ sexually inexperienced? And, the answer is, of course he can! The precise details of a perfect Alpha male fantasy are flexible and personal to the reader’s own tastes. The universal appeal lies in establishing that the hero can sweep the heroine off her feet and can give her the life and love she deserves - be he a tycoon or teacher, stud or virgin. Personally, give me a hero who can be made to blush (especially if they’re mortified by it) and I’m half-way in love with him already.
The Alpha male fantasy is timeless – but moving with the times has broadened the definition. For example, we’re seeing more and more heroes on the horizon working in what could potentially be described as ‘geeky’ industries, particularly techno-based ones. Now, from my obsession with the CSI franchise, I am very aware that techno-geekiness can equal hotness. Clearly, competence is key – as with all heroes, it’s important they’re good at what they do. No-one wants to read about an averagely talented hacker, but a hero who uses his techie skills to save the day…well, where do I sign up?
But as ever, what I really want to know about this week is your opinion. Basically, what do you want to read about? Are you a reader who loves a geeky or awkward hero? If so, what do you find sexy and appealing about this twist on the Alpha fantasy? Alternatively, perhaps this discussion topic fills you with complete horror – do you like your heroes so Alpha there’s no room for anything remotely resembling so-called ‘beta’ qualities?!
Would love love love to know your thoughts, so get in touch!
Flo x
That’s heroes for you – but what about the real gateway to your story, the heroine? Read on for more tips on how to ensure your heroine is every bit a match for your hero…
Heroine Addiction – or when an Alpha male just isn’t enough! Posted November 19th, 2010 http://community.millsandboon.co.uk/forums/behind-scenes-romance-hq/heroine-addiction-5
So, now that New Voices 2010 is well and truly over (sigh), have been thinking hard about what I’ve learnt from it, and do you know what I’ve discovered? When it comes to romance, I’m a man’s girl through and through – for me, the lure of a good romance is ALWAYS a drop-dead-gorgeous hero! He is the character that draws me through the story, and he’s the character that makes or breaks it. (Come on, let’s not even try and pretend that we watch Grey’s Anatomy to enjoy the byplay between BFFs Meredith and Christina - it’s the holy trinity of McDreamy, McSteamy and – my personal fave – dysfunctional delicious Alex Karev that reels us in!) So, if you asked me my favourite hero, I’d have to give you a top 5 – narrowing them down is just too hard. But ask me my favourite heroine, and suddenly it’s a whole different ball game…!
But at Romance HQ, we pride ourselves on writing books about women, for women, generally by women. So, why is so much attention focussed on the hero? (Well, beyond the obvious…!) The heroine is the reader’s main way into the story – for the fantasy to work, we have to place ourselves in her shoes, so it’s time to devote a little more thought to the woman who brings the hero to his knees!
So, who are the Mills & Boon heroines?
All sorts spring to mind – the innocent secretary, Cinderella, the pampered princess (figuratively and literally!), the secretary, the single mum… These archetypes can produce amazing results – from heart-wrenchingly vulnerable to endearingly feisty, you name it, we’ve read it and loved it! However, in the wrong hands, these heroines become the worst kind of cliché – spineless doormats or spoilt brats, and nothing else. So let’s have a look at what characteristics all these women need to share that makes them rise above the stereotype into 3D personalities that capture our hearts and engage our attentions right from page 1.
So, after some fierce Romance HQ debating, here are our top tips on what makes a great Mills & Boon heroine…
Pride comes before fall(ing) in love
These women might be victims of circumstance, but they aren’t victims in any other sense! Whatever their range of life experience, it’s this strength of character that gives them the power to tame their heroes. So, does she stick up for herself, proud of where she’s come from or what she’s made of herself? Or perhaps she’s more vulnerable and shy, and it’s up to the hero to teach her how to stand up for herself, whilst she teaches him to look below the surface? Perhaps she’s massively spoilt, and has to learn to reveal her vulnerabilities under the hero’s expert teaching! Either way, let’s see that the hero and heroine contribute equally to their relationship, challenging each other in some essential way that forces them both to undergo journeys of emotional development.
They’re human – that means flaws
Let’s be honest here – who likes a perfect woman?! Recognisably human flaws go a long way towards dissolving the sickeningly perfect stereotype, and making your heroine 100% real. So, is she spoilt/ stroppy/ too forgiving/ dangerously generous? If so, why?! Show us the true character hiding behind her external characterisation and you’ll be able to make any heroine empathetic!
Choices for 21st century girls
In the 21st century, we all know women can have it all: work, love, and a family. So, if she wants to bag a job, a child and a husband, that’s great, but if she wants to be a stay-at-home mum, that’s fab too! Your heroine can make whatever life choices she wants – after all, it’s not just what choices she makes, it’s the woman behind those choices that grabs the reader’s attention!
So, what do you think? Is it time for Romance HQ to think more carefully about our heroines? What do YOU think is the most important characteristic in a female lead? Any particular faves? Let us know!
Love Flo x
So, that’s the hero and heroine covered. Of course, they’re the most important characters in a romance, but there can also be a place for secondary characters. Use these with caution – they should only be there to help move the romance forward. Here are some tips from the editors…
The Heroine’s Best Friend – For Ever or Never? Posted 14th April 2011 http://community.millsandboon.co.uk/forums/behind-scenes-romance-hq/heroines-best-friend-ever-or-never
Really interesting to read about the memorable books that got you hooked onto category romance last week! I was running an eye over my books over the weekend and there were a pleasing amount of similarities – Flambards, Shadow of the Moon, Jilly Cooper…check check check. Don’t you love the idea of a global community of romance fans all growing up and discovering the same books?!
What Romance HQ latched onto with particular interest, however, were the reasons why some of you drifted from M&B for a while - disappointment over weak heroines seemed to top the list. So, to touch on that, and because I’ve just been on my first ever hen weekend so am full of love for all things friendship-related, the topic that’s being hotly debated in the office this week is…
The heroine’s best friend – to write or not to write?
Not always, but often a romantic heroine tends to be rather isolated – emotionally, socially, professionally etc. This works because it places the heroine in a space where the hero can truly possess her, and her emotions. She has either everything, or nothing, to lose by falling for him! This isolation also enhances the sense that the characters need each other, and only each other.
But in a 21st century world, is it really believable that someone would be so alone in the world, and what does it say about them that they are? If you’re asking readers to step into the shoes of, let’s be brutally honest here, a lonely virgin, is a best friend hovering in the wings the most useful weapon in your empathy arsenal?!
First of all, what’s the function of the BFF?
Simple! On a positive note, they can offer much needed advice in times of need (I love a friend who encourages the heroine to take a risk with the hero, or better yet, the best friend who tells the hero to go get his girl – think Miranda at the end of Sex and the City!); they also provide a contrast to the heroine, showcasing why she’s like no other woman and is worth the hero’s attention. Alternatively, sometimes a BFF plays false, forcing the heroine to accept she needs to let go of her past life and throw her lot in with the hero. But regardless of their functions – as a catalyst or contrast – well-written best friends can add texture and depth as they orbit the central relationship.
So, advice time – here are Romance HQ’s top three tips of making your heroine’s best friend the best ever…
1. Make sure the support network is series-appropriate! For example, in Medicals, chances are the best friend will also be a colleague, someone who shares the same vocation as well as being compatible personality-wise. (My recent hen-do was for a work friend. You’ll be pleased to hear the not-entirely-sober M&B contingent tried to commission our jaw-droppingly built, nude waiter to write a ‘Confessions of a Naked Butler’ exposé for RIVA, but he wasn’t biting…now that’s what I call dedication to the job!) In Cherish, the heroine is often more embedded in her local community and/or family, whereas RIVA is where the more outrageous BFFs hang out – the girls who encourage the heroine to have that one-night-stand etc.
2. The reasons behind the friendship need to be believable. Friends with opposite personalities – the quiet heroine and the ballsy BFF – are great as a vehicle to encourage the heroine to leave her comfort zone, but extra thought needs to go into explaining their connection.
3. Finally, think about how the dynamic of the friendship will reflect on the heroine. For example, if you love the idea of using a heroine plus friends scene to open your book, remember that girly and giggly can be fun and believable (my friends are definitely pretty squealy when we get together) but it can also fall into the trap of cliché. A more adult friendship can work nicely too, and allow your heroine to bask in reflected emotional depth and maturity!
But if you decide a best friend isn’t for you, that’s ok too!
The challenge with writing a more isolated heroine is making that aloneness exceptionally convincing, so that the readers truly get on board with it and can still identify with her. Always ask yourself, why would this woman be like this? And think outside the box here – what other ways can your heroine be emotionally vulnerable or isolated that doesn’t preclude having no friends/ family?! Ultimately, it’s going to come down to uber-sympathetic characterisation – if she’s alone, we have to want to step into the book and befriend her ourselves, not be secretly thinking no wonder she doesn’t have any mates…
Now, it goes without saying that the emphasis always needs to be on the central romance, but to ensure our stories remain as contemporary and believable as possible, hope you’ve enjoyed this Romance HQ take on the heroine’s best friend debate – let us know your thoughts! (And don’t even get me started on how much I also love a good bromance…maybe I’ll save that for another blog!)
Love Flo x
And another popular example – editor Anna Boatman discusses the role of children in romance – watch out for this blog on the 2011 New Voices website!
After spending a recent train journey listening to the hysterical screams of a vocally powerful and worryingly eloquent toddler, I stumbled off the train with my ear-drums still shuddering, vowing fervently to remain child-free for the rest of my life. Yet only the next day, I came across an adorable child who totally changed my mind. The catch? This one was fictional! It got me thinking about the children who populate our books - they can change the whole feeling of a story, for better or worse, and something that can present a challenge to a wannabe writer is dealing with a child in their romance story – as we all know, children don’t always do what they’re told!
Babies are a classic theme to help bring couples together and they are a reader favourite – there’s something about a tall, powerful hero protecting a tiny baby that tends to resonate for almost everyone. However, once that baby starts talking the writer’s suddenly dealing with a whole other little personality that can be determined to steal all the attention…
So here are our top tips for making your fictional children adorable rather than annoying:
Focus on the romance: First and most importantly, the romance should still be driving the story, not the children – no matter how demanding they are. Having too much page time spent dealing with babies or children around can distract from the intensity of the relationship (which alas can feel all too realistic!). As an example, although children can sometimes act as a barrier to romance (for example if your heroine wants to focus on being a single mum and isn’t looking to fall in love), they mustn’t be the only thing holding your couple apart – no matter how adorable the kids are, they are only secondary characters.
Warning: contains sickly-sweet children, may cause nausea…
Sadly, outside the world of fantasy, children aren’t perfect – and we love them for it! A child without a spark of naughtiness is, let’s be honest, a dull child. In the same way as heroes and heroines need flaws to feel real, a perfectly good child is too good to be true. Equally, watching your characters struggling with their children on occasion will make it easier for readers to relate to them and to trust in their happy ending; it’s easier to believe that a billionaire hero’s going to stick around once he’s dealt successfully with baby vomit on his handmade Italian loafers!
Put your children to work! How can these little secondary characters help to move the romance forward? Shared responsibility for a child can be a great way to bring couples together, while they’re also a way for the reader to see another side to a character, e.g. a softer side to a haughtily alpha hero, or vulnerability when an otherwise completely competent mum tries to reach her teenage daughter.
Finally, I asked the editors for some stories of their favourite real life children in order to counteract my horrible memory of the Toddling Devil Child. Below is my favourite:
“When babysitting for my 6 year-old cousin, she realised her favourite teddy bear’s jacket was missing. Having searched all over the house and found nothing, it was way past her bedtime and I said she would just have to look for teddy’s jacket in the morning. Response (with tear filled eyes and quavering voice): ‘Oh, poor little me - I’ll have to cry myself to sleep!’ It was extremely difficult not to laugh.”
So what about you? Does a baby on a cover make you run to the shelves, or run for the hills? Do you have any favourite fictional children? I personally have a soft spot for the accidentally naughty child – Just William is pretty hard to beat!
Chapter Two - Conflict
This was a hot topic in last year’s competition, so read on for our selection of New Voices 2010’s best blogs on how to tackle this ever-tricksy issue…
First up, what is an emotional conflict?!
When talking to aspiring authors about how to write a Mills & Boon novel the question we get asked almost more than any other is – what is emotional conflict?
The official Mills & Boon definition of an emotional conflict is:
The internal battle a character has to overcome something intrinsic to their personality that prevents their happy ending.
This could be specific personality traits (lack of trust, a guarded heart) or motivations and aspirations. In Pretty Woman it’s not Julia Roberts’ profession that gets in the way – but Richard Gere’s heart of ice that Julia and her fabulous red hair must thaw before they can drive off into the sunset in their limo!
Emotional conflict can also occur within a relationship, when a specific emotional situation – unexpected pregnancy, an arranged marriage, a curse or a dangerous situation – provides a further barrier to happiness. E.g. In Twilight Edward is a vampire and he wars between his desire to love Bella forever (by turning her into a vampire) or by letting her live the life he believes she deserves (and thereby not being with her for eternity).
These internal emotional struggles should always be the main focus of your story.
Where do external conflicts fit into this?
To be honest, as little as possible! External conflicts – misunderstandings, circumstances or a secondary character’s influence – should only be brought in as additional support to the developing romance and plot. Allowing the focus to fall on to theme and plot is a common and easy trap to fall into whereas the strongest editorial comes from character and in turn, emotional exploration.
It’s all very well knowing what emotional conflict means, but how do you go about creating it?
Simple – it’s all down to your hero and heroine! They are at the heart of the story, and it should be a conflict intrinsic to their personalities that drives the story forward. But for a conflict to be sustainable and convincing, you need to know your hero and heroine inside out – from when they were born to what has shaped each one into the person they are now!
Aargh, I’m still confused!
Don’t panic…we’ve roped in Colin Firth and everyone’s favourite diary-writer Bridget Jones to show you the light at the end of the emotional conflict tunnel!
First up, the deliciously brooding Mark Darcy’s external conflicts – well, there’s the embarrassing Rudolph Christmas jumper, the conversation he overhears that leaves him thinking that Bridget isn’t remotely interested in him and of course the totally unsuitable, remarkably uptight and so not as cool as Bridget’s other love interest.
But what really keeps them apart is Mark’s inability to truly open up his heart to Bridget and tell her that he loves her (just the way she is!) before the end of the story. And this stems from his past where he walked in on his then-wife in bed with his best friend. From this day we see that Mark Darcy’s heart is closely guarded – and it takes finding the one (and Bridget running down the snowy street in her pants!) to make him realise that she’s worth fighting for!
We hope that’s helped! We’re off to rent the DVD for the 1000th time…
How do I make this come alive in my story?
To get you thinking along the right lines, here are the big five questions to ask yourself about your prospective hero and heroine…
What draws them together?
What keeps them apart?
What emotional obstacles do they encounter on the way?
What are the turning points of the story going to be – positive and negative?
Why will the reader truly care about their happy ending?
Remember, the reader must be able to see what motivates a character to act the way they do – every little thing has to be backed up by a believable, realistic, emotional issue, so constantly ask why, why, why!
Any other tips?
A good exercise to try is deciding what story you would tell if your characters were trapped in one room for the entire book! Think of the emotional journey your hero and heroine would go on without any outside influences. How would you sustain the tension between the couple, build up to the highs and lows, when all they can do is talk to each other?
We’re not going to lie, it’s a tough challenge – but no one said this was supposed to be easy!
We’re looking for authors who bring something different to their series of choice. This means we’re very open to pushing the boundaries, exploring exciting, contemporary and character-driven conflicts that will speak to each and every female reader. Whilst it’s still fine to use popular themes in a story, to make your submission stand out from the crowd it’s important to consider why you are using them, how they impact on your characters and how you can give them a fresh twist!
Phew! If there’s one thing you can guarantee Mills & Boon will deliver apart from a happy-ever-after it’s an emotionally intense read – something that is achieved only through a compelling emotional conflict. So go forth and give your characters some real angst!!
So, that’s conflict sorted – but how do you make sure your story gives it room to shine? Here is more 2010 New Voices advice to help you out!
Don’t Let the Plot Get in the Way of the Story
Have you ever wondered why you can’t get your characters to behave in the way they should? Or why your ending isn’t as satisfactory as it ought to be? Well, worry not, for Romance HQ has the answers! Well, some of them… We’ve polled our trusty editors and come up with what we think are some of the most common pitfalls of plotting a romance novel.
Your enemies are…
• Clichéd Openings
• Puppet Characters
• Plot – Show and Tell
• ‘Crunch Time’ – Your Ending
Let’s begin with those pesky first scenes…
Here, collated for your reading pleasure, are the official Mills & Boon Top Ten Most Clichéd Openings:
#10 “It’s not you…” We’ve all heard this one! Dumped, heartbroken heroine discovers ex is a faithless devil and swears off men. #9 “I’ll be back…” Absent husband returns to seek revenge. #8 “Promise me! Promise…meee…!” Deathbed vows to contrive a meeting. #7 “You see, there’s something rather unorthodox…” Will readings to force conflict. Or even “Till death do us bring together.” Funerals, what a cheery way to start a romance ;-) #6 “I’m getting on the next plane to…” Heroine leaves To Start A New Life. #5 “To sir, with love” Your new boss, that one-night stand. #4 “Insufferable man!” Heroine and hero take an instant dislike to each other. #3 “Crying over spilled coffee” Accidentally bumping/crashing into each other. #2 “The name’s Jones. Bridget Jones.” Hero catches heroine in embarrassing situation. #1 “Fancy meeting you, ex, in the middle of my desert trek…” Coincidental reunions
But wait! Before you scrap those opening chapters, remember that clichéd openings are clichéd for a reason.
When and how clichéd openings work:
They can be an easy way to get straight into character and conflicts, e.g. “dumped” is an easy way to bring out the heroine’s back story.
They involve an immediate event to pull the reader in. You need to grab the reader by the throat/heartstrings/whatever you can and keep her attention!
A familiar plot allows the reader to understand immediately the sort of read they are getting, and with your feet on safe ground you can play with other elements!
They can help you engage readers immediately to your characters. Who can resist a heroine who’s struggling to get into big pants for a hot date! A heroine in an ‘embarrassing situation’ immediately gets the reader onside.
They’re a useful springboard to your plot – it’s not always easy to get your hero and heroine on the same page!
When clichéd openings don’t work:
They can lack individuality in their detail and voice.
When they’re plot driven. If the plot is just used as a vehicle to get characters together it can feel contrived, it’s the characters’ unique reaction to the situation that creates the magic.
They often involve too much focus on mundane details.
A talented writer uses these openings to showcase their individual voice, and often gives these openings a unique twist of their own, rather than relying on them. To help avoid the pitfalls, here are three basic steps to follow:
1. Choose your set-up carefully and be aware of why you are using it.
2. Question if this is the best way to bring your characters together.
3. Understand the convention before twisting it.
Now, onto Characters Behaving Badly…
Acting out of character for the sake of the plot is a no-no. If your characters start bending every which way just to reach your desired conclusion then you are writing puppets, not people. Individual motivations and reactions are key – if these are not believable then your story won’t work. Remember how annoying it is when your favourite characters start acting crazy?
Chapter Three - How to make your story work for you
I want to write for Mills & Boon – but where (and how!) do I start?
In 2010, the New Voices team put their heads together to come up with the top tips on getting started – read on, and feel inspired!
Before you pick up your pen (or settle down at your computer…)
Like almost everything in life a little bit of background reading goes a long way! If you want to write romance you have to love romance, otherwise how will you understand how to bring out the magic from your story?
It really is important to understand the differences between our series, and to know what readers are looking for: each series, although they are all united by romance, have different promises to the reader. For more information check out our category guidelines on www.millsandboon.co.uk and most importantly get reading!
Ok, so I’ve done my research and know what I want to write…how do I make sure my first chapter shines?
Your potential readers are busy women juggling studies, careers, families and time is precious – so you have to grab their attention with a gripping first chapter. This is even more important with the New Voices competition where your first chapter has to work extra hard to impress!
Start at a truly interesting point e.g. when your hero and heroine meet. Don’t waste valuable time telling the reader about mundane, everyday details – make sure you open with a point of change in their lives, an exciting moment, e.g. the discovery that Mr Bingley along with Mr Darcy is returning to Netherfield in Pride & Prejudice!
Captivate readers with your characters and make them care about them! It doesn’t take more than a line to realise that you love Bridget Jones and her diary.
Establish the emotional conflict so they are dying to know how it will be resolved. Think of the scene in Casablanca when Ingrid Bergman asks Sam to play As Time Goes By… This film is a masterpiece in how to feed in back story!
Get the hero and heroine on the page together…that’s what the reader really wants to see!
So, you’re confident starting, but how to make your romance stand out from the crowd? Here are our best tips from New Voices 2010…
If you type cliché and romance into Google, you get thousands of sites dedicated to the world of romance clichés – the clichés we love…and also the ones that make us throw a book across the room!
There are ways for a successful writer to use a conventional theme and twist it, and by that we mean taking the tried and tested plot and turning it on its head to deliver something with real wow factor that will help you knock readers’ socks off (can I get away with that cliché?!). We want to help you deliver something that will blow readers’ minds (see, this avoiding clichés malarkey is harder than you’d think!)
It’s not just about plots either – it’s dialogue, characters, secondary characters and most importantly author voice!
Here’s a quick cheat-sheet:
Plots You’ll often hear editors say ‘we’re looking for fresh twists on classic themes’ and we really are. But what does this mean? Well, first let’s focus on the classic. Romance conventions are a must, they only become clichés when they don’t bring their own personality along for the ride. The trick is to understand the convention before you twist it. How many stories/films/TV series/cartoons etc. feature the Cinderella storyline and how many then go on to twist it? A few examples which work are Pretty Woman, Twilight, The Holiday, My Big Fat Greek Wedding, Maid in Manhattan, Working Girl, 27 Dresses, The Wedding Date. All of these featured a less than lucky heroine (or hero!), a make-over and of course a Prince Charming – but all with their own spin!
Characters Your characters are the way you can breathe life into any plot. Our advice is, if you can make the reader believe in your characters they’ll walk with you through the most fantastical of plots! I took Peter Pan to heart when he said Every time a child says, “I don’t believe in fairies”’ there is a fairy somewhere that falls down dead.’ and to this day will not say those words! I want a writer to make me believe that true love really exists. Making characters unique and believable is the key. So your hero is tall, dark and handsome – but what else is he? He doesn’t have to be perfect, but we have to understand why he’s perfect for your heroine.
Dialogue Frankly my dears, we do give a damn! Your dialogue needs to fit with your characters and not be forced. Alpha heroes need to command without being didactic…a look, a gesture, humour to push their point across… Alpha heroes ooze power and exert it in understated ways - not by shouting at heroines whimpering in the corner!
Don’t be scared to read your dialogue out loud, this helps you to see if you’d really say it in the heat of the moment…or passion! Does it make your toes curl – with embarrassment…or with glee ;-)
So when sitting down to write your own romance, don’t forget:
Understand why classic plots and romantic conventions work –then have fun with them!
It’s all about the characters – make them truly yours.
Mills & Boon is about creating fantasy out of reality. Surprise us with your characters, stories and ideas!
Stretch your imagination – let it fly! You just need faith (and a little of Tinkerbell’s fairy dust!)
Clichés are a big no-no but one romantic tradition that never gets old is the first kiss. Editor Anna Boatman fills us in on how to make your hero and heroine’s first kiss truly special…
It Started With A Kiss…
There’s nothing more disappointing than a bad first kiss, whether fictional or all-too-real. I have to confess to once throwing a book (whose author shall remain nameless and definitely wasn’t Georgette Heyer) across a room when, after making me wait for many, many chapters, the first kiss was a fleeting, crushing, non-event.
Have you ever wondered why some first kisses leave you cold, while others are page-turningly, stomach-flippingly wonderful? Well we at Romance HQ have! We are looking for first kiss scenes to make us sigh with happiness, because when they work there is simply nothing more magical than that first moment when your hero and heroine’s lips meet, whether the hero has grabbed her forcefully after pages of fabulous tension (a general departmental favourite is the first kiss in The Mummy) or the explosion of tension when two friends finally confess they want more (Joey and Pacey from Dawson’s Creek anyone?).
So, how can you aspiring writers make your first kiss between your hero and heroine sizzle rather than fizzle?
First, and most importantly - let the tension build! Anticipation is the key, and without it any kiss can never be more than a simple physical act. If the kissing comes too easily, it just won’t mean as much. Compare kissing the man at the end of a first date who you quite like, to finally getting to kiss the man you’ve been fantasising about since you first saw him by the photocopier! By the time those lips come together, your readers should be absolutely desperate for the kiss and virtually able to hear the hero and heroine’s hearts pounding!
Make the kiss characteristic. Since a great first kiss is the natural result of all the simmering tension between your hero and heroine, make sure that the moment itself reflects the dynamic you’ve been building. If your hero has been fighting himself all the way along, then let’s see in detail the moment when his control snaps and he takes her. Equally, if your heroine has been fighting the attraction out of fear, it can be fantastic to watch her decide to claim the hero for herself - use the first kiss scene to drive both characters forward in their journey.
Slow down! There’s a reason that the camera zooms in at the crucial point - viewers won’t want to miss a single moment, and if you’ve built the tension properly, neither will your readers! Take your time with this scene, give it the attention it deserves and you’ll be rewarded by a kiss scene which does proper justice to your characters.
What does it mean? A kiss is much more than two sets of lips meeting - or it should be! A proper kiss, the kind of kiss that gave the Little Mermaid her voice back, gains its emotional power from its implications. To make the moment unforgettable, show your readers that for both characters, even if they don’t consciously realise it at the time, their first kiss means that nothing in their lives will ever be the same! Whether your heroine is an innocent, trembling Regency beauty, a sassy, feisty vixen who’s never met a man capable of sweeping her off her feet until this moment, or a widow who never thought she’d give love a second chance, the real magic is in seeing that this kiss, unlike so many others, is the start of something special.
But enough with the fiction – it’s time for some secrets…and some gossip! For your reading pleasure, I’ve quizzed, bullied and slightly bribed the M&B editors and they’ve given me some 100% true first kiss stories to share with you all. Read on for the good, the great and the very, very ugly….
We started with some sweet first ever kisses: “On a beach in France, at sunset, with a boy that I’d had a crush on for aaaaages. It was on a year 6 school trip, and, lamely, no other first kiss lived up to it..”
“The boy next door when I was very young (4 or 5 yrs old) whilst hiding behind a small patio wall. Our friends saw and the boy in question (also 4 or 5 I hasten to add!) was mortified ;)”
Then I asked for some horror stories…prepare yourselves… “Aged 13, slightly gagtastic and right before the pre-teen Lothario also kissed my best friend… is working at Romance HQ a subconscious attempt to make up for this horrifying initiation into the world of romance?”
“After having a great night out with a guy he offered to drive me home, I agreed. When he walked me to the door he leaned in for the kiss… I don’t remember for the life of me what I said but he burst out in laughter and a huge amount of green snot came flying out of his nose and onto my cheek, I felt the wetness on my cheek and wiped it away, then stared at my hand in horror! He was so embarrassed he ran to the car and told his friend to drive… I never heard from him again!”
And finally, to leave on a high note, let’s hear some best ever kisses: “My first kiss with my now husband – and I’m not just saying that! Still makes me smile in a gooey way when I think of it.”
“The setting wasn’t special (his car outside my parents’ home) but it just felt like the start of something very special and it was! Can’t improve on that.”
As you can see, first kisses mean a great deal to us all, and hopefully, by this point in the story your readers’ knees will be trembling! However, next base brings new challenges, for one thing can pull readers out of the story like nothing else…bad sex scenes. So, brazen out the blushing and read on to discover exactly what Flo, Romance HQ’s resident blogger, thinks about writing good sex…
Let’s talk about SEX… Posted 1st December 2010 http://community.millsandboon.co.uk/forums/behind-scenes-romance-hq/lets-talk-about-sex
Everything you wanted to know about writing sex, but were afraid to ask!
In honour of Monday’s 2010 Literary Review’s Bad Sex in Fiction Awards – what wouldn’t I give to be on that judging panel! – this week’s blog is going straight to the heart of how to write an earth-shatteringly amazing love scene.
Mills & Boon books promise readers the ultimate in female fantasies – from marrying your childhood sweetheart to a night of multiple simultaneous orgasms with a gorgeous stranger. And whether your series of choice stops at the bedroom door (Cherish) or invites you right into bed with the hero and heroine (RIVA), what unites them all is crackling, emotionally engaging sensual tension. So, whilst sex on the page is by no means essential to a Mills & Boon, this week’s blog is dedicated to everyone who likes their writing hot!
A great love scene is unputdownable – emotional, sexy, and exciting. But a bad sex scene can be the kiss of death for your story, and your characters – how can we fall in love with your hero if his between-the-sheets behaviour fails to satisfy?! In fiction, as in life, bad sex is boring, and the last thing you want is for your readers to skim over those sex scenes you worked so hard on.
So, to ensure your sex scenes are less ‘Like a lepidopterist mounting a tough-skinned insect with a too blunt pin he screwed himself into her’ (one of the sentences that clinched Rowan Somerville’s first place prize on Monday – and I think we can all agree it’s a gem!) and more scorching, I’ve quizzed the experts on fictional sex: namely Romance HQ’s very lovely editorial department! After some blush-inducing, I-can’t-quite-believe-I’m-talking-about-this-for-work conversations, here it is…
The Naked Truth: Romance HQ’s Tips for (Fictional!) Bedroom Fireworks
Sex needs an emotional context Good love scenes happen within the emotional development of the relationship, and can be a key turning point for the couple. Extended scenes of gratuitous sexual description that don’t develop the relationship in any way – i.e. sex for sex’s sake – are boring! Sexual attraction with no emotion is just lust: that’s a great starting point for a sexy romance, but it needs to develop into something more. So, use sensual encounters as an opportunity to delve into the emotional reactions of your characters, particularly the heroine.
Less is ALWAYS more! Don’t be afraid to leave details to the imagination: in some of the hottest books, the actual consummation scene is only a paragraph. Remember, nothing you write on the page will be nearly as erotic as what your readers can dream up…particularly if they read a lot of romance! So, why take that pleasure away from us?
FYI, this maxim applies on a more practical level too…! A beautiful sex scene can easily be ruined by the less sexy aspects of sex – disposal of condom, wiping down the heroine, even (I can’t quite believe I’m typing these words) the dreaded wet spot. It may be realistic, but it’s also a massive mood killer.
Anticipation heightens the experience: foreplay is everything (Yes, even for a really sexy quickie!) Too often we see stories where there’s little-to-no focus on the developing attraction and then, suddenly, the hero and heroine are ripping each other’s clothes off. Any sex without anticipation is bad sex – because whilst zero-to-orgasm in under twenty seconds is a nice idea, we all know it doesn’t often work like that (sorry guys). Get those heroes to put some effort in!
Remember, highly-charged dialogue counts as verbal foreplay, and a clever author can use this to build the temperature in both heroine and reader. What’s more, don’t forget the importance of kissing and touching! Lips, neck and ears, lower back, inner thighs and forearms etc. Because, not to get too personal (although I’m thinking that boat might already have sailed?), but isn’t it the men who move in straight for the grope – boobs and below – that are the biggest turn-off?
So, where does Romance HQ really stand on euphemisms? Simple: the less flowery the descriptions, the better. Sometimes you just need to be able to call a spade a spade. Or in this case, an erection an erection – not always a throbbing member/hard shaft etc! We’re not talking graphic descriptions of the porno variety but don’t shy away from being direct – after all, what’s the point in writing about something you’re not comfortable describing?
Beware the oversexed hero! Let’s spare a thought for the hero who can’t control what’s in his pants. Twitching members in reaction to a simple smile for a heroine, erections springing to life from a mere brush of a hand, near-constant hard-ons… Everyone loves a virile hero, but this lack of control over his body risks making him seem juvenile, not jaw-droppingly hot! A little manly restraint can go a long way, ladies.
Finally, winner of the editors’ most-hated sex cliché award is… The booby prize goes to the heroine’s instant nipple hardening/ tightening/ peaking/ pebbling on seeing the hero! (After two years at Romance HQ, I am well on my way to developing a complex because this doesn’t happen to me on a regular basis.) So, let’s see some other ways to demonstrate her sexual attraction!
So, there it is. The things that work for Romance HQ, and the things that really really don’t. Phew – after this tiny insight into what it must be like to write steamy scenes, I’m filled with even more admiration for everyone doing it! Hope this has given you all plenty to think about…!
Chapter Four – Unpredictability
At Romance HQ, unpredictability has become the buzzword of 2011 – we’re constantly discussing and promoting ways to ensure our authors are producing the most exciting stories possible. Our long-term emphasis on innovative emotional conflict means this has been on our editorial radar for a while, but what better forum than New Voices than to spread the word again?
So, here’s a sneak preview of what the New Voices team have to say about unpredictability this year…
The Unpredictable Route to Happy-Ever-After!
So, here’s the lowdown…
First up, reassure yourselves that we get some incredible submissions from aspiring authors – there’s nothing more exciting that reading a new author voice for the first time and realising that they just ‘get’ it. However, less successful submissions tend to share a common flaw - a reliance on the same tried-and-tested conflicts and themes. This ‘Mills & Boon by numbers’ approach (‘I’ll write a Greek hero and a marriage of convenience!’) can lead to stories feeling unoriginal and predictable – aka not something our readers enjoy. Who wants to buy a book when they can guess exactly how the relationship will pan out from page 1?
Hence the campaign for more unpredictable storytelling!
For everyone who likes a definition, in Romance HQ-speak, an unpredictable story delivers a compelling happy-ever-after that takes the reader on an unanticipated, cliché-free and emotionally engaging journey. (I.e. not crazy plot twists, inconsistent behaviour or random genre mash-ups – it’s definitely not an excuse to replace conflict with crashing plot devices!)
Don’t panic, we’re not asking for radical differences! Everyone has their favourite themes that they love to read and write about - cowboys, babies, Greek tycoons… - the list is endless and of course you can still explore them. But whilst your romances should deliver on series promise and fulfil reader expectations, more than ever we need to see that they do this in a fresh and unique way.
How, though?
You’ve heard this before, and we’ll say it again – it’s all in the characters! The best way to create a strong conflict and story is by starting with two interesting, original characters with a compelling story to tell. You should know them inside out and back to front: what makes them tick? What are their loves, their hates, their fears, hopes and dreams? Favourite colour, food, outfits…no detail is too small when you’re getting inside the heads of these two people! It’s only by fleshing out all these details that you’ll end up with real, rounded people with hidden depths that steer well clear of the cliché trap.
As for their character conflicts, here’s a chance to stretch your imagination! To be fair, it actually doesn’t take much to give a character an issue they need to resolve before they can be happy – even something as insignificant as being the middle child can be spun out into a fascinating and engaging conflict. However, developing a thoroughly unique character conflict is a fab opportunity to grab an editor’s attention, showing us something we’ve never seen before!
So, if you want to tackle a more controversial theme, go for it! Alternatively, think about ways you can twist the classic conventions and surprise your reader e.g. what different spin can you put on the ‘marriage of convenience’ or ‘falling for your boss’ themes? Originality is the name of the game here – if you’ve already seen it before, try and come up with a new approach, taking your reader on twists and turns they haven’t been on before.
There you have it – the unpredictability debate. Whatever your stance on it, it’s undeniably a hugely exciting opportunity for all you writers who want to bring something different to series romance
We can’t wait to see how you rise to the challenge!
That’s unpredictability in general, but editorial blogger Flo has some more specific advice on how to ensure your ending is as innovative as possible…
Happy endings - thinking outside the (diamond ring) box Posted 2nd July 2011 http://community.millsandboon.co.uk/forums/behind-scenes-romance-hq/happy-endings-thinking-outside-diamond-ring-box
Hi all
Today, one of my closest friends is getting married. Three things are guaranteed: she’ll be a beyond-beautiful bride, I’ll cry my eyes out (waterproof mascara at the ready) and my champagne-induced dance moves will be cringetastic in the extreme. I don’t actually think I could be more excited if I tried!
So, as befits a fellow Romance HQ editor, she’s living the bridal dream. From stunning dress to fairytale country setting and (rocking some positive mental attitude) glorious sunny weather, her happy-ever-after is just beginning. And days like this remind everyone of why weddings will always have a huge significance in series romance – it’s the perfect way to celebrate all things love-related!
But is getting married still the ultimate romantic fantasy?
What happens if weddings aren’t in your characters’ life plans: maybe once was enough, so that even Mr Right going down on bended knee can’t convince your heroine to put another ring on her finger? Or does the traditional set-up no longer appeal? Just think of Hollywood royalty Tim Burton and Helena Bonham-Carter living in their neighbouring houses – they’ve thrown out the old traditions and created a new personal take on ‘forever’.
Or, finally, perhaps other fantasies have replaced the bridal one! Take me, for example - at the impressionable age of fifteen, my crushingly unsentimental dad told me he’d either pay for my wedding, or buy me a swanky range cooker. Now, don’t get me wrong, I want it all: the man, the family, the job and the happy ending. But, if pushed, I’m still not sure which one I’d rather go for – although, obviously, holding out for both…!
Of course, the overturning of this (let’s face it) rather depressing un-romanticism can make a wedding even more special. But a trip up the aisle definitely isn’t the only way to deliver a spine-tingling happy ending: from the moment Hugh Grant asked Andie MacDowell in Four Weddings and a Funeral to not marry him for the rest of his life and my heart melted, I’ve had a weakness for romances in which romantic traditions are broken with, but it’s 100% clear that forever is guaranteed for the couple!
But is that just me? As wedding fever sweeps the office, the big question we’re debating this week is whether a diamond ring is still the ultimate expression of a happy-ever-after. Maybe a romance isn’t complete for you unless it ends in a proposal, or do you want to see more individual ways of characters expressing their love? Or is it all about making the wedding and/or proposal as unique as possible? These questions have us all in a flurry, and we’d love to know your take on it!
As I celebrate and happy-cry my way through the wedding today, it’s going to feel absolutely perfect. But for those of you who can’t see your characters ever wanting to tie the knot, or if you feel really strongly that a happy ending is incomplete without a wedding, let us know!
Love Flo, desperately hoping that her preference for range cookers over wedding dresses doesn’t disqualify her from being a suitable Romance HQ employee…! x
Behind the Scenes at Romance HQ
The aim of this book is to give you the tools you need to write the most exciting, unputdownable Mills & Boon you can. However, just in case you wanted to know more about the editors who will be reading (and hopefully loving!) your writing, we thought you might enjoy a glimpse of the ‘behind the scenes’ life at Romance HQ…!
Last year’s New Voices website featured this great insight into the life of a Romance HQ editor – enjoy!
A week in the life of a Mills & Boon editor
What does an editor do??? You’ve heard about our fabulous editors – and their busy schedules – and we thought you might enjoy a week in a life from one of our editors who kept a diary this summer…
Monday 14th June (Mss read – 1; calorific treats – 1; letters written – 1, caffeine units – 3)
It’s another Monday morning at Romance HQ, and it begins like any other – cups of tea all round and a bit of a gossip. From manuscripts to TV shows to celebrity scandal (a recent Richmond spotting of Kate Middleton by one lucky editor had us all out on the street before you could say ‘royal wedding’), the editorial department excels at having strongly worded opinions about the stuff that matters! But football Cup fever has introduced an unexpected harmony – David Beckham has unanimously been voted our favourite player of all time, and given the amount of time we spend reading about Alpha males, we do consider ourselves expert judges…
But beyond the football, it’s also…conference season! Everyone is busy busy busy as the countdown starts to this year’s Romance Writers of America annual conference. With 9 fabulous authors nominated – our best total yet! – morale is super-high: all our authors’ hard work has paid off! As the day continues, thanks to temperamental (non-existent?) air-con, the in-office temperature is also through the roof. Cue good-natured envy of the three lucky eds attending who are soon jetting out to the balmy Florida sunshine…sigh…
Tuesday 15th June Mss read – 1 ¾ ; calorific treats – 2; letters – 0; caffeine units – 0 (trying to wean myself off the habit with herbal teas)
Our quarterly video conferences with the Harlequin New York and Toronto offices are a great chance to catch up on new innovations and to help celebrate any Harlequin-wide successes – although the sight of ourselves on video is an endlessly depressing experience! Fingers crossed no-one saw me discreetly eating my chocolate bar in the back-row…
Today, it’s the UK’s turn to take the floor, with an exciting presentation about the new UK-specific cover direction. The covers look incredible and the whole UK office is buzzing about them, particularly our entirely new series RIVA. The sparkling books that our talented authors write means that Mills & Boon is at the forefront of women’s fiction, and we can’t wait to see how many new readers our new look attracts! So, watch this space…they’ll be coming to a bookstore near you soon!
Wednesday 16th June Mss read – 1 2/3; calorific treats – uncountable; letters written – 1; caffeine units – 2 (herbal tea just didn’t cut it)
Somehow manage to cram in all my reading before an author comes for lunch - the only benefit of my long commute to work! Any summer-bikini-body diet plans are temporarily suspended - the chance to enjoy an author’s company over a three course meal and bottle of wine in a delicious Richmond restaurant is simply too irresistible! What’s more, the author-editor relationship can get pretty close – and in this email-centric world, nothing else quite captures the pleasure of spending time with our authors face-to-face. It’s a great chance to discuss career development, writing plans and anything else that springs to mind – this time, the endlessly fascinating Team Jacob vs. Team Edward debate takes us straight through to dessert.
Thursday 17th June Mss read – 1; calorific treats 1; letters written – 1.5; caffeine units – 3
After another busy day in the office, psyching myself up for an evening library talk. As a department, we’re often asked to speak to libraries/ writing classes etc – and I’m not going to lie, it can be pretty nerve-wracking, especially when there’s a big turnout! But it’s amazing to witness the nationwide passion and respect for our books that’s out there. Suddenly feels more like being in a book group with my friends than a work event, and I realise there’s nothing I’d rather do than help spread the Mills & Boon love! (Highlight of the evening – a reader mentioned one of her favourite books, and turned out I’d worked on it and also thought it was fab …it’s always nice to have your own opinion validated, especially about something as subjective as what makes a particular hero drop-dead-gorgeous…!)
Friday 18th June Mss read – ½; calorific treats – too many to count (colleague’s birthday – flurry of departmental baking ensures); letters written – 3; caffeine units – 3
After a non-stop week, Friday’s here before I know it, and it’s utterly hectic! Most exciting event of the day? Without a doubt, getting to ring an aspiring author and tell her we want to buy her book – nothing is more guaranteed to help end the week on a high! Buying a new author has to be one of the most rewarding parts of the job – in fact, it’s often hard to tell who’s more excited – the author or the editor! Being able to welcome someone new into the Mills & Boon family, especially having accompanied them on their journey from partial submission to publishable manuscript, is an immense privilege, and leaves me with an adrenaline high that keeps me going through last-minute meetings and some frantic tying up of loose ends before the weekend. Finally, it’s time to shut down the computers, take off our security tags and make the most of our Friday summer hours! Trip to the pub, anyone?!
Can you remember your first (Mills & Boon) love…?
Taken from the 2010 New Voices website, the Romance HQ editors look back on how they discovered the wonderful world of Mills & Boon…
During this morning’s coffee (and biscuit) break we asked around to find out what started the Romance HQ editors on their lifelong Mills & Boon habit!
I bought my first two in a bookstore in Bermuda on a desperate family holiday,1999 – there was a whole wall of Historical Romances and I couldn’t resist the lure of the regal purple! ‘Taming the Wolf’ by Deborah Simmons, and ‘A Passionate Pilgrim’ by Juliet Landon. (what an awful title!) They got passed around the school coach, to everyone’s delight – very all-girls-school.
But the one I return to again and again and again is ‘Lady Polly’ by Nicola Cornick – one of her earliest, with gorgeous hero and whilst not as sexy as her current ones, definitely hints at what’s to come! All fans should read it, it’s lovely! – Editor Flo Nicoll
I used to read and re-read anything by Emma Darcy and Helen Bianchin, especially linked family series – returning to my old favourites every Christmas and summer holidays off from school. Whenever I pick them up again now I’m overcome by both the romance and magic of the books…and an overwhelming sense of guilt that I should really be revising for my GCSE’s!! Editor Lucy Gilmour
I got my first Mills & Boon books in the library. I remember forcing my mum and dad to listen to a talking tape of a Carole Mortimer in the car with on the way to Cornwall one year, which quickly turned racier that my Dad was expecting… V embarrassing! Editor Jenny Hutton
It was a rainy day and I was about eight, and my Nan gave me a Mills & Boon book to read… I crept under her big kitchen table, next to the heater, curled up and was transported to a new world… I can’t remember the author and title but it was definitely set in a big house in Australia. When my Mum came home she whisked the book out of my hands in panic, until she realised it wasn’t a sexy author and I went back into my world of escape! I was hooked from that day forward. I only wish my Nan was still here to know that I’ve spent ten years living a dream, without her I wouldn’t be where I am today! Editorial Manager Kimberley Young
I read my first Mills & Boon when I was working at WHSmith. I used to go down into the store room and read any and all the Historicals until someone would find me and tell me to get back on the tills. An anonymous editor!
I got introduced to Mills & Boon while I was still at school. I went to a strict, all-girls establishment which frowned upon contact with the opposite sex (though I can’t recall that stopping us). I don’t remember who the authors were that we read, but in an atmosphere of high-octane teenage hormonal excitement, the books were passed around the sixth-form common room, cracked and battered, with the pages where the love scenes were turned down at the corner.
Once I got to university, my first year was spent in Halls and Lizzie, the girl rooming opposite me, was an M&B addict. Every night we put our waste-paper bins outside our doors for the cleaners to empty. There was always an M&B in Lizzie’s bin (she loved Georgette Heyer and the Angelique books as well). So I would purloin it and then pass on to my friend, Ros. It was this recycling that introduced me to Charlotte Lamb and her classic, THE LONG SURRENDER, which is still my all-time favourite today. Senior Executive Editor Tessa Shapcott
My first foray into Mills & Boon was through a module on my university course about popular fiction. I raided the charity shops, read loads and became hooked! As well as gaining a massive amount of respect for the authors because they’re not easy to write! I then went on to write my dissertation on Romance - from Jane Austen to Mills & Boon and of course eventually landed my dream job of editing them! Editor Carly Corcoran
We want to know what made you fall in love with Mills & Boon!
Where/Who did you get your first M&B from? Can you remember what it was?!
Did you read in secret, or openly pass books around?
Are there any M&B that you’ve read time and time again – we’re always looking for recommendations!
Oooh, we can see a ooodles of fabulous reading on the horizon… Happy weekend from all at Romance HQ!
Afterword
There you have it – a selection of Romance HQ’s top tips on writing romance! We hope you’ve enjoyed the journey – from how to make your characters stand out from the crowd, right through to making sure your ending packs as big a punch as possible.
So, now it’s over to you! If you want to enter this year’s New Voices competition (visit www.romanceisnotdead.com for more details but hurry - it starts on September 13th! ), best of luck with your entry. And whether you’re a first-time writer or a seasoned pro, we hope this book will provide you with advice, suggestions and inspiration for many years (and books!) to come!
Don’t forget to get involved by voting for your favourite entry. Join our Celebrity judge Jodie Prenger and become the 4th Judge of New Voices 2011!
We will see you there! www.romanceisnotdead.com
Special Thanks
And finally, last but not least, we’d like to give special thanks to authors Liz Fielding, Fiona Harper, Donna Alward and Lucy King for their invaluable contributions to this guide.
Mills & Boon New Voices is back!
We’re looking for fresh
writing talent in
our competition…
and you help decide
who wins!
Have your say or enter at: www.romanceisnotdead.com
New Voices is back!
For sneak previews and exclusives
like us on facebook.com/romancehq
follow us on twitter.com/MillsandBoonUK
Last year your votes helped Leah Ashton win New Voices 2010.
Who will you be voting for this year?
Have your say or enter at: www.romanceisnotdead.com
