Rwr 11-08: The Trials And Triumphs Of Unusual Historicals

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surroundSir WolterRoleighoncewrote,"Romonce is o loveoffoirin otherthondomestic ings." So whot'so romoncewriter to do when formerlyexotic locolessuch os Regency Englondond theScottish Highlonds beginto feel...well.. domestic? playwith convention, HopeTarrflippedgender addingtwiststo familiarsettings. Someauthors expectationsin her Highlands-set Bound to Please and in her "Gardella Vampire Chronicles," Colleen Gleason added bloodsuckersto Mr. Darcy's era. Yet, a few plucky souls have chosen to set genuine romances in exotic times and places My own journey began when I received my frrst rejection for "Serenade," a manuscript set in Napoleonic Salzburg.Until that moment, I'd labored becauseof my love fot the subject matter-a book of my heart. But rejection made me wonder whether to blame the location or my skills as a storyteller. ln November 2006, 1began writing lVhat a Scoundrel Wants, ny December Zebra Debut from Kensington. In it, Robin Hood's nephew, Will Scarlet, rescuesan alchemist who can clear him of murder, but she's blind, obsessedwith fire, and sister to the woman he helped kidnap. While not as exotic as Salzbulg, I planned to set its sequel,Scoundrel'.sKrss, in medieval Spain. That same month, in order to network with like-minded writers and fatten my TBR [to-be-read] pile, I founded a multi-author blog called Unusual Historicals (htQ://unusualhistoricalsblogspot.com). After three years coordinating Unusual Historicals, I knew exactly which professionalsto consult for this arlicle

like putting out the "Bat signal," becausethose who are passionateabout this subject

have a lot to shale. Through their generous input, I've leamed that finding a publisher for unusual hrstoricals can be arduous, and that people may not be as eager for globetrotting stories as authors are to write them But a market does exist. And readersare getting restless.

Milhr^ D*kuu T*utou "There currently exist in fiction approximately 12 million dukes," says Erika Schutte, an avid reader. Jayne of DearAuthor.comadds, "If it's somethingdifferent, something non-Regency, non-English,non-dukes,it catchesmy interest." Blogger Kristie(J) of Ramblings on Romance defended Regencyromances to a point. "Who doesn't dream of handsome dukes, earls, and viscounts,and the women with their beautifulgowns?But me, I've preffymuchhad my fill."

"lt's olwoyso gomblewhenyou go outsideof the " typicolreoderexpectotions. - Jode Lee

Even Dorchestereditor Leah Hultenschmidtfeels a little starvedfor change."I'll admit it-I often get boredwhen reading througha pile of submissions.Somethingdifferentand fresh getsimmediatepoints in my book." Thesewomen quickly pointedout that after the initial novelty of an unusualsetting,only quality writing keepstheir inter est.But ifreader and editorcuriosity exists,what's the hold-up? Somereadersprotestwhat they seeas the amountof detail many writers needto introduceand fashionan unfamiliar historical time, while othersquestionthe romanticpotentialof certain settings.For example,can a true happily-ever-aftertakeplacein 1928Oklahoma,just beforethe GreatDepression? Or in Atlanta as Shermanprepareshis march to the sea?Or betweenParisian aristocratsin 17932Azteclady,a readerand frequentcontributor perito KarenKnowsBest.com,says,"There are circumstances, population in large the were ods history in which segmentsof barelyholdingon, andthus...ourembellishedimageof 'happily-ever-after'shouldby all rights feel ridiculous." Political correctnesscan also play a part in the storiesan author feels comfortabletelling. As a society,we've come to demand fairnesstoward cultures that were once popular subjects, suchasAmericanIndians.Thus the needto addresscertain historical atrocities, which today's readersexpect to see acknowledged,not ignored,can detractfrom the romantic fantasy. Paula Reed, whose Kensington romancesare set in the Caribbean,says,"You can't glossover the pre-Civil War South like you usedto, and the violencethat would necessarilybe a part ofthat erais no longertoleratedby readers."

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But the burdensofone settingdon't necessarilyexplainthe appealof others.With regardto the Regency,many respondents agreedthat the works of JaneAusten-primarily the film adaptationsto the currentboom,just asBraveheartand -ontributed Outlander series sparked interest in the Diana Gabaldon's Highlands. New York Timesbest-sellingauthor GaelenFoley is wellknown for her Kdght Miscellany series,where intrepid characters head to SouthAmerica, India, Italy, and Greece.She suggeststhe Regencyis simply bettersuitedto the romantic ideal, allowing us "...to experiencea lot of what we're missing so badly in today's world: graceand refinement,honor and chivalry an acceptedsocial structure,a taste of aristocraticideals, [and] small, tightly knit communities." Not only was the Regencypoisedbetweenthe free-wheeling Georgian period and the strict morality of the Victorians, but unspoiled, pre-Industrial landscapesand conveniencessuch as indoorplumbingandtoothbrushesmakeit an idealromanticsetting. But what if it's not a particularsetting,per se,but familiarity we seek?

W"u"Lli* Y"*o M^o# Cilouuuu Agent Laura Bradford of the Laura Bradford Literary Agency believes our expectationscolor our preferences."We love knowing what we are going to get in a read-a satisSringstory with romanceat its center.Do I know that I like romancessetin 1920sIndia? Maybe not. Do I know whether I like romances with twirly ball gowns and dissolutedukes?You betcha." Recognizablesettingsoffer a known quantity of escape, just like romancespromise the known quantity of a happilyever-after.Familiarity with a particularlocale transformsit into a comforting place, one full of positive experiencesthat invite return visits. This processenticeseventhosewho are not otherwise interestedin history. Suchreadersfreely admit to enjoying the story characters,love affair, and the time and place created for the sake of fiction-but not necessarilythe nitty-gritty detailsat its historicalcore.PaulaReedsays,"Peoplewill go [to unusualsettingslin literary fiction, but ifyou're looking for the 'comfortfactor,'it's a little like wasabiin your mac n' cheese." This expectationof familiarity extendsto romancestorytelling andheroictypesaswell. "The Regencyhasthe 'royalty' of the nobility that lends itself to the Cinderella story" says Blythe Gifford, whose InnocenceUnveiled is set in medieval Flanders. "The Scottish Highlands and the American West immediately bring to mind certain archetypes:warrior, loner, outlaw,man of honor.More unusualsettingsmay leave a reader guessingas to what kind of story (and hero) to expect."

Michelle Styles (Zfte Gladiator; Taken by the Viking) I believescyclical themesare at work. If those themescomoliment larger societalissues,they regainpopularity.Romancesin the '70s and '80s reflectedwomen'spush into the workforce,as heroinesslowly, steadilyclaimedempowerment."The Regency hasprovedpopularin timesofgreat technologicaland societal change...during the 1950sand,again,now," saysSfyles.,.Will we see the rise of the Gothic that proved very popular after Austenandagainduring the 1960s,aschangegivesway to more rigidity?"

Wlfnuou lfl*ruAnild"C"*L"su("*JK*isilotu, uto")Cr^u? Romancesof the past may have been more willing to trot the globe,but settingsand charactershavenarrowed.The tight publishing marketis a contributingfactor,with fewer activereaders andeditorswho arepreventedfrom taking costly chances .Laura Bradford agrees."If the last Italy-set historical had abysmal sales,you have to expectpublishersto be more gun-shy about publishing another." Even authorsare quick to admit what standsin the way of more widespreadacceptance."It's always a gamblewhen you go outside of the typical reader expectations,"says JadeLee, best known for her six-book Tigressseriesset in 1900 China. Whereasan authorrisks her time and the possibility of rejection or readerdisapproval,the publisherrisks its sizeablemonetary rnvestment. Yet, these books are being published-and read and enjoyed.But by which houses? Harlequin has distribution and reader loyalty on its side. Monthly ordersare shippedautomaticallyto bookstores,which meansbuyersaren't forced to weigh the salespotential of each individual title. This diminishesrisk on Harlequin,spart and increasesprospectsfor their authors. In addition, Harlequin has just started offering its "Undone"seriesofe-book shorts,for which editorsareactively seekinginnovation. Linda Fildew, senior editor for Harlequin Historical/Mills & Boon Historical Romance, is optimistic about the future, particularly regarding how unusual stories inject creativity into the genre."Authors like the challengethat researchingand writing about anotherperiod presents,and perhapswe candraw readersacrosstime by persuadingthem to follow a favourite author." Other publishing houses such as Dorchester and Kensingtonusesmallersizeto their advantage.Editorspurchase n-hatintriguesthem, and this servesto attractpeople-both edi-

tors and authors-who think outsideof the mainstream,while their size meansthe ability to reactquickly to changingmarket forces.Another small publisheris Medallion Press.Foundedin 2003 by Helen A. Rosburg,Medallion actively seeksunusual romancesthat other housesmight not touch. While thesecompaniesoffer smalleradvancesto new authors,they can provide a degreeof latitudethat wouldn't be affordedotherwise. E-pubs,which generallydo not pay advancesor maintain inventories,are also taking notice ofthis potential opportunity. Nicole D'Arienzo,managingeditorof the historicaldivisionof The Wild Rose Press,says,"It's a bit easierfor us to take a chanceon an unusualsettingor story idea." On a personalnote, The Wild RosePress'sdecisionto publish my time travel short story,"Sundial," setin Sorrento,Italy in 1958,aptly demonstrated their eagerness to take chances.

"We love knowingwhot we ore going to get in o reod-o sotisfying storywith romonceoi itscenier." * l-ouroBrodforo, LouroBrodfordLiteroryAgency

Wu^tlouoi^stlnuhi*lu If willing publishersexist,why aren't more writerspursuingthis course?And, as IGistie(J) laments,why do some authorswho get their startpenningunusualhistoricalsrevert to familiar settings? She says,"I mourn that they seemto have tumed their backson the very booksthat madethem exceptional." On occasion,they have no choice.Diana Groe, who wrote medievals before reinventing herself as Emily Bryan (PleasuringthePirate), says,"My editor nevertold me to move to Victorianor Georgianperiods,but sheseemedpleasedwhen I did. I sometimeshear from readerswho want to know when I'll write the next 'song' book to f,rnish out Maidensong and, Erinsong. The answeris, it's alreadywritten, but the market is not supportingit." The issueof money and exposurecan be dauntingfor writers on the verge of establishingthemselves.T.J.Bennett,author of TheLegacy andThePromisefrom Medallion, says,"I'd like to tell [a third GermanReformation]story but in all honesty,I'd also like to sell to a wider market." Another considerationis researchand the time it takes to

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explore a new era. SandraSchwab,whoseBewitchedis set in Germany'sBlack Forest,writes,"As thereis a certainpressure to write at leastone book a year (if not two or more), a writer might prefer to stick to the more familiar in the knowledgethat shewill be able to finish her next project on time." whatadvicecanwe give? So in light of all we've discussed,

R*luu hosdl tnnu First, write the story you want to tell. We've all heardof authors who chasedthe Next Big Thing, only to face repeatedrejection. When thosesameauthorswrite for the love of a story they dearly wantto tell, they find success. And althoughpublishinghousguidelines guidelines, es have those can be alteredfor the right book. Dorchesterofficially lists 1900as their historicalcut-off, but they've publishedMorag McKendrick Pippin'sWWII-era romances. And who's to say your unusualstory won't be the one to kick offa new trend?"I think it's dangerousto ignorethat 'book of your heart' becauseit could signify the next fresh idea or trend," says Lisa Marie Wilkinson, whose upcoming Fire at Midnight is setin 1703England.JadeLee added,"It just takes time for the marketto catchup." Next, forget every rule but one: write a great book. New York Times best-selling author Loretta Chase, whose Your ScandalousWaysis setpartly in Italy, agrees."I've alwaysbeen a little dim aboutrules in publishing and have never had much of a clue aboutmarkets.So far no one's ever told me I couldn't seta book in a particularplace." As for storytelling techniques,Kate Bridges (Klondike Fever) suggeststhat readersenjoy a mirror of their own experiences."We like to read about ourselves,where we came from, how our ancestorsdealt with the hardshipsof life." Also, consider providing familiar elements,such as a story set partly in Englandor America, or an English-speakingprotagonist.These "window" charactersbehaveas lensesthrough which readers can see,investigate,and experiencea new setting or era-like venturinginto the unknown with a tour guide. But rememberthat a romancewriter's job is to provide an escape,nurture fantasies,and createcompellingcharactersthat readerscan believein. Linda Fildew asksa numberof questions with regardto every manuscriptsheconsiders,which any writer can ask of her own work: "How engagedareyou with the characters?Is there sufficient emotional intensity between them? Does the backgroundfeel authentic and does it complement ratherthan take over from the developingcentralrelationship?" If these questionsare satisfied by a delicious, emotional romance,you're on your way-no matterthe time or place.

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Fl^"l lll"r'slotu This corner of romance,like all of publishing, requirestalent, optimism, and a practical understandingof its difflrculties. GaelenFoley admits,"It is a riskier careermove, but the readers who are so bored of the samesettingsapprreciate the variety just so much." And Zoe Archer,who sold her four-book,aroundthe-world Blades of the Rose seriesto Kensington,adds, "As long asthe major componentsof romancearethere,andthe hero and heroineget their HEA, why not broadenthe scope?"

"l thinkit' sdonger ous to ignor efhot' bookof y our heorf'becouseit couldsignifythe nextfreshideo or tr end." -

Lisci,AorieWilkinson

That attitude,plus an overwhelmingfondnessfor the stories we create,keepsunusualhistoricalauthorsmoving forward. We have our eyes on the future and our arms around an evershrinkingworld. Bonnie Vanak,authorof TheScorpionand the Seducer,tells the story ofa fan letter shereceivedfrom Russia. "I'm anAmericanauthorwriting Egyptian-setromancesreadby Russianreaders.Talk aboutcrossingcultures!" Karen Mercury whosebook Strangely Wonderfulis set in 1828Madagascar, says,"It's easytodayfor us to e-maila friend in India orAlgeria, so I'd hopethe curiosity aboutthoseformerly far-flung placeswould compel us to seekout the history of thosecountries-the drama.the events.the romance." And ifyou enjoy unusualhistoricals,show your supportby buying, reviewing, and spreadingthe word about your favorite authorsand titles. Readerfeedbackis key. We'd love to keep bringingyou the mostengaginganddiverseromancespossible. @@@@@ Born in CaliJbrnia, raised in the Midwest, Catie Lofty found the love of her life in England. She earned her master's in histotlt with a thesis on Old West outlaws and the importance of legend. What a Scoundrel Wants, the hot, adventurous tale oJ Ll/ill Scarlet and his dangerous lady love, is a December Zebra Debtft Scotndrel's Kiss,,/eaturing a Spanish warcior monk and an opitrm addict, willfollow

in 2009. www.carrielofty.com .L,IR