Writing Romance – the Alpha Hero

The most obvious starting place to discuss the types of romance heroes is with the Alpha male - Alpha hero.

Alpha Male:  a domineering man; the dominant member in a group of males, especially animals.

They say that the term was coined mainly to distinguish between boring heroes and exciting heroes.  Really?  I’ve seen some very un-boring heroes who were Beta or Delta Heroes - we’ll get to those later.  And it’s the plotting that makes the story exciting, don’t you think?

Here’s a fun conversation between Booth and Brennan from tv’s Bones.

Booth: Ok, what is so funny?

Brennan: I just never figured you being in a relationship.

Booth: Why? Do you think something's wrong with me?

Brennan: Not wrong. You just have alpha male attributes usually associated with a solitary existence.

Booth: What me? You're solitary.

Brennan: No no, I'm private, it's different and we weren't talking about me.

Booth: I was.

Brennan: I wasn't. Look, I'm happy for you. Relationships have anthropological meaning. No society can survive if sexual bonds aren't forged between -

Booth: What the hell are you talking about?

Booth is most definitely an Alpha hero.

When we look back at the history of the romance genre, we see a time when the heroes of these novels had their way with the heroines, whether she wanted to or not.  The biggest writers in the genre in the early ‘70s - Kathleen Woodiwiss and Rosemary Rogers - both wrote these type of “heroes.”  These types of heroes might not fly today - I mean, taking her without her permission - um, that’s rape.

It’s entirely possible that I’m out of touch here.  When Googling romance books with Alpha Heroes, I found a list that started with Fifty Shades of Grey and continued with erotic romance heroes.  I’ve not read Shades and erotic isn’t my thing.  So, forgive me if I don’t include your favorite if that’s your genre.  What I’m trying to say - and not very well, I might add - is that “dominant” or “domineering” heroes may be Alpha males or may just be jerks.  So maybe the Alpha hero has himself evolved.  Or maybe he hasn’t.  I guess it depends on the genre.

At the most basic level, the Alpha hero is a leader. Or so says Alicia Rasley. “The Alpha hero is above all else a leader. He's someone who takes charge. He's just about bound to end up as the boss of whatever group he's joined.  That is, whatever wounds he's suffered in the past don't keep him from accepting his ultimate role of leading. He is not an outlaw (or if he is, he's the leader of the outlaw band). He is part of a group, not an outsider. And no, he's not dark and dangerous. A truly dark and dangerous Alpha would very likely be a tyrant. The Alpha male is a social creature, not a loner.”

Your Alpha hero is the guy that takes charge.  He’s in control of the situation and in control of himself.  He’s not touchy-feely and holds his cards close to his chest.

He’s John Wayne in almost every movie he was ever in.  He’s William Wallace, Jetro Gibbs, Raymond Reddington.

Some of the conflicts for an Alpha hero include:

Loyalty vs Truth

Ambition vs Friendship

Power vs Abuse

Confidence vs Insecurity

Last month I sent you away with homework.  Your homework is to think about your favorite romance hero.  What makes him heroic?  Why do you love him?  Did anyone do it?

This month I’d love to hear who your favorite Alpha Heroes are.

Next month, we’ll talk about the other types of romance heroes - the Beta, the Delta, the Theta.

Remember, all heroes have a bit of each of these types inside.  These are just jumping off points.  Feel free to digress.

Have a great month, Campers.  Remember BICHOK - Butt in Chair - Hands on Keyboard.

Writing Romance – Starting with a Great Hero

Which came first, the plot or the character? Likely a question as old as fiction writing.

I’m not going to answer this question so you can relax.  But what I am going to say is that, at least for romance novels, readers fall in love with characters.  Not plots.  So where do we start writing a romance.

My opinion is that we start with a hero.

Let me tell you a story.  Years ago, I was driving back to Westcliffe from Pueblo West, along that stretch of Highway 50 that is straight and barren.  I zoned out for a moment.  When I zoned back in, for just an instant I didn’t know where I was.  My “what if” took off and, by the time I got home, I had the beginnings of the plot for True Valor.  More important, though, I had Nic.

What I did in that instance is take a germ of a plot - what if the heroine finds herself behind the wheel of the car, not knowing where she is, how she got there, or even who she is.  She needed a hero.  But what sort of hero?  Nic D’Onofrio is an Air Force PJ (Pararescue Jumper) whose nickname is Batman.  He simply can’t help himself - he HAS to rescue those in trouble.

That was a little side trip.  But let’s get back to what makes a romance hero.

Well, that sorta depends.

Susan May Warren, in her book How to Write a Brilliant Romance, says that first of all, a hero much be NOBLE.  I think she’s right.  I’d add honorable, gallant, virtuous, courageous, valorous.  In my True Heroes series, I used those in the titles of the five books. 

Did you realize, though, that within the romance genre, there are categories of romance heroes?

Author Alicia Rasley breaks down the categories this way.

  • The Alpha Hero
  • The Beta Hero
  • The Delta Hero
  • The Theta Hero.

Jo Beverly adds a Gamma Hero.

And what about the Warrior Poet?

Tami Cowden has these hero archetypes:  Chief, Bad Boy, Best Friend, Charmer, Lost Soul, Professor, Swashbuckler, and Warrior.

Confused yet?  Don’t be.  It’s all good.

Laurie King has her list:  the Duke, the Laird, the Golden Boy, the Lone Wolf, the Warrior, the Brain, The Libertine, the Black Sheep, the Sorcerer

The thing to remember here is this: 

Powerful Characters create Powerful Drama. 

So, above all, we want our hero to be a character that catches the imagination of the reader and holds her in place, flipping pages, until that last kiss.

In the next few articles, I’ll go into detail on some of these hero types and what makes them tick.  Your homework is to think about your favorite romance hero.  What makes him heroic?  Why do you love him?  Feel free to comment.  That will be fun!

Until next month, campers, remember BICHOK - Butt in Chair - Hands on Keyboard.

Jax

 

The 411 on Category Romance

Are you tired of all the businessy stuff yet? You might be. But let’s not lose sight of the importance of knowing the industry. One more post and then we’re on to boy meets girl.

Today we’re addressing Category Romance, a.k.a. Series Romance. Here’s the definition from Goodreads: “Category romances are short, usually no more than 200 pages, or about 55,000 words. The books are published in clearly delineated lines, with a certain number of books published in each line every month. In many cases, the books are numbered sequentially within the line.”

The big players here are Harlequin and Silhouette. Harlequin was founded in 1949 in Canada as a paperback reprinting company. It wasn’t until the mid-50’s that the focus narrowed to Romance. They’ve partnered with many different publishers over the years and are now owned by Harper Collins. It wasn’t until the 70’s that they had American authors - it was all British writers until then. They actually turned down Nora Roberts because they’d signed Janet Daily and she was their “American.” Can’t you just see them sipping their afternoon tea with their noses in the air? Their bad. Eventually, Nora would write for them. So there was a happy ending.

In 1980 Harlequin terminated their relationship with Simon & Schuster, leaving them high and dry. So they formed Silhouette to compete with Harlequin. These books featured American settings and characters. Over time, the heat-level of romance went up and some other companies entered the scene. Harlequin didn’t adapt well, and in 1984, they purchased Silhouette. The Silhouette imprint continues, though. In the 90’s many of their authors began writing longer, single-title romance and, to keep them the Mira line of longer books was created.

But this was all before e-books. Remember, the way these category romances worked is that the company had a number of “lines” of books. Each line featured three or four books a month that were only on the shelves for that month. So a book had a 30-day window to sell. Many customers had subscriptions and got the entire line every month. That help these authors become successful, but it was truly a roll of the dice.

That 30-day window is still around. That’s still how these books are sold. Subscriptions are also still available but are much less popular. Of course, now these books are available beyond their store shelf-life on the Harlequin website in paperback (until sold out) and ebook format. Many romance author still make their living staying within the Harlequin walls.

One of the things - from an authors perspective - that sets Harlequin apart is that they do take un-agented queries. The first version of my True Valor went to New York after a request for the full manuscript. It was ultimately not a good fit for them but I was thrilled to have had it considered.

Their categories now include:

African-American
Classic Romance
Contemporary Romance
Erotic Fiction
Fantasy
Historical Romance
Home and Family
Inspirational Romance
Mystery
New Adult
Paranormal Romance
Passion
Relationship Novel
Romance with More
Spanish
Suspense
Teen
Thriller
Wholesome

Something for every romance reader and writer. If you’re at all interested in pursuing category romance, their guidelines are all available on their website.

Okay, campers. Next month - we’ll get into the nitty gritty of writing romance. In the meantime - happy Valentine’s Day.

Romance Sub-genres Part 2

Happy New Year, Campers. I hope you had a wonderful Christmas. Ours involved 80-100mph winds and no electricity. We had a daring chicken rescue as well but that’s a story for another time.

Last month we covered some of the sub-genres of Romance - Romantic Comedy, Chick-Lit, Contemporary, Romantic Suspense, Historical, Inspirational. Wow, that’s a lot. We also “touched” - haha, get it? - on the different heat levels in some of the genres.

This month, we’re going to finish up with sub-genres. We’ll look at the vast world of Paranormal and also talk about Regency Romance.

Let’s do Regency first, shall we? Regency romance has a very strict set of rules.

• It must be set in England in 1812 (okay you can fudge just a smidge on this - but not much)
• It must be historically accurate for the time and place. It was a time of violence and danger lurked around every corner. The streets weren’t safe. King George III was on the edge of insane and England was embroiled in the Napoleonic Wars.
• It must include kings, and dukes, and lords and ladies and titled nobility of all sorts. And you have to keep them straight and right. Your readers will.
• It must include accurate character names that fit the times. Keep your classes straight and your names fitting.
• It must use the language of the times. Peculiar terms and phrases abound in Regency.

With Regency - the authors writing this sub-genre are well versed readers first.

If you come across the term “Regency-set historicals” think Regencies set in locations other than England. America was fighting a war too at the time.

Want to write Regencies? Read Regencies.

Now on to Paranormal.

Included in Paranormal Romance are Fantasy Romance, SciFi Romance and Futuristic Romance, Time Travel Romance, Reality based vampires and werewolves and such, Ghosts and Angels and Goddesses, and also more sinister creatures of the night.

Fantasy Romance will include the world building common in all fantasy fiction - from complete other worlds to earth realities that have their own rules.

SciFi and Futuristic Romance can include elements of SciFi, Space Opera, etc. The difference between the two is SciFi is outer space based and Futuristic is Earth based.

Time Travel Romance - pretty self explanatory. Might Outlander fit this category?

Reality based creatures - these would be stories much like Contemporary Romances with vampires or werewolves in staring roles.

The term Light Paranormal refers to your ghost stories and angel stories - suggesting that these paranormal creatures are friendlies. Dark Paranormal would be your blood suckers and baddies of every variety. Fairies and leprechauns and selkies and such can be creatures of light or creatures of darkness. You get to decide.

But remember, in all these sub-genres, the key is the Romance. It must be front and center. Any and all of these sub-genres can and do have further categories such as Young Adult and New Adult.

After I finished this list, I realized I’d left out the paranormal I’ve written. It’s a reincarnation story. So there’s another category.

Confused? Don’t be. Just be aware that the variety inside Romance is LIMITLESS. There’s something for anyone who loves happily ever after.

Romance Sub-genres – Part 1

Before we go deeper into the elements of a great romance novel, let’s take a side trip and talk about the sub-genres of Romance.

Maybe you’ve heard the term “Category” or “Series” romance.  These terms don’t really reflect a subgenre so much as a publishing concept.  Harlequin and Silhouette are the big names here.  Each month H/S release several books in each of their lines (sub-genres) which are on the shelf for one month.  Now, with ebooks being such a large part of the market, these books are available after their month is up.  I’ll cover more on Category romance in another post.

engagement-1718244_640Romantic Comedy:  Think “How to Lose a Guy in 10 days.”  These are light-hearted romances that pretty much keep you smiling - sometimes laughing all the way through.  Sometimes these are categorized as “Chick Lit” - though not so much any more - and something they’re shelved with “contemporary.”  Some of the bigger names in this genre are Jennifer Cruisie and Sophie Kinsella.

As long as we mentioned Chick-Lit, I’ll go over it briefly.  These romances are often set in the big city and is a sort or slice of life of a young professional woman - her friends, her job, her trials with men.  The Chick-lit craze seems to have faded away with these stories being shelved now in the Romantic Comedy section.

Contemporary:  This sub-genre simply means that the love story takes place in present times.  There are sub-genres of Contemporary as well, such as the military romances and cowboy romances I write.  Some of the paranormal romances, like the vampire, ghost and time-travel stories are shoved into this sub-genre even though they have their own.

Romantic Suspense:  usually a sub-genre of contemporary.  However these could be historical or even futuristic  These are higher-stakes romances with life and death situations.  There are elements of thrillers, mysteries and suspense novels but the romance takes center stage.  A quick look at the top authors in Goodreads gives us Sandra Brown, Sherrilyn Kenyon, Nora Roberts (who can fit in any sub-genre), and Julie James to name a few.

Paranormal:  These can be any time setting.  As I mentioned above, they deal with ghosts, reincarnation, vampires, fairies, and the like.  Some of the top names in this sub-genre are Staphanie Meyer (of course) and Cassandra Clare.

Historical:  Pretty self-explanatory.   Jane Austin is on the top of this list, with Diana Gabaldon (who vehemently denies that she writes romance.)

Inspirational:  These romances would fall anywhere from brief mentions of church and God, to more in-depth Christian romance.  Some of the most popular  inspirational romance authors are Francine Rivers, Karen Kingsbury, and Debbie Macomber.

couple-731890_640-croppedOn the other end of the spectrum from Inspirational is Erotica.  You may have heard the term Romantica(TM) - this term was coined and trademarked by Ellora’s Cave, one of the early publishers of this sub-genre.  Their definition:  “any work of literature that is both romantic and sexually explicit in nature. Within this genre, a man and a woman develop "in love" feelings for one another that culminate in a monogamous relationship."  Technically, to be considered Erotica, the sex is front and center of the plot.  There is emotion and love in these stories and, to be considered a romance novel, there is a committed relationship at the end of the book.

Obviously, there is a very wide spectrum of sex in all of these sub-genres.  And, for the record, there is no rating system in place for romance books.  Sometimes you can evaluate the “heat” level of the book by its description. Words like “hot”, “steamy”, “lusty” - well, you’d know what you’re getting here.  The Inspirationals would not have sex in them.  And books described as “heartwarming” would likely not either, but also would not have the inspirational elements.

Next month, we’ll look at a few more sub-genres.  Until then - Merry Christmas - and BICHOK (Butt in Chair - Hands on Keyboard).

Jax

Romance: Tropes, tropes, and more Tropes

jean-honore_fragonard_-_the_stolen_kissBefore we get into the popular tropes in romance, I guess I should define a trope.

From Merriam Webster:  Full Definition of trope. 1a : a word or expression used in a figurative sense : figure of speech b : a common or overused theme or device : cliché <the usual horror movie tropes> 2 : a phrase or verse added as an embellishment or interpolation to the sung parts of the Mass in the Middle Ages.

I think, for our purposes, though, the Urban Dictionary comes closest:  “Despite the erroneous definitions already published here, TROPE on the interwebs really refers to an often overused plot device. It can also be described as another variation on the same theme.”

I do like what Tahra Seplowin says in her article at So You Think You Can Write. “Tropes are time-tested scenarios or plot devices that appear again and again, while hooks are any element of the story that might draw the reader in. You may have heard “trope” and “hook” used interchangeably, and there are often similarities and overlaps. One fundamental difference is that tropes are always tried-and-true devices, while hooks can be either well-known or brand new.”

If the theme of the romance genre is “love wins in the end” - then tropes are the subcategories of the theme, the overarching plot within the romance.

This is the list of tropes from the Romance Writers of America website:

Top 10 popular romance tropes: (1) friends to lovers; (2) soul mate/fate; (3) second chance at love; (4) secret romance; (5) first love; (6) strong hero/heroine; (7) reunited lovers; (8) love triangle; (9) sexy billionaire/millionaire; (10) sassy heroine

I’m not entirely sure that #6 and #10 are tropes.  And it seems to me there are some fairly common tropes left out of this list.

Secret baby - though not one of my favorites - doesn’t show up on the list. It’s the one where the hero left town, leaving heroine pregnant and now he’s back and shocked to find that he has a child.

547008052_1280x720Forbidden love - heck this one goes back to Romeo and Juliet, doesn’t it - though R&J wasn’t a romance, was it.  This is the one where hero and heroine aren’t allowed to fall in love - maybe he’s her commanding officer - or from True Honor, she’s his lawyer.

Is “older man, younger woman” (or vice versa) a trope?  I have used that one.

I really like the friends to lovers one because the hero and heroine enjoy each others company for a while before the physical longings show up.  This one can work nicely with the love triangle too.  Am I wrong in saying that Oliver Queen and Felicity Smoak (Arrow) had a friends to lovers story?  Or maybe that was a different trope - loving him from the moment she saw him but from afar.  Maybe Oliver and Felicity had a “girl next door” story - or more like “office downstairs.”

Good grief!  RWA might want to add some to the list.

As I was exploring this topic, I found an article that listed - wait for it -  64 tropes.  Yes I counted them.  So, if you don’t like the secret babies trope, you don’t have to use it.

But honestly, I don’t know that I’ve ever given tropes that much thought when crafting a story.  Maybe that’s because I’ve read enough romance that love stories seep out of my heart.

Tropes might be a handy tool to use as a romance writer.  The list of 64 tropes might be a great idea generator.  But now you know about them.  My work for the month is done.

Remember, the only way to get books written is to WRITE.  So BIC-HOK - butt in chair, hands on keyboard. See you next month.

What Makes a Romance Novel a Romance Novel

Before we get too far in the tips and how-to’s of writing romance, we should define romance as a genre.

Over the years, romance has gotten a bad rap.  In the early days of the romance novel - in the days of Kathleen Woodiwiss and Rosemary Rogers - there were books that, by today’s standards, would be viewed as rape stories.  These were stories of vulnerable females who were “owned” by strong alpha-males who had their way with the women.  The heroines could fight all they want - the “hero” won in the end - and eventually the heroine would realize that he was the man for her and they’d end up living happily ever after.

Bodice Rippers.

Here’s a definition that alludes back to this time:  A romantic novel or film marked by seduction of a female protagonist, sustained drama, and sometimes violence. American Heritage® Dictionary of the English Language.

As the genre grew, this type of story became politically incorrect and gave way to stronger, less victimized heroines.

So what qualifies as a romance anyway?  Understand please that the answer found here is ONLY for the GENRE of romance.  But if you’re going to write books in this genre, you must know the rules.

Or you risk turning your reader against you.  And we don’t want that.

Let’s get to it then.

Googling “definition of a romance novel” can be fun.

Wikipedia says this: “The romance novel or romantic novel discussed in this article is the mass-market literary genre. Novels of this type of genre fiction place their primary focus on the relationship and romantic love between two people, and must have an ‘emotionally satisfying and optimistic ending.’”

The bastion of romance-writing - Romance Writers of America -  says it this way:  “Two basic elements comprise every romance novel: a central love story and an emotionally satisfying and optimistic ending.”

RWA goes on to make it clear that there are many types of romance novels, from historical to mystery to erotica.  But no matter what, the love story is the main story.  A suspense novel with a side of romance doesn’t qualify as a romance novel.

To get this definition of romance from the RWA, there was quite a long and involved discussion amongst the leaders in the genre.  When they got to the “emotionally satisfying and optimistic ending” part, they realized that a “happy” ending meant different things to different people.

Here’s Jennifer Crusie (one of those involved in this discussion) - “My feeling on this, which I have expressed loudly and often, is that the romance novel is based on the idea of an innate emotional justice in the universe, that the way the world works is that good people are rewarded and bad people are punished. The mystery genre is based on the same assumption, only there it’s a moral justice, a sense of fair play in human legal interaction: because the good guys risk and struggle, the murderers get punished and good triumphs in a safe world. So in romance, the lovers who risk and struggle for each other and their relationship are rewarded with emotional justice, unconditional love in an emotionally safe world.”

I’ve always said that romance was defined by a “happily-ever-after” ending but after reading about emotional justice in Crusie’s words, I might borrow that.  Don’t we really all long for a story in which, after all is said and done, good triumphs over evil?  And if you’re a believer in love conquering all, emotional justice might really be what you’re after in reading romance.

Leigh Michaels - writing for Writer's Digest - says it like this: “A  romance novel is the story of a man and a woman who, while they’re solving a problem that threatens to keep them apart, discover that the love they feel for each other is the sort that comes along only once in a lifetime; this discovery leads to a permanent commitment and a happy ending.

There are the rules summed up in one paragraph.

●   A hero and a heroine

●   A problem that threatens to keep them apart

●   A realization that this is “the one” and the struggle to make the relationship work

●   A commitment - whether that’s marriage or simply the implication of marriage - at the end.

 

I couldn’t have said it better.

As long as we’re here, let’s quickly look at what the RWA calls the two formats for the genre:

Series or "category" romances: books issued under a common imprint/series name that are usually numbered sequentially and released at regular intervals, usually monthly, with the same number of releases each time. These books are most commonly published by Harlequin/Silhouette.

Single-title romances: longer romances released individually and not as part of a numbered series. Single-title romances may be released in hard cover, trade paperback, or mass-market paperback sizes.”

I balked at this definition because I use the term single-title romance to mean any romance novel that isn’t part of a series.  Let me give you an example.  I have written a 5-book military romance series.  But I also have a “single-title” paranormal romance coming out in 2017 that is not part of a series.

I think I’d revise their formats and leave the word “series” out.  I’d make it Category Romance and Single-title romance.  Then within the Single-title format I’d put Series and Standalone.

But that’s just me.

As an aside, Category Romance used to be a sort-of laughing stock of the genre.  But not so anymore.  If you aren’t familiar with the amazing variety of categories in Category Romance, stop by the Harlequin/Silhouette website and check it out.  And before the dawn of Amazon and e-books, the authors of these books had, literally, thirty days to sell their books.  Kudos to the authors who made that work and thrived in that environment.

I’ll be back next month and we’ll get into some of the tropes of the genre.

Until then, campers, BIC-HOK - Butt in Chair, Hands on Keyboard.

Jax

 

Hello and Here’s to Romance

Hello from the high mountains of Colorado.

After what can’t be called a hiatus - because it was too long - I am back writing for the RMFW blog. Looking forward to it. When Patricia Stoltey asked me to write, I asked her if there was a topic she’d like me to explore. She replied that she’d like more posts on writing romance. Her wish is my command.

When I was a kid, I really didn’t love to read. I was captivated by television - maybe even addicted. That was back in the day before recorders (yes, campers, we did have color TV in those days) and I knew exactly what days and times my heroes would show up on the screen. Woe be unto anyone who interrupted. And, if my mom planned something different for me - EGADS!!! I’d have to wait and catch that episode on reruns.

Looking back, I realize that this obsessive TV watching was feeding the romance writer in me. Feeding my fascination with heroes.

Then, when I was in my late teens, I was introduced to romance - historical romance to be exact.

Kathleen Woodiwiss and Rosemary Rogers.

The Flame and the Flower, The Wolf and the Dove, Sweet Savage Love and Dark Fires.

8131425And I became a reader. I then married a military man and books kept me company in Germany during the long weeks when he was away.

I carried stories in my heart for years, wondering if I could actually write a novel, before finally making the leap. Whether you write romance, or sci-fi, or fantasy, or whatever you write - you know that feeling of taking a deep breath and beginning that first story.

Though some of my tastes in romance have changed, I still love going on the journey. Romance is a journey whose destination is pre-determined. To be classified as a romance there must be a happy ending. The hero and heroine must be together in some sort of committed relationship at the end of the book.

Romance readers demand it.

As an aside - this is why some of us rail at the categorization of Nicolas Sparks as a “romance” writer. Hello. No, Message in a Bottle is NOT a romance novel. It’s a love story. But - spoiler alert - a book in which the hero dies halfway through - not a romance.

Sorry for the digression.

And how committed are the readers of romance? Pretty darn committed.

Romance is the number one selling genre.

screen-shot-2015-01-19-at-13-51-33

According to Romance Writers of America, 84% of romance book buyers are women. (That’s surprising to me. Yet, I do have male readers of my military romance.) 64% of those readers read romance more than once a month, 35% buy romance more than once a month. And by and large, those readers have been reading romance for 10-20 years.

The top rated sub-genres in romance are:

Print: romantic suspense (53%); contemporary romance (41%); historical romance (34%); erotic romance (33%); New Adult (26%); paranormal romance (19%); Young Adult romance (18%); and Christian romance (17%).

E-book: romantic suspense (48%); contemporary romance (44%); erotic romance (42%); historical romance (33%); paranormal romance (30%); New Adult (26%); Young Adult romance (18%); and Christian romance (14%).

The reason I mentioned these statistics is to show that writing romance is not a whim. It very well might be a great business decision if you love the genre. Also I wanted to point out the wide variety of stories you can tell within the category.

Why do I write romance?

Because I believe in love. Love that overcomes obstacles. Love that, after all is said and done, wins the day. Love that binds two imperfect people together to face the world together.

I’ll be back next month and we’ll get into some of the requirements of the genre.

Until then, campers, BIC-HOK - Butt in Chair, Hands on Keyboard.

Jax