There are many problems facing an aspiring romance fiction author. Secrets Uncovered offered assistance, reminding us that heroes must be men, heroines must be women, endings must be happy and words must describe things. Their aversion to external conflict was noted, but any writer hoping to fill a book's worth of paper with sentences might be trepidatious when faced with the prospect of turning boy-blackmails-girl into fifty-five to sixty thousand combinations of letters. Delaying one conversation for twelve chapters is a challenge for even the most skilled of story-teller, perhaps explaining why the most skilled of story-tellers tend to steer clear of romance fiction, but certain subgenres have found means to avoid flagging second acts by concentrating on things other than womanly dithering and manly T-shirt wearing. NASCAR has driving, Paranormal has werewolves, Spice has gratuitous sex and Suspense has suspense. Bewildered Heart has chosen to gloss over the inevitable combination of love and violence ever since the unusual punishment meted out by The Domino Effect, but Romance Suspense is big business, and a handful of the biggest names of the genre have joined forces for Dangerous Attraction, a box-set of novels containing everything from Christmas to terrorists to courageous pinnipeds working on battleships. Fans are greeted to all the traditions Romance is known for. The covers are adorned with models in states of undress, the titles are embarrassing and the synopses sound like parodies of what they actually are.
Who could resist Legal Ease by Lori Ryan, for those who enjoy their lawyer procedurals with a degree of comfort, or Fallen SEAL Legacy, a name not immediately indicative of romance? Three Days in Seattle appears to be cashing-in on Fifty Shades through geography, while Catching the Bad Guy is probably better than no title at all. If it is story-lines a reader is after then the Suspense subgenre has got them. Seeking more ambitious plots than a couple perfect for one another slowly realising they are perfect for one another, Suspense action-packs Romance's traditionally flimsy narratives with chases, fighting and military training. Look no further than Toni Anderson's The Killing Game, 'Forced to choose between his country and his heart, British SAS Soldier Ty Dempsey risks it all to save a wildlife biologist caught in the cross hairs of a ruthless killer.' Besides the angry growth of a murderer's follicles there seems little standing in the way of our prospective lovebirds here. Will Ty find a way to keep both his nationality and vital internal organs? Why are wildlife biologists so irresistible to enamoured suitors and the homicidally deranged?
Other novels take a similar approach, as masculine heroes bravely save attractive women from things attractive women should not be involved with. As further proof, how about Ignited by Kaylea Cross? 'Can sexy ex-SEAL Hunter Phillips keep Khalia safe from the terrorists who took her father's life?' Probably. After all, terrorists rarely succeed in romance novels, unless their objective is married life in the suburbs. For a twist on what has already become convention after only two examples there is Deathscape, which may sound like science-fiction, but instead is described thus, 'Detective Jack Sullivan will do anything to put Ashley in prison for her crimes… even if he's falling in love with her.' Even a Bewildered Heart-like knowledge of the genre will struggle to name many novels that conclude with the heroine sent to jail, but perhaps author Dana Marton has contrived a means to avoid a sequel made up of conjugal visits. Still, at least Deathscape includes a potentially burdensome obstacle for the characters to overcome, even if the resolution will likely involve an explanation that the synopsis was misleading.
The popularity of this action-adventure-romance hybrid has not gone unnoticed by Harlequin Mills & Boon either. They have several imprints dealing with danger and mystery, including Love Inspired Suspense and Intrigue. They both sound packed with excitement, mystery and romance, but which is more suitable for an aspiring author's manuscript about a fearless semi-aquatic mammal's amorous pursuit of a left-wing revolutionary on the grounds of Berkeley University during the 1970s? Mills & Boon describes Love Inspired Suspense as, 'Edge-of-the-seat, contemporary tales of intrigue and romance featuring Christian characters facing challenges to their faith… and to their lives.' Gosh, as if combining love and adventure wasn't demanding enough, Love Inspired insists on integrating religion into the drama. As a result of, 'a Christian worldview and wholesome values,' there is little fun to be had in the traditional sense. Gambling, drugs, alcohol, profanity, pre-marital sex and graphic violence are all forbidden for the hero and heroine, although it sounds as if the antagonists are allowed all manner of interesting hobbies. Yet without these typical means of seduction how is romance supposed to blossom?
The leads should be, 'Heroic, courageous, relatable characters faced with dangerous situations who'll triumph and find love.' Everyone can relate to heroism and courage, especially when embellished by a strong moral code inherited from Bible lessons, but who is this subgenre-specific hero? 'A man bound by loyalty and love. He is a fierce protector.' Protector of whom? The object of his affection, the damsel in distress? 'The heroine is no damsel in distress. She is an equal partner.' Oh, sorry. Together they must solve a mystery or battle a presumably secular conspiracy, with plenty of furtive glancing and innocent hand-holding. Despite the emphasis on Christianity authors are instructed to bring a level of subtlety to the dogmatic indoctrination genre writers consistently fail to bring to their story-telling. For those still confused, how about two poorly-chosen examples from the godless world of network television? 'Castle or Bones, for their solid suspense stories and romantic tension between the characters.' What would Bones be if the makers replaced the sex and graphic violence with Jesus? Who knows, but they would probably have the change the title.
Meanwhile, there is Harlequin Intrigue, an imprint that might deserve the vague-to-the-point-of-meaningless description Mills & Boon usually introduce their subgenres with. 'Crime stories tailored to the series romance market packed with a variety of thrilling suspense and whodunit mystery.' Gosh, such an enigmatic bunch of words are enough to arouse anyone's curiousity, but what do Intrigue editors look for in the hundreds of unsolicited submissions they receive every week? Traditionally, when merged Crime and Romance have walked uneasily through a pretty meadow before finding a corpse in a small clump of trees. The difficulty the novelist faces is in finding the balance between the two, placing an emphasis on developing the love story while simultaneously emphasising the crime element that drives the narrative while never forgetting that in Mills & Boon it is the romance that drives the narrative. There are multiple acts of illegality to centre the plot around, such as, 'Kidnappings, stalkings, women in jeopardy and murder.' It appears as if Intrigue offers rich potential for nerve-shedding thrills, visceral set-pieces and hot-blooded passion. What don't these books have? 'No graphic sexual details, explicit language or gratuitous violence.' These may be gripping adventures, but they are first and foremost love stories for the easily-offended.
The obligatorily North American hero and heroine must, 'Share a palpable physical and emotional attraction throughout.' Yet who are these attractive, but respectful, lovers courting delightfully who foil villains through soothing diplomacy? 'The hero is not afraid to break the rules in order to see justice done and to protect the innocent.' He sounds archetypal, while at least differing from the Love Inspired Suspense protagonist, who must play by the rules and leave justice-doing and innocence-protection to the big guy upstairs. Yet what about this innocent? Is this the object of his affection, the damsel-in-distress? 'The Harlequin Intrigue heroine is the no-nonsense, girl next door who may be caught up in dangerous circumstances.' Oh, good. She sounds likeable, yet flawed, and far from the frivolity-loving women about town found in Modern, or the self-determined ladies in blouses found in life. For those still confused, how about three oddly-chosen examples from the romance-hating world of action blockbusters? '24 for pacing, Justified for composition of the hero and Unknown for complex plot.' What would 24 be if the makers replaced the lone wolf and graphic violence with a loveable couple avoiding physical harm over a more appropriate time period? Who knows, but they would probably have to change the title.
Without studying the intricacies of the subgenre too closely the appeal of these imprints is self-explanatory. The sales numbers of Crime Thrillers make it impossible for publishers to resist the opportunity of crossing-over. The formula lends itself to romance, as two characters investigate and solve while their relationship intensifies organically between the lines. Certain examples have been reviewed here previously. MacKenzie's Promise struggled to integrate the love story with the kidnapping in a satisfying manner. Accidental Princess tacked on antagonistic threat as an amateurish afterthought. The Truth about the Tycoon seemed reluctant to follow through on its numerous subplots and The Domino Effect shouldn't really be considered a novel. Still, none of these titles belong to Intrigue or Love Inspired Suspense, yet their disastrous failings at inter-lacing their criminal element with their ultimate romantic objective are indicative of the problems awaiting an author aspiring to write for these imprints. Romance regularly struggles to credibly portray a couple falling in love even when they are married and one is pregnant with the others baby. How much more of a challenge would it be to work in his former life as a marine animal, a worldwide conspiracy, terrorism, pious devotion to the Lord and an admittedly slightly contrived helicopter chase while still maintaining a focus on his arrogance and her unresolved father issues?
Who could resist Legal Ease by Lori Ryan, for those who enjoy their lawyer procedurals with a degree of comfort, or Fallen SEAL Legacy, a name not immediately indicative of romance? Three Days in Seattle appears to be cashing-in on Fifty Shades through geography, while Catching the Bad Guy is probably better than no title at all. If it is story-lines a reader is after then the Suspense subgenre has got them. Seeking more ambitious plots than a couple perfect for one another slowly realising they are perfect for one another, Suspense action-packs Romance's traditionally flimsy narratives with chases, fighting and military training. Look no further than Toni Anderson's The Killing Game, 'Forced to choose between his country and his heart, British SAS Soldier Ty Dempsey risks it all to save a wildlife biologist caught in the cross hairs of a ruthless killer.' Besides the angry growth of a murderer's follicles there seems little standing in the way of our prospective lovebirds here. Will Ty find a way to keep both his nationality and vital internal organs? Why are wildlife biologists so irresistible to enamoured suitors and the homicidally deranged?
Other novels take a similar approach, as masculine heroes bravely save attractive women from things attractive women should not be involved with. As further proof, how about Ignited by Kaylea Cross? 'Can sexy ex-SEAL Hunter Phillips keep Khalia safe from the terrorists who took her father's life?' Probably. After all, terrorists rarely succeed in romance novels, unless their objective is married life in the suburbs. For a twist on what has already become convention after only two examples there is Deathscape, which may sound like science-fiction, but instead is described thus, 'Detective Jack Sullivan will do anything to put Ashley in prison for her crimes… even if he's falling in love with her.' Even a Bewildered Heart-like knowledge of the genre will struggle to name many novels that conclude with the heroine sent to jail, but perhaps author Dana Marton has contrived a means to avoid a sequel made up of conjugal visits. Still, at least Deathscape includes a potentially burdensome obstacle for the characters to overcome, even if the resolution will likely involve an explanation that the synopsis was misleading.
The popularity of this action-adventure-romance hybrid has not gone unnoticed by Harlequin Mills & Boon either. They have several imprints dealing with danger and mystery, including Love Inspired Suspense and Intrigue. They both sound packed with excitement, mystery and romance, but which is more suitable for an aspiring author's manuscript about a fearless semi-aquatic mammal's amorous pursuit of a left-wing revolutionary on the grounds of Berkeley University during the 1970s? Mills & Boon describes Love Inspired Suspense as, 'Edge-of-the-seat, contemporary tales of intrigue and romance featuring Christian characters facing challenges to their faith… and to their lives.' Gosh, as if combining love and adventure wasn't demanding enough, Love Inspired insists on integrating religion into the drama. As a result of, 'a Christian worldview and wholesome values,' there is little fun to be had in the traditional sense. Gambling, drugs, alcohol, profanity, pre-marital sex and graphic violence are all forbidden for the hero and heroine, although it sounds as if the antagonists are allowed all manner of interesting hobbies. Yet without these typical means of seduction how is romance supposed to blossom?
The leads should be, 'Heroic, courageous, relatable characters faced with dangerous situations who'll triumph and find love.' Everyone can relate to heroism and courage, especially when embellished by a strong moral code inherited from Bible lessons, but who is this subgenre-specific hero? 'A man bound by loyalty and love. He is a fierce protector.' Protector of whom? The object of his affection, the damsel in distress? 'The heroine is no damsel in distress. She is an equal partner.' Oh, sorry. Together they must solve a mystery or battle a presumably secular conspiracy, with plenty of furtive glancing and innocent hand-holding. Despite the emphasis on Christianity authors are instructed to bring a level of subtlety to the dogmatic indoctrination genre writers consistently fail to bring to their story-telling. For those still confused, how about two poorly-chosen examples from the godless world of network television? 'Castle or Bones, for their solid suspense stories and romantic tension between the characters.' What would Bones be if the makers replaced the sex and graphic violence with Jesus? Who knows, but they would probably have the change the title.
Meanwhile, there is Harlequin Intrigue, an imprint that might deserve the vague-to-the-point-of-meaningless description Mills & Boon usually introduce their subgenres with. 'Crime stories tailored to the series romance market packed with a variety of thrilling suspense and whodunit mystery.' Gosh, such an enigmatic bunch of words are enough to arouse anyone's curiousity, but what do Intrigue editors look for in the hundreds of unsolicited submissions they receive every week? Traditionally, when merged Crime and Romance have walked uneasily through a pretty meadow before finding a corpse in a small clump of trees. The difficulty the novelist faces is in finding the balance between the two, placing an emphasis on developing the love story while simultaneously emphasising the crime element that drives the narrative while never forgetting that in Mills & Boon it is the romance that drives the narrative. There are multiple acts of illegality to centre the plot around, such as, 'Kidnappings, stalkings, women in jeopardy and murder.' It appears as if Intrigue offers rich potential for nerve-shedding thrills, visceral set-pieces and hot-blooded passion. What don't these books have? 'No graphic sexual details, explicit language or gratuitous violence.' These may be gripping adventures, but they are first and foremost love stories for the easily-offended.
The obligatorily North American hero and heroine must, 'Share a palpable physical and emotional attraction throughout.' Yet who are these attractive, but respectful, lovers courting delightfully who foil villains through soothing diplomacy? 'The hero is not afraid to break the rules in order to see justice done and to protect the innocent.' He sounds archetypal, while at least differing from the Love Inspired Suspense protagonist, who must play by the rules and leave justice-doing and innocence-protection to the big guy upstairs. Yet what about this innocent? Is this the object of his affection, the damsel-in-distress? 'The Harlequin Intrigue heroine is the no-nonsense, girl next door who may be caught up in dangerous circumstances.' Oh, good. She sounds likeable, yet flawed, and far from the frivolity-loving women about town found in Modern, or the self-determined ladies in blouses found in life. For those still confused, how about three oddly-chosen examples from the romance-hating world of action blockbusters? '24 for pacing, Justified for composition of the hero and Unknown for complex plot.' What would 24 be if the makers replaced the lone wolf and graphic violence with a loveable couple avoiding physical harm over a more appropriate time period? Who knows, but they would probably have to change the title.
Without studying the intricacies of the subgenre too closely the appeal of these imprints is self-explanatory. The sales numbers of Crime Thrillers make it impossible for publishers to resist the opportunity of crossing-over. The formula lends itself to romance, as two characters investigate and solve while their relationship intensifies organically between the lines. Certain examples have been reviewed here previously. MacKenzie's Promise struggled to integrate the love story with the kidnapping in a satisfying manner. Accidental Princess tacked on antagonistic threat as an amateurish afterthought. The Truth about the Tycoon seemed reluctant to follow through on its numerous subplots and The Domino Effect shouldn't really be considered a novel. Still, none of these titles belong to Intrigue or Love Inspired Suspense, yet their disastrous failings at inter-lacing their criminal element with their ultimate romantic objective are indicative of the problems awaiting an author aspiring to write for these imprints. Romance regularly struggles to credibly portray a couple falling in love even when they are married and one is pregnant with the others baby. How much more of a challenge would it be to work in his former life as a marine animal, a worldwide conspiracy, terrorism, pious devotion to the Lord and an admittedly slightly contrived helicopter chase while still maintaining a focus on his arrogance and her unresolved father issues?
