Around this time of year I like to look back over what I've accomplished, and look forward to what can be acheived. I usually have a 'business meeting' with my agent, on the phone, so we can discuss those very things. I treat writing like a business, and any good business should consistantly assess the 'business plan'. What works, what doesn't work, what could use improvement, etc.
This year I had a very specific goal that was not accomplished. I wanted to sell a historical romance. It's not a new genre to me. I love historicals, and especially those set in France. You don't see too many French-set historicals out there. (Yes, I've discussed this before, so I'm not going to harp on it.) Basically, the market isn't interested in French-set historicals. I get the most frustrating rejections because of it. "We love it, but—it's set in France." It's frustrating to first hear that they love it, or thought the writing was great, or enjoyed the story, and then the slammer—but it's set in France. One odd little thing that the majority of publishers just don't seem to want to open their arms to. But they fear the setting so strongly it is enough to make them reject a story they might otherwise publish. I can't understand it. And I'm stubborn.
I like writing stories set in France because it is a setting that interests me. True, I usually stick to a few time periods I'm comfortable with, such as 17th and 18th century, but I have ventured so far back as the 14th century. I'm not interested in a Revoluntion-set story, or any time closely following, but once you get into the mid-19th century, then I can give it a go.
But that doesn't matter, because no one is buying. At least not that setting.
So it came up during the business meeting that if I really want to sell a historical, then perhaps I should try to write something set in England, a setting that romance publishers buy and want. England. It's almost like a nasty word to me. Not because I don't like the country. Heck, I've written a few contemporaries set in London. I like England, find it interesting. But I know that so many great authors write about England, and do a fine job of it. What makes me think I can just jump in and compete?
And while 90 percent of me is screaming and pouting and stomping my feet that I, the one who writes French historicals, should even consider such a drastic change, the other 10 percent is silently nodding, and thinking, well, if you want to have a chance at selling, then perhaps...
I think this is a struggle a lot of writers face. Readers may tend to think their favorite writer, who has, seemingly, suddenly switched from writing historicals to contemporaries, has abandoned their genre, or jumped on 'what is hot'. But truthfully, a lot of those authors may have found that what they were happily writing is just no longer selling. And if they want to compete, to continue to sell, they must change with the market and re-invent themselves. Or at the very least, give something else a try. Something more marketable.
I struggle with this because, sure, I can do it. I can write a historical set in a more acceptable setting. But the research required to do that seems staggering. I've written about France for over ten years. I've researched a LOT. I have four book shelves stuffed with research books specifically on France and Paris. I've read them all. If I don't know something, I usually know exactly which book to look in to find the answer. It is a part of me.
England, on the other hand, seems an alien nation to me. I would have to start from the beginning. And it is necessary to write a good book. At least, that's my belief. And I can't just take the social and political norms of 18th C France and plunk them down in London; won't work. So the task of attempting something new seems so daunting, yet, I feel it is what is necessary to increase my chances for selling to the historical market.
I love writing paranormals. And I hope to write for Nocturne for as long as my editor finds my story ideas interesting and exciting. But if I could put out some more historical romances, that would really serve the part of me that loves history. So that's my goal for 2008. England.
Sigh...
M
Here's my hero, Maximilian (last name subject to change). Great last name, eh? Probably might get unwieldy though, reading it over and over in the story. :-) Looks kinda bizarre, doesn't he? Good. That's actually Vincent Cassel in younger years, from the movie Dobermann. Excellent flick, though violent and also bizarre. I think it was the first movie he did with his wife, Monica Belluci. Anyway, the hero is sort of a wild, angry man who's had enough of the families fighting, and one night goes on a drunken rampage in hopes of stealing back all his family's property that the other family has stolen over the years. Only he's drunk. And he's captured. And then tortured. And well, that's where it all starts.
I'm calling the heroine Bella, short for Belladonna. (Probably not a very Scottish name, but I don't care.) She's wild, impetuous, but scarred (isn't it time for the heroine to have a few scars? It's always the heroes.) Anyway, she's desperate to get away from a wicked father, but the only option she's given is to flee to her enemy. Not much of a choice. But of course you can guess which one she'll pick.
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