These are my notes from the PCA-ACA conference in 2010. Click here for contact information for the panelists in case you’d like to follow up. Please note that my notes are fallible, and attempt to communicate merely the gist of the presentations, not their entire substance.
Romance VI: Romance Publishing: Canadian Romance, ePublishing, and Erotica, Oh My!
Session Chair: Crystal Goldman, San Jose State University
“‘Can I set it in Canada?’: CanLit and Romance Publishing”‖ Jessica Taylor, University of Toronto
Taylor is an anthropologist, utilizes Bourdieu – field of forces , struggles
Thinks about how writers experience industry
Examines the plot in the field of literary production of romance in Canada
Is there romance in Canada and if so does anyone want to read about it
Notes her own gap: knowledge of French language publication especially coming out of Quebec
“Difficult to find romance in Canadian literature.” So said one academic when interviewed.
To be labeled “CanLit” one must fit certain criteria, for example, being Margaret Atwood. (LOLOL!!!)
Notes how hard it is to get any book into traditional media anywhere, but something specific going on in Canada.
With exception of HQN, large publishers in Canada don’t publish romance. Contrast with US.
Structure of govt funding also maintains divisions. Canada Council won’t fund romance.
The part of the literary field which is defined as Canadian is formed by all of these forces – media, industry, govt
Notes that HQN will change CDN cities to US cities. Asserts an ambivalence about whether rom novels can be set in CDN. Agent she interviewed said target audience for categories is US, so setting has to be accessible. If setting is CDN, must be purposefully so.
“Romance Rebound: Further Comparisons in e-Publishing and Print Publishers by Erotica and Erotic Romance Authors”‖ Crystal Goldman
Disagrees with Regis’s definition of romance novel. Now includes multiple heroes, sometimes no heroines at all, no longer a betrothal
Interviewed 10 romance authors published in both e and print erotic romance in 2007-8. Lauren Dane, Tawny Taylor, Sasha White, Kate Pierce, Kate Douglas, others.
At time of initial interview, huge erotica boom.
Popularity of erotic romance has waned a bit (Aphrodisia Kensington editor in PW, others cited as saying erotic romance is “overpublished”).
Saturation.
Market not as large as previously thought.
Many other genres heated up i nterms of editorial, which also explains contraction of erotic romance market.
She went back to the 10 interview subjects recently, hypothesizing the ways the changes in the erotic market has impacted them.
Notes a few of the authors have since sold non-erotic works. They say they wanted to reach a larger audience.
Some wrote for Black Lace, and had to find other houses for work they would have submitted there.
Some signing contacts for 1 book instead of 2.
Softening in epub market maybe due to trad print publishing’s encroachment on market. Ex. Amazon.
Changes in publishing market especially key for romance.
Noting that ebooks selling very well compared to same book in print.
How does the raising of prices and embargo on ebooks affect sales? Not good.
Her new interviews found all of the authors had made or were planning to make some changes, whether in pen names, subgenre, moving bulk of work to e, etc.
Some of the changes in the authors’ careers is due to natural career progression and the recession, but some is due to changes in ebook market.
“Author Discussion: Print and Digital Publishing”‖ Amanda Berry, Harlequin; Jeannie Lin, Harlequin Historical; Sela Carsen, Samhain Publishing
Amanda Berry – publishes SSE.
Has been writing full time for 4 years.
Talking about how one aproaches HQN. Two ways:
- Submit query letter
- Contest
She entered contest. Silhouette Desire. She won, they asked her to do it as SSE. She was puzzled, because she associated SSE with nannies and babies and doctors. Her book was about Hollywood, big shot producer and his assistant.
Jeannie Lin
Writes for Harlequin Historical Mills and Boon, in UK
Harlequin knows exactly how to market their lines and what they are looking for. Down to a science, although there is some leeway.
Decided to write the stories she loved. She loved Tolkein, Lindsay, and martial arts fiction (she is Vietnamese American). Louis Cha, which her grandparents and parents enjoyed. Wanted to mix this part of her into her writing.
Notes that selling romance is hard for anyone.
She write a book set in 8th century Tang dynasty China.
Lots of interest from other publishers but ultimately deemed too risky.
M&B saw international potential. You see more variation in M&B historical.
Her book is Butterfly Swords and is out later this year.
HQN gives authors a sheet to fill out for covers (check off what h/h look like, what landmarks, such as Space Needle, can be used), but none of her book’s characteristics were even on the sheet, so the editors asked her to come up with pictures to give them ideas.
Sela Carson
– paranormal romantic comedy novellas for Samhain publishing
Notes that she married the Air Force, was in London with small kids, in 2002, had always read romance.
She Googled “how to write a romance novel” and came up with eHarlequin which in 2002 was the place to be for a romance writer even if you didn’t want to write for Harlequin
Was having a hard time working and reworking a Regency.
Suddenly had a vision of a chase scene in a crypt in Louisiana that was funny
Wrote a 23000 word novella.
Not hot enough for EC or Loose-I.D.. Sat on it for a year.
Samhain popped up – suddenly novella had a home.
Print anthologies don’t sell all that well, but e anthologies do.
“If you’re writing short, you’re writing for an e-publisher.”
