Is gothic romance dead?

Asking the question about gothic romance makes me feel old. 

I grew up reading Victoria Holt and Phyllis Whitney, among others. These books are written from a single point of view, usually the heroine, and the hero is something of a scoundrel. Can he be trusted? Is the heroine's life in danger?

When I attended my first (or it might have been my second) writers' conference, I met Erica Ridley, who had just released her very first novel - a gothic romance. I spent some time chatting with her, considering my appreciation for the genre. She wrote several books in that first series - Too Wicked, Too Brazen, Too something else. I think I read two of them. While I enjoyed them, and many other of her books, she lost her contract with the publisher. She went indie (not a bad thing!) and started writing more historical romance and less "gothic." When she lost me, however, was when she started writing to an outline. "And then this has to happen, and then that has to happen, and the obligatory XX scene has to be here..." While I don't mind formulaic novels, I do mind them when certain things start to feel forced. Don't get me wrong, she's an excellent author and I would recommend her. What I didn't like was certain things like "Oh, I forgot to include a sex scene, so I'll tack one on at the end." I'm sorry, but if I got all the way through the novel without it, it doesn't need to be there. 

My point is that I don't run across many gothic authors these days. I read an article that says they've rebranded the genre as something else (romantic suspense, perhaps? I don't recall). Sort of like those romance authors who don't write category romance are now said to write women's fiction. Same animal, different nameplate on the pen.

Circling back around... I used Victoria Holt as a model when I wrote my first novel. I won't bore you with how many incarnations that poor book went through as first a quest novel, then an inspirational novel, then a romance novel (sweet, not spicy). In the end, it turned into a gothic romance. As I've been giving it another look, I realized something important. It has multiple points of view: the heroine, the hero, and the bad guy. FIRST, let me point out this was my first foray into "serious" writing, so it had MANY rookie mistakes. As a gothic romance, I should have stuck with one point of view. Okay, so even if I wanted to categorize it as "regular" romance, the multiple points of view I wrote were irregular. What the heck does that mean? 

In a romance novel, you generally do alternating points of view. He says, she says, he says, she says, and so on. In my poor excuse for a novel, the hero has something like five half-page scenes in 30 chapters. Ummm..... Just no. How did it take me twenty years to notice that? Easy, I haven't read it in more than ten years, and I've learned a heck of a lot in ten--twenty--years. 

Book #1
The original title/
cover
2002

Why does this matter? I've remaindered the book, so no one has to read my goofy mistakes anymore. Except a friend asked me recently what ever happened to...? And so I had to look and see if it was worth reviving this book. Hence, Exhibit A. Poorly written. But you know what? The story is still there. It's still good. So can I salvage the story using the tools I've learned lo, these many years? And this brings me to gothic romance.

Book #1
The updated cover/title

It makes the most sense to rewrite the "he says" scenes from her point of view. She sees something. She overhears something. That removes the clumsily inserted "he says" scenes. OR I can write it as straight romance and expand on the he says scenes. Option one is the most appealing to me at the moment. There's really only one chapter where his point of view directly impacts the story. That also means giving him redeeming qualities for the heroine to notice that might not be obvious from the way he treats her (he's deep into grief and acting out rather than dealing with his emotions). Going deep into a character's motivation is one of the lessons I've learned through the years. I've had several unlikeable characters that I've had to redeem (and some that weren't redeemable!). I can handle that. 

Which brings me back to the theme of this post. Is gothic romance dead? Are today's women interested in a slightly unnerving man (who can be redeemed) or have we lived this story too many times in real life and he isn't worth the energy? "Walk away. Walk away." What say you, people of my blog?

Audio Characterizations

DARK SHADOWS releases next week in all but the audio. 💀 Woo hoo! 

My editor was very kind to me this go round. Was it perfect? Heck, no. If it was, what would I need her for? (I need her!) After cleaning things up and doing my "listening proof," the book is on track for release next week. Now I have to concentrate on the audio.

I've used the same narrator for all the Elspeth Barclay novels, and one of her questions up front is always "do you have someone in mind for these characters?" I know there are authors who do idea boards with celebrities they draw from for their characters. I'm not one of those people. I have used an occasional photo, and that's not to say there haven't been celebrities I've thought about when writing certain characters. Case in point, I pictured Jackson Browne (in his MUCH younger days) when I wrote Matt for COOKIE THERAPY. But here's the thing. I know all these characters. They live in my head. How to I convey them to my narrator? I tend to let my narrators do their own interpretations, but that doesn't always work out so good.

When Jude Erin did Horned Owl Hollow, one of the celebrity models I gave her was Lily Tomlin for Abigail Barclay, Elle's mom. A little offbeat. She performed that character beautifully. Fast forward to now. When I told her the next book was on its way, she asked about new characters. I had to consider who she could associate the characters with. Not as easy as you might think when you consider these people are often bits and pieces of people I've met over the course of my life, or completely fabricated. I sent her the list of new characters, and then provided a clue about how they sound in my head. I'm sure she'll do a great job - she always does. 

While you're waiting, I thought I'd share the book trailer with you! What do you think?

Growing as a writer

Way back in 2002, I published my first book. I'd taken the classes. I'd learned everything I thought I needed to know. "Don't tell, show." So many things. I was so proud of myself for applying all the rules, learning all the lessons. I dived right into writing my second book all pumped up and ready to go.

Except I was a rookie. I got so many things wrong. 

Recently, I had a friend ask me what happened to my first book. It's no longer on my website, no longer available for sale. This is a process known as remaindering. The second book was also remaindered as hopelessly outdated and probably filled with more of those rookie mistakes. I don't think that book is redeemable. I didn't get a "good" editor until my third book. She took me the next step in my writing (shoutout to Kelly!). 

However, with the question about THE TREASURE OF ST. PAUL, I went back to review that first book and cringed with nearly every word. First off, it was written 22 years ago, at a time when the world was a different place. It was written over a period of years (first books are like that) when I was a different person. I tried to update it about 10 or so years ago, but it was still outdated and the problem was I tried to edit it rather than rewrite it. MISTAKE.

I'm between books now, and have been considering my next step, but with my friend asking about that first book, I decided to take one more look at it. The decision: Rewrite. Not just edit. It's an exercise more than anything else, but I have always loved the story, just not the rookie mistakes and the outdated thinking. I have time before I get edits back, and I'm not inclined to start a new project, so it fits nicely into the "in between" space. Will I republish it for reader consumption? Maybe. As I said, I've always loved the story. I have a much more critical eye now that I know what to look for, now that I've trained to do this job for 22 years. I have better tools to work with. 

With that being said, some books should be allowed to fade into the past. We live in a world where books are available forever. That's a long time, and a lot of cultural change to overcome. How many books withstand the test of time? I grew up reading Victoria Holt. Pretty sure I've read every one of her books, and often when I feel the need for a comfort read, I'll pull one off the shelf. Guess what? Her books have NOT withstood the test of time. The last time I selected one of her titles, it was an eye opener. The premise would NOT fly in today's world. Reading that book was also helpful in highlighting the issues with THE TREASURE OF ST. PAUL (my first book). Looking in the face of Ms. Holt's time capsule, I'm hoping I can overcome my own societal changes. If the story can't be redeemed, well, at least I'll have stayed in practice writing while I wait for my edits to come back. I should know whether it's worth pursuing by the time my editor is done with the latest Elspeth Barclay novel.

This is where I tell you DARK SHADOWS will be coming out next month. Who else is looking forward to reading it?

Anticipating an October release

While I wait for final comments on DARK SHADOWS, I'm preparing for its launch. Trailers. Graphics. Blurbs. Things like:

While I'm waiting, I'm attempting to get out into the world and addressing all those things that fall by the wayside when I'm hunkered down writing. 

Dear Husband and I went to a festival this past weekend with the intent of sampling a barbecue vendor he has had his eye on for some time. The vendor is in high demand, as evidenced by the fact he was the last booth to open for business (by at least 45 minutes) and still had a very long line. Yes, it was worth the wait. While we were cooling our heels, a chiropractor took the main stage beside the picnic tent and serenaded (maybe I should say "Longfellow Serenaded") us with Neil Diamond songs. Karaoke style. He had the right tone, a decent copycat. We also meandered the Riverwalk where they had craft booths set up for several blocks. Lots of interesting arts and crafts. I passed one booth hawking bookish t-shirts - I was wearing one my daughter made for me, so they figured I might be an easy sale. (I didn't buy any.) There were dog treats and baked goods and farm fresh produce and several Etsy booths selling silver jewelry and monogramed dish towels - free association moment: my mother used to make me dishtowels with crocheted tops to hang from the drawer pulls/oven handles.  I almost bought a couple of those, but knowing I already have more than I will use in the next ten years, I passed. It was a beautiful day to walk along the river with lots of fun things to admire. 

When I came home, I did more research for orthopedic doctors. After years of misdiagnoses and frustration, when I asked my PCP for a recommendation for a chronic condition that is flaring again, he gave me a name that I have zero confidence in based on my past experiences. For that reason, I've been delaying seeking care. I'm happy to report I stumbled upon a doc from the beginning of my orthopedic journey that I would revisit, so that is this week's task - making an appointment/seeing him. Fingers crossed.

Hoping to have copies of the new Elspeth Barclay book, DARK SHADOWS (even as ARCs) for my next in-person appearance on October 6 in Elgin, Illinois at the Gail Borden Public Library. If you're in the area, stop in to say hello!

The new book

Here's the cover! What's it about? Read on...

Elspeth Barclay is drawn into a web of haunted histories, mischievous shadows, and a ghost-hunting team that needs her skills. As she unravels family rifts echoing through time, Elle must confront both playful spirits and her own fears. Can Elle and the team find the relic that will help the spirits move on?

Coming next month!

I wrote what, now?

I'm busily going over the next Elspeth Barclay book, making sure it follows. Trying to rip out any errors/typos/mistakes--you know. I got through a pass of overused and filler words and started reading for continuity, making sure all the puzzle pieces fit together the way they were supposed to. Everything was going great. Until...

I wrote what, now?? (I wrote this:)

I laughed. “I never made that connection. Somehow, this is sticking out for me. He said he bought that player piano because it played Country Gardens, which was the tune her favorite music box used to play.”

“Why is that sticking out?”

I thought about it for a moment. Mr. Flanders said the antique music boxes on display were contributed by George’s children. In honor of their mother? I didn’t remember hearing any of the music boxes play, but if they were the children’s contributions to the Opera House, where was Sophia’s music box? “It’s probably no big deal. Her music box is probably in the family home, right? Or one of the kids has it. For some reason, it feels important to know.” I jotted it down as something to pursue.

Now, without reading the rest of the book, you're probably wondering why this is a problem. Let me help.

This is the only place in the book that talks about "Sophia's music box(es)." The old "I jotted it down as something to pursue?" Yeah. I never pursued that. Never explained it. It's a random reference to a random thing that never pops up again. More like the AUTHOR jotted it down as something to pursue and then completely forgot about it. A thread that never got pulled tight--frayed and ragged. So what do I do? Add in more music boxes? Show the one in question? It ties to the song, so how do I incorporate the relationship to the player piano? Do I cut it out altogether? I still have to account for the player piano, which was the tie-in to the missing music box. Oh, heavens. What was I thinking?

In the end, I rewrote that section without the music box. On the plus side, the rest of the book seems on track. I accounted for a couple other references I'd made a note to strengthen and am on to the proofreading stage. 

Newsletter subscribers will get an exclusive cover reveal, going out tomorrow (if you aren't signed up, you can sign up now and get the sneak peek!). I will share it with the rest of the world next week.

Back to work! Can't wait to share the new book with you!

Get that First Draft down

Every book I write I wonder if I've lost something along the way. Will this be as good as the last book? Have I covered all the bases? What am I missing? This doesn't feel right.

"A funny thing happened on the way to the forum." Well, that's the line that comes to me, at any rate. As I finished my first draft, I muddled over all the details. The story line. The back stories. Something wasn't quite adding up. 

That's what first drafts are for. In my mind, they're like a very detailed outline. Get the story down. It can take a whole book before you know your characters well enough to known what triggers them--both good and bad. 

Just when I was ready to believe this next book was going to be a clunker, I started going over some of the backstory in my head (not advisable to do this when you go to bed--makes it hard to sleep). I had the basics, sure. You can't write a story without them. But then more came through. I started to understand my characters. Why did they do that? What caused this to happen? And as is often the case with me, I went the long way around the block. Added way too many detours when the direct route was a much better option. Suddenly, the stakes were raised. The conflict was more intense. The resolution was more achievable. It made a whole lot more sense. 

Yes, I tend to research things that have no place in my book, or over research things that can be handled simply. It might make me crazy, but it also adds more dimension when I finally "see the light." I can cut out all the extra nonsense, but I have a deeper, more rounded sense of how I got there. 

So yes. Even Stephen King tells you to get the first draft done. You can fix it later. But until you get that first draft done, you haven't really gotten to know your characters. You don't really understand why they're responding the way they do. Instinct and intuition will guide you a long way, and you can lean into that later when you need to clean things up. Many times I find that I've laid groundwork I wasn't even aware of and everything comes together once things make more sense--once you've gotten "all the words" out. Yes, sometimes that leaves a mess to clean up, but at lease you've cleared the path to follow.