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The biggest challenge in writing romantic suspense is keeping the story in proportion. If the suspense plot overshadows the relationship between the hero and heroine, the book veers across the line from romance into mainstream.

  Word count: 75,000 to 100,000

  Saga: A long, mainstream novel that follows a female protagonist from early life to old age, often including two generations of her descendants, though she remains the dominant character throughout the story. Romance may be present, but it is not vital. Often the heroine is involved in more than one love affair during her lifetime, and frequently she is shaped by the death or loss of her husband and/or the man she loves. An important element of most sagas is the heroine's drive to succeed in a business she herself establishes and nourishes.

  Word count: 100,000 or more

  Science Fiction. See also Futuristic, Paranormal, Time Travel

  Short Contemporary: The most sensual of the category romance lines, though not as sexy as erotic romance. Though these books include consummated sexual relationships between hero and heroine, their emphasis is still on love rather than sex. These books are shorter and focus intensely on the hero and heroine, so there is little room for extra characters or dramatic, complicated plots. Still, it's necessary to have a believable conflict, since one difficulty in creating a very sensual romance is to maintain legitimate suspense about the possibility of a long-term relationship while allowing the characters to indulge in sex.

  Word count: 55,000 to 70,000

  Single Title: Stand-alone books published and promoted individually rather than as part of a category or themed group of books. They remain on the market and in print longer than category books.

  Single title allows the author more leeway in almost every direction. The hero and heroine can be a great deal more like real humans, with bad habits and dark pasts. The bad guys can be more evil in their intent and their actions. The events of the book can be darker, more violent, more intense. The romance or love interest can play a smaller part in the story. The story may be even more of a glitzy fantasy than a category romance, or it may be gritty and realistic. The ending may be low-key and much more practical than the sweeping happily-ever-after of the romance, or it may be even more over-the-top.

  Single title and mainstream are similar, and the terms are often used interchangeably, but usually the romantic elements are stronger in single-title books than in mainstream.

  Word count: 90,000 to 120,000 See also Mainstream, Women's Fiction

  Sweet Traditional: The original romance novel, a short book that is highly emo-tional and maintains sexual tension without including explicit love scenes. Some publishers prefer that the hero and heroine not actually make love unless they're married to each other, while others allow premarital sex. In either case, the emphasis of sensual description is on the feelings, not on the act itself. The sweet traditional tends to leave lovers at the door of the bedroom rather than follow them in.

  Sweet traditional often emphasizes family connections or girl-next-door heroines without sacrificing the fantasy aspects of romance. Sweet does not mean sugary. Characters must be realistic, conflicts must be believable and important both to the characters and the readers, and emotional tension must be kept at a high level.

  Word count: 50,000 to 55,000

  Time Travel: A variation of paranormal in which time-traveling heroes and heroines can go either to the future or the past. As in other paranormal romances, consistency is important in time-travel books. Once the author sets up a rule for how her world operates, that rule must stay in effect unless she can explain why it changes.

  Word count: 60,000 to 100,000

  See also Futuristic, Historical, Paranormal

  Woman in Jeopardy: Features a heroine whose life is clearly in danger, often from someone close to her or in a position of trust. The old-style Gothic romance is a good example of woman-in-jeopardy books, but the rules have broadened considerably since Victoria Holt's day. The threat faced by the heroine in a woman-in-jeopardy book is bigger, fiercer, closer, and more frightening than in most romances (for instance, she might suspect her husband, rather than a stranger, of trying to kill her). Woman-in-jeopardy books sometimes include paranormal elements.

  At present, this isn't as much a category or subgenre in itself as it is a type of story appropriate for several of the longer romance lines as well as single titles and mainstream.

  Word count: 80,000 to 110,000

  Women's Fiction: Fiction usually written by women and aimed at a primarily female reading audience, including mainstream and single-title books but usually

  not category romance novels. Women's fiction often involves a group of women who may be sisters, friends, co-workers, or enemies.

  Word count: 90,000 to 110,000

  See also Mainstream, Single Title

  Young Adult (YA): Aimed at the teenage and even pre-teen reader, these books usually focus on the development of an innocent first love and include few sensual (and no sexual) elements.

  Some books in the YA line focus on older teens and may involve realistic situations and decisions about drinking, drugs, premarital sex, etc. Though these books can carry a message, the successful ones don't preach or lecture.

  The time frame for YA books can be contemporary or historical. Paranormal characters appear in some YA fiction.

  Word count: varies

  READING ROMANCE AS A WRITER

  In addition to understanding the various types of romance, it is important to read widely within the romance genre. As an aspiring romance author, you should read the type of romance novel you are writing, as well as other similar categories or types, in order to be familiar with the style and type of stories the editors are choosing.

  If you wish to write category romance, it's important to realize that each category has its own very definite identity. Reading the books themselves is the best way to understand and distinguish between categories that seem very much alike. If you don't understand the differences between similar-looking categories, you may end up writing a manuscript that doesn't really fit anywhere.

  Even if you wish to write single-title books, you should familiarize yourself with the market and the competition. Though by definition a single-title book stands alone, reading a wide variety of current books will help you discern what factors make a single-title book successful.

  To begin your study, visit a bookstore and simply browse the romance section without picking anything up. Stand back from the shelves and notice the variety of romances, looking at how the different categories and types of books are packaged so they are distinguishable from the rest. Which books seem to have similar themes and covers? What catches your eye as you look at the shelves? Is it bright colors, type styles, art?

  Now move up close. Take a good look at front covers—colors, designs, titles. What kind of art does each cover use—is it a photograph, a painting, a cartoon, or a graphic design? Read back cover copy. What can you deduce about the books from the appearance of the front and back covers? Does the cover hint at the level of sensuality, drama, humor?

  Look inside, check out pages here and there, note the size of type and margins and how the pages are laid out. Is there a lot of narration or a lot of dialogue? Does the page look inviting to read?

  Despite the wide range of romance subgenres and categories, the reader has certain expectations of any romance novel. The author who doesn't meet those expectations isn't likely to make it into the bookstore. Now that you have an idea of how many different romance subgenres there are, look at what they all have in common. Read at least ten romances, selecting different authors and choosing from different categories and publishers. Check the copyright page to make sure the books you choose were first published within the last year or two and are not reprinted, ten-year-old titles.

  As you read, think about the structure the author has hidden behind the story. Ask yourself the following questions:

  1. How are all the heroines alike? How are they different
? What can't a heroine be?

  2. How are all the heroes alike? How are they different? What can't a hero be?

  3. How long are the books? How are the chapters or sections divided?

  4. How do chapters begin and end? How many chapters are there?

  5. What point of view is used? Whose thoughts can we eavesdrop on?

  6. How many characters are there? Are there patterns in supporting characters from book to book?

  7. Are there similarities in the development of the plots—in the number and placement of complications, in the tension, in the love scenes, etc.?

  8. How does the author get the readers involved in the beginning of the story?

  9. How is each character first presented to the readers? When does the heroine first appear? When does the hero first appear?

  10. How does the author make you care about the main characters?

  11. How does the story end? Is it always a happy ending? A wedding?

  When you've read a number of books, start making a list of the rules you've deduced. Here are a few samples to get you started:

  I. Romances of all kinds have a happy ending, generally with the hero and heroine planning a lifelong relationship.

  2. In many romances, the heroine has a best friend who serves as a confidante and allows the author to tell us about the heroine's background, weaknesses, and thoughts.

  3. While a heroine or hero can be divorced or have had a previous serious relationship, characters generally don't get involved with a new love interest until the earlier entanglement is finished and they have had time to heal.

  4. In inspirational romances, faith is more important than doctrine, so specific religions and denominations are seldom mentioned.

  NAVIGATING THE RULES

  It's possible that your list of rules will ultimately run into the hundreds, but the reasons for the rules fall into only two main categories. First, the readers of romance novels expect sympathetic, likeable characters. Second, they expect an engrossing, uplifting story. If you look closely at your list, you'll find that nearly every one of the rules fits into one of those areas. Either it helps to create a likeable character or it helps tell the story in a way that holds the reader's attention.

  And sometimes it does both. The heroine often has a best friend because it's a good way to show her as likeable, but the existence of that character also lets the author tell some of the story in dialogue between the two friends, which is usually a more interesting storytelling method than simply stating the heroine's thoughts.

  While the rules exist for good reason, it's important to note that there are very few that are sacred. Heroines aren't required to have a best friend to confide in. While it's unusual to have a hero with a criminal past, such a character can still be likeable and sympathetic. Though the majority of romances are told in the third-person point of view, there are a few first-person stories. A hero or heroine who falls in love while still married is rare, but not impossible.

  If you are aware of the reasons behind a rule, you can often find a way to break it successfully. You say you want your hero to rob a bank? To actually do it, not just be suspected of it? Then figure out how to make him look like a good guy despite his criminal tendencies, and go for it.

  As you read your collection of romance novels and construct your list of rules, make note of what subgenre each book falls into. Is there a particular subgenre or type of book you find yourself most attracted to? Of the books you've selected, which stories do you most enjoy? What subgenres do those stories fall into?

  Now that you know more about the romance genre and you've been introduced to some of the different subgenres, types, and lines of stories, it's time to start making some choices about your story. What kind of book do you want to write?

  SELECTING A PROJECT

  Is your book going to be historical or contemporary? Short or long? Category or single title? Paranormal, futuristic, or straight romance? Sensual or sweet?

  Having trouble deciding? The first and most basic truth about writing is that a writer should write the story he wants to write. That usually means you should be writing the kind of book you most like to read. The act of writing, for most people, is not fun. At best, it's not consistently enjoyable. Good writing— writing a story readers will want to read—is hard work. It is difficult enough to construct a readable story without adding the burden of spending time with characters you dislike, a plot you find dull, a sensuality level you feel is bland (or shockingly explicit), or a time period you think is boring.

  Yet people frequently try to write romances of a type they don't personally enjoy because statistically those types of books enjoy the best sales. The problem is that, even if they finish the story, their lack of enthusiasm will show, and their first reader—the editor—is likely to be the last reader as well.

  You will have far more success on a personal level, and when you submit your work for publication, if you're writing a story you love, even if that story doesn't follow all the rules or fall into a distinct genre or subgenre.

  There are hundreds of books that everybody knew would never sell, because everybody knew readers simply weren't interested in that kind of story. Except nobody told the readers they weren't interested, and when publishers took risks, they discovered there were indeed readers—sometimes hundreds of thousands of them—who loved those impossible books. (Jean Auel's Clan of the Cave Bear—a romantic story set in prehistoric times—is perhaps the best example.)

  Not every book will be a bestseller, of course. But books written with love stand a much better chance of being shared with readers.

  As you consider the kernel of your story idea, here are some questions to consider:

  1. Is this a story you can write? Do you have the experience, insight, understanding, and voice necessary to address this story to this audience? If not, can you acquire those skills?

  2. What are your qualifications? Do you possess the skills to write authoritatively about the subject, background, or time period you've chosen?

  3. What drawbacks will you face in writing this story? Where can you find the additional resources and information you need to make your story believable?

  If you want to write a medical thriller with two doctors as your hero and heroine, but you've never worked in the medical field, the challenge will be enormous. You can do it—but only if you are willing to check every word your medical characters say to each other, and even every thought they have, in order to be sure they're accurate and realistic. Are you willing to put in that much time and effort?

  At the same time, don't choose what seems easiest if you don't like that type of story. Writing for young adults isn't easier than writing for mature readers, so unless you spend enough time with young people to understand how they think, writing a young adult romance is probably a waste of time. If your heart lies in his-toricals, you shouldn't choose to write a contemporary just because it sounds less difficult. It won't be easier if you'd rather be in Regency England or the Old West.

  4. How can you shape your story to make the drawbacks and challenges more manageable? For instance, if you really want to write that medical thriller but you don't feel confident evoking the doctor's point of view, consider whether you can make your most important character a layperson instead. That way you can still use the medical setting, but you'll have a somewhat easier job creating dialogue and story because not every character has to think and act like a trained physician.

  THE MARKET

  Deciding which romance subgenre or category your story falls into can be a challenge. There are many kinds of romances, and each has its own special combination of elements. Some feature pure fantasy; others focus on glitz and glamour;

  still others involve grit and realism. The best way to figure out where your story fits is to read the books being published today.

  Look especially at the newest authors, those whose first books are on the shelves right now, because that tells you what kinds of stories
editors are most likely to be seeking from other new authors. (You can often spot the newer authors by reading the bio page, which often list the titles of previous books.) Here are some questions to consider as you select the appropriate market for your book:

  1. How big is your project? The more serious the topic or the more downbeat the main characters' overall experiences, the longer the book will need to be in order to solve the issues and create a realistic happy ending. If your hero has killed somebody, or your heroine's been raped, you'll need more room to develop the story and show the characters growing, healing, and overcoming the emotional baggage they're carrying.

  The lighter and more humorous the story line, the shorter the book is likely to be. It's not easy to carry a humorous tone through an entire work, and the longer the story goes on, the more difficult it becomes.

  2. Does your story have a universal appeal? Appealing to readers in foreign markets is becoming more important as the global economy grows. As established markets become saturated, publishers are increasingly aware that the strongest potential for future market growth lies abroad.

  That means they're looking for stories that will make sense to readers in other countries. Some topics, like American politics and pro football, don't translate well, while other kinds of themes and problems (money, kids, property, honor) are pretty much universal—they could occur anywhere. If your story is one that can only happen in the United States, how can you make it more appealing to foreign readers and therefore more valuable to a publisher?

  3. Can you shape the story to better fit today's marketplace? If you want to write a complex book but the word count publishers are looking for seems too short for your story, can you trim some secondary plot lines or restrict the number of characters? If your story is too short to meet the publisher's guidelines, don't pad it with detail or extra people. Think about additional complications for your main characters, ones that would strengthen the con-flict and story.

  4. What is the story's hook? The hook is the grabber that seizes the readers' attention and makes the book stand out from others on the bookstore shelves. It can be a story type (Cinderella, marriage of convenience), a setting (a town where it's Christmas all year around), or a hint about why the hero or heroine is different ("From special agent to ex-con"). The hook is usually mentioned in the back