Susan, what kind of story are you doing?

Basically, star-crossed love across class lines in the midst of the Peninsular War. Highborn cavalry officer's widow, niece of an earl and a great heiress, falls in love with a sergeant.

Basically, star-crossed love across class lines in the midst of the Peninsular War. Highborn cavalry officer's widow, niece of an earl and a great heiress, falls in love with a sergeant.

That sounds really good. It's cool that you're having actual problems like the war and class issues in it. So much more romantic.

the quality of the writing isn't up to scratch these days, especially in Kensington/Zebra.

I've been trying to read these. So many of them are throw-across the room worthy it's depressing. I think they'd have a market if the quality was better.

That sounds really good. It's cool that you're having actual problems like the war and class issues in it. So much more romantic.

I hope so--that's how I think of it. But I think there's a certain portion of the reading population that's in it for the lords-and-ladies fantasy (not that there's anything wrong with that), and the market caters to it. Also, some of the contest judges and beta readers who've seen it so far can't see why the class difference between the hero and heroine is such a big deal, which frustrates me because I feel like it's solid and organic to the world I'm writing in in a way that many romance novel conflicts aren't. I mean, these people come from worlds that could never fully accept the other person, so being together is going to mean giving up the dreams and hopes and family security they had before they met. Which I think is a huge deal--I just have to figure out how to sell it.

I've been trying to read these. So many of them are throw-across the room worthy it's depressing. I think they'd have a market if the quality was better.

I'll be sure to speak up here when I run across a good one.

some of the contest judges and beta readers who've seen it so far can't see why the class difference between the hero and heroine is such a big deal

Could some of the problem be that, as Americans, class doesn't mean as much (at least consciously)? A lot of books I've seen that purport to be set in England have very thinly veiled "I'm just as good as you are" American-type attitudes on the part of the characters who are from a lower rank. A lot of people find the whole concept of class as a motivator offensive (unless, of course, their darling daughter suddenly wants to date the mechanic, but nobody admits to that). Americans are supposed to be better than that, and the market is American.

That's probably all true, connie, and I know it's a delicate balance to strike. I'm definitely writing it so that the heroine's conflict isn't, "I can't marry him because he's just naturally beneath me," so much as, "If I marry him, my family will disown me, and I'll lose forever the home I've spent the last few years of my life longing for and fighting to return to. It's him or everything else--there's no way to have both."

I just hope I can make it work, because I'm so madly in love with this story that I want to share it with all the world. It goes beyond mere wanting to be read and to be an author at last instead of just a writer--I want to tell this story because it's got me by the throat. And maybe it'll work out. I've also had some strongly positive "OMG how romantic!" reactions. If I can only find an editor who feels that way....

t tangent

I'm currently re-reading Neverwhere by Neil Gaiman. I suddenly realized that in my head, the character of Hunter is ita.

t /tangent

I'm currently re-reading Neverwhere by Neil Gaiman. I suddenly realized that in my head, the character of Hunter is ita.

Well, she wasn't in mine. Until now.

t watches previous headspace Hunter disappear into oblivion

Well damn. Huh.