Cause for celebration, certainly, but this one is extra special. Here’s why:
In 2010 this rip-roaring romantic adventure was published as Disgrace and Desire, but only in the UK. I am thrilled now at its rebirth: Harlequin/Mills & Boon are releasing the book in the USA, with a new title and a new cover, and I hope even more readers will love it as much as I do.
I have put both covers here, so you can compare them for yourself, but the story hasn’t changed 🙂
In 2010, Cataromance’s Juilemi wrote:
“Sarah Mallory continues to thrill with Disgrace and Desire, a fabulous historical romantic adventure brimming with gusto, verve and flair!”
Romance Junkies said:
“Ms. Mallory, you really outdid yourself with Eloise and Jack’s story.”
This blog doesn’t normally touch politics but today (Friday) I learned that Jacinda Ardern is resigning as Prime Minister of New Zealand. She has decided to leave the job after more than five years because, she said, she “no longer has enough in the tank to do it justice.” It’s a frank and honest statement. Possibly even heroic? But is it failure?
Can heroes admit to failure?
And then I started thinking about the heroes we write and wondering whether any of them would get away with making a statement like Ardern’s. Does an alpha hero (say) ever admit that he’s no longer up to whatever it is he does? That he’s a failure? Or that he would be if he continued?
Can’t say I’ve met many in the fiction I read, especially not in contemporary romances. Romantic heroes may occasionally fail at some task, sure. But don’t they usually learn from their failure and go on to bigger and better things?
And, even when they do fail, do they confess it to the world at large? Or do they keep that chiselled jaw suitably clamped and say nothing?
The key question, I suppose, is this: is a hero a failure—unheroic—if he admits he is no longer up to the job?Continue reading →
December sees the publication of my latest Regency romance for Harlequin Mills & Boon. It is also the time of festive fun and pantomimes, so the Cinderella title is very apt, I think.
Cinderella and the Scarred Viscount
CLICK COVER TO BUY
Once upon a time….
Philip James de Loutherbourg, Public domain, via Wikimedia Commons
The story is set in Regency England but its origins are much further afield. Spain in fact. The whole thing starts with the Spanish Armada!
Many Spanish ships from that ill-fated expedition came to grief around the British Isles, and the are many stories of survivors “leaving their mark” on the local population in the form of dark eyed, dark haired children. My heroine, Carenza, has this dark colouring, inherited from her mother.
Of course, she isn’t the first literary character to have such a heritage. The one that springs first to my mind is Jimmy Perez in Ann Cleeves’ Shetland series (not that the lovely Dougie Henshall, who plays Perez in the TV series is dark haired OR dark-eyed).
The ideal hero? The Libertà blog has included a number of posts about heroes, most recently one I wrote about whether a plumber can be a hero. Also posts about villains, who can be more than a little droolworthy, especially when played by Alan Rickman. Just my opinion. Feel free to disagree. 😉
Today I want to ask about casting your ideal hero in the movie of a favourite book. Any book you choose. Maybe even one you’ve written yourself? The key question is: who is going to play your hero? And why? Continue reading →
Revisiting the Romantic Hero Formula — except that there isn’t a formula, as I tried to show in the first blog on this topic. So, instead, I’m going to explore some aspects of creating the romantic hero.
With examples from a master of the art of hero-creation — Georgette Heyer.
Which Qualities Make a Romantic Hero Attractive — to Readers?
Most of us would say that our aim in writing romance is to create a heroine that our readers will identify with and a hero that they will lust after. Warning: it is not easy to do and not all readers will respond in the same way. Some may adore our hero and some may hate him. As romance authors, we’re winning if we have a lot more of the former. 😉
Tall Dark and Handsome?
Tall dark and handsome? Not necessarily. As readers we probably all have favourite heroes who are none of those. As writers, we may have created some of them, too.
Most telling recent example? Who became the abiding hero in the Game of Thrones series? Yes, Tyrion, the dwarf. Continue reading →
Let’s hear it for the heroes! Tall, dark and handsome?
Hero = handsome; heroine = beautiful? Bestselling author Susanna Kearsley published a blog last week that asks a thought-provoking question about romantic heroines: — why is it that “some readers, when faced with a blank face, are programmed to fill in the features as ‘beautiful’?”
Good question. A disturbing question, too, perhaps.
But what about the heroes? Do we readers fill in male features in a similar way? Why? Do the heroes of our imagination have to be tall, dark and handsome? Continue reading →
We all do it — fall in love with someone else’s hero. We always have. Robin Hood. Ivanhoe. Mr Darcy. John Thornton. Raoul de Valmy.
Also, in my case, Brian de Bois Guilbert, Humphrey Beverley, Faramir and Captain Carrot. I like geeks, loners and oddballs. Even those with the occasional dash of villainy, at least as long as I could redeem them. What can I say?
Indeed, I’d go so far as to say that a heart-stopping hero constitutes a good slug of the fun of fiction. Continue reading →
How often is hero allure part of what compels us to pick up a book?
Last week we asked people to vote on which qualities would hook them into the hero’s story. We were thinking of just that first engagement: what we learn from the blurb, the first few pages or Amazon’s sample.
Across A Crowded Room
With more and more novels to choose from every year, it’s becoming a major issue. I suppose it’s the literary equivalent of eyes meeting at a party. Something in you jumps to attention and says, “Oo yes, this one.” Continue reading →