Top 115 Quotes & Sayings by Sarah MacLean
Explore popular quotes and sayings by an American author Sarah MacLean.
Last updated on November 7, 2024.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
As for the zone, I always find the zone immediately after I am sure I will never ever find the zone again because it has left me for some other, better writer.
The trick to great romance is in overcoming adversity. In realizing that love is worth some uphill climbs.
No matter how troubled a character's history, romance novels tell us, love can be built upon it, and happily-ever-after can result. What's more, the darker the past, the brighter the future - and the better the read.
Perhaps summer's ephemeral nature is what inspires us to embrace the beach read. We tell ourselves that these twisted plots and wild characters are literary ice cream sundaes - extravagant treats that aren't as calorie-laden when we're wearing flip flops.
Even in 2014, when romance heroes are as varied as their genre, somewhere in them you can still always find the alpha male.
As winter approaches - bringing cold weather and family drama - we crave page-turners, books made for long nights and tryptophan-induced sloth.
One of the most common criticisms of romance is that the genre is too prescribed: If every romance novel ends happily ever after, don't the stories lack complexity? Don't the readers get bored?
'A Rogue by Any Other Name' is the first book in the 'Rules of Scoundrels' series, centered on a legendary pre-Victorian casino and her four scandalous aristocratic owners.
By the time I was 10 or 12, I had discovered the lure of the romance genre - and the dusty copy of 'The Thorn Birds' on my parents' bookshelf.
The best partnerships aren't dependent on a mere common goal but on a shared path of equality, desire, and no small amount of passion.
If you think back to your time as a teenager, everything was dramatic.
The best romance writers know there's nothing that builds conflict or makes a gentleman of a rogue more quickly than responsibility.
I think we can all agree that Colin Firth falls into the George Clooney category of 'Men Who Age Like Fine Wine.'
As a romance novelist, I have a rather skewed view of babies. You see, they don't typically fit into the classic structure of the romance novel - romance is about two people finding each other and falling in love against insurmountable odds. Babies... well... babies are complicated.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
Romance readers love a wealthy hero, and why not? There's value in a man able to hire a helicopter, a coach and six horses, or a collection of werewolves to do his bidding - and the bidding of the lucky woman on his arm.
That first meeting - the one where the hero and heroine start the slow burn that takes the whole story to turn into true love - is the single most important part of the whole book. Nail it, and you've won yourself readers.
In seven books, I've written my fair share of baby epilogues. Pregnancies and births and even grandchildren have made an appearance in the final pages of my books.
I never met Colleen McCullough; if I had, I probably would have cried and made a fool of myself.
In books by women and for women, it should come as no surprise that heroines are the heroes of the action, finding themselves, their power and their future through love.
Like so many others, I came to romance during the golden age of it - Judith McNaught, Julie Garwood, Johanna Lindsey and Jude Deveraux were at the height of their historical domination. Without those women, I wouldn't be a romance novelist.
Gone are the days when heroes are emotionally locked away from the world until the end of the book, and thank goodness for that. Modern romance heroes are more complex than ever.
There is a whole generation of romance readers and writers who suffer from what I like to think of as 'Thorn Birds' Fever.
Here's the thing about romance novels: The moment when the hero and heroine discover that they're perfect for each other is often the moment when it's them against the world.
I'm so thrilled to have won the RITA. The award is particularly special because it is given by other romance authors. It's deeply rewarding and not a little humbling to be honored by such a talented tribe of writers.
I think back on that day when 16-year-old me scribbled on some silly piece of paper for some long-forgotten high school career-day project that my dream job was 'romance novelist.'
In real life, I'd say that your commitment-phobe/narcissist/bad boy boyfriend is a lost cause, but romance is shelved in fiction for a reason.
In fiction, as in real life, love might inspire acts that are at best foolish and at worst life-threatening, but in the best romances, love is the final, secret ingredient that turns mere mortals into heroes and heroines.
When it comes to love, the English language bears no shortage of cliches.
There is perhaps no more rewarding romance heroine than she who is not expected to find love. The archetype comes in many disguises - the wallflower, the spinster, the governess, the single mom - but always with one sad claim: Love is not in her cards.
Alas, summer sun can't last forever. The days will grow cooler and shorter, and our skin will once again pale.
Colleen McCullough taught me that desire is the heart of romance.
Teenagers are asking, 'Who am I?' and 'How do I fit in?' in every aspect of their lives, and the best YA romances appreciate that there is more to a teen's life than finding love.
Boring heroines are, in my opinion, the most common romance mistake. We loathe hanging out with women who define themselves purely through their relationships... why would we want to read about them?
At the heart of every successful romance novel lies the evolution of its characters. Through love, heroes and heroines grow not only into a perfect match, but into stronger, better, more admirable people.
Of all the myriad ways we define love, there is perhaps none more honest and powerful than this: Great love is rooted in great partnership.
I'm not entirely sure why I write.
Critics seem to forget that every love story is different - that there is uniqueness in even the most commonplace of matches.
No doubt, much of the joy of a great romance is the moment when these stoic heroes crack open and reveal themselves to their heroines - the only women strong enough to match them.
To be honest, I thought it was similar to animal husbandry." Sally's tone turned dry. "Sometimes, my lady I'm afraid it isn't that different." Pippa paused, considering the ords. "Is that so?" "Men are uncomplicated, generally," Sally said, all too sage. "They're beasts when they want to be." "Brute ones!" "Ah, so you understand." Pippa tilted her head to one side. "I've read about them." Sally nodded. "Erotic texts?" "The book of Common Prayer.
Kisses should not leave you satisfied.
The most confident of women are those who believe in every scrap of fabric they wear. They are the ones who are as happy wih their drawers as they are with their gowns. You can tell the difference between a woman who wraps herself in beautiful silks and satins and she who wears...otherwise.
She tilted her head, considering the sensation. "It is strange." He gave a hiss of laughter at the words. "It only gets stranger, darling. But we shall try for something more.
It was a terrifying feeling. And if it was love, he wanted none of it.
How could she go on without him? And, at the same time, how could she go on knowing that every moment of their time together had meant so little to him
I enjoyed every bit of the evening. I may not drink scotch or smoke a cheroot again, but I shall always cherish the fact that I did those things. The adventure is well worth the disappointing experience.
But she had dreamed of being his for too long. He had quite ruined her for a marriage of convenience. She wanted everything from him: his mind, his body, his name and, most of all, his heart.
Why now? Why not wait for a man to come along and…sweep you off your feet?” She gave a short laugh. “If the man you speak of had ever planned on coming, my lord, I’m afraid he has obviously lost his way. And, at twenty-eight, I find I have grown tired of waiting.
Juliana?” the words were low and far—too calm for her husband, who had found that he rather enjoyed the full spectrum of emotion now that he had experienced it. “Yes?” “What are you doing twenty feet in the air?” “Looking for a book.” “Would you mind very much returning to the earth?” “What are you thinking, climbing to the rafters in your condition?” “I am not an invalid, Simon, I still have use of all my extremes.” “You do indeed—particularly your extreme ability to try my patience—I believe, however, that you mean extremities.
You are my siren,” he said, running his hands along her thighs and down her calves, feeling the shape of her even as the silk of her gown kept them both from what they wanted. “My temptress . . . my sorceress . . . I cannot resist you, no matter how I try. You threaten to send me over the edge.
Temptation turns you. It makes you into something you never dreamed, it presses you to give up everything you ever loved, it calls you to sell your soul for one, fleeting moment.
Nick spoke again. "Her legitimacy will be questioned." Gabriel thought for several moments. "If our mother married her father, it means that the marchioness must have converted to Catholicism upon arriving in Italy. The Catholic Church would never have acknowledged her marriage in the Church of England." "Ah, so it is we who are illegitimate." Nick's words were punctuated with a wry smile. "To Italians, at least," Gabriel said. "Luckily, we are English." "Excellent. That works out well for us.
She did not want to be that woman - the one of whom they spoke. She had never planned to be that woman. Somehow, it had happened, however...somehow, she had lost her way and, without realizing it, she had chosen this staid, boring life instead of a different, more adventurous one.
Silent mantra practice helps me respond rather than react.
I've spent twenty-eight years doing what everyone around me expected me to do...being what everyone around me has expected me to be. And it's horrid to be someone else's vision of yourself.
You are beautiful and brilliant and bold and so very passionate about life and love and those things that you believe in. And you taught me that everything I believed, everything I thought I wanted, everything I had spent my life espousing--all of it...it is wrong. I want your version of life...vivid and emotional and messy and wonderful and filled with happiness. But I cannot have it without you.
Even as she’d come to know the real Ralston—the Ralston who was not cut from heroic cloth—Callie had failed to see the truth. And, instead of seeing her own heartbreak coming, she had fallen in love, not with her fantasy, but with this new, flawed Ralston.
I had a perfect life in my reach once, and it was a crashing bore. Perfect is too clean, too easy. I don't want perfect any more than I want to be perfect. I want imperfect.
She had wanted more than she could have. She had wanted him, and more... she had wanted him to want her. In the name of something bigger than tradition, bolder than reputation, more important than a silly title.
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