A Quote by Deanna Raybourn

If you lift the romantic element out of my plots, you still have fully formed mysteries. In the same fashion, if you pull the mystery out of a historical romance, you are left with a perfectly satisfying story.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
The problem is there are so many stories out there where I can pull that superhero out, put any other superhero in, and the story works the same. For me, that's broken. I have to write a story that no one else but Aquaman or Shazam can be in, and as soon as you pull that character out and out someone else in, it doesn't work.
Romantic fiction, in the broader sense, can be any novel that has a love story somewhere in it. It can be a mystery or a historical novel, as long as it has this very strong romantic thread running through it.
As it was, I couldn't escape the feeling that I was out of my element. I found myself thinking of a book I'd left half-read at home and wishing I'd stuck it in my purse so I could pull it out now.
The addition of romance in my books or mystery to a historical romance is the sauce, not the goose.
I get some of my ideas from watching my three daughters, but most of them come from my own memories of growing up. I can remember how romantic I was, not just about love, but romance in the classic sense - the romantic ideals: of honor and truth, of loyalty, sacrifice and fairness. Those were the elements that made a story satisfying to me.
But I don't know. Pee-wee just kind of popped out one day, pretty much fully fleshed-out and fully formed.
Historical romance is still very strong in the market. Writers of historical romance are making the bestselling lists on a regular basis and careers are growing. However, since there is much more variety in romance today, the total sales of historicals might be down from their peak. The talk of the market softening is a reflection of this, and of the fact that one does not see big growth in this area of the market.
The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.
I love romantic films and love drama. Any film that has romance or romantic element is my comfort.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
After I had written seventeen full-length mysteries, two volumes of mini-mysteries, a travel guide and some quiz books, not to mention a spin-off Roman Mystery Scrolls series, I thought it was time I moved to new historical pastures.
The same myths are told in every culture, and they might swap out details, but it's still the same story. It's the same story, but with a different face.
The thing about being a mystery writer, what marks a mystery writer out from a chick lit author or historical fiction writer, is that you always find a mystery in every situation.
I am in the Aleph, the point at which everything is in the same place at the same time. I'm at a window, looking out at the world and its secret places, poetry lost in time and words left hanging in space...sentences that are perfectly understood, even when left unspoken. Feelings that simultaneously exalt and suffocate.
I thought at first that I might write mysteries, but then I said, 'Mysteries have plots, and I'm not sure I can do that yet.'
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