A Quote by Diana Gabaldon
A romance is a courtship story. In the 19th century, the definition of the romance genre was an escape from daily life that included adventure and love and battle. But in the 20th century, that term changed, and now it's deemed only a love story, specifically a courtship story.
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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.
Story writers say that love is concerned only with young people, and the excitement and glamour of romance end at the altar. How blind they are. The best romance is inside marriage; the finest love stories come after the wedding, not before.
I was really interested in 20th century communalism and alternative communities, the boom of communes in the 60s and 70s. That led me back to the 19th century. I was shocked to find what I would describe as far more utopian ideas in the 19th century than in the 20th century. Not only were the ideas so extreme, but surprising people were adopting them.
Julio's Day is a story of one man's life, but it's a great more than that as well. It's the story of the life of a century, also told as if a day. Beginning with Julio's birth in 1900 and ending with his death in 2000, the graphic novel touches on most of the major events that shaped the 20th century.
The romance genre is the only genre where readers are guaranteed novels that place the heroine at the heart of the story. These are books that celebrate women's heroic virtues and values: courage, honor, determination and a belief in the healing power of love.
The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.
A real love story is sometimes exhausting. A romance is deliberately constructed to yield a certain result; the ambiguities are trimmed out, so it's neater and more pleasing to our hearts. But you don't live a love story, you live a life.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
The 19th century was the century of empires, the 20th was the century of nation states, and the 21st is the century of cities and mayors.
The epic story of the West is the development in the 19th century of a mass prosperity the world had never seen and its near-disappearance in one nation after another in the 20th.
Romance is very pretty in novels, but the romance of a life is always a melancholy matter. They are most happy who have no story to tell.
Technology has changed almost everything. One institution remains stubbornly anchored in the past. It's where I work - the United States Congress, a 19th Century institution using 20th Century technology to respond to 21st Century problems.
It is not because I do not love my adopted land - it is the natural feeling of one far from home, who remembers those happy, carefree days when life flowed at full tide, without responsibility, flashing past one like the drama in a fascinating story of adventure and romance.
History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.
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.
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