A Quote by Susanna Kearsley
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.
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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.
Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.
My second novel, 'The Luminaries,' is set in the New Zealand gold rushes of the 1860s, though it's not really a historical novel in the conventional sense. So far, I've been describing it as 'an astrological murder mystery.'
You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.
'Wuthering Heights' is portrayed as a great romantic novel, and when I read it again, I thought, 'How is this romantic? All these people are horrible to each other!'
The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
'When Katie Met Cassidy' is a romantic comedy about two very different women who find themselves uncontrollably drawn to one another. Issues of gender and sexuality play their part in the novel, but first and foremost, it's a fun, fast-paced love story.
To write a novel is to embark on a quest that is very romantic. People have visions, and the next step is to execute them. That's a very romantic project. Like Edvard Munch's strange dreamlike canvases where people are stylized, like 'The Scream.' Munch must have had that vision in a dream, he never saw it.
I never sat down and said, 'I'm going to write historical fiction with strong romantic elements.' It was just the way the stories went.
It's the pursuit of love and happiness that is the driving force of the romantic novel.
My experience of life is that it is not divided up into genres; it’s a horrifying, romantic, tragic, comical, science-fiction cowboy detective novel. You know, with a bit of pornography if you're lucky.
My remembrance of the past is a novel I am constantly recomposing; and it would not be a historical novel, but sheer fiction, if the material events which mark and ballast my career had not their public dates and characters scientifically discoverable.
'J' is a novel. A story about what it is like for people after a terrible event. And it is a love story, because I feel a novel is inevitably a love story.
I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.
Remember that a good football novel has to have the same ingredients as any other good novel: drama, convincing and interesting characters, a strong story-line, and some kind of magic in the writing.
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