• Romance Novels: The Spice Factor

    Here’s another question that will hopefully spark some discussion.

    I’ve noticed as I read historical romances that the steam factor increases book by book.

    I’ll use Joanna Shupe’s Fifth Avenue Rebels as an example as it’s the series that I really began to notice the trend. The first book almost always features a virginal heroine who has little idea of the hot, restless feeling she has when looking at the hero and absolutely shocked when he suggests giving her oral.

    By the third book, the heroine is allowed to have knowledge of carnel relations or gasp, actually had previous lovers. This protagonist is usually the cool older sister/friend of previous books who provide much-needed guidence to the virginal character. They also prove the virginal character is a good person because they stick by their friend while rest of historical society shuns them for their shameless, uncaring attitude toward sex and rules.

    This female protagonist also fears that she’ll never find love and has a facade of pretending not to care about rules because they don’t want to show how hurt they are by being shunned.

    This rarely applies to male main characters because let’s face it, they’ve always been allowed to have sex and thus fewer hang-ups about it.

    Grossman was a rare subversion as she has an experienced heroine in her second book in the Once Upon a East End instead of waiting for the third. Rodale’s heroines are usually virgins, but they’re more self-aware in that they masturbate and read books or some other information so they’re not totally surprised by the act of sex.

    “But Rachel,” you say it’s a historical romance novel. Women just didn’t know about sex like they do today. To that I say, I believe high society women were pretty sheltered from it, but working women were not (but there’s very few working-class heroines in historical romance which is different discussion).

    Also this is fiction. There’s plenty of anachronistic stuff we suspend our disbelief about so we can enjoy the story. So many of these heroines are charcterized as curious, and willing to push societal boundaries by trying to learn and ask questions, why wouldn’t they ask about this?

    I also realized another trend where the author is willing to get a little more kinky as the series goes on in accompainment to the increased experience of the female protagonist. And by kinky, the hero mentions bondage.

    Buuuuuuut. . . most series I read stop at showing it. They don’t follow through beyond coy mentions of it later on. This kinda drives me crazy because it feels like a nod to the fact that hey, sex can be more interesting than just p in the v, and people get turned on by different things, it’s human nature. Or like they want to seem cool because based on Fifty Shades of Grey, we know bondage is popular. But they’re too scared to actually show it.

    The only mainstream romance that I remember reading that follows through on the kinky sex would be Eva Leigh where it occurs in the third book of her Union of Rakes trilogy and the third book of Last Chance Scoundrels trilogy. Same with the fourth book of Shupe’s Fifth Avenue Rebels like they have to ease the audience into it. Of course, there’s also Scarlett Peckham but her’s are not the traditional romance so I don’t count it, she never follows the formula.

    So what do you think readers? Did you notice the trend from virginal heroine to society’s “slut”? Do you wish that the author would throw out the easing readers in and just go for a heroine who knows her spice levels and goes for it?

    What do you think about kinky sex? Don’t want it in your romance because it turns a romance novel into an erotic novel? Is there a line? Wish they’d show it if they’re gonna mention it?

    Comment below!!!!!

  • Contemporary vs Historical Romance: Which do you prefer?

    No review or rankings this time, I just thought I’d put a question out there. I know, it’s unlikely since I don’t get many comments but if you want to comment, please comment!!

    Anyway, on to my question, in a recent poll on instagram I asked if people prefer historical romance or contemporary romance? Contemporary romance won because people preferred something they could relate to compared to the different societal rules, technology and mindsets of historical novels.

    As one can tell from my blog, I prefer historical romances because I like history. But also I have more patience for communication issues in historicals. Dating and the interaction between men and women were different back then. Like literally being alone with a man could ruin someone’s reputation so with such separation of the sexes I can understand why they have some nonsense in their romance.

    Less so in modern day where there is miscommunication over situations that “look bad” but if they freaking talked to each other like adults, it would be solved. It often feels contemporary romance writers fall on external obstacles blocking their couples’ relationship and that external obstacle is usually stupid like jumping to conclusions or third person red herring when obviously they’re going to end up together.

    At least in historical romances, when there’s a third person red herring, it is a betrothed and breaking up an arranged marriage was super difficult. Nowadays, it’s less reputation-shattering.

    So what do you think blog readers? Contemporary romance or historical romance? Which do you prefer and why?

  • The Queen’s Council: A Sword in Slumber Review

    Briar Rose loves her life in the small Austrian town of Hausach, where she sings, dances, and runs wild through the woods with her best friend Frieda. But with her curse broken and Maleficent slain, Briar must leave her happy enclave to take her rightful place as Aurora, princess of Austria and betrothed of Prince Phillip of Lorraine.

    She’s doing her best to come to terms with her new identity when the emperor of the Holy Roman Empire dies, and her father announces he will put his name forward for the position. While her days are a whirlwind of seismic change, her nights offer little respite. Mysterious dreams keep her tossing and turning, visions of queens throughout the ages, facing down conflict in their own nations.

    Then Bavaria launches an attack on Austria, killing King Stefan and setting up Matilda of Bavaria to become empress. To save the empire from a warmonger’s rule, Aurora pledges to take the throne herself. She’ll have to compete against the top rulers from across the empire and learn to play their political games.

    But there’s one more surprise in store. Hausach was home to more than one hidden princess, and Aurora must go head to head against her best friend to win the title of emperor, not just for herself but for all of Austria.

    This thrilling reimagining of Princess Aurora wakes her from her fairy tale slumber and places her against a real historical backdrop—with a Disney twist.

    Briar Rose is famous for having the least amount of lines and screentime out of all the Disney Princesses. That simply allows Raasch more opportunity to give Briar Rose more character and explore in-depth what her life might be like after waking up from her curse.

    In this instance, there is a lot of emotional baggage for her to work through.

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  • Emmett Review

    Emmett Woodhouse, handsome, clever and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence and had lived nearly eighteen years in the world with very little to distress or vex him.
     
    Emmett knows he’s blessed. And because of that, he tries to give back: from charity work to letting the often irritating Georgia sit at his table at lunch, he knows it’s important to be nice. And recently, he’s found a new way of giving back: matchmaking. He set up his best friend Taylor with her new boyfriend and it’s gone perfectly. So when his occasional friend-with-benefits Harrison starts saying he wants a boyfriend (something Emmett definitely does NOT want to be), he decides to try and find Harrison the perfect man at Highbury Academy. 
     
    Emmett’s childhood friend, Miles, thinks finding a boyfriend for a guy you sleep with is a bad idea. But Miles is straight, and Emmett says this is gay life – your friends, your lovers, your boyfriends – they all come from the same very small pool. That’s why Emmett doesn’t date – to keep things clean. He knows the human brain isn’t done developing until twenty-five, so any relationship he enters into before then would inevitably end in a breakup, in loss. And he’s seen what loss can do. His mother died four years ago and his Dad hasn’t been the same since. 
     
    But the lines Emmett tries to draw are more porous than he thinks, and as he tries to find Harrison the perfect match, he learns that gifted as he may be, maybe he has no idea what he’s doing when it comes to love. 

    What a perfect way to begin the month of love than with a wonderful retelling of Austen’s Emma. I mean it, this is a great retelling. It perfectly captures the lovable meddling of Emmett Woodhouse. A boy with good intentions and clumsy execution.

    From the beginning, Emmett is aware he is blessed and chooses to not to just luxuriate in his many blessings (a wealthy family, quality fashions, happy parent), but share them. Basically, he wants his friends to be happy, and he wants to be nice.

    However, nice is different than good so even though Emmett does good deeds, sometimes it is more for the sake of his own reputation as nice like allowing the annoying Georgia to sit at his lunch table even though privately he can’t stand her. Little bits of hypocrisies that he won’t admit because he can’t stand the idea of not being perfectly nice person others think he is.

    The only one who seems to see through him is Miles who Emmett feels is a condescending prick that judges him for an event that he can’t quite remember.

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  • Book of the Month: Lace

    “Which one of you bitches is my mother?”

    Four elegant, successful, and sophisticated women in their forties are called to New York’s Pierre Hotel to meet Lili — a beautiful, young, and notoriously temperamental Hollywood movie star. None of the women knows exactly why she is there; each has a reason to hate Lili and each of them is astonished to see the others.

    They are old friends who share a guilty secret and who have for years been doing their best to keep that secret quiet. Their lives are changed forever, however, when Lili suddenly confronts them. When the women refuse to answer her, Lili proceeds to travel around the world through the playgrounds of the rich and famous, seeking to answer the question that has obsessed and almost destroyed her.

    From Paris to London, from the boardroom to the bedroom, Lace takes the reader into the rarified world of five unforgettable women who are as beautiful, as complex and as strong as. . .lace.

    This is like a soap opera! That’s the sentence that had run through my mind throughout the novel. Well technically, I thought it was like a Lifetime movie, but a soap opera is far more accurate. Exotic locales, luxurious 80s excess, and so much drama as it describes in minute detail every piece of clothing, meal, furniture, and distinctive characters that surround the women.

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  • Roz Demir is Not the One Review

    Ros will do whatever it takes to get the guy. At least… she thinks she will.

    Sixteen-year-old Ros is a go-getter. When she wants something, she makes sure she gets it. 

    But a lingering rumor (and maybe some ambivalence about her half-Turkish heritage) has kept Ros from achieving the kind of reputation she deserves. So, after years of plotting her big comeback, she just needs one thing: a hot, adoring guy on her arm at junior year homecoming. And when she meets charming new classmate Aydın at the Pine Bay resort over the summer, she thinks she’s found The One. 

    It doesn’t work, though. And things get messy when Ros’s plan ends up hurting the only friend she has left… poor, sweet, forgiving Eleanor. This has happened before—things tend to get messy with Ros around—and it’s getting harder for her to ignore the pattern of hurt feelings. Plus, it seems like Ros and Aydın aren’t really meant to be. What kind of a plan results in everyone ending up unhappy? Not a very good one. 

    A not-quite rom com starring a bold, outspoken antiheroine, this Turkish-American Romeo and Juliet remix is refreshingly snarky. Witty, whip-smart dialogue plays with the complexities of multicultural identity and female friendships, from Ros’s very first screw-up to her unconventional happy ending.

    Ros is quite unlikable, I have to get that out of the way. But I applaud Brittan for going the antiheroine route and sticking with it. Oftentimes, “difficult” female characters don’t seem to earn the moniker because their difficulties are just snarkiness or rightfully pushing against an ignorant world. Here, Ros is actually unlikable and tough to root for.

    Ros feels a lot, and when she feels angered or wronged, she lashes out at the person. Sometimes her revenge is disproportionate to the slight, and then she holds a grudge about it, projecting it on the other person as being the overly hostile one that won’t let go.

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  • J.C. Peterson Interview

    J.C. Peterson is the YA and adult rom-com author for bookish readers. Her novels include Being Mary Bennet, and Lola, At Last. She graciously took the time to answer my questions about Pitch Wars, P7P and what she has coming next. Enjoy!

    1. You got your start with PitchWars, what did the mentor program entail? 

    PitchWars was such a wonderful, gratifying experience. I had taken a break from all writing after I had my younger son and applied to PitchWars on a whim, so when I was accepted into the mentorship program, I went from zero writing to living and breathing fiction in a heartbeat.

    PitchWars involved deep developmental edits with my mentors, Carrie S. Allen and Sabrina Lotfi (who are literal angels). They were so thoughtful and insightful about my work and really helped me bring the novel up a level. It was hard, but so much fun at the same time!

    It helped that Carrie and Sabrina were endlessly encouraging and were always there to hype me up. PitchWars ended in the big pitch event with agents, which was stressful. But from that, I signed with my agent Amy Bishop-Wycisk and we sold my debut novel Being Mary Bennet just a couple months later.

    2. Best advice you got from your mentors? 

    Carrie and Sabrina were so talented at helping me see the bigger picture in my writing. I don’t want to say that I’m all vibes, but I tend to be very voice-y in my writing; they helped me keep that voice while also making sure every scene moved the plot forward. I think I really developed my skills in tension and pacing because of them.

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  • Cool find: Riverdale High

    So I think most everyone knows these ‘New Look” stories that briefly lit up the Archie scene in the early 2000s. Very controversial when they came. Fans derided the art as ugly or unnatural, but since they didn’t replace the ‘house style’, the vitriol faded and the readers accepted each exciting new look event for what it was.

    The picture above shows 5 of the 7 stories, one for each of the main gang members and well, that’s the end of that. Interesting ‘mini events’ that showed a new style and some new characters and stories.

    Until last week, I was on the Archie Comics reddit page and someone posted looking for an old novel series that Archie put out. Someone enterprising found it, and Holy Goodreads, the plots for the Riverdale High series are exactly the same as the New Look stories.

    Riverdale High was a 8 book series written by prolific children’s author, Michael Pellowski in 1990.

    Book 2: Bad News Boyfriend- Veronica’s relationship with a despicable new student jeopardizes her friendships with her other friends.

    Book 3: One Last Date with Archie-When Mr. Andrews accepts a job promotion, his family–including Archie–will have to move away from Riverdale. How can Betty and Veronica face the possibility of just one last date with Archie ? 8 black-and-white line drawings.

    Book 4: It’s First Love, Jughead Jones-Food is the only love of forever-hungry Jughead Jones–until he meets up with sports star Melanie Marks. Jughead’s friends don’t kid him about hating girls anymore because Jughead’s in love, at last!

    Book 5: The Big Break-Up-After dating Big Moose Mason for years, Midge Klump gets tired of the way Moose takes her for granted and goes out with Reggie. The couple splits up, and Archie and his pals scheme to bring them back together. 

    Book 7: Tour Troubles and Betty Cooper, Baseball Star-Archie and his band go on tour, and Betty joins the baseball team.

    Sound familiar?

    Now, the Riverdale High series does have 3 books that have no corresponding New Look comic or any comic. And the New Look stories of My Father’s Betrayal, and A Funny Kind of Love don’t seem to have any corresponding stories to the book series.

    Until I went on ebay and found Class Clown whose back cover has the same plot as A Funny Kind of Love straight down to Reggie dating a braniac, Bernadette Brownlee, and My Father, the Enemy which looks like My Father’s Betrayal. Also on ebay it reveals it’s a 10, book series, not 8.

    Then there’s added confusion that Goodreads says there’s a book called Rich Girls Don’t Have to Worry while the rest of the internet says such a book doesn’t exist. But ebay does have a book that isn’t mentioned on goodreads, Is That Arabella? which seems to be the missing #9.

    But it’s interesting because the New Look series was advertised as all new look, all new stories by Melanie J. Morgan. So, is it a coincidence? I doubt it, the plots sound too similar (unless the way they play out is wildly different in Pellowski’s work. Yes I’m now tempted to see if there’s any copies on ebay). Did they bank on no one remembering the series since it came out over a decade ago? Possibly?

    It apparently lasted longer than the Betty and Veronica xoxo trilogy that also came out in 2010. They just don’t do well with prose novels.

    Here’s the goodreads link and decide if the similarities are too much to ignore-https://www.goodreads.com/series/269550-riverdale-high

    What do you think? Comment below.

  • Hailey Alcaraz Interview

    Hailey Alcaraz is the author of Up in Flames and the upcoming Rosa by Any Other Name. She graciously took the time to answer my questions and talk about her love for retellings, the impact of the Chicano Civil Rights Movement and more about her upcoming work. Enjoy!

    1. Let’s start simple, what were some of your literary inspirations when you were young?

    My mom is actually an author; her name is Erin Quinn, and she published her first book shortly after I was born. Growing up with a writer, I always saw writing a book as something that I could do. I knew it took a lot of work (my mom raised us, worked full time, took college courses and wrote several books throughout my childhood; to this day, I don’t understand how she did it!), but it always seemed like a realistic, attainable thing. Not to mention, she always encouraged me, helped me revise my work, and exposed me to a variety of books and writing opportunities. The example she set for me was beyond inspiring.

    2. You’ve mentioned that Gone with the Wind, in particular, inspired Up in Flames, how did that come about? 

    Retellings are one of my absolute favorite genres (I’ve been a fan ever since Lion King came out in the 90’s). Gone with the Wind is also a complicated favorite of mine. I loved so many of the characters and the history and the complex portrayal of love — but obviously, it’s a problematic book and the criticisms of it are more than valid. But I spent a lot of time puzzling over what a modern Scarlett O’Hara would like. In the book, she has some traces of feminism (albeit, white feminism) but I’ve always wanted her to take it a step further: to acknowledge her privilege and the errors in her ways and do so much better.

    So Up in Flames is my version of that. A stubborn, resilient young woman of privilege who has her world turned upside down and becomes a revolutionary in her own way on the path to recovery. I hesitate to call it a true retelling because Gone with the Wind is so flawed and has so many harmful messages, but critiquing and modernizing many of the themes and tropes in that book was definitely how my story started.

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  • Keala Kendall Interview

    Keala Kendall is the upcoming author of How Far I’ll Go and No One Gets Left Behind in the Twisted Tale series. A hapa Native Hawaiian writer of descent, she is also the co-founder of Pacific Islanders in Publishing and works to increase the PI-diasphora representation in literature. She graciously took the time to answer my questions about her upcoming work, thoughts on horror and what else is in store. Enjoy!

    1. When did you begin to write? Do you remember your first story?

    I feel like I’ve always been writing, so it’s hard to pinpoint when I started. But when I was eight, I posted an Inuyasha fanfic online which is the first story I shared publicly. One of my brothers is a famous fanfic writer, so he inspired me and was very encouraging as he helped me post it.

    2. While there’s a call for diversity in literature these days and an audience for these stories, what was it like in the beginning for you to break into this industry to share your stories focusing on your heritage?

    I was in school when We Need Diverse Books began, so I was lucky enough to benefit as a reader. However, the percentage of stories that are authored by Pacific Islanders, or that even feature Pacific Islander protagonists, has always been historically low. I didn’t get to see myself reflected in stories and that was mirrored in my early work. One of the first stories I wrote was about a white girl in Massachusetts which is a place that I’ve never been to. But unlike Hawaii, Massachusetts seemed like the woodsy sort of place where fairytales did happen. Growing up, most of the stories that were set in Hawaii that I saw were about its location as a beachfront paradise which didn’t resonate with me. 

    Unfortunately, even when I started to write stories that featured my Hawaiian heritage, I found it difficult to convince publishing professionals that the Hawaiian characters I wrote were accurately Hawaiian enough. At the time, I was writing sci-fi, so these characters existed in worlds that did not include the set dressing of Hawaii even though the themes they were embroiled in reflected modern Hawaiian issues that interested me.

    It wasn’t until I wrote my Hawaiian characters in Hawaii that those characters were deemed Hawaiian enough by non-Hawaiians. I am excited about the desire for diversity in publishing, but diversity should also reflect a diverse set of experiences. Hawaiians exist outside of Hawaii and there are Pacific Islander writers who want to imagine worlds that show Pasifika futures—not just our past. 

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