Harlequin Presents Writing Competition 2009: Editor Chat Transcript

If you missed the live chat with Harlequin Presents editor Joanne Grant about the Harlequin Presents Writing Competition, here is the full transcript! the transcript also includes some pre-submitted questions the moderators didn’t have time to get to but Joanne answered. There are a lot of questions so be sure to click the “continue reading” link to see them all.  You’ll find tips on things like writing the synopsis, differences between Modern & Modern Heat lines, heroes, contest rules, and more.

Big thanks to Editor Joanne for making this possible!

THE QUESTIONS:

Is it really a must for the writer’s to be 18 or above?? Would a little younger hurt?

Joanne Grant: I’m afraid so – 18 and over only. But you can still submit via the usual channels. You can find the guidelines on eHarlequin.com and you can now submit via email!

Can partners of contracted authors enter or are they excluded under the family rule?

JG: Sorry, yes – as a partner of a contracted author you cannot enter. However, as with the age restriction, this doesn’t stop you submitting a partial to us in the regular way.

Would it be acceptable to send a previously submitted comp entry that has undergone a major rewrite? If not, is it acceptable to submit such a partial even though no feedback was received from the first comp?

JG: If the submission has already been seen by us then sorry no, even if it has been re-written, but by all means send something new! Don’t be disheartened!

How many entries have been received, and how many do you expect to receive for the competition?

JG: At last count we’d received 40, but we tend to find we have an influx of entries in the final week! For our first Presents competition we received 600 entries, which was a great response, but we had a lot of multiple submissions, so that is why we introduced the one submission, per person rule. For the Feel the Heat competition, this resulted in 150 entries.

According to the rules posted on Iheartpresents, the synopsis should be “no greater than 2 pages in length, double-spaced”!! However, I read on another thread that the synopsis should be single spaced. Some clarity would be much appreciated before I start chopping.

JG: For synopsis we prefer two pages, double-spaced, which is the equivalent to one page single-spaced. Our preference is for double-spaced as it is easier on the eye

Is there going to be an email confirming entries have been received?

JG: Yes – there is an automated email response to confirm receipt.

Will other readers, besides the editorial team, read the entries?

JG: It will just be the editorial team.

Is it true that you can only submit to the contest once?

JG: Sorry, but yes – one submission per person only for the contest.

If I choose to write under a pseudonym, is my pseudonym the only name you need on the entry, or should I also include my ‘real’ name?

JG: Do whatever you feel most comfortable with!

If the word or phrase is meant to be in italics in the book do I use italics in the manuscript or do as a friend told me and show them underlined?

JG: Either is fine!

In the official rules on the IheartPresents site, rule # 3 says entries will be judged on voice, content, writing skills in equal measure. Doesn’t voice come under writing skill? Can you explain what other writing skills you’ll be focusing on?

JG: Voice is separate to writing skill – an author can have a great individual voice, but may find it hard to structure the story, pace, narrative etc. It is one thing to have a great story, but another to convey it in a compelling and clear way and execute it with individuality!

I plan to include the synopsis and chapter 1 in the same Word file–do you have a preference of which is first?

JG: Synopsis first please, or alternatively attach them as two separate documents.

Is the 5000 word count very ‘strict’? (i.e. would an entry be disqualified if it was 5020 words?)

JG: No, it wouldn’t be disqualified for being a little over, but it is good discipline to try and write to the specified word count. After all, in series books we do have a limit on overall word count.

Any tips on writing the synopsis?

JG: We mainly want to know about the characters and their conflicts, but where the plot is going is also important. For example, if the story hangs on the fact something ‘bad’ happened in the past, make sure you tell us what that something is in the synopsis! However here is a tip – we would rather you spent longer on your actual chapter and executing that well, than agonising over your synopsis.

If you read a great first chapter and the synopsis isn’t that wonderful, will you still consider the chapter?

JG: Of course!! It is all about the voice and the execution of the chapter. Don’t sweat the synopsis too much

Are there any certain themes/plots etc that you’re looking for in this competition?

The simple answer is, we are looking for new things, whether that be brand new themes and plots, or new twists on existing popular themes.

What types of stories are you not looking for in this competition?

JG: Anything that isn’t targeted at Presents or Modern Heat.

Will the ‘editor for a year’ prize critique works in progress… perhaps projects for HQ Presents, and other types of manuscripts (other romance genres/lines?)?

JG: Our aim of the contest is to develop Presents and Modern Heat talent, but if the winner of the comp showed potential for other series, then we would probably offer advice on those too.

When we enter in a contest, our entry is judged against other entries and a winner is picked. Will a manuscript have a better chance if it’s submitted through normal channels once it’s stand alone? Will you give feedback on an entry if it shows promise even though it’s not a winner or a runner up?

JG: If we see potential in a submission, whether it be in a contest or through the regular submission process we will encourage that aspiring author — so there is equal chance! We cannot promise detailed responses on all promising submissions however.

[Amy from IHP popped in to add in fact, a couple authors have sold after entering contests even though they didn't place! (see this post by Mira Lyn Kelly -- she's one of them. So is Tina Duncan.) ]

I’ve written my 1st Chapter and synopsis and I don’t know if it sit in the “Modern” or “Modern Heat” camp! So if you like the story would you guide us into the right camp so to speak?

JG: If we see potential in your writing we will offer guidance as to which camp you’re in! We have bought authors in the past who have been targeting one series, but who we identified as being suitable for another, so don’t worry too much!

In my first chapter, my hero and heroine don’t have dialogue until about page 6 — is that “bad”?

JG: That all depends on your submission, how much work it may need. For example, we may start with requesting revisions on your first chapter or we may just want to see what you have so far! We won’t expect you to have a full polished mss sat waiting for us!

In my first chapter I have two paragraphs of backstory. Is it better not to have any backstory? Or would two para’s be acceptable? Also, I have a phone conversation the heroine is having with a girl friend. It does have something to do with the circumstances in the next chapter, and the girlfriend will play a part in about chapter four. Is it better not to use this phone conversation? I do feel it is important to the story though.

JG: Without reading your chapter it is really hard to comment on whether the phone conversation and paragraphs work in the context of your first chapter. Which is exactly why we’re having this competition, it is your opportunity to get your work read by an editor!

Keep in mind that the first chapter is all important in setting up your characters, conflicts and getting your hero and heroine together on page. We want to see sparks and tension in this first chapter, and if any of the back story, or the telephone conversation, kills the all important tension or detracts away from the hero and heroine, then you may want to reconsider. But as I say, it is hard to pass judgement as it is all in the execution…

Is it acceptable to quote from someone like Keats? There’s also one small quote from Dylan Thomas (my heroine is Welsh). My thinking is that as long as it’s in the public domain it’s fine, but a different publisher once told me off for being “terribly worthy” in a submission I sent them. India Grey mentions Endymion in her latest book, but she sidesteps Keats completely. So I just wondered if this was a problem.

JG: Is this in your first chapter? I have to say that the use of such quotes can be off-putting to readers, but without seeing how this is executed, it is hard to pass judgement. Overuse of literary quotes in a short contemporary series novel could be distracting.

From a copyright point of view, if it is in the public domain, then that is fine. However from a publisher’s point of view, because we acquire for international markets that may have different copyright laws, as well as different cultural knowledge, it could be problematic.

Is there a preferred age range for the heroine and hero?

There are no hard and fast rules, but as a rough guide anywhere from 20-45 years old. However, it is more about life stage than actual age and it should be about what works for your story. In Modern Heat for example the characters tend to skew a little younger because of the types of conflict, character and scenarios.

With the difference between heroes in the two guideline types of Presents and Modern/Modern Heat, I’m confused on which would be the ones that we in the US see as Presents and which as Extras.

JG: The Modern Heats are in regular Presents (not Presents Extra) and can be identified by author name. To name a few: Kelly Hunter, Kate Hardy, Natalie Anderson, Heidi Rice, Robyn Grady, Anne Oliver, Kimberly Lang, Trish Wylie, Anna Cleary… Hope this helps!

I noticed last year that the editors feedback they had lots of very similar explosive first chapters. Can you give us a rough idea of [the same storylines which the editors read over and over again in submissions] so we can steer in another direction?

JG: We do see a lot of similar first chapters that have taken tried and tested romantic conventions, but it is how you give them your own original spin that will make them shine out against other similar ideas… We see a lot of coincidental meetings, that feel false, for example, because they are too contrived.

You’ve mentioned a few set-ups that are getting a little well-worn; are there any hooks you wish you saw more of or that haven’t been as popular lately but could use a shake-up?

JG: Hmmm…we would love to see new takes on the classics, such as marriage of conveniences, secret babies but we also want to see new ideas and new themes! We rely on the creativity of our authors to keep the line fresh.

I’ve heard editors mention that they are looking for ‘new twists’ on standard plots elements. Could you give an example of a plot that does that? Maybe a recent book that demonstrates a new twist?

Films such as Juno, Knocked Up, even Mamma Mia took tried and tested plots and twisted them with the types of characters and how they were executed.

In terms of recent books, Lucy King’s debut Modern Heat (and winner of the Feel the Heat competition) Bought: Damsel in Distress took a hero to the rescue plot and twisted it; he won/bought her on eBay and whisks her off on his private jet to the wedding of her ex-boyfriend, she is reluctant to attend. She however, didn’t know she was up for sale The whole premise was fresh and new and really caught our eye.

[note from Amy: you can use Mills & Boon's Browse this Book widget for Bought: Damsel in Distress to read the first chapter. Good research -- and good reading, too!]

In Lynne Graham’s The Greek Tycoon’s Blackmailed Mistress there is a twist on the secret baby and blackmailed mistress theme – it is perhaps easier to read it, than for me to explain the twists here, and Trenda – thanks so much for your example, which I have copied below:

Abby Green‘s recent Presents, The Spaniard’s Marriage Bargain, takes a tried and true plot twist and turns it on its head. Rather than the hero walking away from the heroine and their baby, the reverse occurs. Abby writes a compelling, heart-rending story about a young mother’s difficult choice to leave the man and baby she loves behind.

Can you clarify what “cliché” means to you, as it is a negative.

JG: Clichés are what we see lots of in romance submissions and have been overused so they are no longer original, so feel contrived. You can still take a ‘cliché’ and make it your own. So a cliche could be, finding out the man you had the best one night stand with ever is also (shock horror!) your boss! That is a cliché because we see it a lot, but it is how your execute it that can lift it from a cliché. Hope this helps

In my first chapter, there is no dialogue between the h&H until page 6 – is that “bad”?

JG: It is hard to say without reading your chapter, but we do find that dialogue can bring the reader into the action more immediately and with more impact.

Can the alpha have a weakness or disease. Not something incapacitating but an affliction under control but say something like diabetes or a wound or PTSD? Or the heroine for that matter. Or must they be perfect?

JG: All characters should have some kind of weakness — no one wants to read about perfect characters, because how can you relate to them? Physical weaknesses can of course work, as long as the hero remains strong and attractive to your heroine.

I have enjoyed many books from both Modern and Modern Heat imprints and I appreciate the differences in tone and style. Question: Can an author write for both lines? Also, how many editors read a submission before it is contracted?

JG: We prefer to start an author off on one line, get them established. Susan Stephens for example writes for both Presents and Modern Heat. As for how many editors read a submission — it depends on who gets her hands on it in the first place! But generally, a submission is always read by the Senior Ed of the line and the Editorial Director before going to contract.

What countries do you sell modern/heat in?

JG: Modern Heat and Modern/Presents are pretty much sold worldwide!

We hear a lot about the hero in Presents. What about the heroine? As you have answered in a pre-submitted questions – she is the gateway for the reader. My girl is just a tortured at the hero — but in different ways, of course. Her backstory is just as vital to their happiness as his. He helps her as much as she helps him. Am I on the right track?

JG: Of course! The heroine is as important as the hero – she must have internal emotional conflicts too. Both characters must change and develop through knowing each other and falling in love through the course of the book. Sounds like you’re on the right track

What is the difference between a Desire heroine and a Presents heroine?

JG: There is no real answer to this because Desire and Presents heroines, like the heroines in all of our series books, can share similar qualities. Within Presents, there is a huge variety of heroines – you only have to read the series to see this. For example, on one hand you can have a poor, shy heroine who has to make a living as a housekeeper and is wary of men. On the other hand, you can have a rich, society heiress, who is confident and outgoing. It is making your heroine engaging, empathetic and well-rounded that is important – after all, she is your readers’ gateway to the story.

Can the heroine be richer than the hero?

JG: Yes, we have had heroines who are richer, but if you are using this as a source of conflict make sure it doesn’t undermine the fantasy. This may be a theme more suitable for a Modern Heat. A Presents hero’s wealth is usually a given because he is the alpha man. Remember Presents isn’t the place for ‘everyday’ men with regular jobs, trying to make ends meet.

An author on the Romance Writers of Australia mentioned today that her editor reminded her of the need to write to a line’s core themes because that was what the readers where after. Could you tell us what such core themes are for MH and Presents?

JG: Core themes for the line are alpha males, glamourous international settings, a variety of heroes: Greek, Italian, Sheikhs… The Cinderella fantasy e.g. housekeepers, boss/secretary stories, secret babies, marriage of conveniences, accidental pregnancies… Wow — there is a lot! I would say by taking a look at the series, even by reading the back cover for a couple of months you can see the types of themes.

Are there any locations you prefer in Presents?

JG: We are open to a wide variety of locations, but readers come to the series for a glamorous, escapist read with international settings so this is what we look to writers to deliver – so for example, setting a book entirely in a rural area is not really delivering on the Presents promise.

Can they be set at multiple locations, not all of them exotic?

JG: Multiple locations are fine, Betty, however the overall feel should be of escapism. As I have answered elsewhere, setting a book entirely in a rural area is not really Presents – we want glamour and sophistication!

How long does it take for a submission sent via literary agent to get a response? I’m not referring to the contest but to a regular submission.

JG: We aim to respond within the usual time frame, about 3 months and you don’t need a literary agent to submit to our series.

Is the main requirement for Presents is a *very* deep level of emotional intensity or if a lighter tone can be acceptable?

JG: If you are looking for a lighter tone, maybe take a look at the Modern Heat guidelines and read a few. Presents are most definitely intense

For the Modern Heat line, I was hoping you could speak about the level of heat the editorial team look for. My characters are quite keen to tumble into bed, but how explicit should the writing be? The Modern Heats I’ve read had sex scenes that were very much accounts of how the characters were feeling in the moment and the scenes didn’t go into detailed description of their bodies and how they fit together…I’m wondering if there’s room to play with a little more…

JG: Modern Heats should be sexy and it is great to hear that your characters are keen to tumble into bed — it sounds as if they’re ready to put the ‘heat’ in Modern Heat! Mara, there is room to play with the sensuality and the explicitness in these books — we want the characters to have fun in bed — but the sex should always come out of a developing romance, be well-motivated and the language should avoid sexual swear words. The sex itself should not be gratuitous and should be used to heighten the romantic stakes and tension between the hero and heroine.

I hope this helps and why not see where your characters take you.

In the proper situations, how is humor between the main characters received in this particular contest?

JG: Modern Heat has a lighter tone and there is a place for witty banter in that series. Presents is more intense, but some well-placed humor can work.

Would you consider a trilogy idea from a new author to your imprint who is already published in romance?

JG: For Presents and Modern Heat we prefer to look at stand alone titles for new authors to the line in the first instant. We usually contract strongly linked books from existing and established authors.

I’m struggling with how to make the conflicts deep enough if the Modern Heat hero is not as tortured as the alphas in the other series (as per Bryony Green’s recent comments). Can I torture him a little bit? Is it to do with overall tone, a lighter touch?

JG: Yes – it is to do with tone! A little bit of torture never hurt a real alpha that much

I read ‘damn’ in Presents novels but how far or what don’t you consider acceptable? What words don’t you allow? What about the Lords name in vain? ‘God’ I’m not trying to offend anyone, just trying to see if I can use it. (not that I do myself) This is my characters speaking.

JG: We too, do not want to offend our readers, and for that reason I won’t be listing words we feel are unacceptable here What one reader may find offensive another may feel fine with, but as a guide, we do not include, what we consider to be, swear words, or sexual swear words and we keep any type of blaspheming to a minimum. Overuse of swear words and blasphemy is often a sign of lazy writing, and in many cases is unnecessary i.e. it doesn’t add anything to the characterisation, tension or developing romance. On the other side of the coin however, would an alpha male really respond to a highly charged situation with an ‘oh, golly gosh!’ or better still, in a Hugh Grant Notting Hill style ‘whoopsie daisy’! A well-placed word or phrase can cause dramatic effect, but use them sparingly.

How much should a young child be in a secret baby book? The hero is the father but he doesn’t know that the heroine is the mother.

JG: Presents should be focused tightly on the hero and heroine and babies/small children can get in the way of that (and the all important sizzling tension!), so they shouldn’t be on page too much. I recommend reading a few secret baby stories to see how authors handle this.

Are there any further tips you could add about writing the synopsis?

JG: Keep it short, to the point. Don’t miss out any essential facts and make sure the emotional conflicts are clear. But most of all – don’t worry about the synopsis too much, it is a great first chapter that will wow us more than a well-written synopsis.

Can the hero/ heroine have grown kids?

JG: Children aren’t really a big pull for Presents readers, unless it is a secret baby/child and even then, readers do not want to see them on page that often. This is because in Presents, the actions should be intensely focussed on the couple and be sensually charged – children (of all ages) tend to get in the way of this!