In Pursuit of the Romantic Past


Foreign Editions – The Good, The Bad, and The . . . HUH?!?

This past week, I was notified that my book, THE ART OF SEDUCTION, had been sold to the Czech Republic, and also received my copies of the Japanese edition of JUST FOR HER. So I started thinking about what an odd, surprising thing it is to sell foreign rights.


Russian editions – The Last Highwayman
and Written in the Stars

One of the best things about being a romance writer is that there’s a huge audience for the genre in nearly every country around the globe. When you’re first published, your agent tells you what percentage of foreign rights you’ll receive, but to be honest, it never really occurs to you that your books will sell to other countries. So it comes as a complete and delightful surprise. You can be going about your day and out of the blue you’ll get an email congratulating you on the sale of Such-and-Such book to Norway, or Japan, or Russia.


Norwegian editions of Bride of Danger
and Written in the Stars

It’s a happy experience, but also surreal because you have absolutely no contact with the publisher in that country, and therefore no say about covers, graphics, or the translation itself. Since most of us can’t read any of these languages, you have to take it on faith that what is produced will be some semblance of your original story.


Dutch editions of Bride of Danger
and Silent Surrender

The designs of these books have varied. Most have the usual romance-type cover, but the characters depicted bear little, if any, resemblance to those you’ve created, even down to the color of their hair. Some are quite imaginatively designed. In fact, I’ve liked some better than the original U.S. covers. For instance, the Czech Republic cover for WRITTEN IN THE STARS, a novel that takes place in Egypt, carries a simple but stately likeness of the Nefertiti bust currently in the Neues Museum in Berlin. It’s my favorite of them all.


Czech Republic edition
of Written in the Stars

The Russian cover for MY ONE AND ONLY, which is partially set in India, has a picture of the Taj Mahal. I love the idea, but it’s also surrounded by a LOT of pink!


Russian edition of
My One and Only

The Chinese cover for MASTER OF PARADISE makes it look like a gothic novel, where the heroine is running for her life from a haunted house. 


Chinese edition of
Master of Paradise


I don’t really understand what attracts some countries to some books and not others. You’d think if they wanted one of your books they’d want them all, but that’s not the case. Since most of my characters are British, I would have thought the books would have sold to English publishers, but so far, none have. There doesn’t seem to be any logic to it. It’s just the luck of the draw.


Czech Republic edition of
Taken By Surprise

Once you’ve signed the contract for a foreign edition, it can take up to a year to be paid, and even another year or two before you see the books. Definitely not a speedy process. But since it was never expected, I look upon it as icing on the cake.


Japanese edition of
Strangers in the Night

The Japanese and Chinese books read backwards to us, from the back cover to the front. As I’ve lived in Asia, this wasn’t a surprise, but it’s fun to see your own book in that format.



The Japanese cover for JUST FOR HER is kind of amusing. Since my character is blond, they pictured a Japanese woman with dyed blond hair.


Japanese edition of
Just For Her


But the one I’m most eagerly awaiting is their manga comic version of JUST FOR HER, which is supposed to come out next year. You have to wonder how they’re going to make a Japanese comic out of a story about a Habsburg princess living in the South of France. I can’t wait to see it!


With a Little Help From My Friends

Having launched the new me—the self-publishing blog-writing new me—I have to take a moment to acknowledge those who have helped me along the way. Most good things are a result of a creative collaboration between compatible, supportive people, and publishing, even self-publishing, is no exception.

I’ve had experience now with both types of publishing. In 1992, after 18 years of frustratingly writing 8 hours a day with nothing to show for it, I decided to go back to a book I’d written poorly, but still loved. So I rewrote THE LAST HIGHWAYMAN, utilizing the things I’d learned about writing during my long struggle. Once it was finished, I asked my husband Bill’s agent (Russ Galen) for advice and he told me, “For romance, you don’t really need an agent initially. Send it to Barbara Alpert, a terrific editor at Bantam. If she likes it, then use the strength of that deal to get an agent.”

I followed his advice, sent it cold to Barbara, and waited for four months. As I hadn’t heard from her, I called her office and her assistant told me it was on her list of manuscripts to read and she’d try to get to it soon. Four more months passed. Then one day, when I’d all but given up on it, I came home and checked my answering machine. And there, to my astonishment, was a message from Barbara saying she loved the book and wanted to buy it. I just sat there, stunned. After all those years of plugging away, I was finally going to be a published author!

Barbara turned out to be the editor of every writer’s dreams. While she insisted that I change the unhappy ending in which my hero had died, that was really the only change she made. She supported me wholeheartedly, promoted the book tirelessly, and became a friend in the process. I couldn’t believe my luck. I’d found my Maxwell Perkins. Barbara alone made my years of struggle worth it. I’ll always be grateful to her for making my dream come true.

Then a funny thing happened. Months later, when my husband was going through some old papers, he found a rejection letter from Avon for my first awful attempt at THE LAST HIGHWAYMAN. It was signed by Barbara Alpert! I thought it was hilarious, a great Cosmic joke. Barbara was less amused. But it proved to me that rejection is only feedback telling you that you have to work harder, and make it better. Rejection is never the final word.


Barbara Alpert

Having sold two books to Bantam through Barbara, I decided to ask her about agents. She told me if she were going to write anything, she would want Meg Ruley of the Jane Rotrosen Agency to represent her. So I wrote to Meg telling her I’d sold two books to Barbara and asking if she was interested. She was. She loved THE LAST HIGHWAYMAN, and just like that I had a wonderful New York agent whom Russ Galen respected tremendously.

Meg turned out to be my second gift, a friendly, funny, dedicated agent who also became a friend and champion. She fought my battles for me and negotiated a new 3-book contract for me that was beyond my wildest dreams. And when Barbara left publishing after my second book, breaking my heart and leaving me devastated, it was Meg who helped me pick up the pieces and go on. No one could have asked for a kinder or more helpful agent. Russ had told me, “Editors come and go, but your agent is the one you can always count on,” and Meg proved that to be true. Although I was never her highest grossing author, she has always been there for me, a dear friend and advocate in times of need.


Meg Ruley

After Barbara left, things were more difficult. I had a succession of editors, and learned from them, but no one was the friend Barbara had been. Until Kate Duffy of Kensington Publishing came into my life. I’ve written a bit about how it happened on the TAKEN BY SURPRISE page. Kate was a delightful woman who loved everything I did and only changed two things in the five books I wrote for her. She was a joy to work with, had a great passion for romance, and knew more about the business than anyone. Like Barbara, she never tried to change an author, but strove to bring out the best in each. She was so generous and amusing, and had such a joie de vivre about her. It was such fun talking with her.

But, when I turned in my last book for her, JUST FOR HER, things seemed to change. I didn’t hear from her for months. I was tearing my hair out, certain she’d hated the book. Finally she called. To my surprise, she told me how much she loved the book. I couldn’t figure out why it had taken her so long to get back to me, when she’d always called me within days of reading a manuscript before. When I asked her about it, she was vague.

I didn’t hear from her as much during the publication process. I assumed she was busy. Then one day Meg called and told me the sad news. Kate had died of cancer. Once again, I was devastated. And I realized why I hadn’t heard from Kate for so long. She’d been undergoing treatment, and hadn’t said a word. I felt awful. I wished I’d known so I could have offered comfort and support.

It was only after her death that I found out what an influential editor Kate had been. The New York Times ran a half-page obituary for her, something unheard of for romance editors. She was a legend in the publishing business. But to me, she was just the lively, kind woman who had sought me out and shown me such support when I’d really needed it.


Kate Duffy

So I was blessed to be book-ended by two great editors and buoyed by a fabulous agent.

Fast-forward to the day when my husband told me, “Ebooks are the wave of the future and we have to ride this wave.” To be honest, I felt completely overwhelmed. The more research we did, the more impossible the process seemed. I didn’t know how to do any of it.

I contacted Meg to talk about getting back the rights to my first seven Bantam books. To my relief, she had already put in the request. But it still took nine months. Bantam wanted to put them out as ebooks themselves, so Meg had to fight to get the rights back.

Then there was the daunting task of turning them into ebooks. They had to be scanned and re-read and corrected because the scans were atrocious. I researched people who could turn the scans into ebooks, but no one was really exciting me. It was all so impersonal, and the finished products seemed so ordinary. I felt more alone than I ever had.

Until one fateful day when I was looking on Amazon to see how other writers’ ebooks were formatted, and I ran across Julia Barrett’s books. They had stunning graphics as chapter headings. And suddenly I saw that ebooks don’t have to be plain, uncreative things. They can be as beautiful as print books. When I saw that Julia had linked to the woman who had formatted her books, I was bubbling with excitement. I contacted JW Manus, who agreed to do my books as well.

Little did I know that day that I’d found my guardian angel. Jaye, who is an accomplished author herself, knows everything there is to know about ebooks. She patiently and articulately walked me through all the steps I needed to take, explaining everything so I actually understood it. We had a blast finding graphics for my books. We started out simply with the first three books, but as we began to realize how well we work together, we grew bolder, adding color graphics and more complex designs. Jaye almost made me weep with relief when she offered to upload the books for me. Then, when it was time to create this website, she did it for me!

I can truthfully say, if it hadn’t been for the unwavering determination of my husband, who never lost sight of this new vision, and the skill, helpfulness, and creative genius of Jaye Manus, I probably would have given up on this process long ago. Jaye has, in a sense, performed the functions of a publisher, and has become a friend as well. For which I’m eternally grateful.


Jaye Manus

So I’ve found that, even in self-publishing, it really does take a village. It’s so important to have good advice, to have someone with whom to soundboard ideas, and someone who knows more than you do about the process. I’m only beginning this new adventure. But as with all the other steps of my career, the first lesson I’ve learned is that you get by with a little help from your friends.


20 Years of Romantic Adventure

1gThe year 2013 marks my 20th anniversary as a published writer. There were many years in the beginning when I despaired of ever being able to say that. So to celebrate this milestone anniversary, I decided to get the rights back to my first seven books (originally published by Bantam) and turn them into ebooks. It’s been a grueling year-and-a-half process, but they’re finally available. And because of the help of JW Manus, they’re gorgeous, with dazzling graphics as chapter headings. I was lucky to find Jaye, who is without a doubt a leader in the field of ebook creation. She believes ebooks should be as beautiful and respected as print books, and has proven that with her designs for mine. I can’t wait for you to see them!

I also, in this anniversary year, decided to–finally!—create a website. I resisted doing so for a long time, as I was too busy writing, but with Jaye’s help, I think we’ve come up with something stunning and a little different.4b

The main difference is that I’d like to share with you some of the stories behind the writing of my books, and some of the many places I’ve gone to research them. I grew up with an international background in a family of travelers, and this is reflected in my work. In the past 20 years, I’ve been to every place I’ve written about, and then some. I’ve journeyed to all seven continents, including Antarctica.

3bBecause my characters are often British, many of my books are set in the far-flung remnants of the British Empire in all its former glory.

Writers are as different as any other group of people. I have great respect for an author who can sit in a room and imagine a world he/she has never seen. After all, Stephen Crane never experienced a Civil War battlefield, but he managed to write THE RED BADGE OF COURAGE.


But setting is so essential to my work that I need to go there myself, to absorb the spirit of the place, to meld with it and channel that energy. I know, for instance, that I can never describe Paris as brilliantly as the great authors have. What I can do for my readers, though, is depict the city through the unique eyes of my characters, to see everything from their points of view, to notice things only they would notice. An artist would see that world through color, light and shadow, while an actress might imagine the epic stage scenes that had transpired there. Therefore, no two descriptions of the same city in different books would be the same.

My mode of travel through the years has been different, but I found early on that, since I write historical novels, taking cruises is an ideal way to see places as my characters would. A cruise ship usually docks in the older part of town and, as my characters often arrive by ship, I can put myself in their shoes from the first sighting of land.

I’m not a backpacker. My characters are glamorous so my travels are glamorous and romantic. I stay in some of the best hotels because they do. When I write, I create a fantasy that could only happen in that particular place. But I’ve learned tricks along the way of how to travel like a jetsetter on a budget. I’ll include some of those tips in later blogs. I’ll share with you cruises I’ve loved, hotels to die for, and some practical information along the way.


So please join me on an adventure of travel and amour around the world. Whether you’re a reader of romance, an inveterate traveler, or just want to experience these wonderful places from the safety of your armchair, I hope you’ll find these blogs to be interesting, informative, and most of all entertaining.