In April, Dr Renée Otmar DE will be running a fiction editing masterclass for IPEd with a focus on romance. Stephanie Holt AE spoke to Renée about what to expect in the masterclass and the changing expectations of the genre.
How long have you been editing romance fiction?
Early in my career I edited a poorly written romance by an author who had an idea to “cash in” on the ever-popular genre. It was an unwise decision on my part to take it on and a most unsatisfying experience. I swore off editing romance (but not reading it!) until 2008 or thereabouts. By then I had gained more confidence in my editorial skills and was comfortable about saying no to editing substandard work. I think readers and writers were also becoming far more discerning about the quality and flavour of romance.
In a nutshell, what can people expect to gain from such an intensive masterclass?
There is an intensity in a masterclass that differentiates an editorial focus from, say, a readership or writing focus. We editors demand clarity, and we like definitions, so in this masterclass we’ll explore what constitutes romance as a literary genre and how that intersects with the essential elements of story, which is at the heart of what we do when we edit fiction.
Although we will draw on theory and some research, our goal is to take a hands-on approach to the practice and business of editing romance, applying general principles to a live, unpublished (and unedited) manuscript. One of the exciting aspects of doing this as a group is the opportunity to test ideas in a collegial space. Shared insights can often lead to a transformation in the way we (individually) think about the genre and about editorial practices, as well as our personal perspectives and approaches.
Can you give us a sneak preview of the type of manuscript masterclass participants will be working on?
Mmm … sneak previews can be risky! Sometimes putting people off; other times confirming that they want to join the class. I hope it’s the latter, so here goes: it’s a contemporary retelling of Jane Austen’s Sense and sensibility, with a satisfying twist in setting, temporally, geographically and culturally.
As an editor, what do you love most about working on romance?
The “rules” of the genre (broadly speaking) are generally pretty clear. (Until someone breaks them, usually spectacularly!) Readers know what they love about romance and publishers know what they are prepared to invest in. And writers of romance are keen to give both what they want, often with a unique twist. When an author says they have written (for example) “a modern rags-to-riches romance with lots of spice and a HFN (happy for now) ending”, we might think we know what to expect, but the real gem is in how they have applied those tropes in the narrative they have created. I love finding those gems!
Do you relax with romance yourself, or is it strictly a professional preoccupation?
You know that saying about loving what you do so that you don’t have to work a day in your life? That’s how I feel when I am editing or assessing a romance manuscript, particularly historical romance. But some years the pickings are slim, meaning that I may be so busy with other kinds of editorial or research work that I can go for half a year without a romance manuscript passing my desk. Those are times when I actively look for a good romance to read for pleasure.
Do you think expectations of romance are changing? Are there new trends you are noticing?
Yes, I do believe readers’ expectations are constantly changing – and romance readers in particular. There are always new and exciting trends in fiction, and this represents opportunities for book editors. I’m looking forward to discussing these in this masterclass.
What are the most enduring features of a satisfying romance for you?
At the heart of the romance is an intense focus on the relationship between two individuals. That is the one feature that endures in this literary genre. How many ways can we write (or read) a love story? A gazillion ways, as it turns out! And we editors are fortunate to work with authors who are bringing new perspectives to an age-old dance.
Renée’s editing romance fiction masterclass is open for bookings!
Limited spots are available and bookings must close on Thursday 3 April so book now and secure your spot.