S04.36: Jude Deveraux: Trailblazer
Our Trailblazer episodes continue this week with Jude Deveraux, an early historical romance author who broke several publishing barriers over her more than forty year career.
In this episode, we talk about her journey through the Wild West of romance in the late 1970s, her publishing career at Avon Books, Pocket Books and Ballantine. We talk about the judgement and misogyny that circles romance, the buying power of readers, and the way the genre and bookselling has changed. We also talk about her writing process, and what it’s like to be Jude Deveraux. This one is a real joy for us, as we wouldn’t be the readers or writers we are without Jude Deveraux.
This episode is sponsored by Avon Books, publisher of Joanna Shupe’s The Bride Goes Rogue, and Amazon’s Kindle Vella, publisher of Eloisa James’s The Seduction Series.
Show Notes
Like many of our trailblazers, Jude Deveraux’s first brush with romance was Kathleen E Woodiwiss’s The Flame & the Flower. The publisher with “the prettiest covers” in the 1970s she references was Woodiwiss’s publisher, Avon Books.
Books of Jude Deveraux’s that we talk about in depth include: The Enchanted Land (her debut novel), A Knight in Shining Armor (early time-travel romance), Sweet Liar, The Providence Falls series with Tara Sheets, The Girl from Summer Hill, Twin of Ice (the twins!!), and “The Matchmakers” a short story in The Invitation collection (featuring Cale & the angel sex scene).
The Four Js were Jude Deveraux, Julie Garwood, Johanna Lindsey and Judith McNaught.
People mentioned in the episode: Kate Duffy, editor at Silhouette Books and Pocket Books; Joan Schulhafer, publicist at Pocket Books; Richard Gallen, publisher & packager; Ronald Busch, publisher of Pocket Books; Robert Gottlieb, agent; Linda Marrow, editor at Ballantine/Doubleday/Dell; Kathryn Falk, publisher of Romantic Times Magazine; Kathe Robin, reviewer at Romantic Times Magazine.
Books Mentioned This Episode
Sponsors
This week’s episode of Fated Mates is sponsored by:
Avon Books, publisher of Joanna Shupe’s The Bride Goes Rogue, available at
Amazon, Barnes & Noble, Apple Books, Kobo or your local independent bookseller.
Visit avonbooks.com
and
Amazon’s Kindle Vella, publisher of Eloisa James’s The Seduction series,
available at amazon.com/kindlevella.
S03.51: Mistresses, Courtesans, and Cheating in Romance with Adriana Herrera
Adriana Herrera, a FIVE-TIMER, joins us this week to talk about the third-rail of romance…infidelity! We’re talking about cheating, and about all the other bits related to it: mistresses, courtesans, illegitimate children, sex work…and get your pencils ready because (of course) we’re toppling TBRs with this one.
Don’t miss Fated Mates LIVE! to celebrate the release of Sarah’s next book, BOMBSHELL! Join us and some of our very favorite people on August 24th! Tickets are a copy of the book, and available at five participating romance friendly bookstores. Get them here!
Speaking of BOMBSHELL, it is our next read along! Get it at Amazon, Apple Books, B&N, Kobo, or Bookshop.org, or at one of the participating romance-friendly bookstores hosting the Fated Mates Live/Virtual Bombshell Launch! Orders will come with a Fated Mates Sticker!
Thank you, as always, for listening! Please follow us on your favorite podcasting app, and if you are up for leaving a rating or review there, we would be very grateful.
Show Notes
Welcome to five-timer Adriana Herrera, our very own Rizzo, and her Pink Lady jacket is on the way. PS. It was only in working on these show notes that Jen realized that Rizzo’s first name is Betty.
The phrase “safe romance” is used in online spaces to describe books without a single molecule of infidelity energy.
Infidelity in evangelical christianity (and everywhere, honestly) often places the blame on the wife if her husband strays and also on “the evil other woman” -- in this model, you know who’s not to blame? Men.And that’s pure patriarchy.
Lavender wasn’t invented because it’s a plant and its known history dates back 2500 years.
Courtesan culture was inextricably tied to colonialism in India, in China, and in the USA.
Summer Brennan’s patreon about The Book of Courtesans. Hallie Rubenhold's Covent Garden Ladies, which is the book that inspired the Hulu TV show Harlots, is about Harris's List of London "working girls."
The Spanish word for wife is esposa, which means handcuffs or manacles, while the word for mistress is amante, which means beloved.
We have had some deep dive episodes where there is infidelity: Waking Up with the Duke by Lorraine Heath and Ravishing the Heiress by Sherry Thomas
There are so many bastards in historical romance, partly because it’s an easy on-ramp for creating a character who is an outsider.
Ethical non-monogamy is the practice of talking to your partner(s) about the boundaries of your relationship. Polyamorous and Open relationships would fall into this category.
On Maryse’s Book Blog, there was a 2015 post about cheating in romance, and most of the titles are self-published and indie.
Sarah talked about Lorenzo Lamas and Dynasty and Jen and her brother Mike talked about Santa Barbaraon Adriana’s Instagram Live conversations about telenovelas and soap operas.
We are having a live episode of Fated Mates to celebrate the launch of Bombshell on August 24th at 7 eastern, to get a ticket, you'll need to buy a copy from one of these indie bookstores. (If you already pre-ordered from WORD in Brooklyn, you'll get log in details in an email.)
S03.33: Age Gap Romance
Silver foxes, May/December, older heroines/younger heroes. Look, Sarah’s buttons were installed young, OK? We’re talking age gap romances, how they played out in the early days of the genre, how they remain popular today, and what has happened (or not!) in the books to make them viable in 2021. We try to keep this one taboo but not dark, sexy but not erotic…but by the end, we’re not making any real promises.
Check all your Content Warnings before you begin with these books!
Whether you're new to Fated Mates this month or have been with us for all three seasons, we adore you, and we're so grateful to have you. We hope you’re reading the best books this week.
Next week, we’re reading Kresley Cole’s debut, The Captain of All Pleasures. Neither of us have read it, so we’re all jumping into the deep end without a mask on this one! Find it at Amazon, Barnes & Noble, Kobo, or Apple Books. Or find it from your local indie via bookshop.org.
Show Notes
You can buy Iris Johansen’s mansion in Cartersville, GA for a cool 8 million.
Maybe Chaotic Evil isn’t the best writing plan.
Here’s some pop psychology about the May December romance. By the way, the phrase May-December romance apparently dates back to Chaucer. In The Merchant’s Tale, a young woman named May marries a much older man and a confusing idiom was born.
As it turns out the “half your age plus 7” rule is not something Jen made up, because once you google it, you get charts and graphs and articles and everything.
Sarah’s reference to “Every terrifying post on that reddit board” is r/relationships, although r/amitheasshole is always available with some new tale of terrifying bad behavior.
This problems presented from lack of sex ed are pervasive though historical romance, but how much better are we doing by our kids?
Jen was talking about Marvin Gaye when she mentioned "Everybody wants their own piece of clay" shit.
Diana Palmer has a long, storied romance career, and none of it involves that kind of DP. The first book in the Long Tall Texans series, Calhoun, was published in 1988, and the latest one is #57 in the series, Texas Proud, and was published in October of 2020.
All joking about the Pioneer Woman aside, she does have some great recipes.
It turns out that the “boiling frog” analogy is just a myth, so keep on reading!
The movie Carol is based on Patricia Highsmith’s The Price of Salt.
The Jessa Kane book with the dirty version of the talk is called His Prize Pupil, in case you want to read it yourself. For science.
Our next read-along episode will be The Captain of All Pleasures by Kresley Cole. If you want more Kresley, all of Season One is for you.
Books Mentioned in This Episode
S03.20: Romance Families
It's the holidays and we're talking family romances because many of us are with our families or thinking about them this week. No matter whether you have a perfect family life or one that's a bit more of a journey, romances focusing on families have been around from the beginning -- this week, we're talking royal houses like the Westmorelands and the Malorys, the LeVeqs and the Montgomeries, and the Holmeses and the Hathaways. We also talk a lot about our own families...which was unintended, but there it is.
You still have time to buy the Fated Mates Best of 2020 Book Pack from our friends at Old Town Books in Alexandria Virginia, and get the seven traditionally published books on the list, a Fated Mates sticker and a candle from the bookstore! Order here!
Thank you, as always, for listening! If you are up for leaving a rating or review for the podcast on your podcasting app, we would be very grateful! For the next week or so, we've got a lot of fun stuff in the hopper -- be on the lookout for a few extra episodes!
And, if you're celebrating this week -- Merry Christmas!
Show Notes
Richard Gere wasn’t old when he filmed Pretty Woman, even though he was going gray.
Samantha Jaxon posted a very upsetting TikTok, and that's all we have to say about that.
The days of the big and small envelope in college admissions are over, but they do have the Common App and that seems nice.
Maybe, you too, would like a karaoke microphone for your future weather-person.
The 1987 movie Roxanne with Steve Martin and Daryl Hannah is a Cyrano retelling, and it has lots of very funny jokes and one-liners.
There is one more phone-banking opportunity on January 4, 2021. You should join us!
Bridgerton drops on December 25th, along with Wonder Woman 1984. Virgin River is another Netflix show based on a romance series.
Just a heads up about the photo array, I’m just including the first book of a family series because otherwise it will be overwhelming!
70s and 80s Old School romance series with families include: the Malorys by Johanna Lindsey, The Montgomerys and Taggerts by Jude Deveraux, and the Westmorelands by Judith McNaught.
90s families: the LeVeq family by Beverly Jenkins, The Cynster family by Stephanie Laurens, the Rocking M series by Elizabeth Lowell.
2000s families: Brenda Jackson’s Westmoreland family, the Essex Sisters by Eloisa James, The Holmes Brothers by Farrah Rochon, and the Hathaways by Lisa Kleypas.
2010s families: The Blackshear family by Cecilia Grant, The Ravenels by Kleypas, the Duke’s Daughters by Megan Frampton, the Mackenzie series by Jennifer Ashley, the Greene sisters in the Uptown Girls series by Joanna Shupe, the Talbot sisters in Sarah’s Scandal and Scoundrel series, the von Hasenberg sisters in the Consortium Rebellion series by Jessie Mihalik, the Hidden Legacy series by Ilona Andrews, and the Sullivans by Bella Andre.
Brenda Jackson was the first Black romance author to hit the New York Times bestseller list with the book Irresistible Forces in 2008. It's not a Westmoreland book, but the Westmoreland series is currently 30+ books and growing.
S03.18: Julie Garwood Interstitial: Damnit, Sara! (Not our Sarah!)
This week, we tried something a little different—recording a live interstitial episode! We’re talking about Jen’s formative queen, Julie Garwood, and we dig into dialogue, alphas who are instantly gone for their heroines, heroines who tame wild animals, arranged marriages between children, and why every Garwood historical feels medieval whether or not it actually is.
We recorded this episode live during a Fated States postcard-writing party to get out the vote for the January 5th runoff election in Georgia. If you’re a Georgia voter, please vote for Jon Ossoff and Reverend Raphael Warnock, and let’s finish what we started with the blue wave! If you’re up for it, please consider joining us for a phonebanking session on the evening of January 4th!
Next week, in advance of the launch of the Bridgerton series on Netflix (coming December 25th!), we’re reading Sarah’s favorite Julia Quinn novel, The Secret Diaries of Miss Miranda Cheever. Get it at Amazon, B&N, Kobo, Apple or at your local indie via bookshop.org.
Show Notes
Fated States is gearing up to phone bank on the evening of Jan 4 from 5-7 central time. Join us if you can!
Sarah mentioned seeing Berkley editor Cindy Hwang on a panel--it doesn't appear to have been recorded, but here is the description of the panel.
In Sarah’s OSRBC facebook group, there’s a longstanding search for a book where two people are on a beach and a wave throws them together, and then “oops they’re boning.” A few folks have suggested that maybe it was Pirate by Fabio. So check it out. His co-writer (a ghost writer is when they are unnamed) is Eugenia Rielly.
A teenage horror/romance that both Jen and Kelly loved was called The Ghosts of Departure Point. Probably came from the Scholastic Book Club, if we’re being honest.
In case you’re wondering, the copyright page will tell you if you’re holding a first printing or first edition. Here’s a bunch of people talking about why the edges of paperbacks were dyed.
RT Book Reviews and the RT conference once had Julie Garwood and Jude Deveraux on stage at the same time, and YouTube has the video! When Coronavirus is over, I highly recommend going to KissCon.
Nora Roberts is our Queen and last week a poor unfortunate soul named Debra learned that the hard way.
Obviously, Luke grew up on Tatooine. Hoth was that ice planet place, which is why the women in the Ice Planet Barbarians series call their new home Not-Hoth.
We’d be interested in hearing your interpretation of The Bechdel Test. Jen thinks the women can still talk about men AS LONG AS they also talk about other stuff, but Sarah thought it required no discussion of men at all which is pretty tough to find in romance. FWIW, Jen mentioned it in regards to The Bride because Jamie is so isolated and largely without women friends.
We like prologues and epilogues here at Fated Mates, but we understand not everyone agrees.
The feud between the families in The Gift is “like the Montagues and the Capulets, but worse.” Speaking of which, Kate Clayborn’s upcoming book, Love At First, is an homage to Romeo and Juliet.
This isn't exactly about the life expectancy in Scotland was in 1100, but it's close enough.
Vanessa Riley’s site has a great explainer about Black people during the Regency on her site. We talked about the Carribean in the Regency when we read Gentle Rogue.
It wasn't a "rip off" of Home Alone, it was just an allusion. Similarly, Nathan's whip reminded Sarah of Indiana Jones.
Are these books on audio? Why yes they are and Jen listened to The Bride in between recording and release of the episode and greatly enjoyed it.
Next week, we're reading The Secret Diaries of Miss Miranda Cheever by Julia Quinn
S02.19: So You Want to Read a Historical
We’re launching a Special Romance Report here at Fated Mates — a series of interstitials introducing readers to the subgenres of Romance (there are seven!) — we’re talking about why they exist, what they’re trying to do, what to expect from them, what might have readers hesitating, and where to start! This week, we’re starting with Sarah’s favorite subgenre — Historicals! We’re talking about why they’re sexy, progressive, feminist, and very not boring.
Don’t miss a single moment of our 2020 episodes — subscribe on your favorite podcasting platform and like/review the podcast if you’re so inclined!
Next week, we’re talking Kristen Callihan’s Managed, which you may recognize as “SCOTTIE,” which is how Jen refers to it because she loves him so much. We think you’ll love it, too, and if you have time, read the next in the series, Fall, which is one of Sarah’s top 10 romances ever. Read Managed at Amazon, Barnes & Noble, Apple Books, or Kobo.
Show Notes
RWA imploded and it's such a long, complicated story, but this article from Vox and this timeline by Claire Ryan are what will catch you up.
Let's start at the very beginning, a very good place to start: there are seven romance subgenres: historical, contemporary, romantic suspense, paranormal, inspirational, erotic romance, and YA.
When it comes to the grandmother of historicals, don't forget that Jane Austen was writing contemporaries.
Johanna Lindsey died in October, and her family announced it publicly in December. The New York Times obituary was trash, so read the Washington Post or Entertainment Weekly one instead. Check out the Twitter hastag #MyFirstJohanna for people's stories about their first book by Lindsey (including Sarah's), and maybe listen to our episode on Gentle Rogue.
Support Farrah Rochon for an organ in her sister's memory. And come this summer, buy her upcoming book The Boyfriend Project.
In Born a Crime, Trevor Noah wrote about what his mother said about her second husband wanting to put her in a cage: For a long time I wondered why he ever married a woman like my mom in the first place, as she was the opposite of that in every way. If he wanted a woman to bow to him, there were plenty of girls back in Tzaneen being raised solely for that purpose. The way my mother always explained it, the traditional man wants a woman to be subservient, but he never falls in love with subservient women. He’s attracted to independent women. “He’s like an exotic bird collector,” she said. “He only wants a woman who is free because his dream is to put her in a cage.”
Mary Wollstonecraft is all the evidence you need that feminists have been around for a long time.
Jen recommends In the Dream House by Carmen Marie Machado, which is about domestic abuse in a queer relationship. The quote from Jose Estaban Munoz is, "When the historian of queer experience attempts to document a queer past, there is often a gatekeeper representing a straight present."
When talking about The Doctor's Discretion by EE Ottoman, Sarah is very excited about a book called The Butchering Art by medical historian Dr. Lindsey Fitzharris, whose sometimes very gross Instagram is amazing. Doctor James Berry was trans man who lived and worked in London in the mid 1800s.
If you haven't listened to our episode about Beverly Jenkins's Indigo what are you waiting for?
Avon Red was a short-lived series, but then again, so was The Red Shoe Diaries. Sarah recommends On These Silken Sheets by Sabrina Darby from that series.
Whores of Yore is a great blog, and definitely proves Jen's assertion that as soon as someone invented cameras, someone else wanted to get naked in front of it. Dr. Kate Lister, who founded the site, has a book called A Curious History of Sex coming out Feb 2020.
Next time you are in New York, visit The Museum of Sex. Sarah recommends Hallie Rubenhold's The Covent Garden Ladies: Pimp General Jack and the Extraordinary Story of Harris' List (which out of print, but available in audio, and is the book Harlots is based on). Hallie Rubenhold's The Five is not out of print, and also excellent--it is very not a romance, and about the victims of the Ripper killings.
KJ Charles is so ridiculously good. Sarah's favorites are Wanted a Gentleman and Think of England and Jen loves Band Sinister. Nicola Davidson's Surrey Sexual Freedom Society series is fantastic. Alyssa Cole's An Extraordinary Union is amazing. Monica McCarty wrote a historical series that imagines Highlanders as being kind of like Navy SEALs. Sarah talked about one of the books in the series, The Arrow on the Scotland interstitial. Honestly, we talked about so many authors, so just click on any one of the images in the photo gallery below for some of our favorites by those authors.
But stickers and buttons from Kelly, tees and bags from Jordandene, take our reading challenge, and answer our survey.
romances we mentioned
nonfiction we mentioned
S02.02: The Alpha in Romance Novels
As we lead into Season Two, and consider the fact that some of our faves are definitely going to be problematic, we’re talking about the alpha hero this week — we’re also tackling the beta hero and the cinnamon roll, and why these archetypes largely don’t work for us. We’re talking romance heroes who changed the game for us and the genre, about how hard it is to turn the alphahole around, and how satisfying it is to watch it happen. We’re also talking the female gaze (of course) and the patriarchy (like always).
Next week, we’re digging into one of our original alphas, Derek Craven! You can find Lisa Kleypas’s Dreaming of You at Amazon, Barnes & Noble, Apple Books, Kobo, or at your local indie. It's currently $2.99 in digital everywhere, so snatch it up!
Show Notes
The alpha, the beta, and the cinnamon roll.
You should all follow Cora Harrington (lingerie addict) on twitter. It's all so beautiful.
Jen screams about first person a lot, but MOSTLY about first person present.
It was Demon Rumm by Sandra Brown that was all in the male POV, and this review is so great. Jen's going to follow Alaina, the author, on twitter. UPDATE: The Browne Pop Culture Library was able to find the descriptions of Demon Rumm, and as Jen predicted, they were in the back matter of the previous month's books! Thanks, Steve!
Alec Kinkaid, The Montgomerys, James Mallory, and the Westmoreland heroes.
Did you somehow miss us talking about The Professional?
It the Movie may or may not be your cup of tea, but this discussion of Jane Doe with Victoria Helen Stone has some really interesting points about horror and romance.
Bourne from A Rogue by Any Other Name is "Sarah's worst hero" by which she means it was just reall satisfying to break him.
You have to listen to our antiheroes episode if you want to know what it means to "take the finger."
P in V is great, but 2Ps in V is even better.
Hillary Clinton was wrong about romance novels, and Lisa Kleypas explains why.
Adriana Herrera's American Dreamers series is one of our faves.
What it means to be a Kinsey 2.
Romance for Raices has a few more days. Spend enough money and you can pick an upcoming interstitial topic!
TRANSCRIPT
Sarah MacLean 0:00 / #
Umm.....interstitial 2.1 is that what we call them? I don't understand.
Jennifer Prokop 0:05 / #
We're not doing point anything.
Sarah MacLean 0:08 / #
No, we're not using points anymore. That's what that we promised our producer that we would never label anything point anything. But isn't this like season, it's like 201, I don't know, there's like a TV numbering system. We're not going to use it. But it's season two, interstitial one is what it is. No more point five episodes. You guys are gonna have to pay attention to the titles now. I mean, do as we say not as we do.
Jennifer Prokop 0:38 / #
Obviously, you should just listen to everything and not even worry about it. That would be the ideal thing for all of us.
Jennifer Prokop 0:47 / #
So welcome to Fated Mates everyone. Are we rage interstitialing here Sarah?
Sarah MacLean 0:58 / #
I think we are. I'm pretty rage-y about this, and I want to have a talk.
Jennifer Prokop 1:03 / #
I know. Okay,
Sarah MacLean 1:05 / #
Maybe rage is too strong a word.
Jennifer Prokop 1:08 / #
We're unpacking.
Sarah MacLean 1:13 / #
You guys, here's where I'm at. Yesterday, I was walking in the park in Brooklyn, with my dog and my kid, and I had a thought that I didn't love about romance, and I wanted to unpack it. And so I texted Jen this thought, and she immediately called me. It was a Saturday morning at like, 10:30 / #. And she was like, it's too much to text, but these are my thoughts. And we had a whole conversation about patriarchy versus white supremacy versus anti-semitism in romance, and it was like 10:30 / # in the morning, on a Saturday, in my life, and I realized like, this is all I want out of life. Basically to have a thought about romance novels and then be able to fucking hash it out. Like, can we talk it out? And I said to Jen, we're not going to talk that out today, because we're going to talk that out many times over the next, however many episodes, but I said to Jen, recently, I really want to have a conversation about romance in 2019 and how we talk about the alpha. And like what the fuck that is, and why we are so weird about naming alphas and betas or cinnamon rolls or why we obsess over what the hero is in sort of a single word and also like why we resist so much of that character who, as I like to say, scratches an itch in fiction, but who of course we would never date in real life.
Jennifer Prokop 3:14 / #
And what this is really tied into and you and I talked have talked a lot about this, is the fantasy of romance.
Sarah MacLean 3:21 / #
Which is not just the fantasy of the romance novel, but also sort of packed into that is female fantasy, or women's fantasy or marginalized people's sexual fantasies.
Jennifer Prokop 3:38 / #
An example of this is, my favorite thing and romance. is that the heroine's underwear and bra always match.
Sarah MacLean 3:47 / #
Oh, I know. And they set the hero aflame.
Jennifer Prokop 3:52 / #
Yeah. And you know what, I don't think I actually own any matching bras and underwear.
Sarah MacLean 3:58 / #
I think one more time I wore a matching bra and underwear and Eric was like, whoa, what is this? I know. We hit the lottery today.
Jennifer Prokop 4:17 / #
One of my favorite Twitter feeds is that lingerie addict Twitter feed.
Sarah MacLean 4:20 / #
Oh, I don't know that. I'm going to subscribe to it.
Jennifer Prokop 4:23 / #
I think her name's Cora Harrington. I'm not sure. Anyway, and I'm always, these undergarments are gorgeous. I just want to admire them. And in no way in real life do I actually want to wear them. But I love them.
Sarah MacLean 4:44 / #
But also because you and I are, you know, our girls need a house man. They need to be, you know, engineered into clothing. And that sort of floofy frilly perfect underwear, it is not realistic in any way. But man, I love to read about it. I really do
Jennifer Prokop 5:11 / #
I think there's a lot of ways in which romance, and I think you and I agree on this. It's like real, but it's also fantasy. And the intersection of where those things work for some people and not for others is very fascinating to me. And I'm going to tell you, Sarah, I love an alpha. Whatever it is, we're defining that as...I love it. I love it. I love it. I love it.
Sarah MacLean 5:36 / #
And there are very clear reasons why I love it. I mean, you do. Here's the thing, like we've talked for the last I mean, for however many for 39 episodes we talked about, well, not for half of the episodes for 19 or 20 episodes. We talked about "Mine," right? And frankly when you're reading IAD like everybody's the fucking leader of the pack. Everybody's the best, the strongest, the most powerful, the king, the whatever, the primordial. Unbeatable in every way. And these things have often been marked as alpha traits. And I guess they are.
Sarah MacLean 6:27 / #
But that's not why we love them, I don't think. It's part of it. In the immortal words of Sierra Simone, "Power is sexy. I'm sorry, I don't make the rules." And every romance novel is about power, no matter what it is, no matter what kind of hero you're writing, romance novels are about power because relationships are about power. Everybody's relationship, in real life, any relationship you have with anybody else, is about power and parity. And when you have conflict in a relationship in real life or on the page, it's about power.
Jennifer Prokop 7:11 / #
And I would say that romance then to me really fundamentally, when I read it is about figuring outhow to navigate that, how to win at that.
Sarah MacLean 7:29 / #
That's the whole ball game. The navigation of power toward parity is the whole ball game in romance. And so we've talked a lot about the history of the genre on the podcast and as we move forward in season two, we're going to talk a lot more about the history of the genre, and the books that have established themselves as sort of Cornerstone texts in romance, right? How in many of these books, we're dealing with a hero who is in those early days so impenetrable, that literally his point of view is never on the page. We're going to talk about POV much more next week when we talk about "Dreaming of You." But--I'm not talking about first person versus third person here, which is what Jen likes to yell and scream about-- I'm talking about literally the narrator and the reader don't have access to the hero's thoughts at all in these early books.
Jennifer Prokop 8:41 / #
This is like a bit of an aside, It was the first time, and I think it was "Demon Rumm" by Sandra Brown, I was like trying to figure it out, where it was 'this book is only the hero's point of view.' And I'm kind of how did I hear about this? Because there was no Twitter and there's no social media. And it must have been in the back of the book, like coming next month. But I remember that being something worth, like something worth saying like, "Hey, this is happening and it's different and new."
Sarah MacLean 9:13 / #
Yeah. Interesting. But this is the thing right like when you are looking at a hero and those early books, the early Deverauxs, early Lindseys, early McNaughts, early Garwoods, Bertrice Small, we never ever saw the hero. We never saw inside his head. And so we were really dealing in those early days-- in my mind, like, this is me like I'm putting on my scholar hat, now-- in those early days we were looking at distilled patriarchy. The hero was representative of sort of a world that was not accessible to women, not accessible to the heroine, and not accessible to read the reader. And then the heroine starts to chip away at this rigid, stony character and unlocks Alec Kincaid or any number of the Montgomerys or James Mallory or any number of the Westmoreland heroes. And suddenly we have a ball game because we're able to see that the heroine ultimately lays out the hero. To the point, where in some cases, in a McNaught that we will read this season, the hero is literally dying on a battlefield because of the heroine. Because of a promise he made to her and he will not betray that promise because he loves her. So When we see a hero broken to that extent, and then rebuilt in this image of equality, it's delicious for us as readers who subconsciously are keenly aware of our lack of power in many of these relationships.
Jennifer Prokop 11:20 / #
And I think what's really interesting about that is it was so the way I read, I came into romance as a young reader. And yet now, when I read books that are heroine-only point of view, I have to pace myself with them. I can't do it all the time. I find it too hard to get to know the hero, It feels really like a like a bold choice on the part of the author to do such a thing. Because I'm really used now to having access to all of the characters in a romantic relationship in modern Romance and when people go another way it feels like a choice, and a risky one at that. You know, it's just really hard to sell me on the other character without me being able to see inside their head. Whether that be first person or third person it doesn't matter. I'm used to that being something that I get now in romance. I don't know if you feel the same way.
Sarah MacLean 12:29 / #
Obviously this is why one of my biggest challenges. As much as you're the one who, you know, goes to the mad about first person, the challenge with first person is that sometimes you don't get the important information from the perspective of the person that you need it from. So craft-wise one of the rules that we talk about all the time when you talk about POV and romance, and you talk about writing multiple POVs, is that when you are writing a scene, you should be writing the scene in the point of view of the character who has the most to lose. Interestingly, in these early romances, or in romances where you've got a big, bad impenetrable alpha, the character who has the most to lose in those early scenes, is the heroine because she's navigating this power structure and unable to gain enough footing to get herself into a position of power where he can lose something. However, in books like, well, last year when we talked about "The Professional" part of the challenge with "The Professional" is we never saw-- part of the challenge with all three of those books-- is that we never see the moment when the heroine is leaving from the hero's point of view. We just see him go animal. He goes feral. That first one, Alex, or Alexi, what's his name? I don't even fucking remember anymore. It's like those books are out of my head but in "The Professional," we don't see him go feral. In "The Master" we see Maxim run across the field and take the bullet and he's willing to do anything for her. And so we can sort of perceive his feralness. And I'm using feral in a very specific way here. I'm using it on purpose. That is an intentional use of the word feral. And then in "The Player" we see Dimitri punch the car. He can't control himself. And we talked about it in that episode. That's a problem moment. If that happened in real life, to your friend, you would be like, red flag, get the fuck away from that guy.
Jennifer Prokop 14:55 / #
Yeah. All the flags.
Sarah MacLean 14:57 / #
Holy shit. Call the police. That guy's horrible. But when it's happening on the page in a romance novel it's safer for us to love it. And what does that mean?
Jennifer Prokop 15:09 / #
I sometimes wonder if...you have a heroine-only point of view now, or maybe then, too. Maybe as we read some of these old books we'll dig into that. If you have to make that moment-- for the hero in this case, I feel like this really over time with the alpha hero. It's like, to me it's like very tied into MF romance, where it's like a heroine.-- I wonder if you don't have to make that low moment really over the top, because we have, it's the only way to signal to the reader, just how they really feel. Like you've [the author] cut them off from them [the readers]. And so in order for us to get it, does it have to be bigger, and I don't know the answer to that.
Sarah MacLean 16:00 / #
I think it does. I was looking online and somebody was talking about some book and how the low moment, the sort of dark night of the soul moment, was over-the-top. And we hear that a lot with romance like, oh, it's so over-the-top. I get that as a criticism for my books a lot, the the climactic scene is so over-the-top. And of course it's over the top, you have to break them. They have to be crushed. Look, I love every one of my heroes. Certainly I've written heroes who I've not loved most of the book, but by the time I get to that moment, which is usually, I don't know, 90% of the way through the book, I love those heroes. I really do and I don't want them to be broken, but they have to break. Because we have to see them laid low by the idea that they have lost everything, that they have lost everything of meaning. And the reality is, and you'll never convince me otherwise, that's because all I want is to see the patriarchy destroyed. If there's anything that is is a solid metaphor for patriarchy, it's this story. The fighting for power, the arguments about power, the back and forth about that power and the ultimate dismantling of a system and a man who is representative of that system, so that he can do nothing else but be a person who's looking for equality and a mate.
Jennifer Prokop 17:48 / #
I think a lot about--so what does that really mean in the books where it satisfies?
Sarah MacLean 17:56 / #
At some point I want to talk about the fact that you shouldn't be writing this consciously. That's the problem.
Jennifer Prokop 18:08 / #
Okay, so Darrell is a big horror movie fan. And he went to see "It" this weekend.
Sarah MacLean 18:15 / #
Did he enjoy it? It looks so scary. It looks so scary.
Jennifer Prokop 18:21 / #
He I think has a really high scary threshold, because he's like, it wasn't that scary. But what was really interesting is I was asking him about the ending, because I was like, Is there a way that horror movies always end that leave you-- as the viewer in this case-- right? Like, it's like that, like, what do you need to have a satisfying romance ending I feel like is I'm always interested in these like genre questions. But the thing I think a lot about in romance is that part of the breaking of the hero is that he has to say I love you. It has to be an emotional journey where part of it is this man admitting, "I have feelings."
Sarah MacLean 19:07 / #
Yeah, I'm human.
Jennifer Prokop 19:09 / #
Yes. "I have feelings. I'm human. I have to speak these feelings out loud." It is part of every romance that it's not just enough for a woman or heroine to say I can tell he loves me by the way he acts, part of the breaking of that hero has to be: I have to say it out loud. I have to feel those feelings. And it's different when they're soft cinnamon rolls the entire time.
Sarah MacLean 19:39 / #
Here's where I'm at. And this is going to be a controversial thing. I'm a little afraid to say it but whenever. When we talk about these soft books, and there is a place for them, because like I appreciate that that's part of the fantasy, too. I have so much to say. I have so many thoughts in my head. But here's the thing. When we talk about these soft books and these soft heroes and these cinnamon rolls and how much we love a hero which wants to hold the heroine, and cook for the heroine, and clean for the heroine, and be the heroine's, you know, person. So, okay, personally, this I'm not afraid to say. These books do nothing for me. I can appreciate them on a literary level, on a romance level. I can say that's a finely crafted book, I can say that's a finely written book, this person's a skilled writer, but they do nothing for me in a primal way. And there's a sort of primalness to romance that I will never give up. You will have to pry it from me.
Jennifer Prokop 20:47 / #
I think we are alike in that way.
Sarah MacLean 20:51 / #
Yeah, I mean, we just did a podcast about Kresley Cole, come on. So there is that, but also, from a craft perspective, from an intellectual perspective, if you start the book with two characters who are both fully realized, decent people, who live in the world and are feminist and anti-racist and perfect in every way, they're all dyed in the wool democrats who love each other and can cook perfectly, then where is there to go? I appreciate that as I say those words I can understand intellectually and emotionally that that's a problematic thing. But then I sort of think to myself, and literally I'm speaking my thoughts as they are coming into my head, but like, then I think to myself, but wait a second. Is it that problematic? Because I'm not saying I want to marry Alec Kincaid. I'm not saying I want to marry whatever. I don't know. Who's my worst hero? Borne. Right? But I am saying I want to read Borne breaking. I want to read Devil freezing to death, realizing that he's fucked everything up. Spoiler alert. But my husband is not those things like my husband is a proper cinnamon roll, like, and I love him for it. So why can't I have my cake and eat it too, Jen?
Jennifer Prokop 22:37 / #
I keep coming back to the question about what the fantasy is? The fantasy for you and me is that the patriarchy can be tamed. And that's what we want to read.
Sarah MacLean 22:51 / #
More now than ever before.
Jennifer Prokop 22:54 / #
More now than ever before. Now again, I feel like it's worth us saying that I think both of us are totally aware that taking the patriarchy out of context of capitalism and racism or whatever, that's what we're doing right now. So I think for me, like you, the cinnamon roll fantasy is just not what I personally really need right now. I read about one a year and really enjoy it but I don't want to read them nonstop. And I think part of it is because that fantasy which is the help-meet fantasy, maybe, maybe that's what it is or the we're going to team up together and already be so far advanced. I don't know. Maybe it's just a different fantasy. Maybe we needed someone on who does love those books to tell us what it is that is hitting that primal need in them.
Sarah MacLean 23:59 / #
It's interesting because I had this conversation with a friend not long ago about the fact that post election, all she wants to do is read beta heroes. And also, pause, because I want to say also that I sort of instinctively loathe the, you know, heroes are all either an alpha or a beta or cinammon roll, or whatever. I hate all that discussion. Any decent writer is writing a complex hero who is many things. So, you know, there's that, and I feel I have to have said that over the course of, you know, all those Wroth Brothers. So she was basically saying I just want to read happy, bantery, joyful, fun, soft heroes. And I was like, that's fair. In the wake of the election, all I want to do is read the most bananas stories. I want every author out there taking the finger, as we discussed last season, and I think part of it is because, basically, if your book isn't about dismantling the institutions of power and privilege and hate that we are living with right now, like, why? But this is the thing, I'm also saying I appreciate that that's not fair. Does that makes sense?
Jennifer Prokop 25:37 / #
I think it's something Kelly and I talk about a lot. The work you decide to do in the world--Everybody's work is different. The work of I'm going to tackle this head on by talking about how you break down the most virulent kind of the patriarchy versus other people's work is maybe not taking the finger. Other people's work is just different. And I think that it's okay to to say that. I think what worries me and you is that I don't want to be told that loving the breaking of the alpha makes me a regressive romance reader.
Sarah MacLean 26:26 / #
Yes. Yes.
Jennifer Prokop 26:29 / #
And I feel like that's the narrative, I'm like, Look, I don't understand your work. And you don't understand my work. I don't know. That's the part I think that's hard.
Sarah MacLean 26:42 / #
I think it's a very specific narrative that we're hearing in a very specific place. So I think this is the thing that we hear about a lot on romance Twitter, but interestingly, I run reading book club on Facebook and you don't hear that so much. I think it's a conversation that is happening in very specific circles, and I think it's worthy of happening, I think that often we lose sight of the idea that women's fantasy or the fantasies of people whose gazes are not traditionally presented as fantasy, or who are not often given like a space to fantasize publicly. Policing that fantasy is a terrible, frankly, regressive way of being. My concern is that when we police fantasy, specifically the fantasy of people whose fantasies are never given a place to exist and thrive, which is what romance has always been, it's been a place for sexual fantasy of people who are not given access to sexual fantasy in the world writ large. If you're not cis, het, white, and male--- your sexual fantasies are not on billboards and in movies. But they are in romance novels. And so if we are policing that fantasy, if we're policing the, I don't know, motorcycle club or the BDSM, or the I don't know, the alpha who is broken and then rebuilt, then are we progressing as a genre? Or are we regressing as one? It should be broadening. When I'm in a reading slump, cinnamon rolls are not the answer. But like they might be the answer to someone else and like, go with God.
Jennifer Prokop 29:02 / #
And that's that's exactly I think that's it, I love that we are broadening. I think it's really more expensive as a genre. We always joke with Kate. She's like, "I don't want to read two Ps in V" and I was like, "Yeah, I do!" And I think that part of it is, I feel like there's so many more places that romance is giving us access to so many more fantasies and so many more kinds of fantasies. But my fantasy still that alpha getting broken and crying and being like, I love you. I still want that one, too. I don't want to lose that as we move forward and have so many more fantasies. I still love that old school fantasy. I do. I probably always will. Because I grew up with it. And because of where we are in the world right now.
Sarah MacLean 30:02 / #
Yeah, I mean, and what's really interesting about it is, I don't think anyone would argue that in the early days, the writers I mean, I don't think anyone would argue that most of the writers of the genre are thinking about representing the smashing of the patriarchy in that moment. I don't think. I don't think Judith McNaught was, "All right, I'm gonna write 'Whitney, My Love' and Clayton's gonna be so much of an asshole. That then like when he is broken at the end, everyone will see that it's a metaphor for women's the women's movement." You would knock me directly over if you told me that that was what Judith McNaught was thinking about when she was writing "Whitney, My Love," I think she just opened up ID and poured it onto the page and we got what we got. And so like, I think this whole conversation should be taken in a sense of like, we're doing a lot of thinking about the work of romance in a way that I think does writers a disservice sometimes. And I say this as somebody who like has gotten in her head about, "well, what is the political ramification of this story?" And suddenly you think to yourself, "well now I'm in the weeds like, now I'm frozen, because I'm terrified that I'm going to do this thing wrong. That I'm going to tell the story of smashing of patriarchy wrong or I'm going to tell the story of whatever this political thing that I want to talk and I'm going to do it wrong." Versus like ultimately, writing with conflict and with pacing and with voice and with you know, character that just like is primal. It's fearlessness.
Jennifer Prokop 32:07 / #
I want to be really clear, when we talk about it being wrong, I think the fear is always, always, always, because it's always the charge right? Hillary Clinton talked about a hero to putting a woman over a horse and riding away with her. Here we are as a genre saying like, "no, it's feminist." And yet people outside the genre are looking at it and saying, "no, it's it isn't." And that is always the push pull. I think, a really primal push pull of romances is: Is it feminist? When is it enough? When is it feminist? When is it anti-racist? When is it, when is it progressive versus when is it regressive? And I think that that question is one that maybe we can't tell until 10 or 15 or 20 years later. Who knows, but you can't convince me it's not and yet I have such a hard time explaining to you why it is. And I don't know what to do about that.
Sarah MacLean 33:14 / #
Wait, why romance is feminist?
Jennifer Prokop 33:17 / #
Yeah, I mean, I are like, Why? I mean, I don't know where the line is.
Sarah MacLean 33:25 / #
Here's my thing. For, whatever, 45 years, the genre was accused of being regressive and anti-feminist. The women's movement was moving women forward and romance novels were taking us back. And I have never ascribed to that for all the reasons that you have heard me for many, many hours of expounding on that. Now, I think what we're hearing though, is from inside the house, we're hearing not all these books are feminist and I think that is where things start to get real dicey. Because I have always said that romance is feminist in two different ways: that, On the one hand, it's feminist because there are the texts that are doing something overtly feminist on the page, the breaking down of the alpha hero, the celebration of the cinnamon roll, these kind of moments where we start to see parity as a construct in the novel, like sexual parity or, you know, whatever. Again we're talking about a very specific kind of feminism here. But then on the other hand, you have the books that are written as one-handed reads, for pure pleasure for women, or for people who, again, have never had their pleasure centered by any form of media including pornography. Then you have an entirely different realm of romance that is doing the work of like identifying basic human pleasure beyond cis het white male. And that also has value.
Jennifer Prokop 35:24 / #
Or cis het white female for that matter.
Sarah MacLean 35:27 / #
It's like cis or het or white or Yeah, it's or AND and OR.
Jennifer Prokop 35:42 / #
When we talk about HEA for all, happily everyone after, to use your language. I think the thing that romance novels have taught me foundationally, and you will never convince me that this is an important, is that you deserve ultimate love and acceptance in your relationships with other people, whether they be romantic relationships or not. Whoever that person is on the page, they deserve people in their lives to say I love you the way you are. And that is right, to me is profoundly radical. And as we see more and more romances that are not just about white ladies, and by white ladies, we see a lot of expansion about what that looks like and what that means and I love those fucking books a whole lot.
Sarah MacLean 36:38 / #
Well, it's Adriana Herrera's American Love Story series. You know, it's that sense that she wrote these, that first book "American Dreamer" or like is a male/male romance, but so much of the love on the page is from families.
Jennifer Prokop 36:57 / #
And I think that's the part that I find, as a woman in the world, the ways in which I've tried so hard to fit into boxes and make people happy and take up less space and less room. And in a romance, the people in the romance are allowed to take up however much room they fucking want to. And that's all I want o read. Except for the patriarchy. They're the ones who can't exist the way they come into the storyl
Sarah MacLean 37:33 / #
And if you think about it structurally, if you think about them as a metaphor, if you think about the general arc of the romance novel, from disperate two or three or however many disparate people come together, experience conflict, and end up in happily ever after. If you think about that as a metaphor for like a larger battle in this in society that we are all fighting every day, then, of course at the end like we're Marvel movies, right? At the end, the good guys win, which means the patriarchy doesn't win. What I worry when you start to hear from inside the romance house like well, alphas are the problem. And it's like of course alphas are the problem. That's the point. Alphas are the problem. And then we see them dismantled on the page by the opposite of an alpha, and then restructured as men worthy of love, which, frankly, I mean, if anything is a fantasy.
Jennifer Prokop 38:56 / #
I mean, god, I love my husband, right? But man it's hard sometimes.
Sarah MacLean 39:05 / #
Over the last couple of months I have fired a lot of men in my life. It's misandry hour with Sarah. I have basically like, I have eliminated a lot of men from tangential roles of my life and, and hired instead smart, savvy women. And I said to my husband the other day I was like, I'm just I'm like, slowly, like eliminating men from my life and I was like, you're lucky I'm a Kinsey two, because you'd be out man.
Jennifer Prokop 39:54 / #
I think the thing though that I I really want to talk about is how much I as a reader need conflict. So you talked about a romance now, it's like the relationships puts these people on the page, and it doesn't matter who they are, but what I need is to see that conflict changes people. Conflict changes the way we relate to each other, it changes the way we think about ourselves, and the best romance to me is always going to be rooted in conflict. I think the cinnamon roll books, the reason I don't find them as primal is because the barriers, just the conflict is lower by design, and I get that, I get that how much I value my relationships right now that are sort of lower conflict. That really speaks to me, but in romance, I still really need to see this be The Clash of the Titans.
Sarah MacLean 41:00 / #
Because ultimately, and this is where I'm going to get nerdy about books, but ultimately, isn't the purpose of literature just sort of to mirror our own struggle. I was talking to Sierra Simone about all this not long ago and she said something really, I mean, she Sierra, so of course she said something really smart-- She said something so brilliant to me. And she was basically saying, "when you strip conflict out of a romance novel, what you're basically doing is setting up two people in some sphere of perfect transparent communication and trust from the start." And so as she said to me, and this is direct quote, "it doesn't mirror pain, it doesn't mirror growth, it doesn't mirror joy". I wrote it down because I was like, that's so smart. It's now sticking to my wall. And the reality is, is that , what conflict does is say to a reader, your pain, your growth, your joy is not abnormal. You are okay. This is real, and what you are feeling is real. And look at these two people who are experiencing pain and growth and joy. And frankly, nobody's exploded your boat. So, you know if these two can make it, so can you. And that's powerful.
Jennifer Prokop 42:30 / #
That's all I want.
Sarah MacLean 42:32 / #
Also, there is an argument to be made that like if you have two very, like lovely people on the page together l I don't know. Now I'm sort of thinking like, if you two lovely people on the page together and, are you writing for people who don't have that? Maybe this is...I don't know. Maybe my privilege is showing. I don't know. Maybe my My relationship is, you know, with a person who was kind and decent to me? So why do I want to read about my own life?
Jennifer Prokop 43:07 / #
But that goes back to the idea that different people need different things out of romance and different people need different things out of the media that they consume. When I think about why my husband loves horror so much, I have this theory that it's sort of serving the same function as romance. He's just like, I want to know that people are going to either band together or escape evil.
Sarah MacLean 43:31 / #
It's like mystery novels. A mystery novel where the mystery isn't solved is not a very good mystery novel.
Jennifer Prokop 43:38 / #
I love that there's all different kinds of relationships on page. I love it. I love it even though I still want to read about conflict because you know what, even though I we joke that I like to fight, that's something I really had to learn. It's something that still scares me. And so when I see people in a romance that are in high conflict, it's like, you can do this too. It speaks to me because of who I am. 20 year old Jen did not like to fight. 20 year old Jen was afraid of fighting.
Sarah MacLean 44:15 / #
Yeah. Yeah. And I think romance novels continually model that communication. That conversation that has to happen between two people who love each other, or who are working toward loving each other. Love is messy. Relationships are messy. I mean, I've spent a lot of years in therapy, man.
Jennifer Prokop 44:45 / #
I think that's part of the reason why one of the my favorite romances now is marriage in trouble.
Sarah MacLean 44:52 / #
Isn't that funny how that works. As you age and you age into marriage, you're like marriage in trouble is so much more interesting to me now than it was. When I was 20 I cared not a bit about marriage in trouble.
Jennifer Prokop 45:05 / #
No. And that's because of who we are right now. So when we talk about what's primal or foundational, it's always going to be the intersection of who we are as people and readers, where we are in our lives now, but also what we came up through in terms of our romance history. There's always going to be things that ring that bell because it's like Julie Garland's "The Bride" for me. Always.
Sarah MacLean 45:34 / #
And that's the thing. That takes us back to that sort of alpha question, which is, so now you all know how I feel about the alpha like what I feel that alpha is actually doing. But like, that's intellectual Sarah, like that's Sarah's brain saying the alpha represents patriarchy. If I were teaching and I do teach this class, when I talk about like, who is Christian Grey? Why does he scratch the itch? Because God knows Christian Grey scratched the itch for a hundred million readers. Okay? So I don't want to talk about the quality of the writing. I don't want to talk about the story. I want to talk about any of that. All I want to talk about is why Christian Grey worked. Because he did work and he launched 1000 million billionaires.
Sarah MacLean 46:34 / #
So Christian Grey, I can intellectually tell you why Christian Grey works. He is strong. He has immense power. He's incredibly wealthy. He takes care of her. He makes sure she has food in her fridge, that her car works, that she has money in her bank account. He literally buys the business she works for to fire her boss. She can have a happy job life. And then on top of all that, he manages her orgasms to perfection. All these things cognitively work on a specific level, but so to 1000 other billionaires and so do all the Dukes, so do all the vampires. We've seen a billion rich, powerful, great in the sack kind of heroes. But what is it about that that scratches the itch? I don't know. It's just there. It's built in. But I hate saying that.
Jennifer Prokop 47:52 / #
I mean, we grew up in this society. I feel like in a society where women's financial security is always so precarious, it makes sense that he's a billionaire, but it's not that she's gonna quit working.
Sarah MacLean 48:14 / #
Oh, and he's always around. He's never at work.
Jennifer Prokop 48:18 / #
Men don't have to work in romance. Only women do.
Sarah MacLean 48:22 / #
That's a different kind of interstitial. But truthfully, there's that too. It's the fantasy of he's a billionaire and we have all this, we have immense security, but he always there emotionally for me.
Jennifer Prokop 48:37 / #
And that what he wants is for her to be self actualized.
Sarah MacLean 48:43 / #
It's just id man.
Jennifer Prokop 48:46 / #
Of course it is.
Sarah MacLean 48:48 / #
And I think that's the problem. Look, I'm talking about Christian Gray as a sort of a placeholder for 1000 other heroes. I think 50 Shades worked for very specific reasons during the actual moment in history when 50 Shades was written, but it's so primitive that sort of idea that...it feels like it goes back to like days of hunters and gatherers. There's that sort of primitive itch scratch and I don't understand. I want to be evolved but I'm not there. I love "mine." I love that moment where Alec Kincaid says, what when the question is asked what what do we call her and he says "you call her mine."
Jennifer Prokop 49:47 / #
Here's the thing I think about in terms of 50 Shades and a lot of like the old alphas. You don't really see it as much anymore, but it was certainly part of IAD and it was like part of Twilight, I would say too, is that this extraordinary person would look and instantly recognize that this was the person for them. And there's something really appealing about being seen in a crowd by someone that you think is extraordinary. Christian Grey or Edward Cullen or whoever, and that they're going to pick you out. And I don't really read in the way that I'm like, I'm the heroine. But that idea of being seen immediately as you are extraordinary too, that there is
Sarah MacLean 50:44 / #
Fated Mates.
Jennifer Prokop 50:45 / #
Of course it is. There's a reason that we read IAD together.
Sarah MacLean 50:50 / #
But I've said 1000 times I actually don't really like Fated Mates. But even the opposite of Fated Mates feels like in some ways it's enemies lovers. But even in that moment, it's the being seen moment. Enemies to lovers only works if when the first moment that they interact, it just is explosive.
Jennifer Prokop 51:16 / #
And here's my other thing and I think this is similar for us. Enemies t0 lovers, I'm going to take a 999 times over friends to lovers because it's also really high heat. You can't have enemies to lovers at a low simmer. It is always explosive. And that's it. I love conflict. I want the gas turned up under that pot. Immediately. And that's the thing, all of those books really always come with, Come with the heat. They're comin in hot, and I that's what I want.
Sarah MacLean 52:00 / #
I also think that part of the challenge here, I said this earlier, when I said you know, I hate that we distill everything down to well, is it alpha? Is it beta? What is it? Because I do think I often struggle with the perception of the alpha as being incels. As being I hate women. I'm powerfulful. Women are weak. That's, that's not a good alpha. That's not a good alpha from the start and that alpha, the I hate women, women are weak, women exists for my pleasure, women exist for me to own, like, who's ever written that romance hero?
Jennifer Prokop 52:48 / #
No, I don't like that one.
Sarah MacLean 52:50 / #
But I don't think I've ever even read a book with a hero like that.
Jennifer Prokop 52:54 / #
I think it's a I think it's a misreading. Often those original 80s heroes, and we're going to read some of these, are I was a man who was profoundly hurt and it turned me into a misogynist, because I was so hurt by a woman. And I do not want to be hurt again. I fear being hurt again. That seems different to me.
Sarah MacLean 53:20 / #
Yeah, there's that classic trope in historicals where the hero the hero has had a string of mistresses or a string of relationships that mean nothing. And invariably, like that can be perceived as that can be read as he just he's a misogynist. He doesn't care about women and he doesn't care about women's bodies or women's feelings or anything. Then he meets the one. Yeah, and she's not like other girls. In my mind, I can totally see why that's a misread, meaning why people would read that as that's alpha and I hate it. You know, it's interesting because a lot of people have been talking about Whit, the hero of "Brazen and the Beast" as being an alpha and I'm like, wait, what? Because it feels like he's really not any of the things that people missread alphas as, but he's
Jennifer Prokop 54:21 / #
He's taciturn!
Sarah MacLean 54:22 / #
He's super big. And he doesn't really talk. And yeah, when he throws a punch, it lands hard. But he also lives in aapartment filled with pillows and books by women.
Jennifer Prokop 54:35 / #
He carries candy in his pockets! Look, you're not an alpha if you have candy in your pockets all the time! My God!
Sarah MacLean 54:45 / #
He's definitely submissive in the bedroom. And so I don't even know. I just feel like, be more discerning when you're using those words.
Jennifer Prokop 54:58 / #
Let's define the Alpha then like, let's have that be the thing we end this episode with, like, what does it mean when we talk about the alpha?
Jennifer Prokop 55:09 / #
Define it. So for me, like one hallmark of it is emotionally, not like--- they're going to start the book out of touch with their feelings and afraid of their feelings.
Sarah MacLean 55:22 / #
Yeah. I mean, if we have to define it, like I think that when we define it, like when we define it from IAD perspective, or from like, we're about to read "Dreaming of You," like from Derek Craven's perspective or from any of my hero'd perspectives? Yeah, they're like, emotional,
Jennifer Prokop 55:41 / #
toddlers.
Sarah MacLean 55:41 / #
I mean, yeah, they're like I was, yeah, they're like seedlings. and they just can't, they just have no frame of reference for like, the scope of humanity that they are about to experience and when they actually experience that humanity and that emotion They're fucking done for . And uniformly my heroes are done for.
Jennifer Prokop 56:09 / #
That's all I want, Sarah.
Sarah MacLean 56:14 / #
And I don't think that I mean, like, that's not me. That's all these women who I've read my whole life,
Jennifer Prokop 56:20 / #
I've been because, I've been thinking a lot about it right, I think another thing I often associate the alpha is that they are, and you say this all the time, that they are a King. In whatever it is that they have chosen to do, they are the best at what they do. But that they are always taking care of the people under them. At least like at least in a like a financial or security way, but not in an emotional way.
Sarah MacLean 56:51 / #
But what am i catnip scenes and any romance novel is the scene where the hero is like
Sarah MacLean 56:57 / #
befuddled By his feelings. It's like he just can't. He's like I think I'm having. It's like... Things are weird. Like my tummy is weird, and My head feels weird and she said a thing and it made me feel a thing and I don't, I can't identify any of the words, I have no words for any of it. And like a his servant, or his brother, or his Mom is like, What the fuck is wrong with you-- like you're having feelings?
Jennifer Prokop 57:28 / #
Yeah, hello, this is my favorite thing. My absolute all time favorite thing, Is the person who's like, welcome to the world of feelings.
Sarah MacLean 57:38 / #
What's wrong with you?
Jennifer Prokop 57:40 / #
Worthy! I just want to talk about Derek Craven. We're gonna do it next week.
Sarah MacLean 57:45 / #
But it's the best scene in a romance novel when everybody's like, Yeah, Hi. Welcome. And it's because, it just shows what emotional toddlers they are. And there is a joy to that, there's an immense fantasy like, it is an immense fantasy for so many people, including myself, to be able to say like, I'm whatever. Like, I love my husband a whole lot, but we have these moments. Sometimes I have a moment where I'm like, "I'm sad. And I don't know why." And he's like, "I don't, what does that even mean?" And I'm like, "I just, I'm just like, I need to cry. I need to have a cry." And he's like, "what is happening right now?" And I'm like, "I just help." He just can't like patriarchy is a hell of a drug and it has ruined them too.
Sarah MacLean 58:38 / #
and like the idea that you might have a hero who ultimately discovers that those feelings and is able to interact with them is really cool. And as I say that, I think like Well, that's what a cinnamon roll does from the start. But Then what else is happening? Are they on the run? Is there a murderer?
Jennifer Prokop 59:07 / #
Of course not they're cinnamon rolls.
Sarah MacLean 59:09 / #
Oh my god. I mean, what we really should do an interstitial about cinnamon roll heroes that we love because I do have some that I really love
Jennifer Prokop 59:18 / #
I mean, I feel like there's this joke I used to make, I don't really make it anymore because I think it's probably insensitive, I used to joke like, I need a wife. I need someone who's gonna take care of me. That is a very deep rooted fantasy that I think when I read a really perfect cinamon roll book, that's how I feel. o have someone who's going to take care of me, as opposed to like me taking care of them.
Sarah MacLean 59:43 / #
It's interesting because I do think this sort of brings up and we're obviously going over because we...welcome to Fated Mates everyone. But one of the things that I think is really interesting, I have this long conversation and she's going to come back on the pod this this season. Adrianna Herrera and I were talking about trauma and romance novels as you as you guys know who were listening last year. Adriana is a trauma specialist and she came she gave us a lot of really interesting insight about MacRieve. And she was a a guest on the Bowen episode. And one of the things that we were talking about in in terms of trauma we were talking about the end of "American Love Story," and I'm not going to spoil it but there the epilogue of "American Love Story" is like this really interesting. Or one of the final scenes of "American Love Story" is what is really interesting moment of marital of like, like marital idol like relationship idol, between the two heroes, where they are both doing serious emotional work, side by side as partners. And we were talking just about how There is room for the book that is telling this modern iteration of the romance, where it's a really authentic representation of the life, the struggles that we had in life, The heroes of this particular book are an activist and the lawyer. And so, they're just, they're never, it feels like these two people just have completely different worldviews. And so, that kind of relationship-- again, though, I've always said this in the hands of a tremendous author works really well--Also, so much conflict, so much emotional internal conflict in that story, because, ultimately, at their core, they have completely different views of like how life should be and, what their purpose is. Which is cool. So actually, forget everything. I Well, first of all, don't forget everything I just said because that's, that's it's a great book and it's a great read because you have these moments of this moment of, there is so much emotional conflict to unpack there. Unlike relationships where just two people who really super like each other, and which is like fanfic and that's a whole nother story but, we should have somebody on we should see if Cat Sebastian will come on, or somebody will come on who like, is really a fanfic lover. To talk to us about the way fanfic has an informed Modern Romance.
Jennifer Prokop 1:02:33 / #
I mean, I think that's it, like we're just trying to unpack all these different things. But for both of us, this question of the alpha and what it's doing and what it's done through time and why it's still it's always going to scratch that itch for us. Like, I don't, I don't want to lose that. There's something, those stories still really speak to me.
Sarah MacLean 1:02:54 / #
I mean, to be fair, Jen, I don't think you're gonna lose that. Those stories readers, I mean, a massive swath of romance readers, love that as a story. You know, I know that because I have a career. I want Sierra to come back on and I want us to talk about fearless romances this season because I think people I think a lot of writers are real afraid to write directly into ID. And I get that. Yeah, that's a scary, that's a scary thing to do. I have been there.
Sarah MacLean 1:03:39 / #
I'm there currently, you know, with the book that I'm writing. And I think, you know, harnessing, finding fearlessness is really difficult as a writer, especially in 2019, because you don't want to do it wrong. You don't want to harm anybody. But I think there are ways for us to tell the stories that have the Sort of high conflict explosive relationships that in a way that doesn't harm but actually you know, entertains and ultimately, pleasures, readers.
Jennifer Prokop 1:04:14 / #
That's all I want Sarah.
Sarah MacLean 1:04:16 / #
I know Same, same. Well, let's leave it there for today.
Sarah MacLean 1:04:21 / #
It was last ragey I think then it could have been I think we were really put together.
Jennifer Prokop 1:04:28 / #
I agree. I mean, I'm not I'm not mad at anybody. I want everyone to get what they want and what they need out of romance. That's all.
Sarah MacLean 1:04:36 / #
I just don't want anybody to feel like they're wrong for wanting what they want. you can't be both progressive and like an alpha. That's nonsense. Go read your books. That's fine. Like, yeah, you know, and so I think I think that's where I'm at. Like, let's not let-- women's bodies are getting enough policing these days, like let's not police their minds too.
Sarah MacLean 1:05:07 / #
This is Fated Mates everybody. It's the beginning of our new season next week we have our first book, "Dreaming of you" with our favorite, with Jen and mine..?
Jennifer Prokop 1:05:25 / #
With our
Sarah MacLean 1:05:26 / #
Our. I don't know. I don't know you guys I have a copy editor for that stuff
Jennifer Prokop 1:05:30 / #
This is the very reason why possessive pronouns were created.
Sarah MacLean 1:05:33 / #
Exactly why. With our one of our very, very favorite heroes. Top Five for me for sure. Definitely top two! It's Rune and Derek Craven. Anyway, so we will be back next week with a deep dive on that. you will no doubt have a lot of questions and a lot of concerns. If you've never read this book before.
Sarah MacLean 1:05:58 / #
Fine. Jen and I have a list. We're going to talk about it all. Don't worry, you'll be fine.
Jennifer Prokop 1:06:04 / #
We're gonna take care of you.
Sarah MacLean 1:06:05 / #
Yeah. Don't forget to like and subscribe on your favorite podcasting platform. You know, tell your friends about us and find us on Twitter at @FatedMates or on Instagram at @FatedMatesPod. What else? What else you want to say? We are both there's a romance for Raises fundraiser online. I think this is probably the last week of that. So you can head over to the link. We'll put it in show notes. I've got a manuscript critique up for auction. And Jen has a couple of really fun things including a Fated Mates book pack, which is great. So head over and bid on that. All the funds go directly to organizations working on the border. And we are really, really thrilled to be a part of that. Anyway, we love you guys, thank you so much for listening. Go read a book!
Jennifer Prokop 1:07:05 / #
See you next week with Derek Craven
12: Do Not Let the Lykae into the Yankee Candle Store: MacRieve
MacRieve is here and so is friend of the pod, Sierra Simone! We’re so excited to talk about The Full Kresley, what makes erotic romance, The Simone Scale™ of taboo romance, why MacRieve is so tough to read, why Sarah thinks it might be Kresley’s best book, and why Chloe is such a badass. There’s a lot of hysterical laughter, and Sarah is preparing for legal action.
Don’t forget to subscribe to the podcast in your favorite podcasting platform — and while you’re there, please leave us a like or a review.
In two weeks, we’re starting Kresley’s contemporary series The Game Makers (we’re reading the books in original publication order) with The Professional. Get ready for Wroth Brother fanfic that Kresley herself refers to as “way sexier” then IAD. Get The Professional at Amazon, B&N, Apple Books, Kobo, or from your local Indie.
Show Notes
The NECRWA conference always sounds so great!
I don't even know where to start with Andie Christopher and her Chris Evans obssession.
Avengers Endgame, that ol' chesnut.
We stan Sierra Simone, and we love The Sierra Simone Scale™. Check out her two latest, Misadventures of a Curvy Girl and A Lesson in Thorns.
Debbie Macomber is a queen of small town contemporary romance.
You can't stop me, you can only hope to contain me is a play on a very catchy ESPN phrase from back in the day.
Adriana Herrera wrote about how to ethically write about sexual trauma for Smart Bitches. She also joined us to talk about Food Romances & her most recent release.
Adriana Anders' Under Her Skin explores a story of a woman's traumatic past, as does Long Shot by Kennedy Ryan.
Suzanne from Love In Panels wrote a great explainer about content warnings and why we use them.
This is a powerful critique of sexual violence in Game of Thrones.
Just last year, two books about women and anger were published: Rage Becomes Her by Soraya Chemaly and Good and Mad by Rebecca Traister.
More about emotional dysregulation.
The Black Lyon by Jude Deveraux is an old school classic.
Dick flu is definitely some BDE.
You'd be surprised about how much writer's advice you can find about the evils of the info dump.
There's an entire subreddit dedicated to ranting about Comcast.
Yankee Candle will eff a werewolf up.
You can listen to Kresley on the Wicked Wallflowers podcast.
The story of Sir Walter Raleigh throwing down his cape for Queen Elizabeth to walk over is not historically accurate, but it still makes for a great scene in Shakespeare in Love.
The Fifth Element is a completely rewatchable movie.
All about the Mothman, who, it bears pointing out, Lothaire says exists.
Here's the beginning of Sarah's stalking of Sierra after reading (and loving) Priest.
Next time, we're going off road and have decided we'll be reading the first book in The Game Makers series, The Professional. Here's the reading order for the rest of Fated Mates Season One.
Lost Limb Count
Arms and Hands (8)
- Conrad cuts off his own hand with a rusty axe so he escape the "witched" chains his brothers locked him in. (Dark Needs at Night's Edge)
- Cadeon has both of his hands burned off in the same scene where he loses an eye. There's description of what Cade's baby fingers look like as they are re-growing. It's...kinda gross. (Dark Desires After Dusk)
- Sebastian pulverizes most of his right arm during the Hie. He regenerates. (No Rest For the Wicked)
- Lucia peels all the skin off from her hand in order to free herself from some handcuffs. (Pleasure of a Dark Prince)
- In order to retrieve the ring from La Dorada , Lothaire cuts off her finger. (Pleasure of a Dark Prince)
- Lanthe and Carrow cut off Fegley's hand so they can use his thumb to unlock their torques. He's later killed. (Demon from the Dark)
- After receiving Lothaire's heart in a box, Ellie cuts off her middle finger and sends it to him. (Lothaire)
- Chloe's shoulder is dislocated in the escape from her auction (MacRieve).
Chest and Torso (7)
- Omort severs Rydstrom's spine and punches through his torso in a fight. Sabine saves him and enlists Hag to help heal him. (Kiss of a Demon King)
- Lucia's neck is broken. She regenerates. (Pleasure of a Dark Prince)
- On Torture Island, Regin,
- MacRieve,
- and Brandr are vivisected. It's pretty terrible. (Dreams of a Dark Warrior)
- Declan's skin is peeled off by the Neoptera as a child. (Dreams of a Dark Warrior)
- Lothaire rips out his own heart and sends it to Ellie in a box. (Lothaire)
Head, Face, and Eyes (6)
- Bowen loses an eye and most of his forehead during the Hie. Mariketa has cursed him and he can't heal until he returns to her. (Wicked Deeds on a Winter's Night)
- Cadeon loses an eye and part of his forehead and hair when fighting. It all regenerates. (Dark Desires After Dusk)
- During a rugby match, Garreth has his teeth knocked out and swallows them. (Pleasure of a Dark Prince)
- Lothaire kicks out La Dorada's remaining eye and throws her over a cliff. (Dreams of a Dark Warrior)
- In the Bloodroot Forest, the tree grows over Lothaire's lips and tongue. (Lothaire)
- After she gains her immortality, Chloe's hair grows, but she cuts it off every morning. (MacRieve)
Horns (2)
- Cadeon cuts off his own horns to prove to Holly that he is worthy of being her mate. She tells him to let them grow back (Dark Desires After Dusk)
- Malkolm is captured by his enemies in Oblivion and taken to the city of Ash. The publicly cut off his horns and then intend to kill him, but Carrow saves him. (Demon from the Dark)
Legs and Feet (3)
- Lachlain tears off his own leg to reach Emma. He regenerates. (A Hunger Like No Other)
- Mariketa's skull is fractured and her leg is torn from her body. She heals herself after Bowen lays on the ground. Ivy grows over her and heals her. (Wicked Deeds on a Winter's Night)
- Thronos is chasing Melananthe and loses a foot when a portal closes on it. (Kiss of a Demon King)
Beheading as a Romantic Gesture (4)
- The first time Garreth spies Lucia, it's when she shoots an arrow and beheads a kobold. He notices that it's "a fantastical shot" and he's super into it. Later, he helps her pick up the head because he's a real gentleman like that. (Pleasure of a Dark Prince)
- Later in the book, they are under attack from vampires and Lucia asks him to help. Garreth promises to "give her their throats" and beheads two vampires. But she's upset about it because of a previous bad experience with cannibalism. (Pleasure of a Dark Prince)
- Malkolm beheads men that attacked Carrow in Oblvion, and he throws them to prove he's a worthy mate. (Demon from the Dark)
- Declan fights and beheads several creatures as they escape Torture Island, including squeezing one dude so hard his eyes pop out and then he twists his head off. (Dreams of a Dark Warrior)
Beheading as a Non-Romantic Gesture
- Ellie cuts off Lothaire's head, leaving a slender 1/8 of an inch left. It was kind of an accident, but he deserved it. (Lothaire)
Maybe?
- Does Garreth's losing his connection with his mortal soul count? (Pleasure of a Dark Prince)
- When Soroya inhabited Ellie's body, she subjected her to a full Brazilian wax. Ellie doesn't realize it's happened until she takes control of her body again. (Lothaire)