SHALLA CHATS with Executive Editor Paula Eykelhof

“New Harlequin Imprint Calls for EPIC ROMANCE”

by Shalla DeGuzman

 

So, who ’s Paula?

Paula Eykelhof has been an in-house editor at Harlequin for almost twenty years. She contributes to a number of different series and programs, including Superromance, American Romance, MIRA, HQN, and Signature. She is currently involved in developing of a new series with the working name of Epic Romance.

Paula, who is an Executive Editor at Harlequin, works with a number of authors, including New York Times bestseller Debbie Macomber, Katherine Stone, Brenda Novak, Tara Taylor Quinn, Roz Denny Fox and others.

She was the PASIC Editor of the Year in 2003.

Shalla: Hi Paula ? I know many writers are interested to learn more about Epic Romance, thanks for talking with us.

Paula: Thanks, Shalla. I’m happy to discuss Epic Romance. And you’re right—many writers seem to be interested and excited about this program.

This is a kind of romance novel not represented in our current series offerings. These will be stories that are “epic” in scope (not length). They’ll tell a love story, yes, but unlike most romances they can present the whole story, the history of a relationship, not simply its development and initial resolution (although of course the story can and probably will include the early stages of the romance; it just won ’t stop there.

With these books, we’re open to lots of possibilities and different kinds of approaches—such as letters and diaries, non-linear narrative, various points of view, including first person or a mix of POV, etc. They are contemporary, so even if the story moves back and forth in time, it should take place at least partially in the present. Endings won’t need to be the conventional “happy ending” but can be more complex or ambiguous, as appropriate.

Shalla: Many are wondering, how do you fit an epic romance into 75,000 words?

Paula: As I mentioned, it’s about scope, not length. And there are plenty of examples of books that have told this kind of story in that word length or less.

As one author with whom I was discussing put it: “You’d have to hit the highlights.” In other words, not the hour-by-hour, day-by-day, week-by-week approach we typically see in series romance. You’d probably show certain episodes in the characters’ lives and relationship and not necessarily in a linear fashion.

Shalla: When I first read the Epic Romance’s Guidelines, the first titles that came to mind were The Notebook and Bridges of Madison County. Would that be right? Are these the kind of stories and format you are looking for?

Paula: Yes, those are good examples. And the formats work. I think the overwhelming success of these books, and stories like Sam’s Letters to Jennifer by James Patterson tells us that there’s definitely a desire for fiction that encompasses more of a life or lives, and the totality of a marriage or romantic relationship.

Shalla: Do you have any other books or movie titles we can look at to get a better idea?

Paula: The other examples I’ll make note of may include significant “epic” aspects without being a perfect fit for our program (although I should add that we’ll be defining and refining Epic—with the help of our authors—as we go along).

Among these stories: some Anita Shreve titles like The Last Time They Met (without the shock ending!), 84 Charing Cross Road, some Barbara Delinsky titles (like Coast Road although it’s longer), The Last Valentine by James Michael Pratt, Sam’s Letters to Jennifer and Suzanne’s Diary for Nicholas by James Patterson, No Crystal Stair by Eva Rutland (although, again, longer than what we’re looking for), Between Friends by Debbie Macomber (although it’s the history of a friendship, told through documents, not a romance), The Wedding by Nicholas Sparks, The Time Traveler’s Wife (again despite length) and more.

Movies include The Way We Were and Love and Basketball. Also note that movies have been made based on The Notebook & Suzanne’s Diary (made for TV), to name a few.

Shalla: Can the protagonist be male? (Like in The Notebook)

Paula: Of course! I expect that in many, if not most, submissions, we’ll see the viewpoint of more than one protagonist. The stories could also have a narrator, so to speak, who might introduce and “frame” the romance (say, his or her parents or grandparents). In a case like that (which could also involve a parallel romance) we’d want to see the emotional impact of the “original” romance on the present-day character/s.

Shalla: For settings, can it be set in an exotic location besides America? How about Philippines, World War II? Or Germany, World War I? (I’m still thinking of The Notebook and how the young lovers fell in love in the 30’s)

Paula: Those time periods and settings could certainly be part of such a story. (An example that includes both WW2 and the Philippines is The Last Valentine, which fits our description, although it has a slightly “inspirational” quality toward the end.)

I’d say that as long as the story is anchored in the present, it’s OK to wander into the past—and back to today.

Shalla: As for the time line, can our story span only a few years? Let’s say, the beginning to the end of romance for a young couple? (Like in Romeo and Juliet)

Paula: In the majority of cases, we’d be looking for a longer time span, but I’m not ruling anything out. And in some of the examples I’ve given, the characters actually spend very little time together—but the story’s romance is the defining event in their lives. (E.g., The Last Valentine, The Bridges of Madison County, and in a certain way The Last Time They Met)

Shalla: Would Epic Romance like multi-cultural characters and/or protagonists? Ie. A Asian Man from the 50’s who married an African American?

Paula: Sure. We’re absolutely open to characters of diverse backgrounds.

Shalla: Can the epic romance be between gay or lesbian couples? Or does it have to be straight-laced heterosexual romance?

Paula: Gay and lesbian couples? Probably not in this series, or at least not at this time. Fine for secondary characters and relationships, though (which is currently the case in a number of romance series). Right now, gay romance is too niche.

Shalla: As for POV’s, I’m glad you’re open to first person. Do you like first person-present?

Paula: It would all depend on the story and the treatment. And certainly it would be OK to use first person, present tense intermittently or in part of the story.

Shalla: Can we mix POV’s? Ie. Since we can move back and forth in time, can we use first person-present on some parts and third person-past on others?

Paula: Yes, that’s definitely fine. Just make sure everything’s clear and coherent.

Shalla: Any POV you don ’t like?

Paula: No. Again, the appropriateness or effectiveness of a particular POV (or POVs) will all depend on the story, the characters and on the narrative choices you make.

Shalla: Would some paranormal elements/Time Travel be okay? (A story like Somewhere in Time?)

Paula: I’m not ruling it out. But keep in mind that it has to be believable and, of course, right for the story.

Shalla: How about S-E-X scenes, can we include those? And if so, how hot is too hot?

Paula: Sex scenes would be OK if they fit the story. It’s that simple. We don’t want to see imposed love scenes that undermine the emotional integrity of the story.

Shalla: Lastly, to submit, can we put our synopsis and first three chapters on a webpage and email you the link? Or can we email you our synopsis and first three chapters (on the body of the email not as attachment)?

Paula: I’m afraid we still have to accept submissions the old-fashioned way….

We’d like to see a fairly detailed synopsis or outline and 1 to 3 chapters. We’ll have a contest, too—details to come very soon.

Writers can visit eHarlequin.com for information. Keep an eye out for discussions on the Community Boards and the Learn to Write segment.

Many thanks, Shalla. I hope to see lots of submissions.

Shalla: Thanks Paula. It’s very nice meeting you and the best to Epic Romance!

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Shalla DeGuzman's short stories have appeared in Poetic Diversity, the Mad Hatters Review, etc.; her articles in The Scriptorium and L.A. Freepress; her skits at the Stella Adler Theatre. Shalla, a former writer and producer of a health and fitness cable show, is currently writing a novel. She is President of The ShallaDeGuzman Writers Group where she interviews literary agents, publishers, editors, etc. News! Shalla DeGuzman gets nominated for the prestigious Pushcart Prize! Plus! SHALLA Magazine, which features short stories, poetry and more, is here! For more on Shalla: www.shalladeguzman.com

 

 

 

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