The 2016 Joan Hessayon Award finalists. Guess which one is me.
Love makes the world go round. However, it is a truth universally acknowledged that romance fiction authors tend to be women. I am delighted to introduce you to a male romance writer, R. J. Gould, and let him tell you why men can write romance.
I suppose I am a rarity, a man writing in the Romance genre. There aren’t many of us; less than one percent of the membership of the Romantic Novelists’ Association are male. How did I fall into that genre and sign up to that organisation? Well, a fellow member of the local Cambridge Writers suggested that what I wrote was “sort of” romance and that I should put my novel forward for the New Writers’ Scheme. I got in, received a positive review, was a finalist for the Joan Hessayon Award (yes, the only male), and was taken on by an indie publisher after our RNA annual conference meeting.
Covers for one of my first novels. They’re OK but they’re not me.
At the next annual conference I played the ‘I am a rare male’ card and presented on ‘The Man in RoMANce’, this followed by a commission to write a feature for Writing Magazine. Meanwhile Part One, my publisher was going flat out to produce ChickLit/Romcomesque covers that I have never been comfortable with. Meanwhile Part Two, having fought off an agent’s suggestion that I use a pseudonym to attract my predominantly female target readership, I did adopt the cowardly compromise of using ‘R J’ in place of Richard.
“This tale of self-doubt, adultery and forgiveness is shot through with humour and compassion.” David Lister, The Independent
I appreciate why I was placed in the Romance genre: I write about relationships. Based on many conversations, I can see why there aren’t more males writing, and for that matter reading, Romance – it’s the word itself and often the book covers that put men off. What a pity because this diverse genre can offer deep insights, thought-provoking takes on life and top-rate humour in addition to escapism.
My writing covers second-chance relationships, the tragi-comic journeys of the protagonists impeded by having to carry cartloads of baggage. For Mid-life follies starting point is a man taking early retirement and excited by the opportunities this presents. By contrast, his wife, several years younger, panics and flees the family home. One question stayed with me as the essence of the novel as I plotted their contrasting responses to ageing: ‘When you look in the mirror, do you see someone young and vibrant like you used to be,’ Liz asks her husband, ‘or old and decrepit like you’re going to be?’
The serene beauty of night time Cambridge
I decided to set the novel in Cambridge, the place where I now live. It was a good choice, not least because it got me walking around, notebook in hand, to check on the old haunts and new places that my lead characters visit. This picturesque and serene city seemed the ideal location for my solidly middle class protagonists to discard rationality and academia and compete for who can have the most embarrassing midlife crisis.
I want the RNA to continue to be brilliant in all the ways it already is – supportive to new writers, friendly, welcoming and a real voice for professional commercial authors.
As a Leeds lass, I had to discover more about the dynamic Yorkshire woman who is Chair of the Romantic Novelists’ Association. I invited Alison May to chat about the RNA and her writing.
Jessie: It is wonderful to finally meet you. Tell me, who is Alison May, the writer?
Alison: I’m a total control freak (which is helpful for writing novels – you basically get to invent a whole world and be god of it). If it was socially acceptable, I would live on toast and chocolate the whole time. And I have an uncontrollable tendency to take on one thing more than I have time to do – at the moment that one thing is ‘being Chair of the RNA’ so quite a big time-consuming thing!
Jessie: Chair of the RNA is a prestigious role and such an honour. What does your role as Chair of the RNA involve?
Alison: Essentially everything that goes wrong is my fault, and everything that goes well is down to the brilliant and inspirational management committee and volunteer team I have around me. On a practical level being Chair involves, hosting RNA events, chairing management committee meetings, representing the RNA at industry events and meetings, and, responding to whatever crises come up unexpectedly. And the start of 2020 has brought more crisis that any of us was expecting, so at the moment I’m mostly working on ways that we can respond to the Covid-19 outbreak and lockdown and support our members virtually.
And I also write collaboratively with Janet Gover under the penname, Juliet Bell. Juliet writes stories inspired by misunderstood classics…
Jessie: What is your vision for the RNA?
Alison:I want the RNA to continue to be brilliant in all the ways it already is – supportive to new writers, friendly, welcoming and a real voice for professional commercial authors. I want to see us develop the education and professional development opportunities we provide for our members. I want the RNA to be a critical friend to the publishing industry – it’s great for us to build close ties with romantic fiction publishers, but it’s also vital that we remember that we’re an author focussed organisation and authors’ interests and publishers’ interests overlap but aren’t always precisely the same.
I’d also like to see us become more inclusive. At the moment, like much of the publishing industry, we can be a bit white and straight and middle class. It’s really important to me that writers who have been under-represented in publishing know they have a place within the RNA.
Mostly though I want authors of romantic fiction to be proud of their genre and of what we create. There can be snobbery around commercial fiction, especially around commercial fiction that is often written and read by women. I am simply not at home to those sorts of attitudes. Romantic fiction rocks.
All That Was Lost is my most recent title writing solo as Alison May though.
Jessie: What are the essential ingredients of a great romance?
Alison: People who want to be together and a really good reason they can’t be.
Jessie: Why did you join the Romance Novelists’ Association and what has it offered you?
Alison: I joined the RNA in 2011 as a member of the New Writers’ Scheme. The NWS gives unpublished authors a critique on their novel in progress, but also means that you can attend RNA events as a member. In that first year I went to conference and the Winter Party and joined my local chapter. The conference was a two day whirlwind knowledge dump of a huge amount of stuff about how publishing works that would have taken years to learn without the RNA. Since then the RNA has become my village. Writing is incredibly solitary. A support network of people who get the emotional ups and downs of writing and publishing is essential. And I think the RNA provides the very best support network there is.
Jessie: It’s obvious you are a perfect ambassador for the RNA. I love the fact that it has become your village as I feel the same way. I am impressed you have written six books.
Alison: I’ve actually written 8 (I think!) – some of them were novellas though so are published separately and together which makes counting tricky! And I also write collaboratively with Janet Gover under the penname, Juliet Bell. Juliet writes stories inspired by misunderstood classics – most recently, The Other Wife, which was inspired by Jane Eyre. All That Was Lost is my most recent title writing solo as Alison May though.
Jessie: Capture All That Was Lost in one sentence.
Alison: One lie – told for a lifetime. What would that do to the girl you used to be?
Jessie: Can you tempt me with an extract from the book?
Alison: She’s stylish, but never threatening. She could be other mother of the bride at an elegant country wedding … but she’s not. She’s Patrice Leigh, the woman who’s built a fifty year career on the claim that she can talk to the dead.
Jessie: Wow! The final sentence evokes mystery. What did the readers say about the novel?
Alison: I am delighted with the responses. Readers really connected with the subject and the characters and loved the humour.
‘I love the touches of humour Alison writes into what is, in essence, a very sad tale.’
‘I am not going to forget Patience/Patrice any time soon. She is one of the most original characters in any novel I’ve read recently.’
‘I loved this book – couldn’t put it down. It was thought provoking and I am still thinking about it many weeks later.’
Jessie: How did you feel when you had finished writing your book, and did you miss any of the characters?
I think the characters, especially Patrice, from this book have stayed with me more than any other book that I’ve written. I don’t miss them exactly. I definitely don’t think I’ll ever write a sequel but they’re all still there inside my head.
Jessie: Who would you like to read your book and why? This could be another author, someone famous, a friend or a member of your family. Perhaps it could even be a friend or family member that has passed away.
Alison: The person I most want to read this book is Jack Thorne. He’s a playwright and screenwriter and I’m a huge fan of his work from The Cursed Child to National Treasure and lots of other things beside. I have a recurring fantasy where he reads All That Was Lost and adapts it for TV and I believe that if I mention this enough in interviews and online it might one day happen! (If I’m allowed a second person I also have a very similar recurring fantasy about Lin Manuel Miranda and a Broadway hip hop musical version.)
Jessie: What is the last sentence written in your writer’s notebook?
Alison: ‘If you change Alice back to Anna you can reuse the Annabel line.’
And it’s true. I can.
Jessie: What is the best advice that you have received as a writer?
Alison: ‘Work out what your dream is and follow it.’ Once you get to the point of having a completed manuscript there are a lot of people who will tell you that you ‘must have an agent’ or that ‘looking for an agent is a waste of time and you should self-publish’ or whatever else might have worked for them. And that’s fine but the right option for them might not be the right option for you, so work out what you really want and pursue that first.
Jessie: What do you when you are not writing?
Well at the moment a lot of my time is spent on RNA projects, but asides from that and writing, I also run a novel-writing tutoring and mentoring business. That means I work one-to-one with authors and also offer manuscript critiques and teach group workshops and lead residential retreats. I LOVE teaching. It’s basically my happy place. And I’m super-proud like a mother hen of all my past students. I have three shelves above my desk. One has my own published books on it, but the other two have books by former students. Those shelves are my absolute pride and joy!
When I’m not teaching, writing or working on RNA stuff, I love baking and reading and sleeping. Sleep is really excellent.
Alison joined the RNA as a member of the New Writers’ Scheme in 2011 and won the Elizabeth Goudge Trophy in 2012. All That Was Lost is the sixth novel, but she also writes as Juliet Bell, in collaboration with Janet Gover. Alison also runs writing courses and is currently offering virtual Book Doctor appointments on a ‘pay what you choose’ basis. I am impressed with her innovative approach to supporting others at this challenging time.
‘I’m looking for a book that’s a satisfying and uplifting read.’ Rhoda Baxter ‘I’ll be looking to be swept away by gorgeous writing and a plot that pulls me back to the book…’ Thorne Ryan
The Romantic Novelists’ Association (RNA) has announced the 2020 line-up for its prestigious Joan Hessayon Award for graduates of the New Writers’ Scheme. I am delighted to celebrate the wonderful contenders for the award and introduce the judges. Rhoda Baxter is an author of contemporary romance and Thorne Ryan is Commissioning Editor for Hodder and Stoughton. I am honoured the judges chatted with me about what they will be looking for in a winner.
RNA Joan Hessayon Award
Jessie: Rhoda, it is lovely to welcome you to my blog again. Please introduce yourself to the readers.
Rhoda: I write romantic comedies about people who make me laugh. I also write multicultural women’s fiction under the name Jeevani Charika. My books have been shortlisted for various awards. I am currently the chair of the Authors North events committee of the Society of Authors.
Jessie: How has the RNA supported your writing career?
Rhoda: I joined the RNA back in the day when you still had to send submissions out in the post. When I first joined, I was completely star struck and intimidated. Everyone was so helpful and kind I soon relaxed. I went through the NWS scheme and was a Joan Hessayon contender myself, many years ago. With the first contract, I became a member of the Society of Authors and went on take a voluntary role there. When I was offered the chance to be a judge and help strengthen the ties between the RNA and the Society of Authors (where I’m the chair of Authors North committee), I couldn’t say no.
Rhoda: The Joan Hessayon Award recognises those authors whose debut novels have been accepted for publication after passing through the Romantic Novelists’ Association New Writers’ Scheme. Each year 300 places are offered to unpublished writers in the romantic fiction genre. As part of the scheme, they can submit a complete manuscript for critique by one of the Association’s published authors as well as attend RNA events which offer opportunities to meet and network with publishers, agents and other published authors. The Joan Hessayon Award is generously sponsored by gardening expert Dr. David Hessayon OBE, in honour of his late wife, Joan, who was a longstanding member of the RNA and a great supporter of its New Writers’ Scheme.
Jessie: What do you like best about the RNA?
Rhoda: I should say something erudite here, but all I can think of is that I love the social aspect of it. I found my tribe in the RNA. The parties are invariably great fun. It’s such a relief to talk to people who don’t think it’s weird to have imaginary people running around in your head. It’s also nice to be among people who give the romance genre the respect it deserves.
Laura Bambrey, Kirsten Hesketh, Kathleen Whyman, Maggie Richell-Davies, Lynn Johnson and Lucy Keeling
Jessie: What will you be looking for in a winner?
Rhoda: I’m looking for a book that’s a satisfying and uplifting read. I love to see great dialogue and characters that feel so real that I think about them long after I’ve closed the bool. I have to say, the standard of entries is very high and the books I’ve read so far have all been really good. It’s going to be hard to choose the winner.
Jessie: Thorne, welcome to Books in Handbag Blog. Can you tell me something about yourself. Thorne: I started my career in the Contracts department at Hachette UK in 2015 before moving over to Editorial, which I immediately knew was where I was meant to be. I am now Commissioning Editor, Women’s Fiction at Hodder & Stoughton. I like books that give me ‘all the feels’, and have a particular fondness for ones that make me cry.
Melissa Oliver, Mairibeth MacMillan, Jacqueline Rohen, Jan Baynham, Emma Jackson and Fiona Woodifield
Jessie: Why do publishers value the RNA and the Joan Hessayon Award?
Thorne: Organisations like the RNA and prizes like the Joan Hessayon Award are vital to publishers and authors alike. As Milly Johnson said in her wonderful speech at the RNA awards evening earlier this year, romantic novels are often viewed in general society as somehow less important or less worthy than other types of fiction, which is so frustrating for those who love it and see it for what it really is: great stories told really well by very talented people. The RNA is a haven from that narrow-mindedness, providing authors and readers of romantic fiction with a place where the thing they love is truly celebrated. It also provides invaluable practical support to its members. With regards to prizes such as the Joan Hessayon Award, they give authors the recognition they so thoroughly deserve – and of course that’s great for both authors and publishers alike, because if a book wins a prize then we can shout about it from the rooftops and hopefully bring more readers to that book and the genre in general. Overall, the RNA provides authors and publishers with an invaluable community, and prizes such as the Joan Hessayon award provide moments to celebrate what is bringing everyone in that community together.
Jessie: What will you be looking for in a winner?
Well, I was going to say, ‘Just a really good book!’ but all of them will of course be brilliant if they’ve made it to the shortlist! I tend to look at various components individually (plot, characters, writing etc.) and give them a mark out of ten, then add them up for an overall score. Even if you feel like you loved all the entries and couldn’t choose between them, it’s surprising how quickly this method can break through that and show you your true favourite. But in general, I’ll be looking to be swept away by gorgeous writing and a plot that pulls me back to the book whenever I have to put it down. Basically, anything that’s going to make me go all tingly!
Annette Hannah, Stephanie Harte and Victoria Garland
This year’s debuts show the wide range of stories encompassed by the romance genre.
If you click on the contenders, you will discover more about the books and the authors. All of the contenders have placed their books in the Handbag Gallery. The Award will be announced on 5th September 2020 in an online presentation.
As a Yorkshire lass visiting Lancaster, I entered the city with trepidation. Would I be safe? Would I be welcome? With my white rose hidden in my handbag, I approached Lancaster University and entered the magical world of the Romantic Novelists’ Association.
I exchanged my white rose for a pink lanyard, grabbed a black bag of bookish goodies and planned my battle for the day. A wave of nerves washed over me when I saw my name listed on the one-to-one timetables.
Romantic Novelists’ Association is a shield protecting writers
With the ‘Sound the drums and trumpets’, the day commenced with a meeting of authors on the New Writers’ Scheme led by the wonderful Immi Howson. Listening to the success stories of the NWS authors made me realise the Romantic Novelists’ Association is a shield protecting writers and giving us to tell our stories. Writing can be a battleground and as many said, ‘we all have downs’, but with the support of the RNA one can survive ‘the slings and arrows’ of the process.
Encouraging smiles and greetings from fellow authors lifted my heart throughout the day. Lynda Stacey, my fairy godmother, prepared me for the first meeting. Members of the South and West Wales Chapter offered constant support. Surrounded by the warmth of the writers, I calmed down and looked around for familiar faces.
When Jessie met Angela
But the ‘sound of drums and trumpets’ heralded again and a knight from the House of York pushed me towards a writing heroine, Angela Petch. Her presence glowed in the room and I knew I would be safe from the ‘slings and arrows’ of my writing doubts. She handed me a notebook with ‘Dream big because dreams do happen’ written on the cover; these words started to ring in my ears for the rest of the day. It was overwhelming to meet this lovely lady in person and snatch chat time between meetings. Her kind words armed me with confidence, and I mused on how I felt as if I have always known Angela.
She handed me a notebook with ‘Dream big because dreams do happen’ written on the cover; these words started to ring in my ears for the rest of the day.
The one-to-one meeting with the industry professionals were enjoyable but too short. My writing was praised, and I began to smile again. It was a pleasure to introduce Pearl and Jim to new people, and I was delighted everyone loved naughty Doreen.
Being involved in the RNA is ‘a kinda magic’ that enables authors to slay the self-doubts and carve out a pathway towards achieving one’s dream. All I can do now is wish on a star, edit, write and ‘dream big’.
I hoped thoughts of my characters wouldn’t disturb my enjoyment of the performance.
The orchestra tuned up prior to the Russian State Ballet’s performance of Cinderella. The discordant notes reminded me of the collection of ideas for my work in progress and blog posts. I hoped thoughts of my characters wouldn’t disturb my enjoyment of the performance.
The ballet opened with a clock projected on the screen and dancers represented the mechanism. Time ticking reminded me it was already the end of another year and it was almost time to press the button on my New Writers’ Scheme application.
My work in progress is still a pumpkin waiting for the final transformation.
A forlorn Cinderella appeared on stage, like the character of Sophie I have left behind in my second novel. The erratic movements of the stepmother and ugly sisters reminded me of the clunky sentences I have abandoned. But these characters distracted me with their humour. The man playing the wicked stepmother was expressive in both physical and facial movements. He had planned every single movement to correspond with the music. I feel as if I choreograph every single movement of the characters in my book and sometimes it appears forced, until the characters take on a life of their own. Doreen, in my work in progress, possess the same sort of pantomime dame presence as the stepmother but she isn’t wicked.
Cheers to Lizzie Lamb and Lynda Stacey
A malevolent force dominated the ballet: good wrestled with evil. The evil dissolved when the fairies appeared and then they distracted me from my writing. During my blogging year, I have also encountered my very own fairies who have added magic and to my year. Lynda Stacey invited me to the RNA York tea and encouraged me to apply for their New Writer’s Scheme, while Lizzie Lamb, an RNA member, is always on hand to provide me with indie author expertise. Angela Petch and Jena Henry are my fairy godmothers. They have become twinkling stars on my Books in Handbag Blog. As I write, I know exactly what Angela and Jena will ask.
Jena Henry and Angela Petch are my fairy godmothers
‘Who are the ugly sisters and wicked stepmothers?’ I hear my fairy godmothers ask.
Well, I am like the wicked stepmother trying to force my characters to fall in love or get back home before it’s too late. Male and female characters can get ugly when they don’t want to behave.
Transfixed, I watched the transformation of Cinderella and marvelled at the re-telling of a classic. Good, beauty and the truth prevailed when the story ended. This confirmed I must pursue a love story in my second novel.
After the bows for the ballet, the curtain dropped, lights went on and the spell was broken. My neighbours rattled their sweet packets and settled down as the dusty, blue curtain closed. Having been transported into a dreamlike state, I knew I would pursue Pearl and Jim’s romance further but with a backdrop of humour and the seventies.
With a letter from the RNA, my new year has a happy beginning.
My work in progress is still a pumpkin waiting for the final transformation. Happily, I have just discovered I have been accepted on the RNA New Writers’ Scheme. With a letter from the RNA, my new year has a happy beginning. I can’t wait for the RNA reader to add some magic. The RNA Conference and RNA York Tea will also be significant events in my year.
