A collection of the first three Romancing the Page novellas: A Hidden Hope (enemies to lovers), A Perfect Balance (office romance), and An Unheard Song (romance with a bit of light revenge)! All three stories are centered around strong, complicated women who work in science fiction and fantasy publishing.

What makes a romance novel a romance? How do you write a kissing book?Writing a well-structured romance isn't the same as writing any other genre-something the popular novel and screenwriting guides don't address. The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc-not the other way around.Told in conversational (and often irreverent) prose, Romancing the Beat can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure. The way she does with her clients. Some of whom are regular inhabitants of the New York Times and USA Today bestseller lists.Romancing the Beat is a recipe, not a rigid system. The beats don't care if you plot or outline before you write, or if you pants your way through the drafts and do a "beat check" when you're revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let's talk about kissing books.

In New York Times and USA Today bestselling author Kristen Proby’s brand new Romancing Manhattan series, three brothers get more than they bargain for as they practice law, balance life, and navigate love in and around New York City. Finn Cavanaugh is known for being a force to be reckoned with in the courtroom. He owns a successful law firm with his brother and brother-in-law in Manhattan. On the rare occasion that he has down time, he spends it at his home in Martha’s Vineyard. But when Finn’s troubled niece goes to stay with him for the summer in Martha’s Vineyard, he’s reluctant to take time off from work. That is, until he meets his beautiful new neighbor, London. London Watson is a Tony Award winning actress on Broadway. When tragedy strikes her family, leaving her alone and injured, she flees Manhattan for Martha’s Vineyard. Hoping she can figure out how to pick up the pieces of her life, London is convinced that she’ll never be able to return to the stage. But when she meets the charming young girl next door and her sexy uncle, they soon lure London out of her shell as she finally begins to heal from the wounds of her past. But when London feels confident enough to return to the spotlight, she’s dealt another devastating blow. Will the newfound love between London and Finn be enough to conquer all? Or will it be over before it has a chance to grow…?

Every year, thousands of romance manuscripts are submitted to publishers, but only the best are eventually published. This simple guide—written by two awardwinning romance novelists—will show readers what it takes to break into this highly competitive market and will provide them the information they need to get their manuscript out of the slush pile and onto the bookshelf. Readers will learn how to do the following techniques: build a story from premise to plot; add a fresh twist to a classic storyline; create compelling characters; write sizzling sex scenes that carry an emotional punch; research agents and markets; write a story that an editor can’t reject; and promote themselves and their work. New writers, and even experienced writers, will find the solid howto information here invaluable. This is a musthave for aspiring writers who want to write the perfect love story.

Lady Sophronia Sorrow considers herself an unlikely heroine. Why, just her name alone proves this. Sophronia Sorrow sounds like a girl from a gothic penny novel-the foolish miss who falls prey to a rake and becomes an object lesson for the true heroine to avoid. No, despite her mawkish name, Sophie refuses to spend her life invisible and unwanted, relegated to the margin of the text. Despite her eccentric, bluestocking ways, there must be a place where she is wanted. If only she could uncover the identity of her natural father, perhaps she would belong there?But one thing Sophie knows for sure-unlike that foolhardy miss in a novel, she will not succumb to a rake. No matter how thoroughly the rakish Lord Rafe Gilbert may tempt her.Lord Rafe Gilbert longs for freedom-freedom from his controlling father, freedom to live his life as he chooses. He knows playing the rake keeps his autocratic father in check, but Rafe longs to determine his own destiny. Case in point, he fell in love with Lady Sophie years ago, but his father's threats and his mother's health prevent him from pursuing Lady Sophie in earnest. So when Fate thrusts Sophie into his path, Rafe knows he must turn her away and distance himself. But doing the right thing has never been so impossibly difficult.Sophie and Rafe soon find themselves on a journey together from London to a castle in the Scottish Highlands. Along the way, can two kindred souls heal from past hurts and seize a second chance to write a love story of their own?

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.