Tag Archives: #RNA60

RNA 60: ALISON MAY SIGNS OFF ON BEHALF OF THE ROMANTIC NOVELISTS’ ASSOCIATION

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Writing this piece for Frost turns out to be one of my very last duties as RNA Chair, as I’m standing down in January and handing over the reins. Being the Chair of the RNA is brilliant and overwhelming and challenging and wonderful and infuriating in roughly equal measures, and this year it’s been… well, it’s been 2020.

A year ago Bella Osborne and I shared some of our plans for the year with Frost readers. 2020 was the RNA’s Diamond Anniversary year and we had big ideas for a huge celebration event in June, alongside bigger and better versions of our regular conference, York Tea and Winter Party. As it turned out, of course, our awards ceremony at the beginning of March was our last physical event for the year, and probably our last event for a little while yet.

As Chair of the RNA the overriding feeling is that you’ve been handed custodianship of something very special, so the first priority is not to mess it up. There’s a rough calendar for the year that you expect to follow, and might then add to with special events for something like a big anniversary. When that calendar is suddenly completely empty and you know that the association has members across the country, and around the world, still keen to interact and develop as authors and network with industry professionals, the challenge of not breaking the organisation you’re charged with looking after can suddenly seem very large indeed.

But no good story reaches its resolution without some challenges and obstacles to overcome, and, in life as in writing, constraints bring forth creativity. So we might not have met up and celebrated 60 years of the RNA in the way that we hoped, but we did still hold our conference – albeit virtually -which opened up opportunities to members who might not normally be able to travel. In addition to our local chapter groups, many of whom have met up via Zoom during lockdown, we now have genre-based networking groups online to allow members to exchange ideas and get to know one another. And alongside our Rainbow Chapter, celebrating LGBTQIA+ romantic fiction and authors, we now have our DISCO Chapter, championing fiction from disabled and chronically ill authors, and representing disabled and chronically ill characters.

We presented our Joan Hessayon Award live in a webinar event, which means that our brilliant winner, Melissa Oliver’s, fantastic reaction is saved for posterity. We announced our Industry Award winners in a video presentation. We brought new opportunities for professional development to our members with the launch of our online RNA Learning programme. And we’ve continued to share ideas and articles on our blog and via our magazine, Romance Matters. Finally, in November we asked the wise people of Twitter to vote for their favourite romantic novel of the last 60 years. Take a bow Bridget Jones.

And our members have continued to write. Against the backdrop of 2020 it would be understandable to question whether telling beautiful stories really matters, but it does.

Romantic fiction is an escape. It’s an escape from a real world that can be overwhelming and unremitting. Romantic fiction is a place of safety. It offers the chance to cry your heart out within a bubble of an imaginary world. It offers catharsis and a space to explore fears and hopes. And, most importantly, romantic fiction is a promise. It’s a promise that obstacles can be overcome, that dark clouds will clear, and that better times will come.

Coronavirus will pass. The need for stories, and storytellers, never will.

 

Alison May is a novelist and short story writer and current Chair of the Romantic Novelists’ Association. Alison also writes as Juliet Bell (www.julietbell.co.uk and @JulietBellBooks).

 

 

 

CELIA ANDERSON ON CELEBRATING ROMANTIC FICTION

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When I was approached back in 2016 with a view to taking over the organising of the Romantic Novel Awards from Nicola Cornick, I have to admit my knees began to shake. Nicola followed a long line of equally super-efficient coordinators, all of whom had helped the system to grow and develop in different ways. It’s been a fascinating few years though, learning the ropes, meeting hundreds of writers, agents, publishers and avid readers online and experiencing the amazing diversity of romantic fiction as it is today.

These RNA awards are unique in that eight of them are completely reader-judged by up to 300 volunteers who are passionate about reading romantic fiction. Every spring, the regular panel of judges are re-recruited with some additions, and once the books begin to flood in (all ebooks now, which has been a blessing in this year of being extra-aware of passing on germs) the organiser is responsible for allocating batches of books to readers for a set period. We close for business on September 30th or when the cap of 500 entries is reached, whichever comes first, but allocation and judging continues way into the autumn until every book has been read and scored.

In addition to this, my hard-working colleague Laura James will be publicising and collating votes from librarians, book bloggers and book sellers as they nominate their favourite book of the year for the Popular Fiction Award which is presented at the same time as the other category prizes for Contemporary, Romantic Comedy, Debut, Fantasy, Shorter Romances, Historical, Saga and Thrillers. We endeavour to promote diversity and inclusion so that romance in all its forms is fully represented.

The results are strictly confidential until careful moderation of the judging process by a panel of experts has been completed, after which short lists are consolidated. Even then, only those on the lists are notified and asked to keep the secret until the announcements are formally made in February. In early March at a glittering ceremony and party in the heart of London, the final results are revealed and the trophies presented by a different celebrity each time. The final presentation is always the Outstanding Achievement Award, won in 2020 by the wonderful Milly Johnson who brought the house down and reduced everyone to tears with her moving and encouraging speech.

This showcase event is an ideal way to promote all genres of romance, to give members the chance to mingle with publishers, agents and fellow authors and to highlight the fact that romantic novels become more popular with every year that passes and that writers of romance should be celebrated for bringing much needed joy into the world of books. In this time of pandemic troubles, the format for the 2021 event will need to be carefully considered but rest assured, the winners and short-listees will still be celebrated with as much pomp and ceremony as we can safely achieve. They are all stars.

 

Celia Anderson was a primary teacher and assistant headteacher before deciding to leave it all behind to write full time. She has been an enthusiastic member of the RNA since 2011, having graduated through the wonderful New Writers’ Scheme and made many good friends along the way. With Harper Fiction she has recently published The Pengelly Series (59 Memory Lane and The Cottage of Curiosities). There are more to come…

 

 

 

 

VIRGINIA HEATH TAKES US BEHIND THE SCENES OF THE ROMANTIC NOVELISTS’ ASSOCIATION’S LEGENDARY PARTIES

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When we are not in the midst of a global pandemic, the Romantic Novelists Association parties are the focal point of our calendar. Members travel the length and breadth of the country, and even further, to attend so they expect a good show. That’s my job. As the Events Co-ordinator, I organise all of the behind the scenes stuff to ensure everyone has a wonderful time.

We host two massive parties in central London every year. The Romantic Novel Awards in early March, which celebrates the best of romantic fiction in all its many genres in glittering splendour, and the eagerly anticipated jewel in the crown—the Winter Party which usually includes the prestigious Industry awards. Planning for both starts a good two years prior when I source the venues. As the RNA has grown in size, the needs of the venue become more specific. We require somewhere with the space and capacity to hold 300 plus romantic novelists, keep them majestically fed and watered and comfortable. However, that isn’t the only consideration. With people travels from all corners of the British Isles, it needs to be central, close to public transport and be fully accessible to all members of our wonderfully diverse institution. I also negotiate the contracts to ensure the best value for money.

A few months before each party, the serious work starts. Tickets have to be sold so I personally run all the marketing for the party and invite the dignitaries and press. Menus have to be organised; the free-flowing booze has to be chosen. I liaise with the venue on all aspects of this, from the number of bottles of prosecco to the individual dietary requirements of our guests. As the big day gets closer, I work with the AV technicians to select the correct music and lighting to create the perfect ambience. Then, on the day, I normally arrive at the venue first thing in the morning to consult with the hospitality managers and catering staff. I oversee the set-up, the rehearsals and run throughs, double check the layout, the seating plans for the awards and the green rooms for the nominees and VIPs.

Finally, I’ll man the reception desk and issue all the partygoers with their branded RNA scarlet lanyards which is their golden ticket to the fun. At the designated time I’ll throw the doors open and enjoy the oohs and ahs as everyone pours into the room. Once I am certain everyone has a glass in their hand and that the buffet is laid out, I’ll have a glass of something sparkly and pat myself on the back. Then I’ll enjoy the party myself and forget about all the organisation and hours it took to create it. Until the next party looms and off it all goes again.

Being the RNA’s Events Co-ordinator is a huge and often exhausting responsibility on top of my writing career, but when it all comes together and I see the how delighted it makes everyone who attends, it’s worth it.

 

Virginia Heath writes slightly racy Regency Romcoms which are published in many languages all across the globe. Amongst them are her critically acclaimed Wild Warriners and King’s Elite series for Harlequin Historical. She has two Romantic Novel of the Year Award nominations and cannot wait to launch NEVER FALL FOR YOUR FIANCEE, the first book in her upcoming Merriwell Sisters trilogy with St Martin’s Press loose into the world.

You can find her procrastinating online on her busy Facebook page and at www.virginiaheathromance.com

 

 

 

 

MELISSA OLIVER ON WINNING THE JOAN HESSAYON AWARD FOR NEW WRITERS

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When I sat down in front of my laptop on that sun-drenched September afternoon, to find out who the winner of the prestigious Romantic Novelists’ Association Joan Hessayon Award would be, I had no idea that by the end of the zoom presentation, the wonderful Katie Fforde would open the envelope and say my name.

It was quite a surreal moment and it was actually a blessing (for me) that the recording of the presentation didn’t include my initial utter disbelief. For a few seconds, after my name was announced, I felt that time had actually stood still as I blinked repeatedly, wondering whether there had been some sort of mistake. And then of course, I was to make a garbled speech and this time the speech in all its effusive glory was recorded. Here, not only do I forget to thank Dr Hessayon – who generously sponsors the award in memory of his late wife, Joan- a vehement champion of new writers but also my lovely editor, Charlotte Ellis at Harlequin, Mills and Boon. I had been convinced that I had thanked both only to realise my mistake on second viewing. Thankfully, I have since rectified that oversight.

The truth is that I was and still am so ridiculously happy to be the winner of this amazing award, especially in the RNA’s 60th anniversary year.

The New Writer’s Scheme (or NWS) is a unique scheme run by the RNA offering unpublished writers the chance to have their work critiqued anonymously by the RNA’s team of published authors. My own experience of getting detailed feedback of my work was both nerve-racking and stressful yet immensely valuable as well.

For writers to be able to pass through the scheme and achieve the Herculean feat of getting their books published, it’s such an amazing feeling of accomplishment. After all the years of hard work, determination and at times disappointment, it all becomes worth it and not only that but this book that you’ve written- your debut can then qualify for this award as well.

The nurture and support from the RNA and the New Writer’s Scheme helped me achieve that elusive dream of becoming a published author. From the chapters (shout out to the London Chapter), to the seminars, courses, talks, events- the fabulous summer conference (where I met my editor, at the one-to-one meeting last year), Winter Party and the industry award ceremonies- it is such an amazingly warm, welcoming professional body.

This year there was an unprecedented number of books (21) that went through the New Writer’s Scheme to publication with a huge variety of stories within the romantic fiction genre. From historical romance, heart-warming contemporaries, saga, festive romance, romance infused with a thriller element, a paranormal romance to romantic comedies and so much more. I’m still quite bewildered by how the judges managed to choose from such a dazzling list of books this year but the fact that my debut, The Rebel Heiress and the Knight was selected as the winner is an absolute honour for me and something I will always cherish forever.

Melissa x

Melissa Oliver is from south-west London where she writes historical romance novels. She lives with her lovely husband and daughters, who share her passion for decrepit, old castles, grand palaces and all things historical.
When she’s not writing she loves to travel for inspiration, paint, and visit museums & art galleries.

Check out Kirsten Hesketh’s review of The Rebel Heiress and the Knight in this month’s Sister Scribes Reading Round Up.

 

 

 

IMOGEN HOWSON ON THE EVOLUTION OF THE RNA

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I joined the Romantic Novelists’ Association in 2008 and went to my first conference that year. As a newish editor (I was working for a digital-first publisher) and a very newly published writer, I was impossibly excited and shy all at once.

The conference had its moments of terror, such as when I went into the bar to find it deserted (where had all my new friends gone?). But these were outweighed by all the moments of friendliness and welcome: as I fled the scarily deserted bar, I walked past an open window to the accommodation block and was hailed by all my new friends, who summoned me to join the kitchen party they were having. And by the time I left on Monday morning, I knew I’d found my people.

For many of the RNA’s longstanding members, it’s important for us to try to make sure any new members we meet end up feeling the same way. We don’t always manage it—we are writers, after all, a typically shy, introverted bunch who only warm up after a glass of wine—but we’re determined to do our best!

For me, that desire to make all new members feel that they’d “found their people”, prompted me to organise the New Writers’ Scheme for several years—until 2019, when I moved on to become the RNA’s Vice-Chair. It also led to my enthusiastic involvement in the RNA’s initiatives to make our organisation a more welcoming and inclusive place for writers from groups currently under-represented in publishing.

The path to traditional publishing for, for instance, ethnic minority writers and LGBTQIA+ writrs (particularly those who write “own voices” books) is disproportionately harder than for straight white writers (and goodness knows, it’s hard enough for them as well!). This means that writing organisations often have a membership that reflects the state of publishing as it is (straight, white, middle-class) rather than publishing as it could be. Which, in turn, means that whilst someone (like me) who fits that demographic might feel instantly at home in the RNA, someone who falls outside the demographic might not.

As part of our ongoing endeavours to make everyone feel welcome, we’ve changed the venues for our events to make them more accessible to writers with mobility difficulties, we’ve updated our publicity materials to display a (slightly) wider diversity of race and gender, we offer gender-neutral toilets, we’ve created our Rainbow Chapter for LGBTQIA+ members, and we continually revisit our criteria for both membership and entry to our awards to ensure that we include as wide a range of writers and books as possible.

We’ve also embarked on an expansion of the bursaries the RNA has always offered to members in financial need. Over the last couple of years, enabled by the overwhelming generosity of many of our members, we’ve extended them from simple bursaries into grants which offer membership, not only to writers who can’t otherwise afford the membership fee, but to writers from under-represented groups.

This reflects the RNA’s awareness that lack of income isn’t the only barrier that writers meet, and that as an organisation, we need to do what we can to decrease those barriers, or to at least help writers surmount them. Our endeavours to improve the RNA’s inclusivity and diversity are, like so many things in a writer’s life, a work in progress. We’re always open to suggestions (send here, please! imogenhowson@romanticnovelistsassociation.org). And with work, determination, and a willingness to listen and get better, every day we move the RNA closer to being the place where all writers find their people.

 

Imogen is the Vice-Chair of the Romantic Novelists’ Association. She writes fantasy and science fiction for young adults, and is the winner of the young adult category of the Romantic Novel of the Year Award 2014, and of the Elizabeth Goudge Award in 2008 and 2017.

JEAN FULLERTON ON THE RNA’S CHAPTER AND VERSE

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I joined the Romantic Novelists’ Association way back in 2003 as part of the New Writers’ Scheme. I was so grateful for all the help, support and friendship I received from RNA members over the past seventeen years, I promised myself that when I no longer had a day-job, I would join the committee.

That opportunity came five years ago when I was able to wave goodbye to my job as a University lecturer and become a full-time writer.

When the committee was restructured last year, I took on the role of Educational Officer, and one area which I’m very hands-on with is the RNA chapters.

When I joined the Romantic Novelists’ Association over a decade ago, some of the first real writers I met were members of the London and South East Chapter.  I was a burbling newbie, but everyone welcomed me. They walked the stony path to publication alongside me and I now count them as close friends.

Although the RNA can appear to be all champagne, high heels and glitzy London parties the organisation’s bedrock is the 20+ chapters up and down the country. It is there that new and not so new writers can find support, encouragement, and friendships.

I felt so strongly about this that ten years ago I took on the role of Chapter liaison. Well, when I say took on the role, what I actually mean is I muscled my way into the then committee and said I  thought there needed to be someone to link with the chapters and I was willing to take on the role.

I liaise with chapters about events or workshops they might be planning, and the allocation of the Committee Annual Educational grant. I also introduce new members to their local chapter and assist anyone wanting to set up a new chapter; be that a physical, online or special interest chapters such as the Rainbow Chapter for writers who write or who are interested in LBGTQIA+ romance. I also, in conjunction with Liam, the RNA’s Diversity and Inclusion Officer, developed the chapter guidelines.

When I became chapter liaison I lived in East London so as I was just a hop, skip and a jump from most of the mainline stations in London, I set about visiting as many chapters as I could. If I made an early start, I could reach most of them in a day even the North West Chapter who meet in Southport.

Sadly, as I now live an hour outside London that is no longer possible, but I keep in regular touch with the chapters via email. And since all chapter meetings have been cancelled due to the Covid lock down, increasingly via Zoom.

Being a writer is a lonely profession, just you, your head and the computer most of the time but we need other writers. Unlike non-writing friends and loved ones when you explain to a fellow writer the problem you’re having with your heroine or plot line their eyes don’t glaze over.

In conclusion, although under the RNA umbrella, our chapters are open to RNA members and non-members alike. Therefore if any writers out there would like to find out more about an RNA Chapter near you then please email me on jeanfullerton@romanticnovelistassociation.org and I’ll point you in the right direction.  For more information about the RNA please visit www.romanticnovelistsassociation.org

Bio: Jean was born and bred in East London where her fifteen novels are set. She is a retired nurse and university lecturer. Jean is currently writing the final book in her Ration Book Series.  In addition, she leads writing workshop and is a regular speaker at WIs, U3As and cruise ships.

www.jeanfullerton.com

SHEILA CRIGHTON ON ‘THE PRO’S AND CON’FERENCE’ OF 2020

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Conference planning time reminds me of Christmas. Perhaps it’s because the planning begins around October when, life becomes a bit more twinkly. Or perhaps it’s because I get to open up a new spreadsheet and start putting together another buzzy, creative, inspiration-filled roster of sessions with which to lure people along to our next venue (Leeds Trinity in 2021, if you’re asking).

When I first started attending in 2015, the extraordinary Jan Jones was the doyenne of all things conference. And when I say all things, I literally mean all the things. She booked the speakers, the delegates, the venues (booking venues happens years in advance to make sure we get our early-July slot). She put up the signs pointing us up stairs and down corridors and around the corner to the loos. She knows where to get wine. Who can help make the microphones work (thank you, Janet Gover!). She knows who likes to sleep on a quiet floor and who needs a kitchen that parties into the wee hours. She did it all. Yes, there are helpers. People who greet lovely newbies (cheers, Kate Thomson) and people who schedule the industry appointment allocations (thank you, Elaine Everest). People who chair the RNA (kisses to Alison May and all past leaders), and of course the scads of folk who help stuff those lovely goodie bags, but still. Organising a conference for well over two hundred delegates and some thirty-plus speakers as well as the venue, the catering, the glitter on the tables for Saturday night etc etc is a big task.

So, a couple of years ago before I’d even had a sip of wine, I volunteered to help. I’d book the speakers and one-to-one industry experts and Jan would oversee the venue logistics (of which there is a mind-boggling amount to consider) and book the delegates (another epic job including, but not limited to, getting those lovely glittery first-time Conference attendee flowers on name tags).

Booking speakers is akin to picking thirty-six shiny candies from a huge jar filled with thousands of impossibly wonderful candies. The previous year’s speakers have to be considered. Delegate’s feedback is pored over (yes, we really do consider it). All this and more to create that all important balance for the myriad of novelists who make up our membership. We put a lot of thought into creating sessions that meet everyone’s needs and perspectives, headlining the RNA’s passion for inclusivity. As such, the speakers should showcase the variety in modern romantic fiction including: romcom, historical, SCIFI, saga with BAME, LGBTQ and all of the other protagonists in between seeking their Happily Ever Afters. After all, love matters to everyone. And then, of course, there are the one-to-one industry feedback sessions. The feedback – no matter the outcome – is unbelievably useful. It’s definitely taught me to take some constructive criticism on the chin!

This year, just as everything was getting exciting and I thought we’d nailed it, Covid-19 happened and we couldn’t hold the shiny conference I’d just organised and Jan had already taken over a hundred bookings for. Then our chairwoman Zoomed me (because that’s now a verb) and said “virtual conference.” I said no, no, no because I was mourning the conference we couldn’t have. When booking opened for the virtual conference Alison persuaded me to book speakers and industry professionals for despite my reservations, scores of you signed up. Which is just the juice we need, come autumn, to open up a shiny new spreadsheet and do it all again. Happy virtual conference everyone!!

 

Sheila Crighton’s first job was selling popcorn at an arthouse cinema. She later became a cameraman and news producer for Associated Press TV, made a few TV programmes, then gave it up to raise stripy cows and write books as Annie O’Neil and Daisy Tate. One of her gazillion dreams is to write a Hallmark Christmas movie.

 

SISTER SCRIBES GUEST: TANIA CROSSE ON AN AWARD WINNING SAGA

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Susanna invites Tania Crosse to talk about winning the first ever Saga of the Year award from the Romantic Novelists’ Association as it celebrates its Diamond Anniversary

I was utterly thrilled when I learnt at Christmas that The Street of Broken Dreams had been shortlisted for the new saga category in the RNA’s major annual awards. With the other contenders, Lesley Eames, Jean Fullerton, Rosie Goodwin and Kate Thompson being such wonderful writers, I went to the ceremony in London with no expectations, just looking forward to a glittering evening out. So when my name was read out as the winner, I was totally overwhelmed. I managed to gabble a few incoherent words up on the podium, but I must confess, it was all a bit of a blur at the time.

It really is fantastic that this new saga award has come into existence. It remains an enormously popular genre, and the quality of so many of the brilliant sagas available, covering a huge range of different topics, deserves such recognition. I feel honoured that as the first ever recipient of this award, I can represent saga lovers everywhere.

Tania (left) with agent Broo Doherty

So what is considered ‘saga’? That is a good question, so here is my interpretation. Whatever length of time the story spans, the entire action must take place at least fifty years in the past. Secondly, the actual romance is not necessarily the main focus of the book. Characters must fight their way through extreme adversity, often – though by no means always – generated by the historical circumstances of the period, with the romance intertwined within it. Sagas are normally gritty, hard-hitting stories illustrating strong themes.

Like all sagas, The Street of Broken Dreams is a tale of spirit, warmth, courage and heart, and has been described as ‘searing emotional drama’ and as being ‘beautifully compelling and poignant’. It’s 1945 and WW2 is drawing to a close. But the consequences of war can be far reaching. Can dancer Cissie ever recover from the brutal night back in 1944 that destroyed her life? Will it take the love of a good man or the guilt and self-sacrifice of a stranger from across the sea to bring her peace? Does Mildred really know the man to whom she so hastily became engaged before he went off to war? Will she able to face the tearing conflict of loyalty on his return?  Can golden-hearted Eva, matriarch of the street and linchpin of the story, help them unite against the future?

I actually lived in Banbury Street, the street of the title, as a small girl, so writing the book brought back many childhood memories. Cissie’s story was inspired by an ‘encounter’ my mother experienced during the blackout, though fortunately it had a different outcome and my mother was unharmed. During the war, my father served in submarines in the Far East, which gave me the idea for Mildred’s story. Dance has been a lifetime passion of mine, and my ballet mistress with whom I kept in contact all her life, told me about her experiences as a dancer in wartime repertory, and this became the Romaine Theatre Company in the book.

So I think you can appreciate that this award means so much to me, not just in itself, but because so much of myself was poured into the book. As my fourteenth published novel, it feels like a lifetime achievement and I thank from the bottom of my heart the Romantic Novelists’ Association and the readers and judges who put me on the podium.