I've been on the staff of network sitcoms. What the hell is going on here? The famous authors are nice. Kate asks for the first three chapters of the manuscript. She's a tall, maternal-looking woman with a lot of blonde hair. The RWA stations volunteers down here to make sure things keep running on time, but it's no secret that the volunteers are also here to keep anxious writers from going over the edge. ![]() Some take out pictures of their children. Some practice their pitches, reading from index cards. Outside this room, women mill around nervously awaiting their turns. The problem, as every editor and writer knows, is that if there's always going to be a happy ending, why would you keep reading? The difference between a good romance novel and a bad one has to do with sheer writing skill- how well the characters are developed, the author's voice, and the complexity of the obstacles standing between the lovers and their ultimate happiness. ![]() ![]() This is what the RWA guidelines call "emotional justice." Good is rewarded. At the beginning of the book, there's a conflict keeping our lovers apart, and by the last page, there's a happy ending. This pitch perfectly incorporates all the elements of the typical romance novel, which is outlined by the Romance Writers of America on all its literature, and on its website, and by every representative I talked to.
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