I would say my biggest selling point as a writer of romantic fiction is my ability to look beyond the confines of a typical Mills & Boon novel. The tired rehashes of Romeo & Juliet are a thing of the past. Today, we have a whole new world to explore in romantic fiction; a world where much of it, tragically, is unexplored.
I’m the sort of writer who will carefully pay attention to the details between cultures. A love story between artists in East London might play out in a dingy flat, whereas a young Italian would still be living at home and family would play a larger role in any story. These differences are important and I believe carefully mixing cultures together like this could create a breed of story which would far excel what others can make.
I don’t believe in a traditionalist view of romance or a modern view of romance. I have the vision to see they both have their places. Romantic gestures, when written correctly, have the ability to transcend families, generations, and eras.
As a fiction writer, I have dabbled in romance starting from the tender and going to the downright violent. This malleability and flexibility is what separates me from a ‘flash in the pan’ storyteller with little longevity.
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