Trish Morey - Harlequin romance author

Interview with Dianne Moggy, Editorial Director for Single Title Harlequin Enterprises, Toronto, Canada

Dianne Moggy has spent more than 19 years with Harlequin, the firm that has made category romance both a specialty and its bread and butter, and that among other things, also had the foresight to give birth to MIRA Books, a single title imprint, in 1994. Next year is a major anniversary year for both Dianne and MIRA. Meanwhile, we’re hoping Dianne can spread a little Harlequin celebration Down Under during her southern hemisphere sojourn.

Q: We’re all looking forward to meeting you and to your contribution to our Passion in Paradise conference in August. Do you have anything in particular planned for us?

A: I’m thrilled to be coming! This is my first visit to Australia and I’m so looking forward to it. I want to share with your members, of course, what we’re looking for in manuscripts, both across the category lines and in our single title programs, and to tell them that I’m hoping to find some new authors during my visit. But in addition I hope to have some exciting news to announce. We’re working on a number of exciting new lines and programs, including the relaunch of our romantic comedy line. This line has evolved into Flipside, which many of you know will be launched in October. So it’s a big year and I’m very excited to be coming to make the announcements.

Q: Next year will be your 20th anniversary with Harlequin. Would you mind telling us a little of your background?

A: I joined Harlequin way back in February 1984 as an Editorial Assistant for Gold Eagle Books – the company’s male action adventure imprint. From there I helped launch the Worldwide Mystery Program, which reprints soft boiled mysteries previously published elsewhere in hard cover. I then spent some time with Harlequin Romance and Presents, scheduling and repackaging the HM&B material for release in North America. Plus I worked with a number of US based authors who were writing for the line. From our launch in October 1994 I have worked on MIRA Books. So, as you can see, I’ve had a lot of experience working in editorial departments across both our category and single title businesses

Q: Now that you’re editorial director, does that mean you don’t get to read manuscripts anymore?

A: No, far from it. While I have other responsibilities, and it’s not as often as before, I still get to read manuscripts, particularly if it’s a new author, or an existing author doing something completely different. Or an author I love with a new book I just can’t wait to read. I invariably read some part of every novel—the proposal, the first draft or the finished manuscript. Basically, you don’t become an editor unless you love books!

Q. Who are the authors you love to read?

A: There are so many. I am partial to MIRA authors, which is probably no surprise. But I grew up reading Margaret Way and Violet Winspear and all those wonderful Harlequin Presents novels set in Australia and New Zealand. I recently discovered a British author named Philippa Gregory and I’m on a quest to find time to read all of her historical novels.

Q: One of the reasons we’re excited about your coming visit is because this is the first time in Australia we’ve had the opportunity to pitch our books face to face with an editor. However, that means we’re also pretty inexperienced. What advice could you give to us as to what you are looking for in a pitch and what you might be expecting?

A: Regardless of the line you’re aiming for, there are always things we look for:

* be prepared - know what line or program your book is targeted toward. Make sure you’ve read recent novels in that particular series or genre of women’s fiction.

* make sure your story has a compelling hook. The storyline can be familiar, but you must bring a new spin to it.

Tell me about your writing experience and about the things in your background that you can bring to the story. For example if you’re writing a thriller set in a hospital and you’re a doctor, then tell me as that immediately gives your writing authority. (It may sound obvious but this is so often overlooked).

Q: How does a writer convey all that in 10 minutes – do you have any pointers?

A: You need to pitch me your story in a couple of gripping lines, the back cover copy if you like. I want to hear a verbal synopsis featuring the key selling features of the story. This is your chance to do your pitch letter, face to face. I’ll want to know your writing experience--what you’ve written and if you’re published--and what you like to read. I’ll no doubt have some questions regarding the story and there’ll be further discussion.

The one thing I can’t comment on during the interview is your writing, of course, so at the end of the day, my response might be to ask you to send a sample chapter or a synopsis to me or to someone else.

Q: What’s the most important thing for a pitching writer to remember?

A: Just to relax! I’ve had writers freeze up completely and forget everything about the book they love. So in order not to forget anything, it’s a good idea to write some pointers on index cards. That way even if you’re a bit nervous, you’ll have something to focus your thoughts.

Business cards are also a great idea if you have them or can get them made up. They’re useful to me because I’ll often write notes on the back, reminding me that I’ve asked to have the manuscript or a chapter sent and to which editor I’ve recommended. Then I can forward the card onto another editor and tell them to expect your submission.

Q: Are there any definite no-no’s?

A: There aren’t many no-no’s. However I don’t want to hear a pitch for non-fiction or for a story that is targeted toward the male market. That’s not our market - we’re a women’s fiction publisher. Secondly, don’t leave me hanging – I need to know where the book is going and how it gets there. I won’t ask you to send in your proposal just so I can find out the ending! And if your hero dies in the end, I need to know that too – so don’t forget to tell me the big picture.

Q: If someone wants to pitch a book, should that book be completed, or is it okay to pitch on a partial?

A: Most definitely finished! Don’t use up someone else’s 10 minutes for a book that may never get finished. If you haven’t finished the book, then catch up with me some other time during the conference, and we can talk about what you’re doing then.

Q: To sell in the MIRA and ST lines, is it necessary for the author to have sold in category and acquired some sort of readership?

A: No! Both Alex Kava and Taylor Smith were previously unpublished when their novels were acquired by MIRA. In 2003 there are 3 new authors not published in category to watch for: Elizabeth Flock, Bonny Hearn Hill and Lynne Kaufman. In fact, MIRA will be publishing their first novels.

Q: What decides whether a book is a single title as opposed to a longer contemporary, such as a Superromance or Intimate Moments?

A: One of the key differences is that the relationship between the hero and heroine may not be central or it may even be non-existent (and I’m thinking of Debbie Macomber’s "Thursdays at Eight" here, which involved a group of four girlfriends) in single title fiction. In category fiction, the romance is very much at the core of the book, even when the subject matter may, in fact, be similar to what you see in a single title.

In addition, single title books often employ more secondary characters and the ratio of focus on those characters may well be higher than in category. The additional length of single titles also allows the author to explore in depth characterization for secondary characters and to develop additional subplots These factors often give single titles a different tone..

Beyond the novel itself, how single title books are packaged and promoted is a different world to category. While category has a built-in safety net regarding distribution, ST books are out there on their own and it can be very lonely. And just because your book is single title does not guarantee you a long shelf life. Books stay on the shelves only as long as they are selling, so there is no guarantee that a ST will be on the shelves longer than a month.

Q: To wrap up – obviously romance isn’t a static beast – we see developments that reflect changes in attitudes in society - we’ve seen the chick lit style take hold and result in new lines such as RDI and more recently the Tango imprint – but what do you see are the main factors influencing the world of romance fiction at the moment?

A: It’s an ongoing evolution. Books have reflected women’s roles in society and those changing roles have led to changes in the style and tone of our books and are going to lead to more evolution in women’s fiction.

In romance, the hero/heroine relationship will always be central, but the tone has changed, and the role that the heroine plays has changed. At one time she would have been a homemaker or nanny whereas now she can be a doctor or lawyer. There’s also the influence of the media and the entertainment industry, but the changes to women in society are at the crux of it.

Romance still accounts for more than 50% of paperbacks sold, so romance is touching a central core. A large part of that is the promise delivered by these books. rd. Our category novels deliver the promise that the hero and heroine will live happily ever after. Our Single titles must leave the reader satisfied.

Q: Just finally, where do you think romance is going?

A: If I knew the answer to that... (laughter) I should add that it’s our authors who show us where romance is going - through your submissions. And it’s these submissions that reflect the environment in which our authors live.