Eve Eddison describes her ideal woman to her best friend, Roxanne, over pints in their local pub a few days before she travels to the Scottish Highlands. There she falls head over heels for an enigmatic local, Moira Burns, and the usually reticent Eve wants more than a holiday romance. Forestry officer Moira Burns has no intention of letting go—either of past pain or for present pleasure. If that means she misses out on her chance at happiness, so be it. Convinced Eve is headed for heartbreak, Roxanne advises her to let Moira go…but has Eve found her ideal woman at last?
From the breathtaking Highlands of Scotland to the buzz of a Leicester gay bar, family and friendship are tested to breaking point, as letting go proves painfully hard.
Firstly I’m Scottish so a Lesbian Romance set in the highlands…
Sometimes the most intriguing girls are right next door—BFFs, ex-girlfriends, new girls in town, party girls, study mates, team mates, and sexy strangers. All it takes is a night out, the right moment, or an accidental kiss to discover what’s been there all along—the perfect girl for a love that lasts a lifetime. Best-selling romance authors tell it from the heart—sexy, romantic stories of falling for the girls next door.
Session Title: Permutations of Lesbian Love in Popular Fiction.
The title of my paper is Compelled to write – A writer’s perspective on the question ‘why do we write stories of lesbian love?’
Invitation to have your say!
It would be great to hear from other published authors as to ‘what compels you to write stories of lesbian love?’
I have created a short poll for you to complete. You can select one or as many of the reasons that are applicable to you. You can also add your own reason in ‘other’. All votes are anonymous. My paper will be published on my site after the conference.
It is important that you confirm in the poll below that you are a published author (this includes self-published authors) who writes stories about lesbian love.
Writing Highland Fling has been a fantastic learning process for me. When I think of lesbian romance, I now have the following quick check list in my mind:-
A clear focus on the two characters falling in love. It’s all about them. With their story fully resolved.
“You want to fall in love with them” characters you can admire or can be attracted to. Characters you can invest emotionally in. Basically if they’re not fanciable in some way readers are not likely to care.
Conflict, both internal (what they’re thinking), and external (what they do) – the energy that drives the story.
A happy ending. Readers expect that despite all of the agonies or uncertainties on the characters’ road to love, there will be a happy ending, that their feelings are safe in the writer’s hands.
Sexual tension – the will they won’t they element, enticing, engaging cues to sexual attraction and longing.
And, as I have been asked to select my golden rule for a successful romance, it would be this – Writing from the heart, putting into the story what it feels like to long for someone, to fall for someone, the uncertainty, the self-doubt, the tortured agony of it all…
“What’s the difference when it comes to writing short stories versus novels?”
Let’s have a think for a moment about what we mean by a short story, and what we mean by a novel – the clue to everything is word limit.
If we use Bold Strokes Books guidelines – a recent call for submissions for a short story collection asked for stories between 2,000 – 5,000 words; and novels, well they start from 45,000 words upwards, depending on the genre.
So with a novel, averaging say 85,000 words, how do you keep your reader gripped for so long? How do you build in the depth that’s needed? How do you write a story that will stay with the reader forever from just the seed of an idea? And if you’ve only got 5,000 words, how do you tell your story fully? You’re going to need to grab the reader quickly –how do you do that? Does it mean you can only focus on one or two characters? And how do you manage without the space for a back story? How do you get depth without depth?
But is the joy of a short story, that it’s not a novel? You can experiment perhaps, try out a new genre, a different voice, explore a new character, work on impregnating a story with meaning in every word. Do the restrictions actually make you free?
And the novel, do you get to live another life through the expansive canvas offered to your characters? Do you have the room to say just what you want to say, no restrictions, another kind of freedom? As a novelist are you thrilled that you’ll keep your reader reading far too late, night after night, after night, after night..?