One Hot Scot, Please What do you get when you take a wicked smolder, a sexy Scottish burr, and an unruly mass of tousled red curls and roll it up in a kilt? This is not a trick question. Every romance-lover with a kilt fetish knows Jamie Fraser is the hottest thing to roam the Highlands since Mel Gibson’s William Wallace. But even though he may have seduced us all with that muscled chest and the adorable way he says Sassenach, we were all onto the sexy Scot well before Jamie swept us off our feet. Readers have been clamoring for Celts for years, and romance writers have obliged with a clans’ worth of kilted heroes, from Rowan Keats’ brawny Bran MacLean in What a Lass Wants to Julie Garwood’s sexy Alec Kincaid in The Bride. And that’s just the tip of the crag. There’s a hot Scot out there for every reader. How about a mad chase across the moors with Tracy Ann Warren’s Daniel MacKinnon, the devastating laird in Her Highness and the Highlander? If you fancy some espionage, there’s Teri Brisbin’s fearless William de Brus, the daring knight who takes on the forces of good and evil and earns the everlasting love of his fire-magic heroine in Rising Fire. Is time-travelling romance your thing? Take it old school with Lynn Kurland’s hero Jake Kilchurn in Dreams of Stardust. My personal weakness is mad, decadent Scots with dark scandals in their past. Jennifer Ashley’s Lord Ian from The Madness of Lord Ian Mackenzie is one of my all-time favorite Scottish heroes, but all of the Mackenzie brothers make ruination look enticing. Now that’s my idea of a clan! Lovers and Fighters Whether they’re mad earls, spies, ghost-hunters or a princess’s bodyguard, the Scottish hero is a man of action. He doesn’t just wear that sword because it looks great with his kilt. He’s a lover and a fighter, and that’s a hero we can get behind. And let’s be honest—who doesn’t want to get behind a man wearing a kilt? But if it takes a real man to pull off a skirt, it also takes a real heroine to pull a skirt off her Scot. Every romance novel needs an unforgettable hero, but it also needs a remarkable heroine to keep him in line, even if it means she has to blacken his eye, as Hannah Howard does in Kimberly Bell’s A Convenient Engagement (if you haven’t read this one yet, a hint: he deserves it!). It takes a strong-willed lass to tame these pirates of the Highlands, but the Scottish romance heroine can handle her man. Don’t Mess with Scotland But the hot heroes are only part of the recipe for a sizzling Scottish historical. These epic love stories are set against a backdrop of sweeping moors, rugged crags and crumbling stone castles. In other words, Scotland herself is as untamed as her heroes. The wildly romantic settings are a perfect fit for tales of enduring love, and our warrior rebels give their country the same fierce love they give their heroines. Scotland may have a few downsides (damp weather and mashed turnips and haggis come to mind), but it’s difficult to focus on her shortcomings when there’s a plaid-clad hero waiting to share sips of whiskey from his flask and give you a peek up his kilt. Celts in Kilts Who could have imagined a few yards of thick wool could be so sexy? But though the kilt may be to women what black lace lingerie is to men, it isn’t the only thing at the heart of our fascination with Scottish heroes. Of course, it doesn’t hurt that a blessedly bare-assed Jamie Fraser proved once and for all in Season 1 of Outlander that a true Scot really does go commando, but our lust for Celts goes deeper than that. The Scottish clans are the ultimate alpha male group, and the Scottish romance novel hero is the wicked London rake, the arrogant CEO, and the ferocious Navy Seal all rolled into one tempting package. And if that package happens to be wrapped in a kilt? Well, so much the better. Anna Bradley writes sexy, steamy Regency romance. Her book A Season of Ruin, the second book in the Sutherland Scandals series, is out from Berkley on August 2, 2016.
We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! How would you recommend creating and getting to know your characters? I have a particular method that I have used for a very long time now. I call it the portal method. The first step is to think of at least three important events that have happened in your character’s past. They can be good or bad, but they have to be significant. These are the portals through which you look when you are planning a particular scene. For instance, in The Dark Days Club, my main character, Lady Helen, lost both her parents when she was ten. They drowned on a yachting trip and their bodies were never found. So out of that comes a whole slew of character traits and information, all based on what I imagine would be the psychological consequences of that event. For example, the loss makes Helen feel a sense of abandonment, it has made the idea of family very important to her, she does not like doubt, and she has grown up to be quite cautious. When it comes time to writing a scene that has a link to family – perhaps between Helen and her brother – then some of those traits would come into play. I focus the scene through that “Family/Loss” portal. It provides a base line from which to build the character’s responses, and because these are fixed events in the character’s life they provide cohesiveness to the overall characterization. After developing an idea, what is the first action you take when beginning to write? I always start by researching – many, many months of reading books about my era and searching out primary resources. As I’m doing that, I’m also creating a storyboard and scene breakdown of the plot. Then, when I get to a certain stage in that process, I start writing the first chapter to test out the voice and tone. I keep rewriting that first chapter until I have the voice and tone in place, and I have worked out most of the main plot points on the storyboard. Then off I go, writing the novel. However, that does not mean the research or the storyboarding stops; they continue throughout the whole writing process. There are always delicious new facts to discover and blend into the narrative, and, as I move forward through the manuscript, the interaction between character and plot can sometimes create shifts in the storyline that require a rethink of action sequences or scene placement. What’s the best piece of advice you have received? Every writer rewrites. The first thing that comes out of your mind may be good, but it is not finished. One of my bugbears is the notion that if something is going to be good, then it should arrive perfectly formed. That is absolute 19th century Romantic nonsense. That initial, wonderful rush of ideas is a great start, but the real work is in crafting all that excitement and energy into a meaningful emotional journey for the reader. Describe your writing style in 5 words or less. Fluid, suspenseful and slyly humorous. What are three or four books that influenced your writing, or had a profound affect on you?
- The Outsiders by S.E. Hinton. I was about thirteen and had been dragged along to a dinner party by my parents. While the adults ate prawn cocktails, beef stroganoff and talked politics, I took refuge in the living room to finish The Outsiders. I ended up sobbing my eyes out in my borrowed bean-bag, partly because of the sad ending but mainly due to the realization that a good deal of my devastation had been created by the terrible beauty of the book’s circular structure. That’s when I truly wanted to become a writer.
- These Old Shades by Georgette Heyer. Again, I was twelve or thirteen years old. My mother always gave me a book for Christmas and this one came at exactly the right moment—I was ready for well-researched history and dashing romance. I was besotted by the exciting blend of adventure, humor, and buttoned-up characters coming undone by love. This was the beginning of my love affair with the 18th and 19th centuries, which has now come into full bloom with The Dark Days Club!
- If On A Winters Night A Traveller by Italo Calvino. This was one of the texts I read in college. It is a postmodern masterpiece, and has everything you’d ever want to know about creating poignant relationship triangles in fiction, all explored in beautiful prose.
We know readers tend to be writers too, so twice a month, we’ll feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! How would you recommend creating and getting to know your characters? As an editor, I always asked writers (of novels and even of picture books): “Who is this character in your head? Is he/she based on someone you know? Can you see that person doing what you have your character do?” As an author, I ask myself the same thing. Of course, all of one’s characters have a little bit of oneself in them, but I do find that having a specific image—of a friend, an acquaintance, a child, a person glimpsed on the subway—really helps me focus and be specific. Specificity is the skeleton key that unlocks the doors of good writing. When a character speaks, the language must be specific to her; she must not be able to speak any other way. When a character makes a choice of beer or shaving cream, he must own those choices; they must come from everything else I know about the character. I think hard about what a character would reach for in the fridge, and why. None of that reasoning, of course, should show on the page (unless it’s a plot point). But as a writer you need to know if it’s boxers or briefs, sports bra or push-up, for every character. You have to know where the hidden tattoos are, and the scars. After developing an idea, what is the first action you take when beginning to write? I write copy! That’s the first thing I do. I write what you would find on a jacket flap, or the back cover of a paperback. When I was an editor, and especially an assistant, writing copy was always the most enjoyable part of the job. The better written the book, the easier it is to write copy, even when the book has a challenging structure or tackles difficult ideas. I write copy to see where the story is going. Usually I can eke out a whole first “act” for a book by pretending I’m writing the flap for the finished draft. If a first act emerges and I’m interested in seeing where the story goes, I’ll give it a try as a book. Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? While writing Enchanted August, I almost always wore headphones and played birdsong or “nature sounds.” Those soundtracks let me believe that I was in Maine. I would go to YouTube and find videos with hours of recorded sounds of the outdoors. You have to be careful not to play the same one too many times or you get to know what nuthatch is going to start calling out after which rumble of thunder, but other than that, it’s a great way (for me) to escape city sounds or household sounds or sounds at the café where I usually write. And a shout-out to that café: It’s The Hungarian Pastry Shop on Manhattan’s Upper West Side. I started going there when I first came to New York in 1981 and basically never stopped. The Pastry Shop is located just a few blocks from Columbia University, so it’s filled with people studying or reading or writing. It’s almost like a library. There’s no internet service and there are no electrical outlets, so you can only write as long as your computer charge lasts and you can’t get distracted by going online. If you go to the Pastry Shop for a visit, don’t be disappointed that the coffee isn’t great, but do order an ishler. Two hazelnut cookies filled with chocolate mousse and covered in dark chocolate. A sumptuous reward for a good afternoon’s writing. Did you always want to write? How did you start your career as an author? I never thought I wanted to write but I have been writing since I was very young. I used to write Regency romances when I was about eleven or twelve, about characters named Charles and Caroline who bore a marked resemblance to Mr. Darcy and Elizabeth Bennet. (I read Pride and Prejudice in one sitting when I was eleven years old. My mother thought I had been out at the neighbor’s all day, when actually I was upstairs reading through lunch and dinner. I came down to the kitchen in a daze and have essentially never recovered.) I began working as an editorial assistant at a publishing company right after college. I wanted nothing more than to be an editor, and I was, for many years. After a while, editors, especially of children’s books, tend to take on the writing mantle. I helped artists write their picture books. I turned out quickie celebrity bios. I wrote a couple of Pokemon chapter books. (“I choose you!”) Then in 2004 or so, I wrote two early readers under a pen name, Margaret McNamara. Too Many Valentines and 100 Days (Plus One) were set at Robin Hill School, and over ten years the stories stretched into a thirty-book series. Then, I began to write more picture books about things like pumpkins, apples, George Washington, poetry, and a heavenly library. (If you’re interested, you can find out more on my website.) Just a few years ago, I so wanted an author of mine to write a book from Tinker Bell’s point of view that I stole my own idea and wrote a six-book series called the Fairy Bell Sisters, about Tinker Bell’s little sisters, who live on an island in what many would recognize to be Maine. Their success (and I mean the fact that I finished them all, on time, and they were beautifully published) led me to be emboldened enough to write Enchanted August. Describe your writing style in five words or less. If you mean how I write in terms of process: Must. Not. Edit. While. Writing. Read more about Enchanted August here.