Secrets Uncovered – Blogs, Hints and the inside scoop from Mills & Boon editors and authors. Коллектив авторов

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      3. Finally, think about how the dynamic of the friendship will reflect on the heroine. For example, if you love the idea of using a heroine plus friends scene to open your book, remember that girly and giggly can be fun and believable (my friends are definitely pretty squealy when we get together) but it can also fall into the trap of cliché. A more adult friendship can work nicely too, and allow your heroine to bask in reflected emotional depth and maturity!

       But if you decide a best friend isn’t for you, that’s ok too!

      The challenge with writing a more isolated heroine is making that aloneness exceptionally convincing, so that the readers truly get on board with it and can still identify with her. Always ask yourself, why would this woman be like this? And think outside the box here – what other ways can your heroine be emotionally vulnerable or isolated that doesn’t preclude having no friends/ family?! Ultimately, it’s going to come down to uber-sympathetic characterisation – if she’s alone, we have to want to step into the book and befriend her ourselves, not be secretly thinking no wonder she doesn’t have any mates…

      Now, it goes without saying that the emphasis always needs to be on the central romance, but to ensure our stories remain as contemporary and believable as possible, hope you’ve enjoyed this Romance HQ take on the heroine’s best friend debate – let us know your thoughts! (And don’t even get me started on how much I also love a good bromance…maybe I’ll save that for another blog!)

      Love Flo x

       And another popular example – editor Anna Boatman discusses the role of children in romance – watch out for this blog on the 2011 New Voices website!

      After spending a recent train journey listening to the hysterical screams of a vocally powerful and worryingly eloquent toddler, I stumbled off the train with my ear-drums still shuddering, vowing fervently to remain child-free for the rest of my life. Yet only the next day, I came across an adorable child who totally changed my mind. The catch? This one was fictional! It got me thinking about the children who populate our books - they can change the whole feeling of a story, for better or worse, and something that can present a challenge to a wannabe writer is dealing with a child in their romance story – as we all know, children don’t always do what they’re told!

      Babies are a classic theme to help bring couples together and they are a reader favourite – there’s something about a tall, powerful hero protecting a tiny baby that tends to resonate for almost everyone. However, once that baby starts talking the writer’s suddenly dealing with a whole other little personality that can be determined to steal all the attention…

      So here are our top tips for making your fictional children adorable rather than annoying:

      Focus on the romance: First and most importantly, the romance should still be driving the story, not the children – no matter how demanding they are. Having too much page time spent dealing with babies or children around can distract from the intensity of the relationship (which alas can feel all too realistic!). As an example, although children can sometimes act as a barrier to romance (for example if your heroine wants to focus on being a single mum and isn’t looking to fall in love), they mustn’t be the only thing holding your couple apart – no matter how adorable the kids are, they are only secondary characters.

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