The blogosphere is buzzing with news of the demise of the Bombshell line. I’m waiting to see where all the pieces fall, but so far, everyone seems to agree on the problem. Bad placement, misdirected marketing, etc. It’s just not right for a non-romance line to be shelved as category romance. It pisses off the people who expect to find romance and never reaches the people who are looking for the type of book that it is.
You’ve probably heard the details — any book slated for publication past January of 2007 will not be published — at least, not as Bombshells. Time will tell if any of them find homes as special releases or within another publishing program. This is especially egregious news for those authors who are awaiting their first release from this line, or who have already turned in books that are part of the Harlequin-owned Athena Force series. They can’t get those rights reverted, as they were written as part of a house property. Here’s hoping they find those books a home.
This announcement makes me sad, though not in the same manner as the line’s writers and fans. I’m sad because I know that in the case of this line, I was part of the problem.
Now, regular blog readers know of my history with this line. When it was first announced,
I was so excited. Words just poured out of me. I thought up an idea, and wrote the first twenty pages in a hot rush. The book flowed. It started finalling in contests, and one contest judge recommended me to her editor, then one of Bombshell’s two founders. By the time the final judge (also a Silhouette editor) requested it, I already had a revision request from the other.
Well, the editor didn’t agree with the readers, and I received a rejection. (To be fair, I also got a rejection from the woman who would eventually become my agent.) Well, actually, what the editor wanted was a rewrite. A rewrite that completely reimagined the hero, heroine, premise, setting, plotline, villain, and theme. I got the same treatment with every other proposal (three) I sent this editor. “I love it, but you know how it’s about a research scientist on a submarine in the South Pacific? Can you make it about an ex-Airforce firejumper in Kansas?” (I’m dead serious, by the way. This is not an exaggeration.)
Other writers told me that they were jumping through the same hoops with the editor in question, and soon after, she left the company. The requirements for the line changed several times, and by the time the line launched, I’d lost interest. I didn’t lose interst in writing about kick-ass heroines. I still write them. But I lost interst in writing for that line. I was also part of a group of other women all targetting that line. Now we’ve each been published, none of us with Bombshell. I’ve probably strayed the furthest from the Bombshell paradigm, but the rest of them are published with novels of vampire slayers, cops, and mystery-solving psychics.
I’d subscribed to the line early on, but only read three or four of the books before I realized that the result in the printed books was not at all what I’d been hoping for. There were a few I enjoyed, but too many books released in the first few months that I couldn’t get through at all. The plot lines were ridiculous, the editing was non-existent, and the writing was all over the place.
I stopped reading them. I regret that now, as many folks tell me they kept getting better and better. “Go read Evelyn Vaughn or Sandra K. Moore.” Stephanie Feagan’s Pink series came out, and it also looked good. But I’d been burned too many times, picking up Bombshells and then not being able to make it through. I’d hear about an awesome new one on the shelves and
go into the bookstore, but for some reason I always hesitated. There was always something else on the shelves that looked just as interesting, yet was not colored by my own readerly and writerly disappointments. What did I want the Bombshells to be, aside from more like the book I’d written? Was my hesitation caused by simple sour grapes (i.e., “they aren’t publishing me, so I’m not reading them!”)? I doubt it, after all, I’d been rejected by Brava and Temptation, and was still buying those at every opportunity.
But I do think that my expectations were colored by what I’d wanted the line to be. I was hoping for gritty and I was getting James Bond. I was hoping for Buffy and I was getting Underworld. I was hoping for any number of things, but my expectation was not being fulfilled. Perhaps if I’d managed to get my hands on some of the RITA-award nominees, I would have changed my mind, but I apparently had bad luck. I should have read the Orchid Hunter or one of the Grailkeeper novels. Or maybe I would have read it and been disappointed anyway. (I recently read another novel that was described as Bombshell-esque and it left me feeling as cold. And yet, I devour “Bombshell” heroines in movies and on TV. Buffy, Veronica Mars, Aeon Flux, Sarah Connor, love love love.)
And yet, and yet, I don’t think I dislike that kind of book. Tally from Scott Westerfeld’s Uglies series is nothing if not a kickass heroine. Ditto the monster-slaying Jessica Day from Midnighters. Val in Holly Black’s Valiant. Marisela Morales in Julie Leto’s Dirty Little Secrets (and the upcoming Dirty Little Lies). Eden Black and Mia Snow in Gena Showalter’s Alien Huntress books, Maria V. Snyder’s Poison Study-er, and Julie Kenner’s demon-hunting soccer mom. Clearly, it’s not the format that was my problem. But I bought these books rather than buying Bombshells. Any of these books could have been Bombshells (some were even originally targetted at that line).
Some people are theorizing that placement was not this line’s only problem. That focus was also a big issue. hat with such a variety of DEA agents and vampires, they should have not made this line a “you know what you’re getting” category line. I know that I, having been disappointed by some of the earlier Bombshells, skipped out on the line in favor of single titles with the same idea. The branding in this case, hurt the chances of the new authors who may have been writing things I enjoyed a lot more. I was buying Downtown Press’s series of female-focused action adventure rather than Harlequin’s.
Maybe others had the same experience. I hope that the Bombshell authors find soft landings in other lines or at other houses, and that I’m given the chance to discover their books in a less constricted format. I missed them the first time. I hope I don’t do so again.
20 Comments
August 15, 2006 at 8:00 pm
I’m struck by your comment about placement being (part of) the problem. I’ve never read a Bombshell. I’ve never even picked one up. In fact, I don’t remember ever even seeing one.
I don’t read category romance, other than books by friends and specific titles recommended to me by people I trust. They’re just not my kind of story. And when I do read them, they’re usually lent to me. So, I never browse that section of the book store. I assume this is why I’ve barely even heard of these books that sound like my kind of thing (kick-ass heroines).
I have to admit, even if my own books would have fit in with the Bombshell line, I probably wouldn’t have sold them to BS unless no one else made an offer, because while romance readers will often read other genres, most fantasy/mystery/literary readers (at least from what I’ve heard)will not read romance. I’d be afraid that my books were being overlooked. Which is apparently (part of) what happened with this line.
I do hope those Bombshell authors find other homes for their books. And that none of the other Harlequin lines go under.
August 15, 2006 at 8:07 pm
keep in mind, Rachel, that you don’t write for a harlequin “line.” You write for an imprint. Mira, like HQN, is an imprint of Harlequin, and does not have the format, length or content restrictions, shelving issues, or branding requirements.
August 15, 2006 at 9:10 pm
I agree with your comments about placement and also with your reaction to Bombshell early on. I subscribed to this line right from the beginning and was really disappointed. The early books just didn’t grab me despite my excitment about the premise of the line. I ended up cancelling my subscription because I couldn’t make it through very many of the books.
I decided to give it some time and came back to the series although only on an every-other-month basis. I started to see an improvment. Olivia Gates series, Cindy Dees’ Medusa Books and some of the paranormals started to read like single-title books and they were well-written and drew me in. I discovered more and more that out of the 4 books I received there were at least 3 that I enjoyed. Stephanie Feagan’s Pink series was awesome IMO. However, I think the problem at this point is that so many readers gave up on the books because of their early disappointment that they didn’t want to pick up any of the newer titles — first impressions and all that.
Another problem that you mentioned is that they’re shelved with the category romance so those looking for adventure, suspense or kick-butt heroines probably never strayed into that area. As well, the promotion for these books seemed to stall after the inital launch and I’m sad to hear about the end of a series that’s just picking up steam. I certainly hope that these authors get picked up to write for other lines or that the Bombshell idea is re-launched in a new form.
christine
August 15, 2006 at 9:23 pm
Okay, I’m confused again. What’s the difference between a line and an imprint? Is that the same as between a category title and a single title?
Do you think that if the Bombshell books had been marketed as ST that they would still be going strong? Is that even a relevant question?
What exactly is the difference between Bombshell and Luna? The premises sound like they could have fit either line. Or imprint?
Sorry again for my ignorance. I’m thorougly confused. And I’m off to figure out what on earth I’m talking about.
I’m starting to be disappointed that something I never really realized was out there is now gone.
August 15, 2006 at 9:35 pm
I don’t read category romance myself, mostly I think because I like a longer story, but I’m very sorry to see the Bombshell line close. Sandra K. Moore is a chapter mate of mine, and her books seem to have gone over very well. (Her latest release Dead Reckoning got great reviews and is in my TBR stack). She was recently contracted to write a book for the Athena Force series, and I hope it will find a home somewhere else. I know Sandra will.
August 15, 2006 at 10:06 pm
Rachel, the difference are both macro and micro. It’s a different publishing paradigm completely. Different publishers use the words “imprint” and “line” differently, and in many cases, interchangeably, but this is what I think:
When I’m talking about “an imprint,” a Harlequin imprint, I’m talking about what other publishers might call “a division” on the copyright page. MIRA is a women’s fiction imprint. They do modern thrillers, family sagas, urban fantasy — there’s no coherent vision for the books published in that program. There’s no strict (i.e., within 5k) length requirement. the books are completely differnt in tone, content, and scope.
When I’m talking about a line, a Harlequin line, yes, I’m talking about category books, I may be making that distinction up, but that’s how I use it and that’s how i’ve seen harlequin employees use it as well. I was at an info session with Abby Zidle who used it in that manner.
the difference between category and single title? The contracts are different, the way they are marketed to readers is different, the way that they are marketed to booksellers is different, the branding is different, the requirements are different… the list goes on and on. A category line is published together, sold together — not according to author or individual title, but according to the line as a whole. They are placed on teh shelves for one month exactly, then replaced by the next month’s titles, again, regardless of sales. Then they DISAPPEAR. There are no reprints. there is no question of how it is positioned, of what format it’s in, etc. etc.
The difference between Luna and Bombshell? Again, legion. There’s no requirement that Bombshell books are paranormal. Many of them have no paranormal elements at all. There are a few Bombshells that take place in the near future, or are similar to paranormal romances. Fewer that could be termed urban fantasy-esque. Nothing otherworldly or historical set. There are a lot which are Da Vinci Code esque. Luna is a much longer, single title, fantasy imprint. it’s published as single books, marketed as such (i.e., “The new Mercedes lackey” vs. “The new Bombshell”), and most Lunas are not set in this world. There are a few urban fantasies in the line, but they are the exception. It’s mostly high fantasy. Bombshell is mostly straight female-focused thrillers (cf. Alias).
August 15, 2006 at 11:11 pm
Thanks, Diana. You are truly a wealth of information.
I have trouble figuring some of this stuff out, because every site I go to seems to assume the reader already knows the basics. Which I apparently only thought I did.
August 15, 2006 at 11:13 pm
Diana,
First, let me say thank you for the condolences on the Bombshell line for the authors who wrote and loved them. I was one such author.
I wrote one category novel in 1993 and moved to single title. In 1995 I began a long career in mainstream fiction writing for St. Martin’s Press and Bantam.
The novels that I wrote for Bombshell were the same novels I wrote for St. Martin’s Press. Military Thrillers/Suspense with a light romantic element.
I posted in my blog today the challenges I think the line faced that brought about its demise. But one of the things I don’t believe brought it about was content.
Like you, I loved the premise for the novels. So much so that I dropped writing political thrillers for Bantam to write Bombshells. Early on, as with any new line or imprint, the publisher struggles to hone its focus.
It’s like when we start a book. It’s a nebulous creation, making something out of nothing and only with time and exposure and experience do we sharpen our novel’s focus. Bombshells required the same development curve, if you will.
I went to the then senior editor with a synopsis and a single chapter and on faith (because we both know a chapter and a synopsis isn’t a gauge) I was offered a three-book contract. I was surprised to read the comments about editorial direction and so many changes being requested. I don’t doubt your word, it just wasn’t my experience.
The one exception was when I did the last book in a continuity. That did require substantial rewrites. But in fairness, all six books in the continuity were being written simultaneously, and when that happens, authors create as they go, and so changes are inevitable. Otherwise, I was given a free rein on content, structure and development of my mini-series, WAR GAMES. The first of the books, which was #12, the launch book BODY DOUBLE was a RITA nominee in Romantic Suspense. It also won other awards, but I refer to the RITA because it is judged by writers–our peers.
In the first two years that Bombshells were eligible to compete, they were nominated for a total of four RITAs in four different categories. Two won.
I’m sorry you read three or four books and were disappointed, Diana, and I do understand what you mean about expectations and first impressions being difficult to overcome. But I have to say, you missed reading some very good books by some very talented authors.
One, as you mentioned, sold her first book to Bombshell. It was to come out in February and now, of course, will not. While my heart is absolutely aching at the loss of this group’s books that I’ve very much enjoyed, I ache most for this first-time author. Like most, she struggled for long time and finally had reached her goal of selling. Then this.
I don’t think there’s an author alive who can’t imagine what this has done to a time that should be magical and joyful for her.
And again, like you, I pray fervently that this group of creative and hard-working authors land softly in places that showcase their diverse talents. I’ve come to know well and to respect enormously these people and their work.
Thanks again for your good wishes for all of us Bombshell authors. Writers supporting writers is always appreciated, but never more so than during difficult times.
Vicki Hinze
http://www.vickihinze.com
August 15, 2006 at 11:31 pm
Hey, Vicki! Welcome to the blog. I’m so sorry that your books won’t be continued to be published by the line you’ve donated so much time to.
The difficulties I spoke of all happened with previously unpublished authors submitting to one particular editor, who is no longer there. I know many people who had fabulous revision and publishing experiences for Bombshell. And I am aware of the restrictions placed upon category often necessitate incredibly large amounts of revisions. This was something different, and it was the exact same story with at least half a dozen writer friends I know. I don’t think this has anything to do with Bombshell. It may have just as easily happened with an editor at Temptation or Bantam or Pocket. It was just a difficult editorial style.
I read way more than three or four. I was subscribed for about six months, so I read closer to what? 20? Well, I didn’t finish all of them, so maybe closer to 12. Like I said, some were good, but many more weren’t.
Nevertheless, I don’t think the books were cancelled because of content. I think they were cancelled because of placement. I don’t like the books in other category lines, but hte people who do like that story manage to find it. I don’t think the people who do like Bombshells could find them.
(By the way, not to diminish any of the awards my fellow writers have won, because I have no doubt that RITA winners deserve them, but one of the suggestions I made to the RWA committee during the recent comment period was that the RITAs should no longer be judged by our peers. I think it makes for a disappointing amount of bias and people making political or cliquish statements with their votes. One only has to look at the scores from erotic romance authors to determine that.)
August 16, 2006 at 3:16 am
I read quite a few Bombshells. I think around 40, even upwards of 50. They were the first categories I read in a good long while.
Like Diana, I got very badly burned. Part of that came from the fact I expected something that pushed the envelop a bit more.
I don’t know about placement etc, since I don’t live in the US, and I managed to get my hands on the books only because I’m a bookstore regular. Then again, it’d have been easier for me to find them had they been single titles.
But I did feel content was an issue. Yes, I know they aren’t romances, and I liked it that way.
I’m crossing my fingers for the authors left hanging.
August 16, 2006 at 3:39 am
One correction, Diana–reprints are rare, but they are more than possible. An older example is Barefoot in the Grass, Judith Arnold’s book about a heroine who was a breast cancer survivor. Also, when an author finds a higher level of success in single title, her old category books are often reprinted (Nora Roberts being an obvious example, and Suzanne Brockmann another). Finally, there were some earlier Bombshells that were reprinted in a double-edition trade paperback this year.
August 16, 2006 at 12:18 pm
I think most readers who went ga-ga over the Bombshell line got burned by several books in those early days, me included. But I continued to be excited by the idea and the cover art and the story lines, so I gave a few more books a chance. (I couldn’t quit them.) And I’m glad I did, because a couple of those were the BEST books I read all year. Namely Evelyn Vaughn’s AKA Goddess, Her Kind of Trouble and Crystal Green’s The Huntress. I’m very sorry to see the line go (but it definitely had it’s problems).
August 16, 2006 at 12:23 pm
one of the suggestions I made to the RWA committee during the recent comment period was that the RITAs should no longer be judged by our peers. I think it makes for a disappointing amount of bias and people making political or cliquish statements with their votes.
i couldn’t agree with you more here. i have a friend who is a member of a particular exclusive online group that seems to have a winner or two in the ritas every year. in fact there have been writers who have begged to join this group with the public statements of ‘if i join this group i’ll win a rita.’ until rwa can find a more unbiased way to pick rita winners, rwa members should steer clear of calling it the ‘oscar of romance writing’ and instead call it the ‘people’s choice award.’
August 16, 2006 at 12:29 pm
Good post, Diana. I remember all you went through trying to get on with Bombshell and honestly, it’s their loss because that book kicked major ass. Or is that Kix’d major ass. = )
Interesting what Kool Aid has to say about the Rita awards. I’ve always wondered…HOW are the Rita winners chosen? How does an author qualify to be the final round judge? Can’t booksellers or readers judge the finalists? How do you separate yourself from the people you know and like…or know and dislike? How does that translate into how good of a story they have?
I know of a writer who got a packet last year and she told me she “had” to give two of them 5’s automatically because she knew the authors and didn’t want to score them too high or too low. How is that fair? That just doesn’t seem like an accurate system to me…but then what do I know. LOL!!
August 16, 2006 at 12:45 pm
I read one Bombshell on a recommendation from a friend. She loved this book. I read it, and couldn’t even finish it. My problem? I wanted a heroine like Sydney Bristow…a woman that was tough, but also feminine and still had the same problems a normal woman has. Love and other real life issues conflicting with work and her personal identity. Although most of us don’t save the world on a daily basis!
The book I read had this very strong female character that was like a man wearing women’s clothes. I did not identify with her at all. I think it went overboard trying to prove that a woman can be tough…and it didn’t seem like a ‘real’ character to me.
Plus, the plot sucked and the description was non-existent. Half the time I didn’t know what was going on. And so I never picked up another one.
I would like to read books that are similar to “The Bourne Identity” with a female lead. I also adore Sarah Connor (T2 was AWESOME) and Buffy. Both of these were tough women who still had some vulnerability. More real.
August 16, 2006 at 1:30 pm
The conundrum of category is such as Anonymous illustrated…the judging of the entire line based on one book by one author–or maybe even one or two. It’s a problem because the line *is* marketed that way–as a whole entity rather than as an imprint with individual titles. It’s no wonder that readers do this…but it’s still frustrating for the category author such as myself.
Category lines have common themes, yes, but they are all written by individual authors with very different voices and different visions of what the line should be–which is why the books are NOT always the same. I get very annoyed when people will not try one of my Blazes because they once bought one that they hated. Well, it wasn’t MY Blaze, was it? I mean, if you tell me you tried one of my books and you didn’t like my voice, then hey, I’m okay with that. I don’t expect everyone to like my writing. But don’t judge me based on another writer. And please, don’t tell me you hated that Blaze because it was too sexy because why then did you buy one in the first place?
Anyway, I’m sad for Bombshells demise. But I also know that the talented authors there will rise to the top.
August 16, 2006 at 1:48 pm
Hey, Natalie, that’s not the kind of reprints i’m talking about. You seem to be discussing backlist reprints. Ofc ourse that happens. Julie Leto recently had SEVERAL of her category backlist repackaged and republished.
I’m talking about reprints when the book is out. For instance, my book recently went into reprints because it was selling so well. I’ve never heard of them going back and publishing 20k more copies of a given category title that month.
________
Of course I don’t like every book in every line either. There have been Blazes that I’ve absolutely hated and couldn’t finish. the way things go. You win some, you lose some. I think the main problem with Bombshell though, was placement. So some people tried them and didn’t like them. Not as big a problem as a bunch of people who would have really liked them but never knew they were there.
_________________
RITA finalist judges are PAN members.
August 16, 2006 at 2:00 pm
I guess my problem with any of the Harlequin ‘lines’ is that they don’t promote any one author over another. It is a brand, rather than an author, that attracts readership. And I don’t like this model. If I find an author I like, I will read more of her books. I won’t trust that I will like a line of Harlequin just b/c I like ONE author in that line.
I think that is the issue with all of Harlequins books. Would you buy books without knowing what they are about or if they even interest you?? I wouldn’t. But that’s how a lot of Harlequin works. Sign up for this line or that line and have 4 or 5 books delivered to your house every month.
For me it is all about an author’s style, not about the expected plot of a book, that attracts me.
I guess I am saying that I definitely think the Bombshell books would have done better as a single-title thing rather than category.
August 16, 2006 at 3:31 pm
Anonymous, I agree that Bombshell books should have been single titles.
That said, Harlequin books aren’t only available through mail order. You don’t have to buy all of them at once. You can shop by author just like any other book, its just that you only have a month to do it–and you know that the books will have a common theme. Blazes will be ultra-sexy, but even that comes in degrees. Intrigues are romantic suspense. Next! books are women’s fiction. Americans have a hometown feel. See what I mean?
The great part of Harlequin, however, is that there ARE readers who will buy all of the books in the line that month because they like the common theme, don’t have a lot of time to shop and this is an easy, no-fuss way to get what they want. Because of this, new writers have a chance to sell a lot of books even though they have no name recognition. Oftentimes, category authors sell more books than most single title writer get on their first print run. My print run is very high for my category books and no one is looking at previous sales or my track record to determine that number…Harlequin knows they can sell X books in this line. It’s an awesome way for new writers to build a readership.
Once readers get familiar with a line, then they start to pick and choose by author. The ones who shop in stores buy just the way any other reader buys–by cover, by back cover copy, by excerpt. The ones who use mail order can return books, btw.
Also, some single title writers have readers who go and buy their category books when they come out, even though those readers might not pick up a category book otherwise.
Harlequin’s model works, in most cases. The problem with Bombshell is that the target audience for these books weren’t category ROMANCE readers and Harlequin failed to get the books in the hands of the readers who would like them and get loyal and start buying all the books. It’s almost as if they needed to create a new type of category reader and they simply weren’t up to the task. I’m not knocking Harlequin…they gave it a shot and probably launched the careers of a lot of authors who are going to do very great things in the future, if not already. I’m certainly not knocking the authors.
Harlequin’s demographic is changing and eventually, the company will change, too. But until then, realize that the model does work for millions of readers all over the world.
August 17, 2006 at 1:00 am
I’m talking about reprints when the book is out. For instance, my book recently went into reprints because it was selling so well.
Ah, sorry, Diana, I misunderstood. I’ve not usually heard that called “reprints.” Extra printings, I think. Or additional print run. Something like that.
As for the Ritas, if we turn it over to readers, it will BECOME the People’s Choice awards. Right now it’s very much like the Oscars, which are a peer award.
Of course there will be some bias in some of the judging. But if we hand it over to readers, I think there will be MORE bias. It will be more about popularity and less about the books. Since five (I think) people judge each book, and there is a formula to the scoring, it seems to me as fair as it’s going to get. The ONLY way to make it totally fair is to make it anonymous, which is kind of hard and still won’t work because there’s still a chance a judge will recognize a work.
I like that we have BOTH Ritas, by our peers and offered by our professional organization, and the National Readers Choice Awards, by readers.