By Carrie Lofty

In November 2008, I wrote an article for Romance Writers Report, the magazine for members of the Romance Writers of America, on the topic of unusual historicals -- historical romances set in places other than England, Scotland or the United States, or in unusual time periods. This topic is near and dear to my historian heart, and I founded the multi-author cooperative Unusual Historicals in 2006 to help promote our tiny corner of romance publishing. Caren asked me to condense my findings to a blog-friendly length. These are the highlights. 1. People may not be as eager for globetrotting stories as authors are to write them. But a market does exist, and readers are getting restless.

Even Dorchester editor Leah Hultenschmidt feels a little starved for change. "I'll admit it -- I often get bored when reading through a pile of submissions. Something different and fresh gets immediate points in my book." Respondents to my survey quickly pointed out that after the initial novelty of an unusual setting, only quality writing keeps their interest. 2. Readers do not necessarily read historical romance for the history. Some readers protest the amount of detail many writers need to introduce and describe an unfamiliar historical time, while others question the romantic potential of certain settings. For example, can a true happily-ever-after take place in 1928 Oklahoma, just before the Great Depression? Or between Parisian aristocrats in 1793? Political correctness can also play a part in the stories an author feels comfortable telling.

As a society, we've come to demand fairness toward cultures that were once popular subjects, such as American Indians. Thus the need to address certain historical atrocities, which today's readers expect to see acknowledged, can detract from the romantic fantasy. 3. Recognizable settings offer a known quantity of escape, just like romances promise the known quantity of a happily-ever-after. Familiarity with a particular locale transforms it into a comforting place, one full of positive experiences that invite return visits. This process entices even those who are not otherwise interested in history. An expectation of familiarity extends to romance storytelling and hero types as well: the "royalty" of the Regency era, the lone Scotsman or cowboy. A change of setting may leave a reader unsure as to what manner of hero to expect. 4. The finances of publishing -- not just our flagging economy -- limits choice. With fewer active readers, editors are prevented from taking costly chances. Whereas an author risks her time and the possibility of rejection or reader disapproval, the publisher risks its sizable monetary investment. Yet these books are being published.

Harlequin has distribution and reader loyalty on its side. Monthly orders are shipped automatically to bookstores, which means buyers aren't forced to weigh the sales potential of each individual title. Other publishing houses such as Dorchester, Kensington, and Medallion use smaller size to their advantage. Editors purchase what intrigues them, and this serves to attract people -- both editors and authors -- who work outside of the mainstream. Their size allows the ability to react quickly to changing market forces.

While these companies offer smaller advances to new authors, they can provide a degree of latitude that wouldn't be afforded otherwise. 6. But who's to say your unusual story won't be the one to kick off a new trend? Write the story you want to tell. We've all heard of authors who chased the Next Big Thing, only to face repeated rejection. When those same authors write for the love of a story they dearly want to tell, they find success.

This means crafting a good, true, emotional novel with an intriguing hook. Remember that a romance writer's job is to provide an escape, nurture fantasies, and create compelling characters that readers can believe in. Linda Fildew, Senior Editor for Harlequin Historical, asks a number of questions with regard to every manuscript she considers, which any writer can ask of his or her own work: "How engaged are you with the characters? Is there sufficient emotional intensity between them? Does the background feel authentic and does it complement rather than take over from the developing central relationship?" If these questions are satisfied by a delicious, emotional romance, you're on your way -- no matter the time or place. This corner of romance, like all of publishing, requires talent, optimism, and a practical understand of its difficulties. But an overwhelming fondness for the stories we create keeps unusual historical authors moving forward. We have our eyes on the future and our arms around an ever-shrinking world.

If you're interested, you can read the entire article here.

Born in California, raised in the Midwest, Carrie Lofty found the love of her life in England. She earned her master's degree in history with a thesis on Old West outlaws. What a Scoundrel Wants, the hot, adventurous tale of Will Scarlet and his dangerous lady love, was a December 2008 Zebra Debut. Scoundrel's Kiss, featuring a Spanish warrior monk and an opium addict, will follow in January 2010.