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      November Newsletter    
           
 

Centre Stage ~

   Interview with Paula Eykelhof, Executive Editor, Global Single Titles, Harlequin Enterprises    
     

 
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  KF   Harlequin recently announced the closing of the NEXT and Everlasting Love lines.  Is there any information that you can share about these changes, or advice for those that were writing stories aimed at them?    
           
  PE   These lines will not exist as independent lines--at least for now. As you probably know, it's very difficult to introduce new programs into the current marketplace, especially on the series rack.  I'll address Everlasting Love in more detail, since I've been directly involved with it.  

The company definitely has faith in the concept and acknowledges the editorial quality of the books (true for both EL and Next). The EL brand will continue as a sub-brand in Superromance; the company is also looking at other distribution opportunities--no news on that yet. For the moment, we aren't contracting any further manuscripts. However, I'd advise checking eHarlequin from time to time for updates on the program's status.

   
     

 
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KF

   Thank you so much for agreeing to take appointments when you join us in Calgary.  Is there anything that you specifically look for when an author pitches to you?  Anything that you especially like, or anything that you especially dislike or makes you absolutely crazy?     
           
 

PE

   I prefer an author-editor appointment to be a conversation. I like to get a clear sense of who the characters are and what their story is--and then I'll usually ask questions based on that.  It's a good idea to know where ( i.e., which line or program) you think your story fits (which includes length/approximate word count).  As well, if there's anything in the author's background that particularly qualifies her to write about a certain setting, situation or theme, I'd like to know that , too. And of course I'm happy to answer questions, either general or specific.    
     

 
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KF

   Are any areas of Harlequin more open to new writers?  Are any areas less open to new writers, like those that are limited to submissions represented by agents only?    
           
 

PE

   For any of our single-title imprints (e.g., MIRA, HQN), you do require an agent. That isn't the case with series. As far as I'm aware, all series (with the obvious exceptions of EL and Next) are actively acquiring.    
     

 
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KF

  

It's sometimes said that when an editor takes pitching appointments that she can "buy for any line" even if she doesn't work directly with it.  How does this actually work -- who ends up reading the submission, and if its something Harlequin is interested in, who actually works with the writer?

    
           
 

PE

  

I'll tell you how I usually do this. If an author pitches a story that's suitable for a particular line, I'll recommend she send it to one of that line's editors. Then I try to follow up and let the editor in question know the name of the author and title of the MS. The ultimate decision is always made by the senior editor, of course. If an author is already published by one line and has a proposal she wants to submit to another, she should do it through her "home" editor.

   
     

 
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KF

   How important is it for a writer to attend workshops, retreats and
conferences?  Does a request from a pitching appointment hold more importance than, say a request from a simple query letter?		    
           
 

PE

  

I think workshops and conferences can be very valuable for a number of reasons. They're a good way to get practical information and publisher updates, to learn more about the craft of writing, to learn related information ( e.g, promotion ideas), to connect with other writers, to get energized and encouraged.

I'd say it doesn't matter whether you get the request to submit from a pitch session or as the result of a query--it's all about the quality and suitability of the book.

One additional thing I'd like to mention: I do actually recommend entering the writing contests many conferences and chapters offer. (eHarlequin does, too.) Make sure the final judge is an editor. I've bought a number of MS over the years that I found via contests.

   
     

 
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KF

   When you are considering a manuscript from a new writer, do you
spend any time researching the individual, i.e. visiting the writer's
website (if they have one), Google'ing the writer's name for contest
awards, etc.?		    
           
 

PE

  

The simple answer is no.

Any relevant information of that type (e.g., placing in or winning contests) should appear in the cover letter.

    
     


~~~~~
 

   
  KF   As you might guess, I think that Brenda is a talented writer, amazing mother, and a delightful mentor and friend.  Some days it's downright intimidating (in a good way).  Do you have any funny, new
writer stories about working with Brenda in the early days of her career that you might be willing to share?		    
           
  PE  

You're right. Brenda's an exceptionally talented writer (and of course a wonderful mother and all-around great person). And she's such a good mentor and friend to other writers because she's so generous with her knowledge and her time.

I wouldn't say I have a funny story but I do have a relevant one. I first met Brenda at a conference, and she joined a general pitch session I was conducting with a group of writers. I was very impressed with her professionalism and, most of all, her storytelling ability, which came through in her description of the book. I never did buy that story, however--but I bought the next one she submitted for Superromance. (At the time I'd recently become the Senior Editor of that line.)

   
     


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To learn more about Harlequin books, visit www.eHarlequin.com  To learn more about submitting a manuscript to Harlequin, see the Writing Guideline link on the Harlequin website, at the bottom of the home page. 

To meet Paula, join us along with Brenda Novak in Calgary, Alberta, in November.  For more information about coming to Calgary, visit the Calgary Association of RWA at www.calgaryrwa.com 

 

    
      Carpe diem,
                                     Kellie		    
     

   
           
     
 


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