Volume 4, Issue 3 – June, 2001
Robin Lee Hatcher: Inspirational Commitment
Between the sexual tension and passionate interludes, a reader might lose track of the fact that, ultimately, every romance sings the praises of commitment. But a true romance writer never does. Just ask Romance Writers of America (RWA) 2001 Lifetime Achievement Award winner Robin Lee Hatcher.
Twenty years ago, Hatcher committed herself to turning her passion for reading into a career in writing. In the 1990s, in the midst of a flourishing mainstream romance career, this former RWA president made a new commitment — to write books that reflected her spirituality and faith. On the eve of the release of Ribbon of Years, an inspirational women’s novel spanning more than 60 years, Hatcher talked to Crescent Blues about what it takes to carry out that kind of commitment — and the rewards for succeeding.
Crescent Blues: Where were you when you got the news about this year’s Lifetime Achievement Award?
Robin Lee Hatcher: I’d been out on a date with my husband (to see Shrek and then to dinner). When I got home, I had a voice mail message from Harold Lowry. Back in March, I’d heard that the winner wasn’t to be announced until June 18th, so I thought it was for something totally unrelated to the Lifetime Achievement Award. I called him back. Luckily, I was sitting in my desk chair when he gave me the news.
What was your first reaction?
“Color me stunned,” is how I described it to friends. I was in complete shock. All my money was riding on one of the other nominees. That I might actually win the award had always seemed utterly impossible. I’m completely humbled, knowing the members have bestowed such an honor upon me.
What prompted you to change your focus from mainstream romance to inspirational fiction?
The short answer is: God prompted it, and I followed my heart.
Was the transition quick or gradual?
It was gradual. I had a lot of things to learn and a lot of things to change in both my personal and professional lives.
I first felt the tug on my heart in 1991 when I read Francine Rivers’ book, Redeeming Love. There was so much power and truth in that book that I yearned to create something equally as powerful, but I wasn’t ready. I can look back now and see how each step in the process was carefully orchestrated, even though I wasn’t aware of it. Even in early 1997, if asked if I intended to write anything other than historical romance, I answered, “No.” But by the fall of that year, I had a three-book contract with WaterBrook Press and was writing my first contemporary inspirational novel for them.
Which of your books do you feel mark the major milestones in your literary journey to where you are now?
First, Where the Heart Is. I wrote that book right after I analyzed my strengths and weaknesses as a writer, and realized that my strengths were better showcased in Americana settings.
Second, Patterns of Love. When it was published, I was told by several people (writers and editors) that it was an inspirational. Written in 1996 and published in 1998, it was apparent to others that I was being drawn toward the Christian market more and more.
Third, The Forgiving Hour. I had so many fears and insecurities going into that project, but the process of simply trusting God to see me through was a great lesson in obedience.
Fourth, my new novel, Ribbon of Years, although it’s difficult to say why. I just think there is something “special” about this book. (It doesn’t hurt that it has the best cover I’ve ever had on a book.)
What inspired your decision to change three of your mainstream historical romances, Dear Lady, Patterns of Love, and In His Arms, into romances for the inspirational market?
Actually, the publisher (Zondervan) came to me. As I stated above, my heart was already being drawn toward the Christian Booksellers Association (CBA) market at the time I was writing this series of romances for Harper, and Zondervan saw the potential and believed these would be excellent books for their readers. In truth, I didn’t have to do much rewriting before they were released by Zondervan, and they’ve sold strongly. At this writing, the first two books have already gone back to press twice.
What did you find to be the most interesting aspects of the rewrites?
First, the process revealed how much I’ve changed as a writer. I probably did much more self-editing in craft issues than I did in actual content changes. But even with only light rewrites, the process took much longer than I’d anticipated.
What distinguishes an inspirational romance from a mainstream romance? Can the same book succeed in both markets?
First of all, allow me to distinguish that who I’m writing for and what I’m most familiar with is the CBA market. Many books could be deemed inspirational while not being Christian. So in my answers above and below, when I speak of inspirationals, I am referring to books with Christian content.
Basically, a mainstream romance contains two plot threads: the internal (emotional) plot and the external (action) plot. The inspirational romance has those same two plot threads and then adds a third: the faith plot. These three plot threads must be intricately woven together. If a writer can remove the faith plot and the story still holds together, then the book isn’t truly an inspirational.
Yes, books can succeed in both markets. Look at the phenomenal success of the Left Behind series (initial print run of 3 million copies for the newest book in the series). Look at the Mitford series by Jan Karon, also hitting the New York Times list. Probably the biggest reason more inspirational novels don’t succeed in both markets is that mainstream bookstores tend to shelve the fiction in the religion section, intermingled with non-fiction, rather than in their fiction section. Fiction readers don’t see the inspirational novels because they’re looking for books in the fiction section.
How does the mainstream market differ from/compare to the inspirational market? Does it encompass the same genres, for example? How do the specs differ in a general sense?
CBA fiction is still very much in its youth. At one time, books such as Ben-Hur and The Robe and The Silver Chalice (all made into movies) were published by mainstream New York publishers. The CBA primarily published non-fiction books and Bibles. The main exceptions to the rule were “end times” and “prairie” fiction. Then in the 1990s, things began to change. Today, readers are able to find just about anything that will fit their reading tastes: mysteries, suspense, romance, women’s fiction, legal and medical thrillers, Biblical fiction, sci-fi, speculative/futuristic, etc.
Your 1999 novel, The Forgiving Hour seems to have done exceptionally well, even among readers who might not normally read inspirational fiction. What aspects of this novel appear to resonate most among your readers?
The subject matter (adultery) is all too familiar to people in today’s world. No matter how liberal our society becomes, the truth is that adultery is a heartbreaking betrayal for the spouse and for the children. Reaching a place of forgiveness, letting go of the bitterness that can infect hearts and minds, is often a long and difficult journey.
What surprised me was how many readers wrote to me that they were bitter over something totally unrelated to an unfaithful spouse, and they said this book helped show them that they needed to forgive whoever had hurt them and move on with their lives.
Are these the same elements that appealed to you about the story of Claire and Sara?
There was a great deal of me in The Forgiving Hour. My first husband had extramarital affairs, and God called on me in one case to go to the other woman and tell her she was forgiven. Many scenes, many words, in the book were straight out of my past. Fortunately for me, I was never trapped in a web of bitterness like Claire, but I’ve known so many women who are. So I guess what appealed to me was sharing, from a place of experience, that there is a way to be set free from that self-inflicted pain. (Self-inflicted because bitterness and unforgiveness rarely matters to the other person; it only hurts the person who is bitter and/or unforgiving.)
You mentioned that the book has been optioned for film. Who bought the rights?
Robin Lee Hatcher: Well, right now, the book has been orphaned. The producer who bought the option left the production company. Only God knows if it will ever become a movie.
Do you see your new novel, The Ribbon of Years, as a romance or as a step in a different direction?
As with The Forgiving Hour, I think there’s an obvious love story between the protagonist and God. To me, this is the ultimate romance that life can offer, and all my other love stories (real and fiction) flow out of it.
Every book of mine is a new step, although not always in a different direction. I’m guided by the characters and not by trying to fit into any particular niche. That’s been the real joy of writing women’s fiction for the CBA. I’ve been given more freedom to create the books I long to create. It’s been truly liberating.
Was there a special significance in the name you chose for the heroine in Ribbon of Years — Miriam?
I can’t remember ever picking a name for a character because of what a name means. I pick the names because they “seem right” for the characters. It’s something I just know instinctively. But after the fact, I often discover that a name was more fitting than I knew it would be. The Biblical Miriam of Exodus led the freed nation of Israel in worship and praise of God. I suppose that would have significance for my Miriam’s life of faith. She trusts and praises God even in the midst of life’s hardships.
Do the dates of the major events in Miriam’s life reflect your areas of historical interest or did you choose them to reflect the major crossroads of the 20th century?
The former, to a degree. One of my favorite parts is the portion set in 1944. I’ve written about the World War II years before, and I’m sure I’ll return there again in another book. I love the music, the clothes, and so much more about this period in history. But the majority of the time settings were dictated more by the progression of the story and the age of Miriam and/or the age of her son, than because of any historical interest in a particular year on my part.
It was both interesting and challenging to follow a life across such a long expanse of time (1936 to 2001). Every decade had to be researched, so there was a lot of stopping and starting. I loved that Publishers Weekly said I handled the changes in time “with aplomb.” It was certainly what I hoped to achieve.
Most romances take place over a limited time period. What were the special challenges of writing a “letter of recommendation” for Miriam’s choices over a span of 65 years?
One of the challenges had to do with the lingo of the different decades, accompanied by the aging of my main character. I had to do some major mental shifts with each new part.
How did you hit the right balance of “show” and “tell?”
I don’t have a clue how to answer this. I write “from the gut” and don’t analyze what is telling or showing. I write what feels right.
I’ve always been an instinctive writer. While I do read how-to and other craft books, I never turn around and try to apply what I’ve read to my books in a conscious manner. It is much more subconscious. For instance, when I read The Writer’s Journey, I found myself thinking, “I do that” or “Oh, such-and-such character in The Forgiving Hour was a threshold guardian.” But I absolutely freeze up if I set out to consciously create a character that is a threshold guardian. I can’t force my writing in that way.
What are the rules of inspirational fiction?
The only rules I’m aware of have to do with language (no coarse language or taking the Lord’s name in vain) and sex (no on-scene lovemaking; no gratuitous titillation). Writers of CBA fiction must create realistic characters, both heroes and villains, and still observe the reader expectations. It actually forces the writers to be better craftsmen. It’s easy, as a writer, to throw in a curse word to reveal emotion, harder to find another way of conveying the sentiments of the character.
Can any subject be addressed as long as the story teaches a spiritual lesson?
Yes, any subject can be addressed. I don’t think the top CBA authors today are shying away from anything. I’ve written about adultery, murder, homosexuality, runaway teens with body piercing and tattoos, etc. Other authors I admire have touched on such topics as euthanasia, abortion, idolatry, greed.
And I wouldn’t use the phrase: “teaches a spiritual lesson.” That isn’t something any of writer should do. While CBA authors write from the worldview of their Christian faith, their job is not to give lessons but to entertain. The spiritual aspects of their stories must be a part of the fabric of their characters’ lives, not there to give a lesson.
Where on the continuum of “teaching by example” and “teaching by direction” (i.e., preaching) would you place your books?
Well, I certainly hope I never preach in any of my books!
No doubt about it, I write overtly Christian books. I write about characters who talk about the Lord the way I talk to my Christian friends and they talk to me. I write about characters who pray the way I pray and who hear God’s voice the way I hear His voice. For the non-Christian, that may seem unrealistic or even preachy, but if I compromise to make such a reader feel “comfortable,” then I’m also compromising the integrity of my book, my worldview, and my own personal experiences.
Is the “inspiration” behind inspirational fiction limited to one type of faith (i.e., Protestant) or does it extend to other denominations and religions?
As I said earlier, there are many books that can be deemed inspirational. Publishers Weekly features a Religion section, and the faiths represented include New Age, LDS, Catholic, Buddhist, etc.
However, the market for “inspirational” fiction at present is dominated by the CBA. The majority of customers who shop in CBA bookstores (and that’s the majority of readers of inspirational fiction) are evangelical Christians.
How important is organized religion to inspirational fiction?
Well, I don’t believe it’s about “religion.” It’s about a “relationship” with God. Religion in and of itself doesn’t encourage a reader to choose inspirational fiction. (People can be religious about anything — exercise, mowing the lawn, etc.) But people who are hungry for a relationship with God will seek as many ways as possible to strengthen and grow that relationship. And one choice can be the fiction they read.
How big is the market for inspirational fiction?
Christian fiction is one of the fastest growing segments of the book market and may still be the fastest growing segment of the fiction market. For the most part, the sales numbers I’ve seen are comparable with those I’ve seen in mass market romance during my career, depending upon the author, where they are on the publisher’s list, etc. CBA fiction has its million seller authors and it has its authors who feel lucky to sell 10,000 copies.
In general, the CBA market (all books, not just fiction) is about 10 percent the size of the American Booksellers Association (ABA) market.
Who are the major publishers?
The major CBA fiction publishers, in no particular order, include: Tyndale House, Zondervan, Multnomah, WaterBrook Press, Harvest House, Bethany, Crossway, Warner (who launched their CBA list this year), and Baker/Revell.
For romances sold by membership in a book club (a la Harlequin/Silhouette), there is Heartsong. Love Inspired/Steeple Hill isn’t a CBA house, per se (they don’t expect/require their authors to write from an evangelical Christian viewpoint), but their books very definitely cater to CBA readers. I’m sure I’ve forgotten some publishers, but at the moment, I can’t think who they are.
Do inspirational novels and anthologies of fiction face special marketing and distribution challenges?
In my humble opinion (and not because I have inside information from the publishers), I’d say one special challenge is the placement of CBA fiction in secular bookstores. I mentioned earlier that too often these books are shelved in the religion section rather than in the fiction section. I think the chains and store owners would be surprised how their sales of CBA fiction would increase if they made it easier for customers to find the those novels.
How have Internet sales outlets figured in the success of inspirational fiction?
Judging solely upon the fact that CBA publishers have gone to a lot of trouble to become involved with Internet bookstores such as Amazon.com and Barnes & Noble, I would say these outlets must figure into the equation to a degree. I’ve found the Internet causes me to buy more books because of the ease of ordering and the ease of finding books I would otherwise have to special order. And I primarily buy inspirational fiction.
Do you find the market is more accepting of unusual historical periods or settings?
Speaking for myself, yes. I’ve never had to “sell” a time setting for any of my CBA novels.
How hard was it to pitch the idea of a Depression-era romance (The Shepherd’s Voice)?
It wasn’t hard at all. I just presented my story idea, it was accepted, and I wrote it.
Can you give our readers an idea of upcoming projects?
My next contemporary novel, Firstborn, tells the story of a girl, adopted at birth, who seeks out her birth parents once she’s an adult. The story explores the reactions/responses of the various family members, most of whom never knew she existed, and how her appearance in their lives changes them. The book will be out in 2002.
Do you plan more novels set in the mid-20th century or will you return to more traditional historic settings?
Oh, I very definitely want to return to the mid-20th century. The two books I’ve written thus far that touched on this era (Whispers from Yesterday and Ribbon of Years) only whet my appetite to do more. I don’t know what it will be, but I’m sure I’ll know it when it pops into my head.
I also have some more traditional historical romances (with late 1800s settings) in the planning stages, but they’re a ways down the line.
How do you see your writing developing over the next five years? What are some of the goals you’ve set for yourself?
Mostly, I want to continue to write the books that capture my heart and imagination. I want to continue to push my own boundaries and expectations. My only significant goal is to write the best book I’m capable of each time. I try to avoid coveting bestseller lists or awards because that takes my attention away from what truly matters.
Can you see yourself ever returning to mainstream romance?
I think it’s highly unlikely because when I wrote for the mass market publishers I was not allowed to write as freely as I can now. All too often in the ABA, I could develop characters mentally and sexually but not spiritually. One editor cut a scene where a character fell to his knees and prayed, “God, please save [his wife, who appeared to be dying in childbirth]. Don’t let her die.” The editor’s reason for cutting the scene was because they “didn’t want to offend” any of their readers by this man’s prayer. I never understood that line of thinking.
How does living in Idaho affect your perspective on the publishing world?
I don’t think it affects it at all. My background, pre-writing, was in the business world. So it’s in the business side of publishing where my analytical side reveals itself. I love to keep “in the know.” I stay informed about both New York publishing and about CBA publishing through such magazines as Publishers Weekly and CBA Marketplace as well as through organizations such as RWA and Novelists Inc. And these days, with email and the Internet, it’s easier than ever to keep up-to-date.
How does living away from the “center of the action” help or hinder a writer’s career?
Again, I don’t think location helps or hinders. Even agents who live and work in NYC do their business via telephone, faxes, email, and messengers. Very few deals are struck over lunch. The best place for a writer to be is where she is happiest writing.
Do you have any particular rituals you use to motivate you to write or to overcome blocks?
Deadlines are the best motivation. Sit down and write is the rule.
Knowing what you now know after publishing 39 books, is there anything you wish you could change about some of your earlier efforts?
First, I wouldn’t compromise some of my beliefs and values in pursuit of success, not even in little ways
Second, I wouldn’t stay with my first publisher for 17 books.
Third, I would obtain a top-notch agent sooner.
What advice would you give to a new writer?
If you write one page per day, you’ll have a 365 page manuscript at the end of one year. Dream big and be persistent. If you’re a writer, you’ll write, even if you never sell. Don’t expect any book to turn out the way you envisioned it would; it won’t. Write the best book you can today. Be nice to those you meet along the way. Write your passion, write the book you want to read; never write to please your critique group or a contest judge.
Jean Marie Ward
In addition to editing Crescent Blues, Jean Marie Ward writes for a number of Web-based and print magazines, including Science Fiction Weekly. She is the author of Illumina: the Art of Jean Pierre Targete (Paper Tiger) and several short stories, including “Most Dead Bodies in a Confined Space” in Strange Pleasures 2 (Prime Books). Her first novel, With Nine You Get Vanyr, written with Teri Smith, is scheduled to be released by Samhain Publishing in late 2006..
Learn more about Robin Lee Hatcher.