Ageism, Publishing, and the Notion of Reading Down

During the recent Romance Writers of Australia conference, this year titled Love in Isolation, I had to opportunity to ask Liz Pelletier, Editor and CEO of Entangled Publishing, how the company’s August imprint was going. August, if you are not aware, is an imprint aimed at Gen-Xers, with “older characters in their 40s”. It was launched in 2018. Kudos galore to Entangled for launching this line when other publishers outright ignore the consumer base of Gen-Xers, Boomers, and those beyond in favour of adhering to the stagnant tradition of keeping female leads young whilst courting younger readers. Hooray for an imprint that is specifically aimed at 40-somethings. Hooray for a publisher picking up on readers looking for Seasoned Romance. However, As happy as Entangled’s August made me when it launched, there were several troubling things that Liz mentioned in her reply to my question about how the line fared in 2020. The August imprint does not, as Liz said, “release many titles.” She also said that there “aren’t that many authors who want to write older characters,” but then she followed up that statement by emphasising that August books “don’t sell as well as predicted based on the number of authors who were begging for this genre because, it turns out, everybody still kind of reads down,” meaning readers read younger characters.

First, I’ll unpack the “everybody still kind of reads down” statement. Romance (and most genre fiction) readers read ‘down’ for one huge reason: the overwhelming number of lead characters in romance are in their twenties. The vast majority of romance novels produced and published every year feature heroines who are young, as in 39 and under. It’s hard to find a romance novel where this is not the norm. The norm means people are going to read down since the young heroine is what continues to be produced and published.

Next, any author will tell you discovery is hard. There are times discovery is tricky for readers too. Romance readers looking for older main characters often find it frustrating when there is no clear keyword to use when searching for the books they want. Search terms like older couples, older women and romance, middle-aged women and romance, and silver fox women seldom lead to romance novels with seasoned main characters. BISAC codes, that is the standard coding system used by many companies, such as Amazon, to categorise books based on topical content uses this classification for romance fiction with older main characters : FIC027380 FICTION / Romance / Later in Life, but that code seldom leads directly to what you want or to what you expect when you do a book search on Amazon. More vexing is how an imprint like August says it’s targeting Gen X readers, yet doesn’t release many titles. Since its 2018 launch, there have been 10 August titles, but only 9 are listed on the website, and are not easy to find if you aren’t aware of Entangled and its August line. Have you heard of August? I bet you haven’t. There hasn’t been much mention of the imprint anywhere since it’s launch, except for my occasional mention of it in various posts made here, and in comments after I did guest bits on review sites like All About Romance.

Finally, yes, I admit there are authors who have been begging, and continue to beg, for an imprint like August, authors, besides me, who have been pushing for Seasoned Romance, mature romance, later in life romance, whatever you want to call it, because we know there is an audience. Many romance authors who “are begging” for more imprints like August are also romance READERS who are tired of not seeing themselves represented in fiction, tired of being shut out of a beloved genre, tired of reading down. What I really fail to understand is why a publisher would use the number of authors begging for the genre as a demographic for predicting how well an imprint would sell when it is the readers who matter.

Remember how I asked if you’ve heard of August? I ran a poll on the Seasoned Romance Facebook reader group, which has a 3K+ membership. I asked reader members if they were aware of the Entangled’s August line. The response was a rather resounding “nope.”

I am not a professional in market research and advertising, but I am not blind to the practice or blind to the population base that is trickle-fed crumbs, or more often completely overlooked as even being a demographic. Case in point, the readers of the Seasoned Romance Facebook group are a ready-made test group for market research, yet romance publishers do not appear to include the group in any sort of market research. Companies, tend to seek out the youth market. They see anything outside the young dollar as a risk. This risk aversion is the mindset of marketing, of so much advertising, and why August releases so few titles with the excuse –-and it is an excuse—that readers read down.

I take umbrage with the idea of reading down. If you have come across my posts before, I have suggested that publishers deceive themselves by only courting younger readers without realising those younger will one day be older readers. Romance readers tend to be life-long romance readers. Older readers tend to have more disposable income. The belief in the tradition of presenting younger main characters is just that, a tradition. It is vital to note, that, whether you are a Millennial pushing 40, Gen X, a Boomer, or a Silent Gen reader, whether you read science fiction, crime, mystery, or romance novels it is readers who need to let publishers know what they want or else nothing will ever change. Cis, het, white romance with young heroines will remain the staple, the tradition. We can discuss how we need diverse romance, talk about inclusion, and still leave age representation and ageism out of the conversation since romance has a tradition of romance being a younger woman’s tale. Traditions can be lovely, but they can also be rabidly prescriptive and immeasurably narrow-minded. Some traditions, like keeping romance heroines young, can lead to and perpetuate age stereotypes and lack of representation, to the impression that people over the age of 40 do not have sex, that women over 40, especially women who happen to have grandchildren, do not have sex, and even if they did no one would want to read about them because granny sex is gross. Do you want to let a publisher decide for you, to allow a publisher to cling to a notion that is set in stone and denies you representation? Is it really reasonable when a publisher suggests you read down? Are you happy to accept the misconception that there are not many authors writing older lead couples in romance or writing older female leads in other genres?

I write older leads; my books have female protagonists who are aged 40+ and they are paired with men of a similar age. My romantic suspense spy thriller mystery In Service series, is indie published. I chose to go indie for several reasons, but what really kicked me into deciding to go indie with the books was an agent rejection I received saying the forty-something hero was great, but a heroine just 5 years older than the hero, wasn’t ideal for romantic suspense, ideal meaning she was ‘too old’. I had enough of the sexist ageism. Authors struggle with embedded ageism when they submit seasoned romance novels to publishers of romance, they are turned away, told to make their heroines younger, told they won’t sell well. How can they sell well, or sell at all, when It’s a struggle to get released, even by an imprint which is aimed 40-somethings, an imprint that gets little to no marketing push because most readers “read down”, meaning it’s not worth the attention. The International Institute for Analytics’ Robert Morison talks about the need to keep ageism out of analytics. Morison states:

Ageist stereotypes hold that older Americans don’t spend their money, they’re brand loyal, and they’re interested in a limited number of products, services, and experiences…

The point of mentioning this is that readers read down because romance has always been about younger people, especially younger women, and there is a misconception that no one wants to read about older women with an array of life experiences. Except they do, and publishers need to tune into in remembering, and understanding, that older romance readers are still consumers who want to see themselves reflected in the books they read. If it seems like I am picking on Entangled’s August imprint, I most certainly am. There is such exciting potential being squandered. Morison goes on to say,

“Brands need to be talking to them authentically and, insofar as possible, individually. Cursory attempts to reach the older market, and to reach it en masse, are guaranteed to fail.”

As a reader, and as an author, August feels like an absolute cursory attempt. As I mentioned, since its launch in 2018, there have been a total of 10 books released (although only 9 show on the August website), with little or no fanfare, and a modicum of advertising and promotion that stemmed from what individual authors have done themselves. August, with its 10 titles, appears doomed, which is tragic because its failure will be seen as just one more reason to say that romance fiction with older leads won’t sell, that older heroines won’t sell, that readers read down, that younger is better and more lucrative. Sadly, the pursuit of the youth market has become a fixed mindset. It’s risk aversion; a bit of the old if it ain’t broke, don’t fix it, a little of the we’ve always done it this way, a whole lot of this is the standard practice. This is, as Morrison notes,

ageism by omission. The antidote is to have more age diversity across the board: on product and service development teams, marketing teams, and focus and test-market groups. Older consumers may be much more interested in your offerings than you imagine, and new offerings aimed at them can drive business growth.”

Part of doing what Morison suggests means that once you have an offering that can drive business growth, make the product visible. I am here to tell you, as a reader, as a consumer, as a women over 40 who wants to see women like me reflected in advertising, film and all kinds of genre fiction, especially romance, older consumers are interested in more than a cursory attempt to gain our custom. Prove that you see us. Be authentic. Don’t hide your product away or tell us the same old bullshit about how we’re supposed to think that younger is better, that older won’t sell, that we naturally read down.

Are you listening, Entangled?

If you’re keen on not reading down, if you want to break with tradition, if you have been looking for romance novels with older, ‘seasoned’ main characters, aside from my books, try The July Guy by Natasha Moore, (an August author), Karen Booth’s Bring Me Back, and The Love Game by Maggie Wells.

 

References

Entangled Publishing August imprint. (2020). https://entangledpublishing.com/books.html?book_imprint=231&p=1&order=release_date&dir=desc&mode=grid

Morison, R. (2020). Keep ageism out of your analytics. The International Institute for Analytics. https://www.iianalytics.com/blog/2020/8/19/keep-ageism-out-of-your-analytics?fbclid=IwAR1-SAmzcBX-1yXvCtIQHP-FRZzpUjKjSNv7AQE3Xdp6ZXBY28sKGq4_MMI

 

 

Visibility, Invisibility: Grey Hair Breaking Down the Wall

Karen Booth, the author, advocate for Seasoned Romance, and co-founder of the Seasoned Romance Facebook group has a new book coming out in February, and it is an important book. Have a look as the title and cover and you may understand why—if you are over the age of 40, you may, at last, feel seen.

Visibility and invisibility slot together with discussions about inclusion and diversity, which boil down to the need to be seen. In Karen’s upcoming seasoned romance, Gray Hair Don’t Care, visibility and invisibility hinge upon a full head of hair. For some women, grey hair is fraught with meaning that is usually not positive. In our society, many equate grey hair with with decline, particularly if you’re female. Women are told in subtle and not so subtle ways that grey hair signals the decline of not merely youth, but of desirability, of their worth as a human being.

Grey hair is a human being’s badge of successful living, a sure sign of age and ageing well. I say ‘ageing well’ because growing older, that is, not dying at a young age, is what humans seek. We search for ways we can exercise better to maintain our bodies, eat foods that may help us live longer. If you are female living longer, going grey, a perfectly natural aspect that comes with bypassing that early grave, is signposted as something ugly, as something shameful, as something to deny, cover up, to erase. I don’t know about you, but  I’m sick of that directive. While there is a growing backlash against covering one’s grey, the message that grey hair must be denied and dyed is powerful, deeply embedded in our culture, and it continues to, along with the plethora of anti-ageing products aimed at women, reinforce the notion that women and ageing do not go together. Sexism, ageism, and sexist, ageist practice is embedded in society and runs deep, so deep may people fail to notice it at all. This is why seeing a cover like Karen’s is so important. Many women will, at last, feel seen.

If you haven’t noticed how deep ageist practices go when it comes to women and grey hair, allow me to point out that you have most likely been indoctrinated to accept that a woman who has managed not to die and continues to live a long life is not a necessary depiction in advertising, on screen, or between the pages of a novel. Especially if she has grey or white hair. When an older ‘grey’ woman is represented it is in roles that cast her as secondary character, such as mother or grandmother, or, more often than not, as an ageist stereotype, such as cougar, lunatic, harpy, menopausal comic relief, or as sexless crone. Without realising, you have witnessed the regular ageist practice against women in advertising, film, and fiction, especially in romance fiction where older women are seldom seen, or not seen at all. You may not even notice that a male lead, the hero, is allowed to be the silver or grey fox, with distinguished grey temples, while a woman the same age, combined with the perceived ugliness of her grey hair, leads to devaluing and outright erasure.

Perhaps you are aware of this all because you are a woman who’s wondered why you no longer see other women like you in films, on TV, or in books. You may be a person of colour, or Muslim, or disabled, or fat and you want to see women who are like you, and you long to be represented. In this case, representation, visibility and invisibility comes down to the few hairs I’m splitting here, as you, if you read my pieces on ageism and romance fiction, would expect me to.

Karen and I share a few things. We are advocates for seasoned romance and women over the age of 40, and we have both written books that feature older women with grey or white hair as leads in romance fiction. The older female protagonist, or, as the genre prefers to call her, an older heroine, remains an anomaly in the genre. Still. I’ve been writing and studying older heroines in romance fiction for nearly two decades. Seven years ago, my second book, For Your Eyes Only, was published. It had taken me close to ten years to find a publisher who didn’t tell me I had to make my heroine younger. I was thrilled and so grateful that I had found an editor and a publishing house who were open to the idea of an older woman positioned as the heroine rather than as a secondary character or as a stereotype of a woman of a ‘certain age’. The silver foxy heroine in Karen’s Gray Hair Don’t Care is 47. The heroine in For Your Eyes Only is 50 and had white hair. Karen’s cover is gloriously representative of her heroine’s age. My cover is…well, as you can see, the victim of my publisher’s concern about my heroine’s advanced age. The cover model is 15 years younger and blonde rather than white-haired.

I should have fought harder for a different cover. I should have pushed and clawed for an image that conveyed that a white-haired, middle-aged woman was worthy of being a heroine on the cover, but there were a few things happening that prevented me from doing so. I was a new author, I had no clout, and, as I mentioned, my publisher was the only publisher willing to take a risk on a new author writing a heroine who sat outside the age norms of romance fiction.

Karen and I, as well as many other authors who have submitted books to romance fiction publishers, have faced the ageism and the ageist brick wall that exists within the industry. The brick wall often came—and still comes—in the form of statements such as, ‘we’re not sure how to market this book’ or ‘we don’t think there’s an audience for this book’ or ‘this book won’t sell unless you make the heroine younger’ or my favourite, ‘no one wants to read granny sex’. The way our culture has been conditioned to accept ageist practices as normal, feeds ongoing publishing concerns that putting a more ‘mature-aged’ woman on the cover would turn off readers, that a book featuring an image of woman with grey or white hair would not sell. Of course, any business would be apprehensive about a product that might not sell. No one wants to lose money. As I have said so many times before, film and fiction are actually losing out on making money by ignoring a specific population with money to spend. Being ignored as a consumer is one more form of invisibility.

Visibility and invisibility. Cover art comes and goes, from Fabio’s flowing tresses and drooping bodices to the current illustrated trend in romance fiction. If you didn’t know, many publishes use stock images to create cover designs, and this is where I admit I am not a huge fan of the illustrated cover. I’m also not a fan of a bare chest, the floating head shot over a country background, or the genre’s iconic clinch cover, yet it is obvious the illustrated cover solves issues that publishers find insurmountable, such as finding stock cover images to present curvy or fat heroines, disabled heroines, heroines of colour, heroines from non-western cultures, older heroines. It’s sad. It’s shameful in the way grey hair is not. It’s exasperating as hell. Things have changed a little in the last 2 years, but what’s out there is merely OK. It needs to be better. While silver foxy men are a cinch to find, peruse stock image companies for older women and you’ll find lots of attractive middle-aged women touching their faces. Search for mature couples and you’ll see lots of picnics.

As Karen notes in her cover reveal for Gray Hair, Don’t Care, rather than face the frustration of wrestling with the ingrained preconception romance fiction editors and CEOs have about grey-haired women, or trying to find a decent stock image, she decided to indie publish Gray Hair Don’t Care and commission a cover artist. That was one smart move. While Karen addresses, directly, the embedded ageist notions represented by a woman with grey hair, I went in a different direction when it came to choosing cover images for my indie releases, the In Service series about a middle-aged female butler and the spy who loves her. I decided to lean into the vector silhouette images one might find in spy fiction because of how incredibly difficult it is to find stock images of middle-aged women. I knew what I was up against. Then again, so did indie author Maggie Christensen. Publishers who adhere to the notion that a woman aged 40+ has no business being on a cover have their arses squarely kicked by Maggie, a Scotswoman living in Australia. When it comes to her seasoned romance covers and heroines, she knows her audience, writes fabulous romance fiction featuring women 40+, and Maggie puts those more grown-up women on her book covers, using the same style as romance novels featuring women in their 20s.

Maggie, like Karen, Natasha Moore, Maggie Wells, Kristen Ashley and I sell books and garner great reviews from readers who have sought out seasoned romance with more grown up heroines, older female leads, mature female protagonists whatever you want to call women over 40 who are the main characters.

What makes me most cranky about this ongoing struggle with sexist ageism is that publishers are ignoring readers. Readers responding to Karen’s cover reveal ought to be evidence enough that older women want to see themselves reflected in the books they read. Visibility and invisibility. There are two things at stake here: the inclusion and representation of women of all ages on book covers and between the pages, whatever colour their hair might be, and instead of publishers telling authors that books with grey-haired women on the cover won’t sell, perhaps it’s time to take note of how readers have been ignored for far too long. I say this because, at the online Romance Writers of Australia (RWAus) conference I attended last weekend, the same editor who once told me that no one wanted to read granny sex also stated that authors were the ones pushing for seasoned romance. I believe, wholeheartedly, that this editor is wrong. As an author and as a reader, I’d like to point out that readers are driving the call for older heroines, for seasoned romance. Readers make up the overwhelming majority of the 3K+ Seasoned Romance Facebook group, as well as the nearly 2K membership of Romance In Her Prime. It is readers who are searching for heroines who look like they do—women with greying or grey hair, crow’s feet, with lines on their faces, life experience and the baggage that comes with it. It comes down to visibility and invisibility, to representation and inclusion. It’s obvious that publisher demographic studies, like so much advertising market research, fails to include older people, especially older women in their investigations or even take them into account as consumers—unless it’s for cruises, funeral insurance, or osteoarthritis relief. In their endeavour to make money, companies seek out the next generation of consumers, dropping the consumers they may already have, which in this case are readers. Romance readers, the editor at last weekend’s RWAus conference said, read down, meaning they read about younger characters, but this is only so because there are so few books like Karen’s, like mine, that offer older readers, grey-haired or not, the visibility they crave.

My books with silver, white, & grey haired heroines are available here and here. Karen Booth’s Gray Hair Don’t Care is out in February 2021. It’s now available for preorder. It’s going to be huge, the book that breaks through and breaks down the wall for seasoned romance.

And it’ll be because of flowing grey hair.

I’m On a Mission

Wielding my Shield of Smartass

As you might guess I have news alerts set up for anything that mentions ageism, women over the age of 40, romance fiction, anti-ageing advertising, diversity, stereotypes of ageing, and so much more. I often see posts from  Ageism Warrior Ashton Applewhite’s This Chair Rocks. A recent post that popped up in my Facebook feed gave details for Scott Harper, an independent documentary filmmaker in Canada. Harper is working on working on a documentary on ageism. He happens to be on the lookout for story and casting suggestions about ageism because, as he says,

“Frankly, we feel it’s time to give this issue the same profile as racism or sexism.”

He goes on to mention that,

“We’re looking to tell a story with a bit more edge. The film, ideally, takes us inside the world of someone who is actively trying to fight back against ageism where they have encountered it. This is, in our minds, someone who is pushing for change, in a way we can follow or at least re-tell, whether in the workspace, the courts, media, politics, healthcare, the community, anywhere where generations co-mingle and ageism is present… We want this to be a character driven film and so at this stage, we need to find a great cast, or at least, a single great storyline of someone on a mission in this space. To that end, we’re reaching out to people like yourself to ask if anyone comes to mind that you think might serve this role…”

Golly. Do I think I can help? Do I think can make a suggestion about someone on a mission because…well, you know, I’m on a mission? Some may write off my suggestion because it’s focused on romance fiction, but how great a fit when the genre struggles to be taken seriously, is so frequently maligned and viewed as unimportant fluffy trash. Stereotypes abound about romance novels much the way stereotypes abound regarding older people and women who have surpassed the age of 40. The thing is, the genre sells, the genre makes a crapton of money, and older women have money to spend on things like books, even when the ageism affecting women is rampant in the romance fiction genre.

Authors, like me, Natasha Moore, Karen Booth, Maggie Wells, and many others who write or want to write older female romantic leads are often told by agents, editors, and publishing houses that sell romance fiction, ‘no one will buy that that older woman character’ or that ‘a romance with a older heroine won’t sell.’  It’s that kind of fearful we-won’t-make-money-from-older that caused Lancôme, in the mid 1990s, to let go of 42 year-old Isabella Rossellini as the face of their cosmetics because she was too old, and “older women dream about being young.” That kind of thinking perpetuates the notion that women over 40 are suddenly unappealing hags. It also feeds into that perception that (here it comes, the comment I keep dragging out, the one made by a romance publishing CEO) “no wants to read granny sex.” In case you didn’t realise it, being an older woman not only ruins the advertising dream that a woman is supposed to have of being forever young, but a woman who happens to be grandma who has sex is going to ruin the romance fantasy. If you’re a man, this dream-killing, fantasy-spoiling, of course, does not apply, especially when it comes to fiction or film.

De Tavenier and Aartsen note that ageism leads to exclusion and exclusion leads to a lack of agency. Older women are being denied agency in romance fiction. In spite of romance fiction’s embedded unwillingness to see women beyond 40 as whole, vibrant human beings who dream of being beautiful or sexual at any age, there are those of us, like the authors I mentioned, above, who have not been discouraged. We write romance novels with older leads, with older romance heroines and try to change the publishing industry standard of that “younger dream” because we know, like Lancôme, who rehired 65 year-old Isabella Rossellini as the face of their cosmetics 2018, came to understand, it’s sexist, ageist, bullshit.

Trying to change an industry standard within a genre that is often discussed as being a ‘fantasy’ with a happy ending is an uphill battle. It makes me hoarse sometimes because the change is so slow, but age is an issue of diversity and everyone is shouting about the importance of diversity within the romance publishing industry, except diversity of age keeps getting left out of the conversation. I’ll repeat myself, again, and again, and again: ageism affects everyone regardless of skin colour, sexual and gender identity, ethnicity, culture, weight, or height. Ageism has more of an impact on women than men and nowhere is this more evident than in romance fiction.

My mission is clear: change the industry standard by writing older romance heroines, like Mae the fifty-something butler heroine of my In Service series (book plug!) the kind who are like Isabella Rossellini returning to Lancôme as the face of women dreaming of being beautiful, whole, and vibrant at any age.

 

References:

Ashton Applewhite. (2019, 4 August). Scott Harper Documentary: This Chair Rocks. [Facebook post] Retrieved from https://www.facebook.com/ThisChairRocks/posts/1968521509915290

De Tavenier, W. Aartsen, M. (2019). Old-age exclusion: Active Ageing, agesim and agency. Social Inclusion, 7(3), 1–3.

 

Intersectionality: Ageism and the Older Romance Heroine

Wielding my Shield of Smartass

Yes, I’ve been saying this and I keep saying this.

Age is often overlooked as an issue of diversity, especially within the publishing world. As a result of this disregard, romance fiction, so often at the forefront of social change for women, is losing its place as a feminist trailblazer, especially for older women, and it’s missing out on an opportunity to make money.

I write romantic suspense and contemporary romance featuring lead characters over the age of 40 (that’s heroes and heroines aged 40+) who fall in love and get it on, because unlike what you see—or don’t see—men and women 40, 50, 60 and beyond still fall in love and have great sex. Some of you may be familiar with my novels, my academic investigations into portraying older women as heroines in romance fiction, my occasional ranty soapboxing about the roles that have typically been given to women 40+, about the stereotypes of age, and the importance of including older women as leads in romance fiction.

Yeah, well, I’m ranting. Again.

Hollywood and publishing have had a much-needed kick up the backside, one that has called out the overdue need for diversity and inclusion on screen and in fiction. There’s been a call for more stories featuring POC as leads, more stories of people with disabilities, more stories showing a wider spectrum of cultures, of sexual orientation and gender identities, of people long overlooked as real, as whole. We’ve had the success of Crazy Rich Asians and Black Panther, the #metoo movement, Hollywood and romance publishing standing up to sexism. Hooray! However, in spite of the discussion around diversity and inclusion, like I said, age diversity is often left out of the conversation and that exclusion is ageist. Ageism can have an effect on everyone, regardless of skin colour, cultural heritage, disability, gender identity or sexual orientation. We all age, yet it remains acceptable to  to degrade, ridicule, devalue and fear older people. Especially older women.

The intersectionality of ageism is seldom acknowledged, but the reality is that ageism, sexism, and racism are all linked, people of all colours and cultures experience ageism, it hits women much harder than men, and this intersectionality, especially in western society, results in a culture steeped in ageism. We (women in particular), unconsciously accept and participate in widespread and invisible ageist structures, stereotypes, and biases that show up in books TV, movies, advertising. This conditions us to see things one way, and the images you see are powerful. What you don’t see is even more powerful, and you rarely see older women as romance heroines.

The age bias is evident in the romance fiction industry, where the standard has been for the heroines to be young, which means romance is conceptualised as a younger woman’s tale. It’s something of a vicious circle. What you don’t see effects what you do see, and we have been conditioned to accept only young women as heroines. We lack older female role models. Hollywood and fiction embrace the silver fox hero, yet you seldom find a silver foxy heroine. The older man paired with a younger woman is ubiquitous in film and fiction, but the roles for women 40+ boil down to mother, wife, cougar, granny, crazy and/or evil old hag—roles many of us take on board without realising they’re stereotypes. Women 40+ are rarely portrayed as complex, confident, sensual or sexual, and are more frequently sidelined to secondary characters, or written out the narrative entirely. This is sexist and ageist. Thankfully, things are beginning to change in Hollywood.

I write the complex, interesting, confident, sensual, sexual romantic older heroines I want to see. My latest releases, At Your Service and Forever In Your Service, and Your Sterling Service feature a 50-ish female butler paired with a slightly younger spy. In my academic investigations, I established that there is an audience for stories featuring older protagonists like mine, and it’s one that can attract money. I’m repeating myself and I’ll keep repeating myself because over the last 15 years, this waiting audience has grown, and they STILL want romance novels featuring older, or ‘seasoned’ lead characters. It is this audience who are pushing to refer to this ‘later in life’ romance subgenre as ‘Seasoned Romance’ (SR). If you want evidence, beyond mine, of this burgeoning, waiting audience, check out the Facebook Groups Seasoned Romance, and Romance in Her Prime, with over 3,000 reader and writer members and growing. Hollywood may have recognised the power of the ‘silver or grey dollar,’ and begun to cater to the audience craving older characters, but, like me, many older readers eager to buy SR find romance publishing lagging behind.

Publishers are trying. There have been attempts to market to readers who are looking for older characters. In 2006, Harlequin launched the NEXT imprint, the late 80s gave us Berkley’s Second Chance at Love, and Ballantine’s Love & Life. None of these imprints lasted long. Second Chance at Love and Love & Life were poorly marketed and had unappealing covers that turned off reader (trust me on this, I have some of them). NEXT was essentially Women’s Fiction; romance was a sideline to the narrative rather than what drove the plot. The failure of these imprints was seen as proof that readers couldn’t accept older characters as leads, rather than as a marketing misstep. Marketing is savvier now and see potential. Recently, Entangled launched August with a focus on older couples, and Sideways, a Women’s Fiction imprint. Entangled recognises financial opportunity and the audience wanting SR. However, both imprints have, or have had, limits set on the age range for characters. Limiting character age demonstrates ageist (and, as you see with prevalence of silver fox heroes, sexist) structures and biases that continue to operate in publishing.

Although there has been some shift within the industry regarding an openness to age, I often come across SR authors recounting how romance editors have told them to ‘make the heroine younger,’ or stated that, ‘no one wants to read a story with granny sex,’ or that ‘older characters have too much baggage for a romance.’ Not only do these comments show some editors have lost sight that the love story is the core of romance, they also give credence of the pervasive ageism within the industry. Sadly, SR has to prove itself. There has yet to be that one best-selling big book.

Luckily, there are authors like myself, Karen Booth, Natasha Moore, Kerrie Patterson, Maggie Christensen, Kristen Ashley, Maggie Wells, Cecilia London, Josie Kerr, Jeannie Moon, Julie Hammerle and many others, who working hard to disrupt ageism with the stories we tell of complex, intelligent, interesting, confident, sensual, sexual, romance heroines who happen to be older. We are the new trailblazers.

You can be too.

Discovery of the Obvious

The hardest thing any author faces is discovery. We write the book, we try to get the book published traditionally, or go indie and put the book out ourselves. That’s the easy part. The thing that makes us pull out our hair is trying to get noticed. Or in my case noticed and HEARD

This week, I was very kindly invited to be a guest and post on Breathless in the Bush, “an eclectic group of writers who share a love of Romance, the enjoyment of a good laugh, and a dedication to learning all we can about the craft of writing.” These wonderful Australian writers have graciously allowed me to tell them and other readers and writers about Seasoned Romance and, of course, my books. It’s a lovely way to  have readers discover my upcoming release, Forever in Your Service, the second book of the In Service series, which again features a middle-aged female butler and the spy who loves her. It comes out 29 March.

If you enjoyed At Your Service and the short story Your Sterling Service, I think you really might kind of like Forever In Your Service. It has a dog in it. Also, the leads, Mrs Valentine and Major Kitt, discover things about each other as they discover the world around them is made of cowboys, charlatans, wine, snow, and obvious lies.

Where was I ? Oh, yes, discovery. You know I write novels with an emphasis on the portrayal of women over 40 as heroines, I write older romantic heroines and I always have. I’ve been going on and on–okay, I’ve been ranting about older romance heroines, ageism and sexism in Hollywood, in publishing, and especially in romance fiction. Whether you want to call what I write Adult-Contemporary romance, ‘mature’ romance, grown-up romance, later-in-life romance, or to use the term author Maggie Wells coined, Seasoned Romance, they are central love story where the female lead, where couples of ‘a certain age’ are front and centre as lead characters in a story that comes with all the hallmarks you love and expect in a romance, novel, right down to sexy times and the all-important Happily Ever After.

Guess what? I’m not alone in what I do. Others have joined my voice, have given credence to my academic and ongoing scholarly research, the stuff about an overlooked audience of readers eager to see older heroines and older couples in their fiction, and the viability of women aged 40+ as romance heroines.  There are other like me out there, writers and readers. We’ve been here and now we’ve joined forces. Visit the Seasoned Romance Facebook Group to find out more about the authors and readers and books.  JOIN US!

We’ve been out here all along, writing, and writing, and having some of our books traditionally or Indie published. We’ve been waiting for you to notice, to discover us, and I’ve been telling you, I’ve been shouting, “We’re here!  We’re here!” like a little Who from Whoville.

I’m not going to say it.

Okay, yes I am.

I told you so.

 

Introduction to an Old Character

Wielding my Shield of Smartass

The Pink Heart Society’s May newsletter discusses romance fiction with older heroines, and asks, as I do, if the romance genre thinks love has an age limit. The newsletter features interviews with Dee Ernst, Amanda Ward, Liz Flaherty, Morgan Malone and the Pink Heart Society’s (PHS) editor, Trish Wylie—all romance authors who place women of certain age front and centre of romance. It’s exciting to know I am not alone in being passionate in my desire to stamp out ageism and sexism.

Why is it exciting?

An Introduction (for you newbies)

Hi, I’m Sandra Antonelli. I write older romance heroines—silver foxy women over 40 as the lead characters, not as secondary characters, and not as protagonists in Women’s Fiction, but as the romantic leads. I represent this demographic of women and demographic of romance readers who want female heroines with all my heart, and I am passionate about continuing to do so.

If this is your first time reading one of my posts, and you don’t know, mature-aged romance heroines are my soapbox. Check out the Mature Content Stockpile tab for just how much soapboxing I do. There are many reports in the media discussing sexism and ageism in Hollywood, but there’s very little media dialogue on ageism and sexism in romance fiction. Strange, because there is such a parallel in the way women of a certain age are pigeon-holed in stereotyped roles (cougar, granny, witch, crazy cat lady) or rendered nearly invisible in both forms of entertainment. This really chaps my hide.

Years ago, before Harlequin’s NEXT line, which touted stories about women with a little more life experience, I went looking for older romance heroines and found next to nothing. So, I decided to write my own, thinking the world would catch up. I kept writing older protagonists in romance, and, like Liz Flaherty mentions in the PHS newsletter, I got curious about why there were only a handful to be found. I did a master’s degree and then a PhD on the subject to try to get to the core. The masters uncovered the demographic of reader looking for older romance heroines, the PhD examined why the demographic is overlooked. And in the mix of all that academic stuff, I kept on writing romance with older heroines AND heroes because no way was I going to be like Hollywood and let the hero be an older Bruce Willis-type while the heroine was 25 to 35-something. My books were published by Escape, a division of Harlequin Enterprises in ebook format—because ebooks are a little more open to taking a chance on something with a niche market, or outside the norm.

I have four books that sit outside the romance heroine age norm: A Basic Renovation, For Your Eyes Only, Driving in Neutral, and Next to You, as well as short stories Your Sterling Service, and Niagara Falls at Café Nixin the anthology It All Happened at Café Nix. I have more on the way. You can find links to all my books here.

Knowing that there are other books outside the norm besides my own, that I’m not the only one writing older romance heroines, that Dee Ernst, Amanda Ward, Liz Flaherty, Morgan Malone, Karen Booth, Josie Kerr, Maggie Wells, Natasha Moore, and the Seasoned Romance Facebook page with over 600 members of authors (and readers) are also writing heroines with life experience and–gasp–wrinkles shows that older equals OH HELL YES!

Can You Predict the Future?

Yeah, you guessed it! I’ll write romance, blog, tweet, post on Facebook, and do academic-type stuff on women of a certain age in romance, and I’ll keep on championing  until we’re not a stereotype of age, a niche market, or a trend.

I applaud you ballsy authors who, like me, want to show the entire world, not just the romance world or Hollywood, that foxy doesn’t end at forty.