17 Secrets of Audiobook Narrators

Once associated with dusty library cassette tapes, audiobooks are more popular than ever. New technology has made it easy to listen to large audio files on the go, and the resulting surge in listeners has helped the format slough off some of the stigma of decades past. Contrary to the old idea that audiobooks are “cheating,” scientists say that listening to your literature stimulates the brain just as much as reading it does.

The recent boom in audiobooks means that the voiceover artists who bring them to life are especially busy. Mental Floss spoke with a few industry professionals to learn about what it takes to excel at the job—including their diligent voice-care regimens, the one thing they always look for during research, and the spoilers they sometimes get from authors.

1. THEY'RE PROBABLY FORMER STAGE ACTORS.

Several of the audiobook narrators we spoke to started out at the theater, not in a recording booth. “I had never owned an audiobook, listened to an audiobook, or thought about it as a job,” says January LaVoy, a voiceover artist who's narrated books by James Patterson, John Grisham, and Libba Bray. She initially made connections in the audiobook world through her work as a theater actress, but after getting more involved in the audiobook industry, she found that narration has some advantages over acting on stage. She says jokingly, "Doing an audiobook is like being in a play where finally everyone says their lines right."

2. THE AUDIOBOOK INDUSTRY HAS ITS OWN OSCARS.

Each year, the Audio Publishers Association hosts the Audie Awards to honor the best in the industry. In addition to recognizing outstanding audiobooks across genres, there are Audies for best narration by the author, best narration performed by multiple voiceover artists, and best individual female and male narrators of the year.

3. THEY MIGHT GET ONLY ONE NIGHT TO PREPARE.

Sometimes audiobook narrators are given a few weeks to study the material and plan out their performance, but that's a best-case scenario. "The publishing world is fast, so we have to be ready to respond and make room in our schedule for what comes up," says Tavia Gilbert, who has recorded over 500 audiobooks. "It’s never predictable." If a last-minute assignment comes in, narrators may have to cram all their research into a single, caffeine-filled night.

This usually means giving the book a quick scan rather than an in-depth read. "I’m not looking for shortcuts, but I don’t like to get bogged down in too much detail on the first read because then it’s not fresh when I come to it in the studio," says Simon Vance, winner of 14 Audie awards. "I like to enjoy my reading in the studio as much as you would the first time you pick up a book."

4. THEY LOOK FOR CERTAIN WORDS ...

No matter the time crunch, reading the book through at least once beforehand is essential. While skimming the text, narrators are searching for specific terms. One example is something LaVoy calls "active attributions"— "Like 'she said loudly,' or 'he screamed,' or 'she whispered,'" LaVoy explains. "If I don’t know he whispered it until after I say the line then I’ve wasted time. So if I can mark them so my eye sees them coming up, I don’t have to go back and say the line again." Accents, hard-to-pronounce words, and character names are other things narrators look for.

5. ... AND PHYSICAL DESCRIPTIONS.

Gilbert also keeps an eye out for any description she can use to build characters when doing her first read. “I’m looking for whatever each character says about themselves or other characters, including their physical description, which affects how somebody sounds," she says. "An elderly woman with a severely hunched back and hands that flutter like a bird will sound very different than an elderly woman who was a prima ballerina in her youth and still keeps her hair pulled back in a perfect bun."

6. SOME OF THEM RECORD FROM HOME.

Audiobook narration is traditionally done in a studio, but for narrators who have proven themselves in the industry, recording from home is an option. "Publishers used to be a little wary about using home narrators because you had to be a good self-director," Vance says. He's been narrating audiobooks for 25 years, and these days he records all of his audio from home.

But Gilbert, who splits her work between home and recording studios in New York, says working from home isn't necessarily easier. "There’s a lot more on the narrators' shoulders when we work from home. We’re self-engineering, self-directing, and delivering our files to the publishers, so we’re responsible for everything at home that we are in the recording studio plus these additional tasks," she says. But if narrators know what they're doing, the work pays off: Gilbert won the Audie Award for Best Female Narrator last year for a performance she self-directed at home.

7. THEY GET INSIDE KNOWLEDGE FROM AUTHORS.

When audiobook narrators have a question about the text, they get to live out every reader’s dream and contact the author directly. The correspondence can be brief, like an email asking how to pronounce the name of a mythical country, or much more involved. When preparing to narrate the audiobook for Jerusalem, Vance flew to England to meet with author Alan Moore. “I spent an afternoon walking around his city in Northampton, which is where the book was set, talking to him about all the places and picking up the accents and so on,” he says.

If narrators make a good case, they may even be able to pry a few spoilers out of the authors they work with. Vance does this when narrating a series that hasn’t been fully published yet. “I will often ask writers if there’s anything I need to know about these characters that’s not revealed in the first book," he says. "You have to be aware of the threads. Like if a character's actually related to somebody but you don’t find out until book three, you don’t want them to sound too different.”

8. IT MIGHT TAKE THEM A MONTH TO RECORD ONE BOOK.

The average audiobook runs about 12 hours, but the process of making them takes a lot longer. For pros like Gilbert, the ratio of finished audio to recording time is tight—maybe 1 hour of final audiobook for every hour and 15 minutes spent in the booth. Narrators just starting should expect to invest more in the process; all that time stumbling over words and going back to repeat lines can add up to two to three hours of recording time just to get one hour of useable audio.

If narrators follow a typical eight-hour-day, five-day-week work schedule, an average assignment can take about four days. But for much longer works that creep past the 1000-page mark, the recording process can last a month.

9. THEY TRY NOT TO TAKE BREAKS.

Since breaks add time to the workday, some narrators aim to minimize them. LaVoy tries to go for as long as possible when recording, only pausing after 90 minutes of straight narration. “I think it’s good for the book because you want it to feel like one breath,” she says.

10. IT PAYS WELL.

Even for newcomers, narrating audiobooks is a lucrative line of work. According to Business Insider, voiceover artists just starting out can expect to earn $100 for each hour of finished audio. For industry veterans, those figures can reach up to $500 for a completed hour. All told, book projects can net narrators thousands of dollars.

11. NOT EVERY AUTHOR WHO WANTS TO NARRATE GETS TO.

As the medium gains popularity, more authors are opting to personally provide the voice work for their audiobooks. Some authors, like Neil Gaiman, can successfully hop between the worlds of writing and narration, but it isn't for everyone. “They don’t realize how hard it is,” Michelle Cobb, executive director of the Audio Publishers Association, told Audible Range. “It’s surprisingly difficult to do things like stay still for the microphone, or to even wear the right clothes." ("Noisy" fabrics like polyester and nylon can bring unwanted sound into the recording booth.)

Some authors interested in narrating never get the chance to prove themselves—publishers often have to be blunt and tell would-be author narrators that their voice just isn't good enough for the job.

12. LIP BALM IS ESSENTIAL.

If you’ve ever talked non-stop for hours on end, you know that your mouth can undergo some serious wear and tear. LaVoy had to find this out the hard way: “For the very first book I recorded, my lips were chapped and bloody by the end of the day.” Now she says lip balm is the one thing she won’t walk into the recording booth without.

13. GOOD WRITING MAKES THEIR JOB EASIER.

The difficulty of a narrator’s job often depends on the quality of the work they're reading. Gilbert, who is a writer herself, is grateful whenever she’s assigned a book that practically reads itself. “I prefer to narrate anything that is beautifully written. I don’t care what the genre is—if it’s well-crafted and there is deep heart and truth, I am delighted to have that book.”

When a book isn’t so masterfully crafted, the opposite can be true. Vance says, “Sometimes it feels like you’re dragging your feet through mud to bring the story to life and there are other times where it feel you’re dancing on water and you're singing the words."

14. BACKGROUND NOISE CAN DERAIL A SESSION.

Even when a narrator’s voice is in excellent shape and the words are flowing off the page, a little background noise is all it takes to disrupt a take. This is especially challenging for home narrators, who often lack the fancy sound-proofed booths found in big studios. Gilbert says, "I adore my 6-year-old neighbor upstairs, and affectionately refer to her in conversation with her mom as Miss Fancy Feet, because that little girl is full of energy—and lots of noise—when she gets home from school."

Construction, doorbells, leaf blowers, and slamming doors can all delay her work, but Gilbert tries to make the best of it. "Noise is like weather—wait a few minutes and it’ll pass. In the meantime, balance the checkbook, fold a load of laundry, send emails, clean off your desk ... there’s always something to do to keep productive."

Sometimes, expensive insulation still isn’t enough to keep outside sounds from leaking in. LaVoy, who primarily works in studios, says, “If somebody’s doing construction on an office three floors above you, you have to send somebody up there to find out what’s going on, because you can only soundproof so much."

15. IT’S PHYSICALLY DRAINING.

Reading books all day may sound like a dream job to some people, but it’s physically demanding work. Vance says the one thing people underestimate most about the job is the amount of stamina it requires. “It’s not just about having a good voice,” he says. “If you think you want to do audiobooks, go to your bedroom and pick a book off the shelf. Sit down and read to yourself out loud for an hour. Take a break for a few minutes, then come back and do it again for an hour, and again for an hour. Do that five days in a row. If you enjoyed it, then you can take the next step, but if you found it exhausting and you couldn’t maintain the same tone throughout, then maybe you should think about doing something else.”

16. THEY AVOID GOING OUT—AND EATING CHEESE—BEFORE RECORDING.

To maintain a strong voice, audiobook narrators need to avoid picking up certain habits. Smoking, drinking, and eating foods that cause phlegm build-up (like dairy) are all quick ways to sabotage a recording session. Even just going out to a social event prior to a gig is enough to strain the vocal cords.

“Something my close friends and family have learned to cope with is that I can’t go to bars or restaurants the night before I’m going to record a book, which is a lot of nights,” LaVoy says. “Whether you realize it or not, the ambient sound in a restaurant means that you’re talking a little louder the whole night. The microphone is like a microscope: It hears everything. So if my voice is tired I’m not going to have the elasticity I need.”

Vance also tries to avoid having too much fun on a work night. At the same time, he acknowledges that taking perfect care of his voice is easier said than done: "There are things you should definitely not do, which is go out late at night, smoke cigars, drink too much, go screaming at football games, but we all make those mistakes."

17. YOU NEED TO LOVE READING TO LOVE THE JOB.

All the audiobook narrators we spoke to share something in common: They’re enthusiastic readers. Being a successful narrator requires an actor’s instinct and physical endurance, but what the job really boils down to is to be able to read for hours without getting bored. “If you don’t love reading it’s absolutely torture,” LaVoy says.

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15 Secrets of Commercial Divers
Boris Horvat, AFP/Getty Images
Boris Horvat, AFP/Getty Images

Imagine some of the most physically demanding jobs available—supply line installation, construction, welding—and then imagine doing them underwater. That’s the life of a commercial diver, a rigorously trained professional who undertakes everything from bridge repairs to oil line maintenance. To get a better sense of this often difficult and dangerous work, Mental Floss spoke to several commercial divers for their thoughts on everything from the perils of decompression to swimming in sewage. Here’s what they had to say about a life in flippers.

1. DIVING DEEP CAN PRODUCE EUPHORIA (AND A WEIRD VOICE).

Commercial divers receive specialized training—either in the military or at diving instructional schools—to learn how to function hundreds of feet below the surface. The lower a diver goes, the more water pressure increases, and the greater the challenges. Jeremy, a commercial diver out of Louisiana who repairs and installs equipment for oil companies, says that working in such conditions can lead to physical exhaustion, pulled muscles, and a feeling of pressure on the lungs.

Plunging to a depth in excess of 100 feet can also result in nitrogen narcosis, which some refer to as "raptures of the deep" or the "Martini effect." It's caused when divers receive a higher concentration of nitrogen from their air supply due to the effects of the water pressure on the gas. (The air systems that commercial divers use allow them to breathe normally by providing air at a pressure equal to that of the water, but the lower they go, the denser the gas gets, and thus the higher the concentration.)

“It makes you feel drunk or euphoric,” Jeremy says of the narcosis. “The solution is to switch from a nitrogen-oxygen supply to helium and oxygen.” That cures the over-inhalation of nitrogen, but when a diver comes back to the surface or to a decompression chamber, their voice will be altered. “It’s an Alvin and the Chipmunks thing,” Jeremy explains. Some diving teams will use voice augmentation to de-scramble the high-pitched squeals when divers are communicating with the surface.

2. ABOUT HALF A DOZEN OF THEM DIE EACH YEAR.

A diver works with a cable on an underwater construction job
Boris Horvat, AFP/Getty Images

Most commercial diving is centered around underwater construction—often repairing or replacing infrastructure that facilitates water, oil, or electrical supplies. Divers are frequently charged with digging trenches to bury electrical lines using high-pressure water blasts to excavate the ocean floor. If these trenches collapse, it can result in a catastrophic situation; the cave-in can trap and bury a diver, clogging their regulator or causing them to take off their helmet in a panic, which eliminates their air supply. Jeremy says a number of divers die every year in such cave-ins.

If divers can avoid that fate, they still have to worry about a number of other ways they can meet an untimely end. “We use cranes and those can fall or drop their load on you,” Jeremy says. Cutting into “live” pipelines can also cause explosions, as can using tools that displace hydrogen from the water. In an enclosed space like a ship or supply pipe, that collected hydrogen could catch a spark and explode. “That could blow your helmet off or into pieces,” he says. All in all, 25 commercial divers died on the job between 2011 and 2014, according to the Bureau of Labor Statistics; another 310 suffered nonfatal injuries or illnesses.

3. THE DEEPER THEY GO, THE MORE THEY EARN.

Diving jobs vary in pay according to risk, duration, and other variables, but generally, a diver’s base pay is usually supplemented with “depth pay.” The further down they go, the more they can make.

“It’s basically about a dollar a foot,” Jeremy says. “After 150 feet, the price can double to $2 a foot. Added on to regular pay, a 12-hour day can add up.” A diver working at 300 feet might net $1000 in a shift. Saturation divers, who can go 1000 feet down and are required to live off-shift in a chamber pressurized to the surrounding water in order to avoid decompression sickness, or the “bends,” can make even more.

4. SOMETIMES THEIR SUITS ARE HEATED.

Going deeper into the water means enduring more frigid conditions. To offset plummeting temperatures, divers need a way to keep their suits warm. “Below 80 feet, it gets cold,” Jeremy says. “We either pump water into a wet suit or wear a hot-water suit.” The former allows water to come in and make contact with the diver's body, typically from a heated source at the surface; the latter has water channels throughout the suit that branch out and keep divers from getting too cold. Because hot water suits can maintain a more consistent temperature than delivering warm water from above, they are most often used at 200 feet and lower depths.

5. THEY CAN WIELD FIRE UNDERWATER.

Most tools meant for underwater use are hydraulic (involving the use of water or other liquids), since they’re largely unaffected by water pressure. Fuel-powered or pneumatic tools (those that involve the use of gas) don’t really work, but divers can still make use of jackhammers, chainsaws, and other devices you’d find in an above-ground construction job. Others, however, need to be adapted.

“In my opinion, the most interesting adaptation is the BROCO torch,” says Brian, a diver based in New England. The BROCO torch uses direct current to ignite a magnesium rod and oxygen mixture that burns at approximately 10,000 degrees and can cut through metal like butter, even underwater. (A/C, or alternating current, is what we use in our homes—but because the direction of the current reverses many times a second, Brian explains, it can freeze the diver in place while electrocuting them, making it too dangerous for underwater use.)

6. THEY MIGHT FIND DEAD BODIES.

A human skull sits half-buried in sand
iStock

According to Jeremy, many recovery dives for people suspected of drowning fall under the purview of local law enforcement. Still, commercial divers can encounter someone who’s wound up in a watery grave. “I’ve done helicopter recovery jobs,” he says, referring to crashed aircraft that can harbor passengers. Once, while working on an oil rig, he stumbled upon a dead scuba diver. “It was more of a skeleton in a scuba suit,” he says. If a diver does find a corpse, they're unlikely to ever know the history of how the body got there; such discoveries are required to be passed on to the Coast Guard for investigation.

7. THEY CAN WIND UP FEEDING FISH.

A school of fish swim in the ocean
iStock

“We encounter marine life all the time,” says Mike, a commercial diver who now works primarily in and around the Great Lakes. “When working the ocean, if we are cleaning off marine growth, sometimes you will get some fish that come up and eat what you are cleaning off.” Mike says that commercial divers frequently spot sharks, barracudas, and other potentially dangerous sea dwellers, but the animals generally don't care much about humans. They’re even less likely to approach if the workers are using torches.

8. THEY SOMETIMES SWIM IN UTTER FILTH …

A common component of commercial diving, HAZMAT (hazardous material) diving involves working in contaminated water. That could mean anything from a lake affected by nearby lawn chemicals to checking equipment at a nuclear reactor. If it could kill or poison you, a diver has probably swum in it.

This kind of work requires a special approach. Brian says that those who venture into higher-risk HAZMAT diving usually wear a positive pressure diving helmet; since the pressure inside the helmet is greater than the pressure in the water outside, the helmet helps keep hazardous material from entering. HAZMAT divers also wear a rubber dry suit that fully seals the diver's entire body, unlike normal wet suits, which allow water to make contact with the wearer. Support staff will also decontaminate the HAZMAT diver after the job, scrubbing their suit free of harmful materials before the diver undresses.

9. … INCLUDING SEWAGE.

An overhead shot of a sewage treatment plant
iStock

Those stories you may have heard about people diving into sewage treatment plants to repair equipment? Those would be commercial divers, who occasionally brave the psychological challenge of being submerged in poop. Because it's usually impossible to see in a sea of feces, divers will study reference photos of empty tanks before going in. They'll suit up in sealed dry suits and typically will weigh themselves down in order to sink through the dense liquid; once they're in position, they work by feel. “Both the sewage jobs I dove on, it was repairing a masticator blade,” Mike says. “Picture a giant blender that makes solids less solid. I don't do it anymore because of the health risks.” A rip or tear in a diver's suit can introduce a litany of dangerous bacteria into their body: In addition to your standard Salmonella and Cryptosporidium parasites, such vile muck can also harbor hepatitis, Norwalk virus, E. coli, and assorted fungi [PDF].

10. DAWN SOAP IS A LIFESAVER.

Dawn dishwashing liquid is a must-have on diving expeditions. It can get diving suits and skin free of oil, and can even help divers cope with parasitic pests. When Jeremy was working on a mile-long pipeline near New Orleans, the shallow water resulted in workers getting infested with parasites carried by nutria, a semiaquatic rodent. “The hookworms will dig into your skin, die, and leave a big red mark,” he says. Splashing Dawn soap gets rid of the itch immediately. (If irritation persists, divers might need to seek anti-inflammatory treatment from a dermatologist.)

11. THEY WORRY ABOUT BEING SUCKED INTO A VACUUM OF DEATH.

Divers are frequently in violation of the laws of nature. Humans, after all, were never meant to thrive (or survive) underwater, particularly at more pressurized depths. Many divers fear encountering Delta P, or differential pressure—a vacuum that’s far higher in pressure than their current environment, and is created by intersecting water bodies as a result of opening a channel like a pipe. “Delta P is vacuum-like suction much like you would imagine from when the cabin of an airplane ruptures, but at a much greater magnitude,” Brian says. “It can be very difficult to detect until you are already too close, and can trap the diver at depth or even kill them instantly.” The unfortunate crab in the video above is an example of how differential pressure can ruin your day.

12. THEY SOMETIMES GO DIVING INSIDE WATER TOWERS.

Those water towers you see in populated areas that stand on stilts hundreds of feet up in the air? Townships need to periodically check them for sediment levels to maintain water quality. That’s when they call in a commercial diver, who needs to add "not afraid of heights" to their skill set. “You have to climb all the way up, get into your wet suit, measure the sediment with a ruler, and clear it out with a [suctioning device called an] airlift." Jeremy says. And that's not the only lofty prospect for a diver: Jeremy notes that some oil rigs stretch 100 feet in the air. Divers without seniority may be expected to carry out repairs or work at or near the top, instead of actually diving.

13. THEY CARRY KNIVES.

A diver straps on a knife
iStock

No, it’s not to duel with sharks. “While diving, I carry a razor-sharp knife for emergency purposes only,” Brian says. In an urgent situation, it could be used for "cutting anything from old fishing line to my own dive umbilical—the air hose and lifeline.” The latter rarely happens, unless the diver gets it snagged or it becomes compressed. In the event of a hose failure, divers have a "bailout bottle," a supplemental tank they can switch to in case of emergency.

14. THEY CAN BE UNDERWATER BUT NOT ACTUALLY IN THE WATER.

A diver works with a torch underwater
iStock

Not every dive requires divers to swim while working. For jobs that require meticulous attention to detail for repair or where welding is required, diving teams can set up positive pressure habitats that isolate the problem area and allow the diver to work out of water. “You use air pressure to push water out of the habitat, which is in two pieces,” Jeremy says. Inside, a diver would trade their helmet for a welding mask. Because it can take a day or more to set up the habitat for a job that might take only one or two hours, habitat work is used only in cases where there aren't any other options.

15. THEY STILL GO SWIMMING FOR FUN.

Like anything done recreationally, diving can begin to seem routine if it's performed on a daily basis. While some divers get their fill of water by working 12-hour days for weeks at a stretch, some still enjoy going under in their free time. “While my career has definitely diminished the novelty of being in such an alien environment, I still love to dive recreationally,” Brian says. “Commercial diving is exhausting work, typically in dark, low-visibility water with a particular task in mind, while recreational diving is often more about exploration and sight-seeing. I would argue that the difference is not unlike a professional runner going on a beautiful hike in their free time.”

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11 Secrets of Romance Writers
iStock
iStock

Some readers may snicker at book covers featuring aerobicized men and titles like The Firefighter’s Woman or The Bull Rider’s Christmas Baby. But if it weren’t for the steamy, escapist fantasy of romance novels, a healthy portion of the publishing industry would cease to exist: According to the Romance Writers of America (RWA), romantic fiction brings in $1.08 billion annually and accounts for 13 percent of all fiction sales in the marketplace.

What keeps readers coming back for more? We asked some of the genre’s top authors for insight into the “secret baby" trope, why pen names are necessary, and the one rule of romance that can never, ever be violated.

1. THEY WEAR PERIOD CLOTHING.

Novelist Shelley Adina (A Lady of Resources, A Lady of Integrity) writes historical, Amish, and steampunk-themed fiction, just a few of the many sub-categories that appeal to niche audiences. To better understand her characters, Adina dresses in period outfits to gather what she calls “tactile details.”

“I like to feel how a heroine would feel in the clothes,” she says. “I’ve been laced into a proper corset and you realize what kind of dance steps you can do, or why a lady’s back never touches a chair—a tight corset won't allow it."

2. THE REASON THEY USE PEN NAMES ISN'T WHAT YOU THINK.

Covers of two romance novels by Shelley Adina
Shelley Adina

The authors of romance novels don't use pen names out of embarrassment. Adina (a.k.a. Adina Senft) says that pseudonyms—many authors have more than one—help readers compartmentalize writers who generate multiple series. “People who read Amish fiction may not read steampunk,” she says. Another, bigger reason: Bookstore software can use “kill orders” on authors who don’t sell a certain number of titles. If they fall below parity, retailers will automatically stop ordering more copies from that author. “If that happens,” she says, “you have to reinvent yourself with a new name.”

3. THEY’LL DIGITALLY REVISE THEIR WORK AFTER PUBLISHING IT.

The analog publishing model has traditionally been one of permanence: Once a book is in print and in readers' hands, there's no going back. But romance novel readers are a very particular clientele with certain expectations about how they’d like their protagonists to behave—and the self-published digital distribution model that's popular within the genre allows for a little customization. Author Heather C. Leigh (the Famous series) found that out when her first books featured a heroine who was a little too acerbic. “My first three books sold well, but there were critiques that my female lead was too sarcastic,” she says. “I understood and took it out. I don’t mind making work better based on feedback.”

4. COVER MODELS OFTEN LOSE THEIR HEADS.

The covers of two romance novels by Heather C. Leigh
Heather C. Leigh

Despite seeing hundreds of new titles published every month, the romance genre still manages to find new ways to visualize their shirtless male protagonists. In many cases, though, the beefcake winds up getting decapitated. “A lot of times, the man will be turned away or cut off at the forehead,” says author Eliza Night (The Conquered Bride series). “Readers want to imagine his looks in their own mind.” Grooming is also a necessity. “I had a cover with chest hair once. My readers did not like it.”

5. THEY HAVE BONUS SCENES.

Self-published authors (who make up about two-thirds of the total romance e-book revenue on Amazon) spend much of their time marketing their work. To help maintain interest from their existing readership, some send out email newsletters with updates on new titles and include exclusive passages that can enhance the experience of a previous book. “My first book was about an actor who had to do a love scene with a woman he hated,” Leigh says. “It was never going to be in the book because that was from his girlfriend’s point of view, but I got a chance to write it as a bonus.”

6. THEY WANT READERS TO BECOME WRITERS.

While resources for aspiring writers of all genres are plentiful, the romance field makes an exceptional attempt to recruit new talent. Industry interest group RWA doubles as a conduit between established writers and novices, hosting conferences and panels on the best ways to break in. “We don’t live in a competitive hierarchy,” Adina says. “There are so many readers with so many diverse tastes. It’s a big community where we support one another.”

7. THEY GET HELP FROM THE AMISH.

An Amish woman walking in a field
iStock

While the Amish sub-genre has received media attention for its peculiarity, Adina doesn't believe it's so unusual: She says readers are attracted to a pastoral environment “without having to leave their wired-up house.” For accuracy’s sake, the author has enlisted an Amish reader to vet her titles for details. The popularity of the books “mystifies them,” she says. “They don’t understand the interest. They just hope the books might be able to point people to God.”  

8. THE “SECRET BABY” TROPE IS A READER FAVORITE.

Readers like resourceful women and skilled, wealthy love interests—and they especially like it when the former keeps their baby a secret from the latter. “The trope is that the hero and heroine have an affair, she gets pregnant, never tells him, and he comes back around five, 10, or 20 years later and finds out,” Adina says. “Reunion stories are popular. It’s the appeal of a responsible man.”

9. THEY’RE HISTORY GEEKS.

The cover of a romance novel by Eliza Knight
Eliza Knight

Knight cringes at the idea romance authors do little more than transcribe their own lurid fantasies. A self-described “history geek,” she travels frequently for research into Scottish history. “Most of us who write history nerd out on it,” she says. While once writing about a zeppelin-riding heroine, Adina jumped into one that offered rides over Silicon Valley to see how it would feel. She also got her motorcycle license for the same reason. “We’re serious about it,” Adina says. “We’re not sitting around in housecoats with barking Pomeranians.”

10. THEY’D APPRECIATE NOT BEING ASKED ABOUT THEIR SEX LIFE.

Many romance authors have at least one story to tell about people in their private life finding out they write for the genre and subsequently losing any sense of boundaries. “Strangers have asked me, ‘Do you test out scenes before you write them?’” Leigh says. “It’s like they lose a filter. It’s not real life. J.K. Rowling isn’t a wizard.”

11. THERE’S ONE RULE THAT CAN NEVER BE BROKEN.

While writing instructors invariably have all kinds of techniques for nourishing a story, the romance genre spells it out in an unequivocal manner. According to the RWA, nothing can be considered a “romance novel” without a central love story (naturally) and what authors have come to refer to as the Happily Ever After ending, or HEA. “Romance is a courtship story,” Adina says. “Readers expect the bond will be created at the end of the book. If not, it’s Nicholas Sparks or Romeo and Juliet. It would be like having a mystery where the detective doesn’t solve the case.”

This story originally appeared in 2016.

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