“I think one of the keys to a successful romance-or really, most stories in general-is that the characters experience personal and emotional growth,” Fielding says. But his hopes of being left to live and die in peace are thwarted by Felix, an outgoing, talkative, confident ne’er-do-well, jack of all trades, and master storyteller, who’s determined to break through Oliver’s defenses and woo him into-friendship? Alternately irritated and charmed by Felix, Oliver finds himself beguiled into sharing his deepest fear-intimacy-with another man, and one who is harboring some deep dark secrets of his own. Gruff, socially awkward loner Oliver Webb rolls into the fishing village of Croftwell behind a brace of dragons, hoping to bury the pain of his shameful secrets in the isolation of a tiny cottage he’s inherited (nobody warned him there’d be ghosts).
Romance has spread its wings far beyond the tired old tropes to give us diverse heroes, intriguing plots, and surprising settings. But think of how many pieces of classic literature are romances at heart! Love stories ,” are important. This may, in part, be rooted in misogyny and a general disdain for work associated with women. I’ve heard even fans of romance refer to it as trashy or smut or a guilty pleasure. “A lot of people are dismissive of the genre.
“It’s an especially sweet victory because, traditionally, romance has gotten such a bad rap,” Fielding says. Farview, a love story between a pair of atypical heroes set in a fantasy land where dragons pull carriages and imps dwell in the garden, is the first romance to win the BookLife Fiction Prize.
Indie author Kim Fielding considers her BookLife Prize win to not only be an honor for her book-but a victory for the romance genre.
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