Websites that focus on the works of Nora Roberts continue to vibrate in response to the June 22, 2009 New Yorker article that profiles this writer. In "Real Romance: How Nora Roberts Became America’s Most Popular Novelist," Lauren Collins provides a 10-page answer to the question her title poses. Collins bases her article both on her interview with Roberts and on her extensive research into Roberts’ works and their critical reception.
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Photo credit: New Yorker cover image from New Yorker
Digital Edition for June 22, 2009.
Collins first provides statistics that demonstrate Roberts' continuing popularity. With a current output of 182 novels, Roberts usually produces five new titles each year. Collins cites Roberts’ response to those who would consider the quantity of her output as a potential limit to its quality. “You know, writing’s creative and all this, certainly; but you don’t just wander around dreaming,” Roberts says, adding, “I think that people who . . . have more of artistic bent, they’re just not as productive, and their writing is probably not any better than mine at the end of the day.”
Roberts’ prolific output is but a minor factor in her popularity according to Collins. Her ability to write “zingy dialog” and to create “scrappy but sincere characters” are truer hallmarks of her success.
Collins summarizes Roberts’ biography, presenting her as a “self-taught writer, and an irreverent one” who has little use for the literary establishment or for critical acclaim. Collins also includes Roberts’ objection to those who dismiss romantic fiction as escapist. “For the kind of books I write, character is key,” claims Roberts. Roberts believes readers come to her books not to escape reality, but to identify with the believable characters populating her novels.
Collins specifically mentions two websites that discuss Roberts’ work, the romantic fiction blog Smart Bitches, Trashy Books and the Nora Roberts fan site ADWOFF, whose title is acronym for A Day Without French Fries. Visitors to these sites generally agree that Collins’ article provides a well researched and well balanced profile of Roberts.
Some of the commentary on the Smart Bitches, Trashy Books blog, though, takes issue with a statement Collins makes toward the end of her article. “Most writers have worked out the kinks in their writing by the time they are published," Collins writes,"but in romance many writers develop on the job.” These readers view the remark as portraying writers of romantic fiction as less skilled than others.
Roberts’s fans who post to the ADWOFF message board are more uniform in their praise of Collins’ article. Their only concern appears to be locating an online copy of the document. The New Yorker does offer four free issues to those interested in subscribing to its digital edition. They can also download a brief New Yorker podcast in which Lauren Collins discusses the article with host Curtis Fox.
Lauren Collins talks with Curtis Fox about her profile of Nora Roberts
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